Getting started with Heian period Japanese garb (794-1185)
Aka: 1066 in Japan- A very brief overview
Julia May, with inspiration from Kay Marszalek
Let me start with the basics: I am not a scholar in Japanese material culture. Our Prince has a Japanese persona. While we, of course, assume our King and Queen will have a long and distinguished reign, some folks wanted to get Japanese garb together—just in case! (tongue-in-cheek).
Baroness Khadijah offered to teach an introductory class on Japanese garb. The material she has available to share is in paper format, instead of electronic. After attending her class, I have tried to reconstruct some of that great knowledge with web-based information. My goal is offer a “starter package” which honors the culture and people whom we are recreating but does not get into finer, and important, details. I welcome comments which contribute resources for the finer details.
What we readily know about clothing in this period is that there are few illustrations of it. The armchair researcher will be surprised, delighted, and frustrated that uncredited line drawings from one manuscript are used by many of the sources out there.
http://www.iz2.or.jp/english/fukusyoku/wayou/index.htm
The site “The Rebirth of the Tale of Genji: The Costume Museum” appears to be quite popular, and one can easily see why. Clothing of court persons, both men and women, are depicted in color re-creations, as well as line drawings which are labeled with the names of individual garments. Clicking on the fuzzy “Explanation” button yields fantastic garment-ese translations. Unfortunately, the site has not been maintained in the last several years, and links are starting to break.
http://www.fibers.destinyslobster.com/Japanese/Clothes/japoutfits.htm
“Anne Liese’s Fibers and Stuff” offers a breakdown of the types of clothing worn by individuals of different ranks. Some of it appears to be borrowed from “The Costume Museum”, but there are other images available as well.
http://www.sengokudaimyo.com/garb/index.html
“Yusoku Kojiysu Ron: A History of Japanese Clothing and Accessories” is a difficult site to enter. From the link above, click on the upper brown box in the center of the page. This should bring you to a framed website which is difficult to copy links from. It has greater detail about men’s clothing (women’s has not been fleshed out) and an excellent color chart. Clicking on “Kasane No Irome” provides Western dates for the Japanese seasons. The seasons would dictate appropriate colors to wear.
https://www.facebook.com/media/set/?set=a.758943530868387.1073741924.122744754488271&type=3
https://www.facebook.com/media/set/?set=a.800256613403745.1073741936.122744754488271&type=3
https://www.facebook.com/media/set/?set=a.794837213945685.1073741932.122744754488271&type=3&hc_location=ufi
The Facebook page Kyoto Fan has posted a rich collection of public photographs from recreations of three Heian period ceremonies, including some layers of dressing.
As for making the clothing, a few websites are available with cutting and construction plans. SCA participants will recognize similarity with Western panel and gore construction.
Pants http://fibers.destinyslobster.com/Japanese/Clothes/japmakewomenshakama.htm
http://mistress-of-disguise.blogspot.com/2011/12/how-to-make-heian-era-formal-court.html
http://www.fibers.destinyslobster.com/Japanese/Clothes/japmakemenshakama.htm
Robes. Robes are special because each layer is cut slightly different from the last, so that the edges of each layer are visible. This appears to be quite an involved process which likely would take a pair of people several weekends to complete for/with each other. This site “The Kosode: a Japanese garment for the SCA period” by
Lisa A. Joseph has many documented resources, references, and
explanations of choices made.http://www.wodefordhall.com/kosode.htm
http://www.wodefordhall.com/
This site by Lisa A Joseph is considered a go-to for serious garb research. I found that as I "wandered" through the other sites I could start to get a feel for the garb. This site ties it all together, and provides details which help you see things you didn't know you should look for on other sites.
Joseph also has a gallery of SCA folks’ modern reconstructions of Japanese garb in period. http://www.wodefordhall.com/samurai.htm
14 August 2015
08 July 2015
Tunic for an Elevation in the Norse Style: Material Culture 30: A&S50 Challenge
Tunic for an Elevation in the Norse Style: Material Culture 30: A&S50 Challenge
Orchestrated by Baroness Samia
Completed by Dame Marwen's Super Team
Julia May
At Twelfth Night 2015, Baron Viði was placed on vigil for the Order of the Pelican. His wife, Dame Marwen, began coordinating efforts for his sitting in state, and the ceremony of his elevation. Many efforts were abuzzz, headed by many able people. Several additional sets of hands were made available to assist on these projects.
We began with the image of King Cnut, in the lower right corner.
And used a tunic pattern which Viði found to be comfortable already. This style is one of my favorites because it is well suited to luxury-sized people. The center panel is not as wide as the shoulders, therefore it's not slumping down the arm as though the wearer is "dressed in dad's clothes". It also allows for a better fit around the upper torso, providing greater ease of movement (as a side note, this same pattern appears in the Middle East during this same time period). Many times the tunics are seen with sleeves too long for the arm and ruched at the wrist. Viði's preference was a tunic with standard-length sleeves for his comfort.
We used a silk-wool twill for the body of the garment. Mistress Cassandra provided the brocade for the facing, and we selected two silk taffeta fabrics to use as the accents. Finally, blue silk Trebizond, garnets, and pearls were used for details.
The shape of the facing and the additional adornment was informed by the 11th century manuscript "'The Arundel Psalter". British Library, Ms Arundel 155, Fol. 93r. Detail.
In all, many hands were utilized in completing this outfit. Baroness Amalia, Baroness Ellen, Duchess Anne, Honorable Lady Una, Lady Ulricka, Mistress Gunnora, Lord Njall, Maaster Hrodir, Dame Marwen, Dame Siobhan, Mistress Cassandra, Baroness Eruiaut, Baroness Ekatrina, Countess Guinevere, and more.
Orchestrated by Baroness Samia
Completed by Dame Marwen's Super Team
Julia May
At Twelfth Night 2015, Baron Viði was placed on vigil for the Order of the Pelican. His wife, Dame Marwen, began coordinating efforts for his sitting in state, and the ceremony of his elevation. Many efforts were abuzzz, headed by many able people. Several additional sets of hands were made available to assist on these projects.
