Personal Heraldic Surcote by THL Isolda Fairamay Completed May 2020 The Conclusion: Part 4 of 4

Application of the Heraldic Applique Pieces:

Definition of Applique: A decorative technique in which pieces of one fabric are sewn onto another, including the sewing of a separately embroidered motif onto a ground fabric. It was used throughout the later Middle Ages as a rapid means of producing both small- and large-scale items, with personalised, often heraldic designs. (Victoria and Albert Museum, 2020)

Examples of Medieval Applique:

Fig. 46 Victoria and Albert Museum:  Tristan Hanging:  Wool motifs applied to contrasting woolen ground with edgings in gilded leather 1370-1400 German

Fig. 47 Victoria and Albert Museum:  Panel:   Materials:  Silk velvet with linen applied and embroidered in silver-gilt and silk threads, England 1470-1500

Fig. 48 The Met:  Textile Fragment with Mamluck Emblem:  Egypt he mamluks developed a system of emblems or blazons to signify the role of courtiers serving under each sultan. Late 15th early 16th c, wool, appliqued and embroidered

Fig. 49 The Met: Textile Fragment with Unicorn, Deer, Centaur and Lion:  Scandinavian ca, 1500: Wool intarsia and applique with gilt leather and linen embroidery

Isabella Stuart, the woman being depicted in my inspiration image, lived from 1427- after 1494.  The examples of applique shown here, save the Tristan Hanging, would fall within Isabella’s time period.  All of the examples show a technique of applique called couching. The definition of couching by the Textile Research Centre: “Couching is an embroidery technique in which laid threads are placed on the surface of the ground material. The laid threads are then fastened down with a separate thread (couching thread) using small tying down couching stitches (often an individual overcast stitch).” When I look closely at the textile fragment with Unicorn, Deer, Centaur and Lion, I can also see what appears to be stem stitching alongside the couching.  The definition of stem stitching by the Textile Research Centre: “Stem stitch (also known as crewel stitch, point de cable or stalk stitch) is an embroidery technique creating a cabled effect along the line of the embroidery design.”

Fig. 50 Couching

Fig. 51 Stem Stitch

Fig. 52 Closeup showing couching with stem stitch on the figure in the textile fragment with Unicorn, Deer, Centaur and Lion 

What Actually Happened:  Application of Heraldic Pieces

Of course my ultimate wish would be to hand embroider/applique our heraldic device motifs to the surcote.  However, it would cause me a lot of pain!  When I have done machine applique in the past, I would use a tight zig zag stitch along the edge of the appliqued piece.  This would not give an authentically period look if I used it for my surcote.   After some experimentation with different stitch settings on my sewing machine I found a setting which would give the appearance of the couching/stem stitching in the period textile fragment.  Ironically enough, the stitch is called the “Applique Stitch” in my sewing machine manual.

As it happens, I had some leftover 100% wool tapestry yarn from needlepoint projects I had done years ago that would match most of the colours I wanted to use for the laid work.  Red was the only colour I did not have, so I purchased some wool knitting yarn from the craft store.

To create the look as seen in the textile fragment, I had to carefully feed the yarn through the machine while I was stitching.  It was a little painstaking and time consuming and I had to do some areas over again, but it was far less work than if I had done it by hand.  And quite frankly it turned out rather well!  For the details on the mermaid and ass I did end up doing some hand embroidery as it would have been much too difficult to do such fine work on my sewing machine.

Fig. 53 Applique Stitch from Sewing Machine Manual

Fig. 54 Closeup of my machine applique with couching appearance.

Finished Applique of Heraldic Devices:

Fig. 55:  Finished Applique of Mermaid (Face, Breasts, and Belly Button Hand Stitched)

Fig. 56:  Closeup of Mermaid 1

Fig. 57:  Closeup of Mermaid 2

Fig. 58: Finished Applique of Ass (Nose and Eye Hand Stitched)

Fig. 59: Closeup of Applique of Ass

Fig. 60 Surcote Front

Fig. 61 Surcote Back

Fig. 62 Surcote Side 1

Fig. 63 Surcote Side 2

Conclusion:

