The opening of yesterday's exhibition went really fine, and people came in all during the day to see the exhibition and look at the different textile techniques - so I call yesterday a success.
The Altstadtfest was very nice as well, with gloriously sunny weather and a lot of people strolling through the streets, eating, drinking, listening to music, watching crafts presentations, and generally amusing themselves.

Here are some photos from the exhibition:


Preparing for the opening - I'm sorting out my hairnet for demonstration of the technique, and you can see the demo band for tablet weaving (twill demonstration), still secured with a clamp and unattached, in front on the table. The brand-new wonderful table, by the way, that will accompany me to markets, events and any occasions I need a medieval table. I'm so happy about it!


This is a picture taking during my introduction speech for the exhibition - I was showing a snippet of spinning with the drop spindle to make people realise how much time is needed for making just the threads for weaving. This usually works very well, and it did also in Bad Staffelstein.


This picture was taken right after the official part, with the honorary guests and the gentleman of the bank who opened the exhibition. On the photo, you see two "royalties" at once - the "Korbkönigin" (Queen of Basketwork) from Lichtenfels, the German "Capital of Basket Making", and the "Thermenkönigin" (Queen of thermal springs) from Bad Staffelstein. And my colleague Marion, dressed medievally as well, who helped to draw people in and explain all day long.

So because yesterday was nice but exhausting, and I'm really tired today, I'm taking a day off. No work requiring brains today, hooray!

Back to earth is a nice thing, but silk ribbon is very nice as well. And who minds a little luxury, huh?



This is 3.5 mm wide pure silk ribbon, very light and airy. A nice thing if you need shoulder straps for a reconstruction of this garment:


Or a light, fine drawstring. Or a ribbon to bind and decorate your hair. Or whatever else you can think of. The ribbon comes in 5-metre pieces, but should you need more in one piece (or just more), I can wind off (almost) whatever length you desire.

Picture source: Bartz/Karnein/Lange: Liebesfreuden im Mittelalter. München 2001. P. 25.

After yesterday's high aspirations to luxury thread, today it's back down to earth in the Market Stall. I proudly and happily present to you the most basic of tools for the textile trade:

The Abysmally Underestimated and Neglected Spindle Stick!

While spindle-whorls are common archaeological finds, and while there are hundreds of dozens of spindles in all kinds of homes, working or not, the spindles themselves - that is, the sticks - are not something commonly seen for sale on markets. And I asked myself: Why? While there are not so many conserved wooden spindle sticks (I could write just "spindle", but I want to prevent any misunderstandings) around, the situation is still much better than that on textiles. And there are textiles on any medieval event.

I found out soon why they are not commonly for sale. Medieval spindles are usually rather slender with a double-conical form. With as little as two or three millimetres diameter at the ends, and not much more than a centimetre at the thickest place, they are too slim to be turned on just any lathe - the thin stick starts to wobble, making an efficient production difficult or impossible. But spinning with a much thicker double-conical spindle stick, which would pose no problems when turning, will not work as well. And, even more important, that stick won't fit the whorls so smoothly. And you want your spindle to fit your whorls, all of them, so you can just change. For example, have three spindle sticks, spin on one until it's full, spin on the second until it's full, and then ply both singles together on the third stick before removing your ball of plied yarn from that spindle, freeing all three again. And that will work only if you can change your whorl from spindle stick to spindle stick - and preferably, if you have more than one whorl, this would work with any of your stash.

In contrast, most modern spindles are seen differently, with the whorl and the spindle stick firmly belonging together. And most spindle makers just have their own method that will cut out the need for double-conical spindle sticks - often they use a stick that is firmly fixed to the whorl and not conical in shape. So the market for spindle sticks seems to be not so large. And if you want just one single stick, you can always take a knife and whittle it down to fit your whorl(s). If you are like me, that is possible yet not pleasing, because I'm not so good a whittler, and most of my "make a spindle" efforts were not so successful. Whittling down some wood to get a rounded, conical and slender shape is not too easy, I found.

So after searching a while, I finally found a workshop that accepted the challenge. And now they are back: Double-conical spindle sticks, made from beech wood, modeled after a find from Bergen in Norway. They are 11 mm thick at the fattest part, 3 mm at the ends, and 27 cm long. Need I say they are a pleasure to spin with?

There's sort of good news: Finally, I might have found an artisan who is capable and willing to reproduce medieval gold thread for me. Real, no-compromise gold thread, as it was found in the excavations at Villach-Judendorf in Austria: Gilt silver wound around a natural-coloured silk "soul", 0,2 mm thick and used for weaving (brocade) as well as for embroidery. (You can use several threads at once when doing couch work - I have a nice photo somewhere showing just that. After all, medieval people had their lazy streak too!)

"Normal" gilt or gold threads are imitation gold, wound around a core of cellulose or other material, but not around silk. And getting gilt-silver threads (not the japanese version, where a strip of paper is gilded or silvered) is really hard already, even if it's "just" gilt, not pure gold. Those threads are usually much thicker, too.