We began with the image of King Cnut, in the lower right corner.
| King Cnut and Queen Emma presenting a cross to the altar of New Minster, Winchester, Stowe 944, f. 6. British Library, London. See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2011/06/the-new-minster-liber-vitae.html#sthash.uat0Bdzq.dpuf |
And used a tunic pattern which Viði found to be comfortable already. This style is one of my favorites because it is well suited to luxury-sized people. The center panel is not as wide as the shoulders, therefore it's not slumping down the arm as though the wearer is "dressed in dad's clothes". It also allows for a better fit around the upper torso, providing greater ease of movement (as a side note, this same pattern appears in the Middle East during this same time period). Many times the tunics are seen with sleeves too long for the arm and ruched at the wrist. Viði's preference was a tunic with standard-length sleeves for his comfort.
 |
| Norse tunic pattern. http://simbelmyne.us/sca/court/norse-tunic-pattern.htm |
We used a silk-wool twill for the body of the garment. Mistress Cassandra provided the brocade for the facing, and we selected two silk taffeta fabrics to use as the accents. Finally, blue silk Trebizond, garnets, and pearls were used for details.
 |
| Vidi heralded by Lady Ejya who composed a Norse poem to celebration the occasion, and flanked by the archery community. He is wearing a belt made by Dame Marwen, Norse pants made by Lord Njall, and shoes made by Master Hrodir. |
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| http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=5 |
In all, many hands were utilized in completing this outfit. Baroness Amalia, Baroness Ellen, Duchess Anne, Honorable Lady Una, Lady Ulricka, Mistress Gunnora, Lord Njall, Maaster Hrodir, Dame Marwen, Dame Siobhan, Mistress Cassandra, Baroness Eruiaut, Baroness Ekatrina, Countess Guinevere, and more.
Painted tent flange in a Middle Eastern style: Material Culture 29: A&S50 Challenge
Painted tent flange in a Middle Eastern style: Material Culture 29: A&S50 Challenge
Julia May
Several years ago, my husband and I made a canvas tent for camping. This year I took the opportunity of some extra free time to paint the flange of it.
I was inspired by images of camp from the manuscripts of the Maqamat al-Hariri. This is a secular collection of tales about rouge as he move through life. Many of the manuscripts are heavily illuminated. Several come to us from the thirteenth century[1].
Seeing the two tents which are white with blue adornment (our tent is made of white Sunforger canvas, which should generally be left white to maintain the great properties), I decided to paint a "negative" image of white lettering on a blue background like the tent on the left.
I am not a skilled calligrapher. My husband and I found a font that was similar to the Fatimid Kufic script on this Mamluk-era mosque. We scaled it to fill an 8 1/2 x 11 sheet of paper, and added a grid behind it at the height we needed for the height of the fabric. I used a plastic sheet made for quilting templates to create a frame for scaling the image. I then altered the font we found with elements I could discern from the hand used to decorate the mosque.
Instead of the traditional Fatimid prayer inscription, "Health, Blessings, and Prosperity", we used the prayer, "Health, Blessings, and Safe Weather." A friend provided the translation for me.
[1]Bolshakov, O.G. "The St. Petersburg Manuscript of the Maqamat by al-Hariri and its Place in the History of Arab Painting". Manuscript Orientalia: International Journal for Oriental Manuscript Research, Vol. 3 No. 4 (December 1997): 59-66
Julia May
Several years ago, my husband and I made a canvas tent for camping. This year I took the opportunity of some extra free time to paint the flange of it.
 |
| Photo by Cynthia Bergman |
I was inspired by images of camp from the manuscripts of the Maqamat al-Hariri. This is a secular collection of tales about rouge as he move through life. Many of the manuscripts are heavily illuminated. Several come to us from the thirteenth century[1].
 |
| St Petersburg Inst of Oriental Manuscripts Ms C-23 fol.43b. An old man and a young man in front of the tents of the rich pilgrims, from 'The Maqamat'. Dated to c. 1200-1250. |
Seeing the two tents which are white with blue adornment (our tent is made of white Sunforger canvas, which should generally be left white to maintain the great properties), I decided to paint a "negative" image of white lettering on a blue background like the tent on the left.
 |
| A Qur’anic verse carved using the Kufic script, from the Mosque of Sultan Hasan, Cairo, Egypt. From https://starsinsymmetry.wordpress.com/2013/08/05/history-the-kufic-script/ |
I am not a skilled calligrapher. My husband and I found a font that was similar to the Fatimid Kufic script on this Mamluk-era mosque. We scaled it to fill an 8 1/2 x 11 sheet of paper, and added a grid behind it at the height we needed for the height of the fabric. I used a plastic sheet made for quilting templates to create a frame for scaling the image. I then altered the font we found with elements I could discern from the hand used to decorate the mosque.
Instead of the traditional Fatimid prayer inscription, "Health, Blessings, and Prosperity", we used the prayer, "Health, Blessings, and Safe Weather." A friend provided the translation for me.
[1]Bolshakov, O.G. "The St. Petersburg Manuscript of the Maqamat by al-Hariri and its Place in the History of Arab Painting". Manuscript Orientalia: International Journal for Oriental Manuscript Research, Vol. 3 No. 4 (December 1997): 59-66
07 July 2015
New Stone Settings for a Baronial Coronet: Material Culture 32: A&S50 Challenge
New Stone Settings for a Baronial Coronet
Material Culture 32: A&S50 Challenge
Julia May
Baroness Anplica was given a wonderful gift from her friend, Baron Lyulf. With the help of Baron Frederick, Lyulf made her a baronial coronet when she became a Baroness of the Court. Using nickel-plated stainless steel, it flared nicely, and fit her perfectly. He knew that he did not yet possess the skills to set the six hand-cut lapis stones that she used for pearls, so he thoughtfully glued them into place with an adhesive which would be easy for a future artist to remove. The stones were displayed, and the piece could easily be updated at a later time.
Some time later, Anplica took it to a local jeweler who could make settings for the stones. They bid it at $65 per setting, a very reasonable price for the amount of work it would take, but outside of Anplica's budget at the time. She turned to her newly-minted silversmith friend for a second opinion. I let her know that the local jeweler was offering a reasonable price, and the final product would likely be more professional than I could produce. However, I would take it as an opportunity to learn new skills if she would buy the materials. She was sold.
I used rubber cement to apply copier paper to one side of the silver sheet, then traced around each of the stones. Rubber cement stays in place while the silver is being sawn, and the paper retains the ink better than the silver does.
The bezel wire is cut to shape for each stone. Since they're hand-cut stones they are slightly irregular and each needed to be custom fit. Once the bezel wire is soldered and tested against the shape of the stone a final time, it is soldered to the back plate.
Once the bezel is soldered into place, I carefully cut away the excess back plate, I also determined that I could save weight if I cut a hole in the back of each setting. Then the piece is filed and polished.