I am very satisfied with the results of the applique.  I am happy to have produced something that looks as close to hand stitched as possible. The colours are also exactly as I had envisioned them looking together.  I wanted to use primary colours as used in heraldry, but I wanted them to be somewhat muted.  They look especially nice paired with the golden coloured dress I chose to wear underneath.  I am extremely happy that I made the fur as a separate piece from the gown.  The image from the manuscript gives the impression that the fur lays quite flat and is fairly lightweight.  I find my fur piece to be somewhat bulky which results in a less desirable look.  I also find the fur piece adds warmth, which is great outdoors, but wearing it indoors might result in overheating.  It also adds weight, which makes my neck and shoulders unhappy if I wear it for a long period of time. Perhaps I would have had a different result if I had used different materials.  I will likely wear the gown on its own most of the time because I prefer how it looks by itself, but being able to easily add the fur piece overtop gives me the option to look at bit more “flashy” for court.  If I were to change anything about the project at all, I would have loved the heraldic devices to be embroidered with silk and then appliqued onto the fabric and I would LOVE to have a silk gown.  Maybe someday.

This project was years in the making.  It started with a sketch for an idea for a heraldic dress…in 2010.  I bought fabric and started researching in earnest in 2016.   Then I got distracted with some gluten-free baking projects and running some events!  I didn’t make the first cut until 2019.  It is now May of 2020.  This project took a long time to really get started and I learned a lot over the years.  It being a project so near and dear to my heart, I am glad it took so long for it to come to fruition because I don’t think I would have been satisfied with any of the ideas I had to start.  It also allowed me to go beyond the garment itself and learn about heraldry and books of hours, which made the meaning of it all the more special.  I am also very proud of how I was able to incorporate modern sewing techniques to produce as an authentic looks as possible, thereby showcasing that those of us with limitations can produce beautiful historical clothing and not deprive ourselves of beauty because we don’t feel that our work is authentic enough.  Considering we are currently in a time of “plague” there are no formal events happening soon, but I look forward to the day when I can wear my new garment and show it off!

Photos of The Finished Product:

Fig. 64 Surcote with Fur Overpiece Laid on Top

Fig. 65: Front View without Overpiece

Fig. 66: Back View without Overpiece

Fig. 67:  Front View Surcote with Overpiece

Fig. 68:  View Showing My Husband’s Heraldry

Fig. 69:  View Showing My Heraldry

And Just For Fun...

           Fig. 70:  Inspiration

   Fig. 71:  Inspired

I really hope you all enjoyed reading through my research and seeing the evolution of this project.  It is my pride and joy!

References: (For Parts 1-4)

Ainsworth, Peter et. Al. The Online Froissart:  A Digital Edition of the Chronicles of Jean Froissart.  Version 1.5, 2013.  Accessed Online April 22, 2020.  https://www.dhi.ac.uk/onlinefroissart/

Baker, Jennifer.  Stitches and Seam Techniques. New Varangian Guard – Hodegon Branch – 2009.  http://www.legioxxirapax.com/zasoby/stitches.pdf  Accessed Online April 23, 2020.

Boyer, Robyn M. (AKA Sabine du Bourbonnais). Heraldic Frocks. Copyright Sabine du Bourbonnais (Robyn M. Boyer). Accessed Online April 17, 2020. Three Gold Bees: https://threegoldbees.com/collegia-notes/heraldic-frocks/

Canadian Wildlife Federation.  Ermine.  Copyright 2020.  Accessed Online April 17, 2020. http://cwf-fcf.org/en/resources/encyclopedias/fauna/mammals/ermine.html

Crowfoot, Elisabeth et. Al. Textiles and Clothing 1150-1450. Copyright 1992 London: The Museum of London. Pages 156, 157.

Hallam, Elizabeth.  Chronicles of the Age of Chivalry.  Copyright 1987. Markham, Ontario: Viking. Page 278

Hand, Joni.  Women, Manuscripts and Identity in Northern Europe, 1350-1550.  Copyright 2013.  Surrey, England: Ashgate Publishing Ltd. Pages 2, 5, 7,11, 23, 136.  Accessed online, April 17 2020. https://books.google.ca/books?id=rgwP7JjvP4EC&pg=PA5&lpg=PA5&dq=women+manuscripts&source=bl&ots=IeB6NVhHoe&sig=SjH3raZzWUfZdN-t-_HOC4nLU98&hl=en&sa=X&ved=0ahUKEwik_tuE74bMAhXDu4MKHUfCAAUQ6AEIRTAK#v=onepage&q=women%20manuscripts&f=false

Harthan, John. Books of Hours.  Copyright 1997.  John Harthan.  Milan: Amilcare Pizzi Spa. Pages 114-117.