The downside? There's a hefty minimum order, and gold thread is not cheap. Quite the opposite, actually: Real gold or gilt thread was exquisitely expensive in the Middle Ages and it's still exquisitely expensive today. I'm very, very tempted to order the thread, but it's an investment that should not go too wrong.

So now it's time for me to play my most beloved game of them all (well, not really): "Guess The Market". And this time, I'm shamelessly using this blog to get some input from you, because I've been told time and again that I'm no normal textile stuff customer (though you probably aren't).

Do you feel the strong desire to buy authentic-to-the-soul gold thread? Modeled after a find? Even if it is really thin and really pricey? Would you use it for weaving, for embroidery, or for both? How much need do you have? And how much would you be willing to pay for, say, 10 metres? Or do you prefer to buy the cheaper imitation gold thread?

When some time ago I asked for suggestions for the market stall, Kruliczyca (she has a blog, too, in Polish with English summaries) mentioned bentwood boxes for storage of needlework goods.

I have now come up with some of them - smallish, oval boxes made from fragrant wood. They are small enough to slip into a sewing cabinet or box that is already quite crowded, plain but pleasing the eye so they will look nicely on a table with work in progress, and a good possibility to store a needlebox, small shears, or your favourite sewing threads in them. Or hide some unauthentic thread rolls or other needlework trinkets that are not for everybody to see.


I quite like them and will probably use a few of these boxes for displaying wares. At the moment, they make an impressive stack in my warehousing cupboard!

Today is an exception to my normal posting rules, since you are finding mostly German text here - it's the info for the workshops at Cave Gladium. Our idea was to offer a learning space and opportunity at the Cave, since that is a time and place where lots of living history people are already together, so travel costs and extra organisation time for the participants would be really, really low.

Since the info about the workshops seems to have gotten a little lost in the forum pages at the Cave website, I'm posting the description here again. So if you are interested in attending a show fighting workshop, or would like to learn how to dye with plants, or how to forge a knife, or how to weave 3/1 twill on tablets without counting and sticking to a pre-made pattern, or learn a few new loop-braiding patterns, you can This email address is being protected from spambots. You need JavaScript enabled to view it.. At least the forging and textile workshops should also be possible in English, if there should be any language problems.


Schaukampf - aber richtig
Unter diesem Motto freuen wir uns, in diesem Jahr einen Workshop anbieten zu können, der zeigt, dass es nicht einer blutigen Nase und ein paar ausgeschlagener Zähne bedarf, um auf höchstem Niveau einen Zweikampf zum Besten zu geben. Dabei werden alle Aspekte der Sicherheit und Erhaltung der eigenen Gesundheit beachtet, ohne damit der Begeisterung der Mitwirkenden und der Zuschauer Abbruch zu tun.
An drei Tagen werden die Grundlagen des unbewaffneten Kampfes, Fallen und Rollen bis hin zum Schwertkampf vermittelt. Das Ergebnis wird am Ende des Workshops in einer kleinen Choreographie dem Publikum präsentiert.
Voraussetzungen: Es ist durchaus hilfreich, wenn der Teilnehmer bzw. die Teilnehmerin über eine durchschnittliche körperliche Fitness verfügt und schon einmal ein Schwert in der Hand gehalten hat.
Mitzubringen sind: sportliche Kleidung, festes Schuhwerk (Trainingswaffen werden gestellt)
Kursgebühr: 140,- € pro Person
Zeiten: Freitag: 16 bis 20 Uhr
Samstag: 9 bis 12 Uhr
Sonntag: 9 bis 12 Uhr

Brettchenweben mal anders
Keine Lust mehr, einem festgeschriebenen Schnurbindungsmuster zu folgen? Neugierig, was sich mit Brettchenweberei und einem ganz einfachen Aufzug alles anfangen lässt? Im Workshop webt jede/jeder ein Band zum spielerischen Ausprobieren in zwei kontrastierenden Farben. Der Kettaufzug lässt verschiedene Diagonalenmuster und Köperbindung zu, die mit etwas Hintergrundwissen zu den Grundlagen der Köperbindung frei kombiniert werden können.
Voraussetzungen: Der Kurs ist kein Anfängerkurs, sondern richtet sich an Brettchenweberinnen und -weber, die bereits etwas Erfahrung gesammelt haben.
Mitzubringen: Zum Aufziehen der Kette werden helles und dunkles Garn benötigt; empfehlenswert sind nicht zu dünne Webgarne, etwa in Stärke von Sockenwolle. Das helle und das dunkle Garn sollten jeweils auf zwei Knäuel gleicher Größe aufgeteilt werden, weil dies den Aufzug stark vereinfacht. Pro Knäuel werden mindestens 25 m Lauflänge benötigt (reicht für eine zwei Meter lange Kette). Mitzubringen sind außerdem, falls vorhanden, 12 Vierlochbrettchen.
Kursgebühr: 70,- € pro Person (ganztägig)
Material bei Bedarf bitte vorbestellen
Zeiten: Samstag 15.08.2009