Here are four stones in different steps of the process. The last one is not yet set into the bezel, the bezel must first be attached to the coronet.
The bezels were riveted into place. I drilled holes in the top and bottom of the back plate of each bezel. Then I lined them up with the coroner and drilled corresponding holes in each location. I used silver wire in the same diameter as the holes to make rivets which were flared by hammering. Once all of the bezels were in place, I could start setting the stones.
Baron Frederick was generous to assist me with polishing the coronet when the bezels were set. I do not have much experience with ferrous metals, and I was uncertain if my fine metal polishing equipment would be appropriate. He brought armor polishing equipment and a multi-tool to an event and showed me his process. I am very grateful for his help.
Material Culture 32: A&S50 Challenge
Julia May
Baroness Anplica was given a wonderful gift from her friend, Baron Lyulf. With the help of Baron Frederick, Lyulf made her a baronial coronet when she became a Baroness of the Court. Using nickel-plated stainless steel, it flared nicely, and fit her perfectly. He knew that he did not yet possess the skills to set the six hand-cut lapis stones that she used for pearls, so he thoughtfully glued them into place with an adhesive which would be easy for a future artist to remove. The stones were displayed, and the piece could easily be updated at a later time.
Some time later, Anplica took it to a local jeweler who could make settings for the stones. They bid it at $65 per setting, a very reasonable price for the amount of work it would take, but outside of Anplica's budget at the time. She turned to her newly-minted silversmith friend for a second opinion. I let her know that the local jeweler was offering a reasonable price, and the final product would likely be more professional than I could produce. However, I would take it as an opportunity to learn new skills if she would buy the materials. She was sold.
I used rubber cement to apply copier paper to one side of the silver sheet, then traced around each of the stones. Rubber cement stays in place while the silver is being sawn, and the paper retains the ink better than the silver does.
The bezel wire is cut to shape for each stone. Since they're hand-cut stones they are slightly irregular and each needed to be custom fit. Once the bezel wire is soldered and tested against the shape of the stone a final time, it is soldered to the back plate.
Coronation Tunic for King Hrodir III: Material Culture 31: A&S50 Challenge
Coronation Tunic for King Hrodir III: Material Culture 31: A&S50 Challenge
Orchestrated by Sayyeda al-Kaslaania
Completed by House Wortham and friends
Julia May
In preparation for his Coronation, when Hrodir was asked what clothing inspired him, he pointed to the Coronation tunic of King Roger II of Sicily.
I enlisted the help of Baroness Deja, Mistress Ainsleigh, Mistress Gunnora, and Lady Niamh to determine the best resources for copying the adornment. We quickly determined how to do it, and that it would take hundreds of hours more than we had.
Instead, we looked to our stashes of fabric to see what would suit a King, and consulted the Queen's Royal Clothier, Mistress Cassandra, on the colors she was choosing for Queen Anne.
We settled on the silk brocade as primary ornamentation which would be used for both, and selected colors to coordinate. The black is a velvet brocade provided by Baroness Deja. The tan silk-wool twill (bottom of the picture) was in my collection.
I used my favorite tunic pattern (opens a .pdf) to make the garment. This pattern is great for prosperous men because the center body panel is narrower than the shoulder width. The shoulders don't slump down arms with the pattern, allowing a neater fit and great ease of movement. The pattern was used throughout Europe and the Middle East in the Middle Ages.
While the Honorable Lady Lyneya was tablet weaving the alpaca/silk trim for the neck line, I started making the tunic. Functioning by rote, I made the facing wrong. Thankfully I had enough fabric that I could make a new one!
Meanwhile, many artisans started working on adding pearls to the brocade pieces. We finished each section of brocade individually, then appliqued the final pieces to the garment. This allowed several people to be working on the pearling at their own homes all at the same time.
Mistress Gunnora and Lady Niamh worked out the design for the cuffs. Baroness Ellen and I worked out the design for the sleeves. Mistress Cassandra provided the enameled "coins" in the sleeves.
Together, dozens of hours were put into this garment. Baroness Ellen, Baroness Deja, Lady Niamh, Dame Siobhan, Dame Marwen, Dame Medb, Baroness Khadijah, Baroness Amalia, Baroness Ekaterina, Lady Ulricka, Lord Oswald, Sayyeda Samia, and others all laid pearls and jet beads in little rows for hours. We created garb fit for a King.
Orchestrated by Sayyeda al-Kaslaania
Completed by House Wortham and friends
Julia May
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| King Hrodir III and Queen Anne II of Northshield |
In preparation for his Coronation, when Hrodir was asked what clothing inspired him, he pointed to the Coronation tunic of King Roger II of Sicily.
 |
| Blue Tunicella (Dalmatica). Palermo, 2nd quarter of the 12th century. Blue and red velvet, gold embroidery, gold appliqués with cloisonné enamel and filligree, pearls; l. 141,5 cm, 343 cm wide at hem. Vienna, Kunsthistorisches Museum http://www.khm.at/Archiv/Ausstellungen/nobiles/en/02/main.html |
Instead, we looked to our stashes of fabric to see what would suit a King, and consulted the Queen's Royal Clothier, Mistress Cassandra, on the colors she was choosing for Queen Anne.
I used my favorite tunic pattern (opens a .pdf) to make the garment. This pattern is great for prosperous men because the center body panel is narrower than the shoulder width. The shoulders don't slump down arms with the pattern, allowing a neater fit and great ease of movement. The pattern was used throughout Europe and the Middle East in the Middle Ages.
While the Honorable Lady Lyneya was tablet weaving the alpaca/silk trim for the neck line, I started making the tunic. Functioning by rote, I made the facing wrong. Thankfully I had enough fabric that I could make a new one!
 |
| The original tunic has an offset neck opening. |
Meanwhile, many artisans started working on adding pearls to the brocade pieces. We finished each section of brocade individually, then appliqued the final pieces to the garment. This allowed several people to be working on the pearling at their own homes all at the same time.
Mistress Gunnora and Lady Niamh worked out the design for the cuffs. Baroness Ellen and I worked out the design for the sleeves. Mistress Cassandra provided the enameled "coins" in the sleeves.
Together, dozens of hours were put into this garment. Baroness Ellen, Baroness Deja, Lady Niamh, Dame Siobhan, Dame Marwen, Dame Medb, Baroness Khadijah, Baroness Amalia, Baroness Ekaterina, Lady Ulricka, Lord Oswald, Sayyeda Samia, and others all laid pearls and jet beads in little rows for hours. We created garb fit for a King.