Hulme, Edward.  The History, Principles, and Practice of Heraldry. Copyright1892.  London:  Swan Sonnenschein and Co.  Pages 18, 19, 20   Accessed online April 17 2020: https://archive.org/details/historyprincipl00hulmgoog 

The Fitzwilliam Museum. Illuminated: Manuscripts in the making.  The Hours of Isabella Stuart.  University of Cambridge. http://www.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover/the-hours-of-isabella-stuart/section/undefined  Accessed online April 22, 2020.

The Free Dictionary.  Copyright 2003-2015.  Farflex, Inc.  Accessed online April 17 2020.  https://www.thefreedictionary.com/heraldry

Fur Insider.  The Royal Touch:  Ermine.  April 18, 2013. Copyright Fur Information Council of America 2018. https://www.furinsider.com/the-royal-touch-ermine/  Accessed online April 22, 2020.

Piponnier, Francoise et al. Dress in the Middle Ages. Copyright 1997.  Yale University : New Haven. pages 4, 5, 7, 15, 16, 17, 24, 58, 60, 71.

Scott-Giles, C. W. Medieval Heraldry in Westminster Abbey.  Copyright 2018. The Heraldry Society.  Accessed Online April 17 2020. https://www.theheraldrysociety.com/articles/medieval-heraldry-in-westminster-abbey/

Slater, Stephen.  The History and Meaning of Heraldry.  Copyright 2003.  London:  Southwater, Pages 8-9, 110, 106, 124, 125

Textile Research Centre, Leiden, The Netherlands.  Jupon of the Black Prince. Accessed Online April 17, 2020. https://www.trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/commemorative-and-commissioned-textiles/jupon-of-the-black-prince

Textile Research Centre, Leiden, The Netherlands. Techniques: Couching and Laidwork.  Accessed Online April 17, 2020. https://trc-leiden.nl/trc-needles/techniques/couching-and-laidwork

Textile Research Centre, Leiden, The Netherlands.  Techniques: Embroidery : Embroidery Stitches : Stem Stitch.  Accessed Online April 17, 2020. https://trc-leiden.nl/trc-needles/techniques/embroidery/embroidery-stitches/stem-stitch

Victoria and Albert Museum.  A-to-Z of Opus Anglicanum. 2020.  London.

Villela-Petit, Inès. The Artists: The Giac Master and the Boethius Master, Illuminators of the War. transl. by Keira Borrill, in The Online Froissart, ed. by Peter Ainsworth and Godfried Croenen, v. 1.5 (Sheffield: HRIOnline, 2013), http://www.hrionline.ac.uk/onlinefroissart/apparatus.jsp?type=intros&intro=f.intros.IVP-Artists, first published in v. 1.0 (2010).  Accessed Online April 22, 2020. https://www.dhi.ac.uk/onlinefroissart/apparatus.jsp?type=intros&intro=f.intros.IVP-Artists  

Woodcock, Thomas. Heraldry in Historic Houses of Great Britain. Copyright 2000.  London: National Trust. Pages 8-9, 10

Image Sources:  (For Parts 1-4)

1. Slater, 2003, page 8

2. Slater, 2003, page 9

3. Living the History blog by Elizabeth Chadwick http://livingthehistoryelizabethchadwick.blogspot.ca/2011/09/handsome-is-as-handdsome-doesgeoffrey.html  Image Accessed April 23, 2020.

4. Culture24, British Library Acquires Derling Roll- A Who’s Who of Medieval Arms, Sept 2, 2008, By:  24 Hour Museum Staff, © British Library http://www.culture24.org.uk/history-and-heritage/art60428 Accessed Online April 23, 2020.

5. Heidelberg University Library digital.  http://digi.ub.uni-heidelberg.de/diglit/cpg848/0099?sid=91ddab09560457beb4e29a44773d43aa#/tab_image  Accessed Online April 23, 2020.

6. The Heraldry Society, Medieval Heraldry in Westminster Abbey by C.W. Scott-Giles, Website copyright 2014. http://www.theheraldrysociety.com/articles/early_history_of_heraldry/heraldry_in_westminster_abbey.htm Accessed Online April 23, 2020.

7. Banners and Blazons:  Introducing Heraldry to History.  By Asam Caesar, November 16, 2016.  The York Historian. https://theyorkhistorian.com/2016/11/18/banners-and-blazons-introducing-heraldry-to-history/ Accessed Online April 23, 2020.

