Of course the tax stuff was not finished without one or two revisions and double-checkings, and of course that took longer than expected.

And getting the book-keeping up to its current state also took a while - but I have finally found a few web resources that really helped me to understand some of the stuff I had just muddled through before. So, for those of you who are German and need to get some basic knowledge about how to do the books, I can recommend the introduction into bookkeeping offered by Collmex (which is software to do the stuff - not the software I use, but the booking processes are the same regardless of programme) and, for any additional questions, there's a forum called Rechnungswesenforum, where a lot of knowledgeable people hang out and are willing to help.

So while I did (of course) not get all of the stuff done that I wanted to get done yesterday, I learned a few things about the book wrangling that were really helpful - and will probably make life (and bookkeeping) easier in the future. Whew.

I've finished the current extra-urgent bit of work that was on my list yesterday night, and now I only have to wait for the piece to dry and bring it to the post office. And the rest of today? I'm taking it off. Yay.

But since I promised you more info from NESAT, I will at least tell you about the ATN meeting.
For those of you who have never heard of ATN, it is short for "Archaeological Textiles Newsletter". This has been an institution for quite a few years now, started way back on somebody's kitchen table and sent out as a biannual newsletter.

Nowadays, the ATN is put together, edited and sent out by a small group of people, and it used to be printed at the university press in Copenhagen. However, this printing possibility seems to have ended; the university wants to close its publishing department. And that in turn means the ATN has to make some changes for the future. It is planned to change it to an annual double volume instead of two volumes per year, and of course a new print shop has to be found. Plus a name change has been discussed - from "Archaeological Textiles Newsletter" to "Archaeological Textiles Review", since it seems that something called a newsletter is not worthy for external funding, while something called a review is.

These changes mean that the ATN (or ATR) will need a few more members to survive - so if you are not a subscriber yet, but interested in textile archaeology, please join the "Friends of ATN" (which is a subscription for one year, called membership because of some other bureaucratic issues) and help it survive! 
Anyone can join, you don't need to be affiliated with any university or research institute. And it is really worth it - there are always interesting articles in the newsletter, and the ATN regularly sees the first (or even the first and only) publication of a smaller textile find, or a preliminary results note about a work in progress. Subscribing is easily done via the secure webshop of ATN, and it's not expensive either - the one-year membership costs 20 Euro.


Oh, and of course you are welcome to spread the word...
 

I'm one of those people who have the deep-seated wish to do everything correctly... so among the other things, I'm still working on getting my head wrapped around all the things that I have to be aware of in the future, tax-wise, and there's not every thing really clear for me yet.

However, I found some really interesting stuff around on the net, and even though most of you readers are not from Germany, I'll still share it. There's a totally amazing guide for freelancers called mediafon, and not only does it answer about every question that might come up, it's also written in a way that makes reading up on the stuff fun. And if you know how German law texts are written (probably the same for all law texts in every language), that really is an achievement. So between that and a call to my friendly official in charge, I'll probably be quite ok.

In other news (and I'm sorry again for the non-Germans), you might remember that back in June, I had a film team here and an insane amount of fun working with them. Well, the film is now finally not only cut and edited (has been for a while), but also furnished with an airing date. It will run under the title "Ritter, Gaukler, Heilerinnen (Faszination Mittelalter)" on BR alpha on the 28th of March, 16:00 to 16:30 o'clock. It's not up on their programme preview site yet, but will be in time.

It is the season to drink Earl Grey tea again, since the sky has a tendency to be gray and cloudy, and eat Lebkuchen. And bake "Weihnachtsplätzchen" (christmas cookies). And meet with friends and chat or watch a film together, and stay up way too late because it's so nice. And find something yummy in the advent calendar each day.

When I was a child, the yearly advent calendar with chocolate in it was an absolute must, and all my school colleagues had one as well (plus, in the first few years of school, there was one for the class, and someone different got to open a door every day). And when I got older, that somehow stayed a well-loved tradition for me, as it did for many others of my generation - most of our friends also have a calendar at home.

And because I am a curious person, I checked Wikipedia which in the English version says that advent calendars are mainly produced for children. Well, not so in Germany, where you can find all sorts of advent calendars for grown-ups and very clearly for those only - like those where you get a "Schnapspraline" (chocolate filled with liquid hard liquor) every day. And now I'm wondering... is that really a German thing?
If it is... I think you are missing out. 

Just like all youngsters in my generation, I had to learn a tiny bit of Middle High German when I went to school. But unlike most of my classmates, that old German language somehow fascinated me immensely, and I really enjoyed learning the old-style words of that little poem we had to know by heart (and then recite).

I don't really remember when I immersed myself deeper into that old language, but I picked up enough of it during my time at the Uni to be able to read most texts fluently (with occasional help of a dictionary) and translate the texts into modern German. And that is an immense help, of course, when hunting for garment descriptions and clothes in context, a part of research that I also like very much. Those texts, with their garment descriptions and focus on beauty and fashion in some of them are really invaluable to get an idea of how clothes were supposed to look and what was important for them to fit correctly and give the right picture to the contemporaries; and when I'm looking for text passages about special items, I always turn to the MHDBDB. In case that doesn't ring a bell for you (yet): That's the Middle High German Conceptual Database where you can search for a term and get it with a bit of context from a large number of texts.