Schmieden bei David Schütze
Der Einsteigerkurs ist für Menschen geeignet, die von der historischen Technik der Metallverarbeitung fasziniert sind, sich aber bisher nicht aktiv damit beschäftigt haben. Vorkenntnisse sind nicht erforderlich. Werkzeug- und Materialkunde werden ebenso vermittelt, wie die grundlegenden Techniken des Schmiedens und ein kurzer Einblick in die Geschichte des Handwerks. Die Teilnehmer stellen ein einfaches Messer selbst her.
Voraussetzungen: Einsteigerkurs (keine Vorkenntnisse notwendig)
Fortgeschrittenenkurs (mit Vorkenntnissen)
Mitzubringen sind: --
Kursgebühr: 140,- € pro Person (Einsteiger)
210,- € pro Person (Einsteiger)
incl. Material, Werkzeug und Versicherung
Zeiten: Samstag 15.08.2009

Färben bei Sabine Ringenberg
Pflanzenfarbe ist ein faszinierendes Thema. Wie wird sie auf der Faser haltbar gemacht? Welche Unterschiede gibt es beim Färben von Seide, Wolle oder Leinen? Auf diese Fragen gibt der Einsteigerkurs von Sabine Ringenberg Antwort. Mit selbst gesammelten Pflanzen wird die eigene Wolle oder Seide gefärbt. Dabei werden die gängigsten Beizverfahren ebenso behandelt, wie die Nachbehandlung und weitere Verarbeitung des Färbeguts. Vorkenntnisse sind nicht erforderlich.
Voraussetzungen: Einsteigerkurs
Mitzubringen sind: Eigene Wolle kann gefärbt werden
Kursgebühr: 85,- € pro Person (eintägig)
zzgl. Färbegut
Zeiten: Samstag 15.08.2009, Beginn 09.00 Uhr
Sonntag 16.08.2009, Beginn 09.00 Uhr

Fingerschlaufenflechten
Flechten mit Schlaufen statt mit einzelnen Fäden hat in den letzten Jahren an Bekanntheit gewonnen - ist aber immer noch nicht sehr verbreitet. In dem Kurs werden verschiedene Flechtvarianten, zum alleine oder gemeinsam Flechten, erlernt und geübt.
Voraussetzungen: Einsteigerkurs
Mitzubringen sind: ---
Kursgebühr: 45,- € pro Person (halbtägig)
incl. Material
Zeiten: Sonntag 16.08.2009, Beginn 09.00 Uhr

Though I hadn't posted about it anymore, I have obviously continued working on the blue hairnet, since it's finished now. I have sewn it to a drawstring made from birch-leaf-dyed silk (a thin silk ribbon), using one of the handmade steel needles (which worked like a dream).
Here it is, already brought into shape on a styrofoam head. That is also the form in which this net will be exhibited at Bad Staffelstein.

It took me about 30 hours to net (again); the large meshes with the pearls in the middle did obviously save some rounds, while fiddling on the pearls took up that time again.
The large mesh is something that has to be worked with utter and extreme care, though, or they will come out slightly uneven, resulting in netting problems further down.
It took me another hour for the finishing works - sewing on and inserting the drawstring and rinsing the net as well as bringing it into form over the styrofoam head. It has about 30 cm diameter; because it is cast on with rather few meshes (only 68), the circumference at the bottom is not too great.


Altogether, I think that the next time around, I'd rather attach the pearls afterwards by sewing them over individual knots of the mesh. I'm not too content with some of the parts of the net, where there are irregularities and where you can see how often the thread broke at places, I guess because of increased friction with the pearls. Overall, I'd say it looks quite nice, though - and my respect for the medieval net-makers is growing and growing!

Because I've grown quite fond of netting as a show-and-tell procedure (as the regular readers here know already), and I want to include netting in the demonstrations at the exhibition vernissage, I have spent yesterday evening doing the cast-on for another net. And this time around it's really close to an original net, found in London and published in Crowfoot et al's "Textiles and Clothing". Ages ago, I had already done some analysis and counting for one of the nets, coming up with 210 loops for cast-on, doubled after about 14 rows of mesh. After misfiring the first cast-on start (the loops grew nastily in length), I have now finished about 210 meshes and their connecting row successfully. I'd love to know how often I have mis-counted during the three hours I needed, but I'm much too lazy to count the loops again. I can however tell you that 210 loops is a lot.


The netting is done in extra-fine silk thread, and with a gauge of 2 mm diameter, resulting in meshes with 3 mm side length. This just fits with the large netting needle - which in turn fits in well with the fact that 3 mm seems to have been a quite common mesh size. If it comes out like the find (read: if I have not mis-counted ages ago when doing the analysis), it will have a lower edge circumference of a whooping 960 mm. That is almost one darn metre to net for about 50 rounds! I'm really curious to see how this net will turn out. And I can promise you that it won't take only 30 hours to complete, this time, since I have about tripled the mesh count...