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| Prince Hrodir III, claiming his right to the throne of Northshield |
06 July 2015
Nordskogen 40th Anniversary Twelfth Night Site Tokens: Material Culture 28: A&S50 Challenge
Nordskogen 40th Anniversary Twelfth Night Site Tokens: Sterling silver rings in a period New Years style
Material Culture 28: A&S50 Challenge
Created by the Barony of Nordskogen
Julia May
Dame Siobhan stewarded the Twelfth Night celebration with heralded the 40th Anniversary of the Barony of Nordskogen. She put out a call for volunteers to design a memorable site token for the event with a budget of $1,200. Baroness Samia al-Kaslaania, the Honorable Lady Niamh ingen Dhomnail, and Lady Lleucu verch Gwilim submitted the selected bid.
More examples of this kind of ring can be found on our Pinterest page: https://www.pinterest.com/jm0358/en-bon-an/
For ours, Lady Kolfinna Hrafnkelsdottir was the calligrapher, and Lady Lleucu was the designer. We utilized Rolling Mill Resource to laser engrave paper plates.We then used the paper plates to make an impression on sterling silver sheets.
The plates were annealed and cut apart into strips. The edges were butted together, and three-four people began soldering the butt-edges together. The rings went into the pickle (chemical cleaner to remove flux residue). Two people used mandrels and mallets to make the rings round.Several people cleaned up the rough edges, then the rings were bound together by size and put in a tumbler to polish. Finally, Max Black was added to darken the lettering, they were stamped with "925", and the rings were given a final polish.
Material Culture 28: A&S50 Challenge
Created by the Barony of Nordskogen
Julia May
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| 33 dozen rings, sorted by size. A mallet and an mandrel are available for minor resizing. |
Dame Siobhan stewarded the Twelfth Night celebration with heralded the 40th Anniversary of the Barony of Nordskogen. She put out a call for volunteers to design a memorable site token for the event with a budget of $1,200. Baroness Samia al-Kaslaania, the Honorable Lady Niamh ingen Dhomnail, and Lady Lleucu verch Gwilim submitted the selected bid.
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| Silver finger ring. 15th century. Winchester Museum Collection Object number: WINCM:AY 204. Adorned with foliate and reads "en bon an". They were given as New Years gifts in the 14th and 15th centuries. |
For ours, Lady Kolfinna Hrafnkelsdottir was the calligrapher, and Lady Lleucu was the designer. We utilized Rolling Mill Resource to laser engrave paper plates.We then used the paper plates to make an impression on sterling silver sheets.
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| Testing the pattern and pressure on copper first. |
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| From right to left: 1. stamped and annealed ring strip 2. ring strip folded for soldering. 3. ring just out of the pickle 4. ring being polished 5. finished ring with letters darkened. In the background is a charcoal block, used to reflect heat back to the object being soldered. |
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| 1. Soldering the joints: the rings are covered with flux and laying on a charcoal block. 2. Out of the pickle: the rings are shaped so they're easier to solder, and now need to be rounded. 3. Solder joint. 4. Rings cut unevenly need to be filed smooth. |
Volunteers spent dozens of hours working on the rings.
 | |
| 33 dozen rings doesn't look that *that* many. |
But it does take a lot of volunteers to make 408 sterling silver rings for an event. With the support of Baron Edward and Baroness Deja, territorial Baron and Baroness of Nordskogen, and Dame Siobhan, the event steward, over 35 people contributed time, materials, love, and effort.
Lord Bastien and Lady Coquette; Master Cadwallon and Baroness Amalia; Lord Wulfstanus and goodwoman Renee; Lord Bazyli and Lady Helena; Lady Nezzetta; Lady Lleucu; Baron Thomas and Baroness Angelina; Lady Jenne; Lord DelNefre; Mistress Angeli; Lord Geirfold; Duchess Petranella; Baroness Jutta; Lady Ulricka; Lord Marcus and Lady Kate; Lady Kolfinna; Lady Ysabel; Lord Finn and Lady Cynthia; Lord Byron; Honorable Lady Una; goodwoman Kathy Unasister; Lady Niamh; Baron Fredrick and Lady Gwenllyn; Lord Oswald and Baroness Samia.
05 July 2015
a Recreation of an Ayyubid Women's Face Veil Cairo: 1171-1250: Materal Culture 27: A&S50 Challenge
a Recreation of a possible Ayyubid Women's Face Veil Cairo:A Recreation: 1171-1250
Recreation by Julia May
Photos by Chris Schumann
Revised September 2018
The paper describes the possible recreation of Middle Eastern headgear from the Middle Ages which is suitable for a wealthy woman to wear while attending ceremony in an urban public venue.
More than half of a Cairene Jewish woman’s trousseau consisted of head gear in the eleventh century [1]. The Scholar Yedida Stillman suggest that similar experiences has would be had by Islamic and Christian women of the same time period and location. [1.1]
Despite many extant images of women; and many extant written accounts of garments, researchers today cannot discuss with certainty the connection between the named garments and the depicted garments. Even pioneering work such as Stillman’s analysis of scores of trousseaux does not provide the details that a re-enactor looks for [2]. For the purposes of communication, I have used the speculative names for garments that other researchers have agreed upon.
The most prominent feature of this headgear set is a full face veil, likely in the style of the medieval burqa. Today’s garment bearing the same name is very different from its medieval counterparts. It does, however, serve the same purpose: concealing an adult woman’s face.
I chose to make several pieces for this face veil ensemble, include a kerchief and a head veil. The attempted recreations are matched intentionally, as headgear garments in trousseau lists are commonly listed as matched and coordinated. Overall, garment ensembles could consist of up to 15 matched pieces [3].
Full face veil— burqa, to conceal the face
My re-creation goal was concealing the identity of the model so she could attend a public ceremony (SCA court) but without heat-stroking during the summer. The probable-burqa style was chosen over other faceveils because its narrow shape permits breezes to get by.
During the Middle Ages, it is believed that the burqa was as wide as the face. [3.1] Based on extant finds and extant images, it is made in two pieces, upper and lower, connected in three places: at the bridge of the nose, and outside each of the eyes. Along the nose there is a ridge seam created to shape the garment to the face. In the two extant garments, the upper and lower pieces of fabric are touching each other; however, period images do not always portraying this same proximity [4].