8. Canterbury Cathedral, Historic Treasures in London Exhibition, September 22, 2016.  https://www.canterbury-cathedral.org/whats-on/news/2016/09/22/historic-treasures-in-london-exhibition/jupon-black-prince/   Accessed Online April 23, 2020.

9. Black Prince’s Tomb.  Canterbury Historical & Archaeological Society.  Copyright 2015.  http://www.canterbury-archaeology.org.uk/bp-tomb/4590809630  Accessed Online April 23, 2020.

10. Heraldic Frocks. Copyright Sabine du Bourbonnais (Robyn M. Boyer). Accessed Online April 17, 2020. Three Gold Bees: https://threegoldbees.com/collegia-notes/heraldic-frocks/

11. Heraldic Frocks. Copyright Sabine du Bourbonnais (Robyn M. Boyer). Accessed Online April 17, 2020. Three Gold Bees: https://threegoldbees.com/collegia-notes/heraldic-frocks/

12. Heraldic Frocks. Copyright Sabine du Bourbonnais (Robyn M. Boyer). Accessed Online April 17, 2020. Three Gold Bees: https://threegoldbees.com/collegia-notes/heraldic-frocks/

13. Museo de Burgos. http://www.museodeburgos.com/index.php?option=com_content&task=section&id=16&Itemid=149 Accessed Online April 23, 2020.

14. Heraldic Frocks. Copyright Sabine du Bourbonnais (Robyn M. Boyer). Accessed Online April 17, 2020. Three Gold Bees: https://threegoldbees.com/collegia-notes/heraldic-frocks/

15. Museo de Burgos.  http://www.museodeburgos.com/components/com_exposeprive/showpic.html?img=expose/img/alb_55/img_1248818345_296_lg.jpg&caption=Pellote%20de%20Fernando%20de%20la%20Cerda%20(hacia%201255-1275)&date=&location=  Accessed Online April 23.2020.  

16. Jeanne de Pompadour Blog. Valois Princesses.  Sept. 5, 2012.  Reinette  http://jeannedepompadour.blogspot.com/2012/09/valois-women-of-valois-duchess-of.html  Accessed Online April 23, 2020.

17. The Online Froissart.  Jean Froissart, Chronicles, Book I and beginning of Book II, c 1410-1420. fol. 1r. https://www.dhi.ac.uk/onlinefroissart/browsey.jsp?img0=e&pb0=Bes-1_1r&div0=ms.f.transc.Bes-1&panes=1&disp0=pb Accessed Online April 23, 2020.

18. The Freelance History Writer.  Philippa of Hainault, Queen of England. By Susan Abernathy. https://thefreelancehistorywriter.com/2012/11/07/philippa-of-hainault-queen-of-england/ Accessed Online April 23.2020.

19. Wikimedia Commons: Hainaut Modern Arms.  https://commons.wikimedia.org/wiki/File:Hainaut_Modern_Arms.svg Accessed Online April 23, 2020.

20. Exposition, BNF  http://expositions.bnf.fr/fouquet/grand/f031.htm  Accessed Online April 23, 2020.

21. The Hours of Isabella Stuart. Folio 20r. ILLUMINATED: Manuscripts in the making.  Fizwilliam Museum, University of Cambridge. http://www.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover/the-hours-of-isabella-stuart  Accessed Online April 23, 2020.

22. The Hours of Isabella Stuart. Folio 20r. (Closeup) ILLUMINATED: Manuscripts in the making.  Fizwilliam Museum, University of Cambridge. http://www.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover/the-hours-of-isabella-stuart  Accessed Online April 23, 2020.

23. The Hours of Isabella Stuart. Folio 20r. (Closeup) ILLUMINATED: Manuscripts in the making.  Fizwilliam Museum, University of Cambridge. http://www.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover/the-hours-of-isabella-stuart  Accessed Online April 23, 2020.

24. The Hours of Isabella Stuart. Folio 20r. (Closeup of near infrared image) ILLUMINATED: Manuscripts in the making.  Fizwilliam Museum, University of Cambridge. http://www.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover/the-hours-of-isabella-stuart  Accessed Online April 23, 2020.

25. Royal Arms of Scotland.  Wikipedia.  March 7, 2018. https://en.wikipedia.org/wiki/Royal_Arms_of_Scotland   Accessed Online April 23, 2020.