And sometimes I want to read a bit more of that text, to see if I have the context correctly or to know a bit more about the scene including my term-in-context, and for that, there's an internet solution as well: Middle High German texts on the Net. So in case you feel a need to read some of them, here's my link list:

Digitales Mittelhochdeutsches Textarchiv
Mediaevum.de
Anthology of Medieval German Literature
Biblioteca Augustana
Erlanger Liste (scroll way down)

Enjoy! (There's a bit of English info in the Anthology, plus translations into modern German, if that is of help for you.)

It seems as if Winter took his job seriously this year - while we had good weather with no snow and not too much rain until the last week of November, it's now snow and more snow - and the cold temperatures that go with it.

Aside from low temperatures, winter always means shorter days and less available light, but I have a good way to counter this. For projects where I need a lot of good light, I have an adjustable lamp with a daylight spectrum bulb. A few years ago, daylight spectrum lamps were really pricey and hard to get, but it has become much easier now, and I can really, really recommend them. Not only do they provide wonderful light for working, with very little to no perceived colour changes in your workpiece, they are also a good countermeasure against light winter depressions that occur when the body doesn't get enough natural daylight. So if you are still looking for a lamp for the dark months, or need to replace the bulb in your workplace lighting fixture anyway, I can very much recommend daylight spectrum bulbs!

There's another aspect to modern spinning - and "historical" hand-spindle spinning as it is done today - that has recently started to raise my neck hairs. It's a trap that most modern hand-spindle spinners fall into and do not ever get out of - mostly, I think, because they are not aware of it.

It is spinning without a distaff. When I learned how to spin, I did it on my own, knowing nothing of fibre prep and use of distaff. It's only quite recently, on the first Forum, that I actually met somebody who spins with a distaff as a rule and never without, and a second spinner (friends with the first) who pre-drafts her fibre to wear it around the wrist, thus having more or less the function of the distaff without the stick. Most spinners I know are just holding a piece of the fleece or top in their one hand, the upper drafting hand, and spin from there.

This has several negative effects. One, your hands are never perfectly dry, and you move your upper drafting hand when spinning - not much, perhaps, but you do. And as we all know, the combination of friction between fibres (movement), warmth and moisture leads to felt, not nice spinnable fibre; this means less quality in the thread as you near the end of your in-hand batch or a lot more prepared fibre thrown away - a huge waste of material and time. Two, you have to hold the batch of fibre in your upper hand, thus having two things to handle - the wool and the spinning. The wool in your hand does impede your movement a bit, and that might be the crucial bit - the reason why you are not spinning as regularly and evenly and fluidly as you could. Three, when you put away your spindle, the little batch of fibre attached to it can hang free and untwist the bit of thread between the spindle tip and itself. Four, you have to have an additional fibre supply if you do not want to mangle all the unwieldy stuff in your hand right away. Five, it is not historical (and that's a big deal to me).

These are all disadvantages that are as true for a spinner today as for a spinner of yore (well, except the last one, of course). So why are almost all modern spinners holding a wad of fibre in their hand? Probably because they learned to spin this way and never saw somebody using a distaff while their spinner-self was still young and malleable - and excited to try new things. But then, a distaff is so handy! And it doesn't even need to be so long. I am now working with a quite short tuck-under-the-arm distaff, and it is only 45 cm long. That is shorter than those distaffs depicted on medieval sources and those surviving completely in the archaeological records - which seem to be about 80-100 cm long at a rough estimate - but just long enough for me to tuck into the armpit and short enough to fit into my bags to take with me. Even shorter is also possible: a spare spindle stick can serve as a hand-held distaff like they were used in Roman times.

The difference between working with hand-held fibre and with non-hand-held fibre, whether it is fixed on a hand-held short distaff, on a underarm (or belt-held) medium or long distaff or wrapped around the wrist is enormous, especially for very fine yarns.* One, you don't felt your fibre, because you only pinch and do not hold. Two, your fibre is stored safely and out of your hand, thus impeding hand movement much less (this is less pronounced with the hand-held distaff). Three, when you use a medium to long, tuck-under distaff, you can turn the distaff with the spindle hanging on a short bit of yarn so that the upper spindle tip rests against your fibre on the distaff, thus keeping the spindle from turning backwards and untwisting the yarn. (Amazing, huh? And so easy! And it frees your hands, both of them, to do other chores, unless they require you stretching both arms. Might not work with extra-thin yarns and a heavy spindle, though.) Four, you can store a goodly-sized amount of fibre on your distaff, even on a hand-held one, to last you a while; so you can wander off and spin without taking a bag with extra fibre with you. And five, it looks like in the pictures.


I have used a distaff once before, years ago, and already found then that it was a valuable tool, and that's long ago when my spinning was far from where it is today. And to this day, I'm not sure why I didn't stick with it; probably because I mostly spin for explanation and demonstration purposes and shied from taking the additional stick with me, and from taking it up and putting it down again. But now that I've finally seen the wonders of the distaff, I promise to amend my ways and to at least try to spin strictly historical from now on - and even more important, I promise to only teach new spinners to use spindle and distaff from now on.

So the next time you take up your spindle, try taking up a distaff with it. Pre-draft or diz your fibre top into a narrow band (the top as it is delivered is very wide and not really suitable for a distaff yet), or tear off a long narrow bit of your carded batt, wind it around a stick - any stick will do - and give it a try. And I'd be delighted to hear what you think!

* Personally, I prefer the medium length tucked under the arm; I can work with hand-helds, but my upper draft hand then tends to get cramped after a while, possibly because I have very small hands.

Picture source: Gies, F. and J. Gies (1999). Daily Life in Medieval Times. A vivid, detailed account of birth, marriage and death; food, clothing and housing; love and labor in the middle ages. New York, Black Dog & Leventhal Publishers.