The extant garments are unfinished, both in the same way as each other [5]. Despite this, I chose to finish the whole length of the veil and make it shorter for a few reasons. First, both of the veils were coarsely made overall; they may have belonged to poor women who did not have time or inclination to complete the garments.
Second, my garment will typically be worn so that the hem is visible, whereas the existing garments are believed to always be concealed beneath a large overwrap [6]. These two garments (the burqa and the overwrap) went hand-in-hand during the Middle Ages. In the modern context of the SCA, women generally do not wear the body-concealing overwraps while out-of-doors. Women in the SCA spend more time out-of-doors than wealthy women are described as having done in the Middle Ages.
Third, Vogelsang-Eastwood describes this garment as sometimes being decorated with beads, coins, chains, shells and so forth [7]. Having worn other face veils of my own construction, I believe that this sort of adornment would help to keep the veil under control while walking or standing in a breezy area, functioning like the weighted hems on draperies. I believe the added weight is an alternative to the additional length, which would provide the same function.
Kerchief—mandīl, foundation headwear
According to trousseaux records, most women had several head-kerchiefs, called manadīl (singular mandīl), in their head-gear collections [8]. It is described as one of the foundation garments available for head-gear, and often served as the foundation for men’s turbans as well. This kerchief type of mandīl protected the other head-gear from the oils of the hair and skin. Another option for a base-garment would be a skullcap. I selected the mandīl for the flexibility of passing it along to another person to wear in the SCA. In the Middle Ages, the word “mandīl” is also used for a number of napkin- and towel-like objects; some are garments, others are household linens [9].
To wear the re-creation of it, this is folded into a triangle and tied around the hair-line with a double knot at the base of the neck.
Veil—Bukhnuq, to conceal the hair
The description of this veil occurs in a woman’s trousseau as a garment “whose primary purpose is the cover the neck.” In my speculation, this garment was triangular because a triangular shape would allow the garment to “covers the head, [go] down along the cheeks under the chin, and falls over the shoulders” as is described in Stillman’s research. It would remain a comfortable, tug-free neck covering when “the two ends might be brought again over the head and there attached [10].” This could be achieved with little waste by cutting a rectangle crosswise and sewing the two short ends together.
My re-creation of wearing the ensemble:Two small standard braids (not French-style) are made at the crown of the head. The hair is gathered into a pony tail, braid, or bun and secured. The re-creation mandīl is tied around the head. The burqa is tied around the head so that the eyes are exposed. Finally the re-creation bukhnuq is draped over all, with pins securing it to the little braids at the crown of the head.
Fabric Choice for Headwear
Many trousseaux survive from this period and give us a snapshot of women’s wardrobes at the time of their marriages. Several of the garments listed have the fabric described as “jari al-qalam” (literally, "the flowing of the pen") which is defined by Stillman as a fine pinstripe [11]. Another trousseau indicates that an entire ensemble of garments is made from one striped fabric [12]. In the Islamic Middle Ages, many matched garments were a sign of prosperity, this being a period where textiles were liquid assets and sale of second-hand garments was a thriving trade [13]. Therefore I selected a fine fabric with narrow pinstripe.
The trousseaux also tell us that people in this period had a “tremendous range of highly refined dyes [14].” Blues (and whites) were the most common of these colors [15]. Extant textiles, excavated at Quseir al-Qadim (a port city used in the thirteenth and fourteenth centuries), also show a preference for blue and blue-and-white textiles [16].
Linen was chosen because it was the most produced fiber of Islamic Egypt. Most of the textiles excavated at Naqlun (eleventh and twelfth centuries in Egypt) were linen [17]. Further, trade records indicate that “flax was produced in greater amounts than all other fibers combined[18]” during this period.
For the anchors and ties on the burqa, I did not copy the methods used in the extant garment above (several strings stitched over cross-wise, see Figure 2). Instead, I used lengths of corded silk. This choice not only maintains consistency across the piece, it also served as another step to raise the quality of the garment above the coarseness of the original. The silk fibers chosen have a “sticky” feel to them—with the goal of clinging better to the hair of a weekends-only (and therefore less experienced) veil-wearer.
The Ensemble
Overall, this ensemble of headwear meets the needs of the modern re-creationist while staying true to the original designs and goals of the Middle Ages. I believe the departures I make (in size and closures) do not significantly alter the feeling of the garments.
[1] Stillman, Yedida K. “Female Attire of Medieval Egypt: According to the Trousseau Lists and Cognate Material from the Cairo Geniza”. Unpublished doctoral dissertation: University of Chicago, 1977.
[1.1] Stillman, Yedida K. “Importance of the Cairo Geniza Manuscripts for the History of Medieval Attire.” International Journal of Middle East Studies Vol 7, Num 4 (October 1976): 582. "Jewish and Muslim women dressed alike during the Fatimid and Ayyubid period. This is not too surprising since the sectarian Fatimids showed a comparatively tolerant attitude toward their dhimmi subjects.... The Geniza trousseaux give every indication that the Islamic sumptuary laws for dhimmis were also not enforced. The same garments are mentioned in the Muslim sources."
[2] Stillman, Yedida K. “Importance of the Cairo Geniza Manuscripts for the History of Medieval Attire.” International Journal of Middle East Studies Vol 7, Num 4 (October 1976): 579-589. Note: For a modern comparison, saying, “there are 4 neckties in x colors,” does not indicate how a necktie was worn, when it was worn, how it was cut on the bias, how it was tied, or which specific garments it was worn with.
[3] Cortese, Delia and Simonetta Calderini. Women and the Fatimids in the World of Islam. Edinburgh University Press, 2006.
[3.1] Collated from a number of sources. Baker, Patricia L. "A History of Islamic Court Dress in the Middle East." Dissertation for Doctor of Philosophy (Faculty of Arts), School of Oriental & African Studies, University of London, 1986. Page 179.Mayer, L. A. Mamluk Costume: A Survey. Geneve: Albert Kundig, 1952. Page 73, and describing the burqu' as covering the face below the eyes.Stillman, Yedida K. Arab Dress from the Dawn of Islam to Modern Times: A Short History. Edited by Norman A. Stillman. Boston: Brill, 2003. Page 142.
[4] Eastwood, Gillian. “A Medieval Face-Veil from Egypt.” Costume/London Costume Society 17 (1983): 33-38.
Stillman, Yedida K. Arab Dress from the Dawn of Islam to Modern Times: A Short History. Edited by Norman A. Stillman. Boston: Brill, 2003. Page 82, referencing: Scene in a mosque; illustration from the 7th maqama of al-Hariri Maqamat, manuscript copied and illustrated by al-Wasiti, executed in Baghdad 1237. MS. ar. 5847 f. 18v., the Bibliothèque Nationale, Paris.
[5] Eastwood.
[6] Vogelsang-Eastwood, Gillian and Willem Vogelsang. Covering the Moon: An Introduction to Middle Eastern Face Veils. Leuven, Belgium: Peeters, 2008.
[7] Vogelsang-Eastwood.
[8] Stillman, “Female Attire".
[9] Rosenthal, Franz. “A Note on the Mandil” Four Essays on Art and Literature in Islam. Leiden, 1971.
[10] Stillman, “Female Attire".
[11] Stillman, Yedida K., Norman A. Stillman, ed. Arab Dress: a Short History. Brill 2003, p 59.
[12] Ibid.
[13] Goitein vol 1, p 222-3, 245.
[14] Stillman, Yedida K. “New Data on Islamic Textiles from the Geniza.” In Patterns of Everyday Life. Edited by David Waines. The Formation of the Classical Islamic World: 10th ed. Ashgate Variorum, 2002, p. 204.
[15] Ibid.
[16] Earl, Graeme. “The Textiles: Quseir al-Qadim Project.” University of Southampton, School of Humanities. 2000. http://wac.soton.ac.uk/Projects/projects.asp?Division=1&SubDivision=2&Page=17&ProjectID=20 (accessed 4 April 2011; now inactive).
Helmecke, Gisela. “Textiles with Arabic Inscriptions excavated in Naqlun 1999-2003.” Polish Archaeology in the Mediterranean/Polish Centre of Mediterranean Archaeology, Warsaw, POLOGNE 16 (April 19, 2004): pp195-202. http://www.pcma.uw.edu.pl/fileadmin/pam/PAM_2004_XVI/218.pdf (Accessed 19 April 2001).
[18] Goitein, S.D. A Mediterranean Society: the Jewish Communities of the Arab World as Portrayed in the Documents of the Cairo Geniza, Vol. 1. Berkley and Los Angeles: University of California Press, 1967.
Recreation by Julia May
Photos by Chris Schumann
Revised September 2018
The paper describes the possible recreation of Middle Eastern headgear from the Middle Ages which is suitable for a wealthy woman to wear while attending ceremony in an urban public venue.
 |
| Figure 1 Ms C 23, Maqāmāt al-Hariri, detail. St. Petersburg Branch of the Institute of Oriental Studies. Dated 1225-1235. Note: woman in buraq, upper left. |
More than half of a Cairene Jewish woman’s trousseau consisted of head gear in the eleventh century [1]. The Scholar Yedida Stillman suggest that similar experiences has would be had by Islamic and Christian women of the same time period and location. [1.1]
Despite many extant images of women; and many extant written accounts of garments, researchers today cannot discuss with certainty the connection between the named garments and the depicted garments. Even pioneering work such as Stillman’s analysis of scores of trousseaux does not provide the details that a re-enactor looks for [2]. For the purposes of communication, I have used the speculative names for garments that other researchers have agreed upon.
The most prominent feature of this headgear set is a full face veil, likely in the style of the medieval burqa. Today’s garment bearing the same name is very different from its medieval counterparts. It does, however, serve the same purpose: concealing an adult woman’s face.
I chose to make several pieces for this face veil ensemble, include a kerchief and a head veil. The attempted recreations are matched intentionally, as headgear garments in trousseau lists are commonly listed as matched and coordinated. Overall, garment ensembles could consist of up to 15 matched pieces [3].
Full face veil— burqa, to conceal the face
 |
| Figure 2 Extant face veil, Eastwood. |
My re-creation goal was concealing the identity of the model so she could attend a public ceremony (SCA court) but without heat-stroking during the summer. The probable-burqa style was chosen over other faceveils because its narrow shape permits breezes to get by.
 |
| Recreated burqa |
During the Middle Ages, it is believed that the burqa was as wide as the face. [3.1] Based on extant finds and extant images, it is made in two pieces, upper and lower, connected in three places: at the bridge of the nose, and outside each of the eyes. Along the nose there is a ridge seam created to shape the garment to the face. In the two extant garments, the upper and lower pieces of fabric are touching each other; however, period images do not always portraying this same proximity [4].
The extant garments are unfinished, both in the same way as each other [5]. Despite this, I chose to finish the whole length of the veil and make it shorter for a few reasons. First, both of the veils were coarsely made overall; they may have belonged to poor women who did not have time or inclination to complete the garments.
Second, my garment will typically be worn so that the hem is visible, whereas the existing garments are believed to always be concealed beneath a large overwrap [6]. These two garments (the burqa and the overwrap) went hand-in-hand during the Middle Ages. In the modern context of the SCA, women generally do not wear the body-concealing overwraps while out-of-doors. Women in the SCA spend more time out-of-doors than wealthy women are described as having done in the Middle Ages.
Third, Vogelsang-Eastwood describes this garment as sometimes being decorated with beads, coins, chains, shells and so forth [7]. Having worn other face veils of my own construction, I believe that this sort of adornment would help to keep the veil under control while walking or standing in a breezy area, functioning like the weighted hems on draperies. I believe the added weight is an alternative to the additional length, which would provide the same function.
Kerchief—mandīl, foundation headwear
According to trousseaux records, most women had several head-kerchiefs, called manadīl (singular mandīl), in their head-gear collections [8]. It is described as one of the foundation garments available for head-gear, and often served as the foundation for men’s turbans as well. This kerchief type of mandīl protected the other head-gear from the oils of the hair and skin. Another option for a base-garment would be a skullcap. I selected the mandīl for the flexibility of passing it along to another person to wear in the SCA. In the Middle Ages, the word “mandīl” is also used for a number of napkin- and towel-like objects; some are garments, others are household linens [9].
To wear the re-creation of it, this is folded into a triangle and tied around the hair-line with a double knot at the base of the neck.
 |
| I make little braids (antenna braids, located about where a Martian's antenna are) to have a stronger foundation for pining veils into place. The mandil is about the size of a modern kerchief. |
Veil—Bukhnuq, to conceal the hair
The description of this veil occurs in a woman’s trousseau as a garment “whose primary purpose is the cover the neck.” In my speculation, this garment was triangular because a triangular shape would allow the garment to “covers the head, [go] down along the cheeks under the chin, and falls over the shoulders” as is described in Stillman’s research. It would remain a comfortable, tug-free neck covering when “the two ends might be brought again over the head and there attached [10].” This could be achieved with little waste by cutting a rectangle crosswise and sewing the two short ends together.
 |
| Figure 3 Suggested design of the bukhnuq. |
My re-creation of wearing the ensemble:Two small standard braids (not French-style) are made at the crown of the head. The hair is gathered into a pony tail, braid, or bun and secured. The re-creation mandīl is tied around the head. The burqa is tied around the head so that the eyes are exposed. Finally the re-creation bukhnuq is draped over all, with pins securing it to the little braids at the crown of the head.
 |
| The bukhnuq pinned to the antenna braids, and wrapped with the two ends over the head. |
Fabric Choice for Headwear
Many trousseaux survive from this period and give us a snapshot of women’s wardrobes at the time of their marriages. Several of the garments listed have the fabric described as “jari al-qalam” (literally, "the flowing of the pen") which is defined by Stillman as a fine pinstripe [11]. Another trousseau indicates that an entire ensemble of garments is made from one striped fabric [12]. In the Islamic Middle Ages, many matched garments were a sign of prosperity, this being a period where textiles were liquid assets and sale of second-hand garments was a thriving trade [13]. Therefore I selected a fine fabric with narrow pinstripe.
The trousseaux also tell us that people in this period had a “tremendous range of highly refined dyes [14].” Blues (and whites) were the most common of these colors [15]. Extant textiles, excavated at Quseir al-Qadim (a port city used in the thirteenth and fourteenth centuries), also show a preference for blue and blue-and-white textiles [16].
Linen was chosen because it was the most produced fiber of Islamic Egypt. Most of the textiles excavated at Naqlun (eleventh and twelfth centuries in Egypt) were linen [17]. Further, trade records indicate that “flax was produced in greater amounts than all other fibers combined[18]” during this period.
For the anchors and ties on the burqa, I did not copy the methods used in the extant garment above (several strings stitched over cross-wise, see Figure 2). Instead, I used lengths of corded silk. This choice not only maintains consistency across the piece, it also served as another step to raise the quality of the garment above the coarseness of the original. The silk fibers chosen have a “sticky” feel to them—with the goal of clinging better to the hair of a weekends-only (and therefore less experienced) veil-wearer.
The Ensemble
Overall, this ensemble of headwear meets the needs of the modern re-creationist while staying true to the original designs and goals of the Middle Ages. I believe the departures I make (in size and closures) do not significantly alter the feeling of the garments.
[1] Stillman, Yedida K. “Female Attire of Medieval Egypt: According to the Trousseau Lists and Cognate Material from the Cairo Geniza”. Unpublished doctoral dissertation: University of Chicago, 1977.
[1.1] Stillman, Yedida K. “Importance of the Cairo Geniza Manuscripts for the History of Medieval Attire.” International Journal of Middle East Studies Vol 7, Num 4 (October 1976): 582. "Jewish and Muslim women dressed alike during the Fatimid and Ayyubid period. This is not too surprising since the sectarian Fatimids showed a comparatively tolerant attitude toward their dhimmi subjects.... The Geniza trousseaux give every indication that the Islamic sumptuary laws for dhimmis were also not enforced. The same garments are mentioned in the Muslim sources."
[2] Stillman, Yedida K. “Importance of the Cairo Geniza Manuscripts for the History of Medieval Attire.” International Journal of Middle East Studies Vol 7, Num 4 (October 1976): 579-589. Note: For a modern comparison, saying, “there are 4 neckties in x colors,” does not indicate how a necktie was worn, when it was worn, how it was cut on the bias, how it was tied, or which specific garments it was worn with.
[3] Cortese, Delia and Simonetta Calderini. Women and the Fatimids in the World of Islam. Edinburgh University Press, 2006.
[3.1] Collated from a number of sources. Baker, Patricia L. "A History of Islamic Court Dress in the Middle East." Dissertation for Doctor of Philosophy (Faculty of Arts), School of Oriental & African Studies, University of London, 1986. Page 179.Mayer, L. A. Mamluk Costume: A Survey. Geneve: Albert Kundig, 1952. Page 73, and describing the burqu' as covering the face below the eyes.Stillman, Yedida K. Arab Dress from the Dawn of Islam to Modern Times: A Short History. Edited by Norman A. Stillman. Boston: Brill, 2003. Page 142.
[4] Eastwood, Gillian. “A Medieval Face-Veil from Egypt.” Costume/London Costume Society 17 (1983): 33-38.
Stillman, Yedida K. Arab Dress from the Dawn of Islam to Modern Times: A Short History. Edited by Norman A. Stillman. Boston: Brill, 2003. Page 82, referencing: Scene in a mosque; illustration from the 7th maqama of al-Hariri Maqamat, manuscript copied and illustrated by al-Wasiti, executed in Baghdad 1237. MS. ar. 5847 f. 18v., the Bibliothèque Nationale, Paris.
[6] Vogelsang-Eastwood, Gillian and Willem Vogelsang. Covering the Moon: An Introduction to Middle Eastern Face Veils. Leuven, Belgium: Peeters, 2008.
[7] Vogelsang-Eastwood.
[8] Stillman, “Female Attire".
[9] Rosenthal, Franz. “A Note on the Mandil” Four Essays on Art and Literature in Islam. Leiden, 1971.
[10] Stillman, “Female Attire".
[11] Stillman, Yedida K., Norman A. Stillman, ed. Arab Dress: a Short History. Brill 2003, p 59.
[12] Ibid.
[13] Goitein vol 1, p 222-3, 245.
[14] Stillman, Yedida K. “New Data on Islamic Textiles from the Geniza.” In Patterns of Everyday Life. Edited by David Waines. The Formation of the Classical Islamic World: 10th ed. Ashgate Variorum, 2002, p. 204.
[15] Ibid.
[16] Earl, Graeme. “The Textiles: Quseir al-Qadim Project.” University of Southampton, School of Humanities. 2000. http://wac.soton.ac.uk/Projects/projects.asp?Division=1&SubDivision=2&Page=17&ProjectID=20 (accessed 4 April 2011; now inactive).
Helmecke, Gisela. “Textiles with Arabic Inscriptions excavated in Naqlun 1999-2003.” Polish Archaeology in the Mediterranean/Polish Centre of Mediterranean Archaeology, Warsaw, POLOGNE 16 (April 19, 2004): pp195-202. http://www.pcma.uw.edu.pl/fileadmin/pam/PAM_2004_XVI/218.pdf (Accessed 19 April 2001).
[18] Goitein, S.D. A Mediterranean Society: the Jewish Communities of the Arab World as Portrayed in the Documents of the Cairo Geniza, Vol. 1. Berkley and Los Angeles: University of California Press, 1967.
30 June 2015
Inspired Craziness-- Cloisonne Pelican book plate: Material Culture 26: A&S50 Challenge
Inspired Craziness-- Cloisonne Pelican book plate: Material Culture 26: A&S50 Challenge
Created by Baroness Marwen, Baroness Euriaut, Baroness Samia
Julia May
King Vladimir II and Queen Petranella II saw fit to honor the Honorable Lord Viði Hovdestad by placing him on vigil for the Order of the Pelican in Northshield early in 2015. Many friends were ecstatic to assist in preparation for the ceremony, garb, a vigil space, food, a cloak, and a vigil book.
While planning the vigil book, Marwen and Samia spun each other up into a crazy project idea. The Honorable Lady Una Duckfoot generously volunteered to make the book, while Marwen, Samia, and Euriaut were going to make a cloisonne enameled cover. Between us we had made a handful of enamel pieces, so we had no idea how afraid we should be of this project.
Baroness Siobhan Medhbh O'Roarke found an image online which inspired all of the volunteers as Viði-esque. Baroness Ellen de Wynter drew line art from the image. Marwen and Samia ordered fine silver and enamel. The Honorable Lady Niamh ingen Dhomnail advised us in the design.
We spent hours wrestling with the enormous cloisonne wires and watching videos posted by Rio Grande. Marwen was also able to use her Zing engraving machine to etch the design on sheet of fine silver so we would have lines to follow.
The first layer of enamel is typically a clear base coat. We had enough experience to know that it was possible to be too light in this application and ruin the piece from the start. Unfortunately, that made our application a little too heavy handed. The border cloisonne is more than half full with the first layer of enamel, and the hard fusing enamel has a yellow cast on the fine silver.
We applied all of the cloisonnes. We were quite pleased with our progress!
Colored enamel is carefully applied to each of the cells.
The first layer of color added.
Tiny silver balls were made from "dead" cloisonne wires.
The balls were laid into a subsequent layer of glass.
After several firings, we realized we had developed a problem. The trivet we were using could not support the full weight of the piece. It was warping by slumping around the trivet. Viði made us a new set of trivets, pictured here, where we placed the work upside down and fired it in an attempt to slump it back to shape.
(The colored stripes are the counter enamel. We used Pam East Counternamel, a fantastic product that's part glass, part cement, and part magic. We were applying the counternamel too thick, but weren't worried because it was the back. We have since learned that the uneven application likely contributed to our slumping problem.)
We had less than a week to finish the project, and we had already put in about 100 (novice) hours at this point. We researched large enamel pieces in Linda Darty's book The Art of Enameling: Techniques, Projects, Inspiration. A small section describes smashing the molten glass piece with a steel block to flatten it, while hoping it didn't effectively explode.
Our choices were to either display this as a piece of "what could have been", or smash it. We decided to be brave.
Marwen got out an old iron which does not have the safety of turning off when it's on it's face. We used a jeweler's steel block, a hot pad, and a trivet. We heated the iron on high for several minutes.
Three of us were required for the smashing. Samia would pull the enamel out of the kiln and place it on the hot block. Viði would close the kiln door. Marwen would do the smashing.
It worked!! The enamel was flat enough to apply to the book cover, and we could bend the corners flat with pliers.
The finished piece. This is after the last stoning, and before the final firing (you can see the dull areas prominently on the nest).
It was a wild experience, and we were crazy to give it a try!
Created by Baroness Marwen, Baroness Euriaut, Baroness Samia
Julia May
King Vladimir II and Queen Petranella II saw fit to honor the Honorable Lord Viði Hovdestad by placing him on vigil for the Order of the Pelican in Northshield early in 2015. Many friends were ecstatic to assist in preparation for the ceremony, garb, a vigil space, food, a cloak, and a vigil book.
While planning the vigil book, Marwen and Samia spun each other up into a crazy project idea. The Honorable Lady Una Duckfoot generously volunteered to make the book, while Marwen, Samia, and Euriaut were going to make a cloisonne enameled cover. Between us we had made a handful of enamel pieces, so we had no idea how afraid we should be of this project.
Baroness Siobhan Medhbh O'Roarke found an image online which inspired all of the volunteers as Viði-esque. Baroness Ellen de Wynter drew line art from the image. Marwen and Samia ordered fine silver and enamel. The Honorable Lady Niamh ingen Dhomnail advised us in the design.
We spent hours wrestling with the enormous cloisonne wires and watching videos posted by Rio Grande. Marwen was also able to use her Zing engraving machine to etch the design on sheet of fine silver so we would have lines to follow.
The first layer of enamel is typically a clear base coat. We had enough experience to know that it was possible to be too light in this application and ruin the piece from the start. Unfortunately, that made our application a little too heavy handed. The border cloisonne is more than half full with the first layer of enamel, and the hard fusing enamel has a yellow cast on the fine silver.
We applied all of the cloisonnes. We were quite pleased with our progress!
Colored enamel is carefully applied to each of the cells.
Tiny silver balls were made from "dead" cloisonne wires.
The balls were laid into a subsequent layer of glass.
After several firings, we realized we had developed a problem. The trivet we were using could not support the full weight of the piece. It was warping by slumping around the trivet. Viði made us a new set of trivets, pictured here, where we placed the work upside down and fired it in an attempt to slump it back to shape.
(The colored stripes are the counter enamel. We used Pam East Counternamel, a fantastic product that's part glass, part cement, and part magic. We were applying the counternamel too thick, but weren't worried because it was the back. We have since learned that the uneven application likely contributed to our slumping problem.)
We had less than a week to finish the project, and we had already put in about 100 (novice) hours at this point. We researched large enamel pieces in Linda Darty's book The Art of Enameling: Techniques, Projects, Inspiration. A small section describes smashing the molten glass piece with a steel block to flatten it, while hoping it didn't effectively explode.
Our choices were to either display this as a piece of "what could have been", or smash it. We decided to be brave.
Three of us were required for the smashing. Samia would pull the enamel out of the kiln and place it on the hot block. Viði would close the kiln door. Marwen would do the smashing.
The finished piece. This is after the last stoning, and before the final firing (you can see the dull areas prominently on the nest).
It was a wild experience, and we were crazy to give it a try!
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