26. Francis II, Duke of Brittany.  Wikipedia.  July 7, 2018. 

27. Isabella of Scotland, Duchess of Brittany.  Wikipedia June 8, 2018. https://en.wikipedia.org/wiki/Isabella_of_Scotland,_Duchess_of_Brittany Accessed Online April 23, 2020.

28. The Hours of Isabella Stuart. Folio 20r. (Closeup) ILLUMINATED: Manuscripts in the making.  Fizwilliam Museum, University of Cambridge.

29. Personal Image

30. Personal Image

31. Personal Image

32. A,B Personal Image

33. Personal Photo 

34. Personal Photo  

35. Personal Photo  

36. Textiles and Clothing 1150-1450. By Elizabeth Crowfoot et. al Copyright 1992 London: The Museum of London. .Scan of page 156.

37. Textile Research Centre TRC Needles Website (back stitch) https://trc-leiden.nl/trc-needles/techniques/embroidery/embroidery-stitches Accessed Online April 23, 2020.

38. Stitches and Seam Techniques by Jennifer Baker, 2009. http://www.legioxxirapax.com/zasoby/stitches.pdf Accessed Online April 23, 2020.

39. Textiles and Clothing 1150-1450. By Elizabeth Crowfoot et. al Copyright 1992 London: The Museum of London.  Scan of page 157.

40. A-D: Personal Images 

41. FactZoo.com.  Stoat – Short-Tailed Weasel.  Copyright Factzoo.com 2015. http://www.factzoo.com/mammals/stoat-short-tailed-weasel.html  Accessed Online April 23.2020.

42. Islington Education Library Service, London. Ermine Pelt  https://www.objectlessons.org/clothes-and-accessories-tudors/ermine-pelt/s51/a239/ Accessed Online April 23.2020. 

43. Fur Insider.  The Royal Touch:  Ermine.  April 18, 2013. Copyright Fur Information Council of America 2018. https://www.furinsider.com/the-royal-touch-ermine/  Accessed Online April 23.2020. 

44. Moscow Kremlin Museums.  Virtual Exhibitions:  Nicholas II.  Copyright The Moscow Kremlin State Historical and Cultural Museum and Heritage Site, 1997-2018, Moscow.   

45. A-D Personal Photos 

46. Victoria and Albert Museum Online Collection.  The Tristan hanging.  http://collections.vam.ac.uk/item/O86303/the-tristan-hanging-hanging-unknown/  Accessed Online April 23, 2020.

47. Victoria and Albert Museum Online Collection.  Panel.   http://collections.vam.ac.uk/item/O13615/panel-unknown/  Accessed Online April 23, 2020.

48. The Met Online Collection.  Textile Fragment with Mamluk Emblem.   https://www.metmuseum.org/art/collection/search/452400?&searchField=All&sortBy=Relevance&ft=mamluk&offset=0&rpp=20&pos=6  Accessed Online April 23.2020.

49. The Met Online Collection.  Textile Fragment with Unicorn, Deer, Centaur and Lion.  https://www.metmuseum.org/art/collection/search/479598 Accessed Online April 23.2020. 

50. Textile Research Centre TRC Needles Website (couching) https://trc-leiden.nl/trc-needles/techniques/couching-and-laidwork  Accessed Online April 23, 2020. 

51. Textile Research Centre TRC Needles Website (Stem Stitch) https://trc-leiden.nl/trc-needles/techniques/embroidery/embroidery-stitches/stem-stitch  Accessed Online April 23, 2020. 

52. The Met Online Collection.  Textile Fragment with Unicorn, Deer, Centaur and Lion. (closeup) https://www.metmuseum.org/art/collection/search/479598 Accessed Online April 23.2020. 

53. Brother Sewing Machine Manual 

54. Personal Photo

55. Personal Photo

56. Personal Photo

57. Personal Photo 

58. Personal Photo 

59. Personal Photo 

60. Personal Photo 

61. Personal Photo

62. Personal Photo

63. Personal Photo

64. Personal Photo

65. Personal Photo by Stephane Colin

66. Personal Photo by Stephane Colin

67. Personal Photo by Stephane Colin

68. Personal Photo by Stephane Colin

69. Personal Photo by Stephane Colin

70. The Hours of Isabella Stuart. Folio 20r. (Closeup) ILLUMINATED: Manuscripts in the making.  Fizwilliam Museum, University of Cambridge. (closeup)  http://www.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover/the-hours-of-isabella-stuart  Accessed Online April 23, 2020.

71. Personal Photo by Stephane Colin

Personal Heraldic Surcote by THL Isolda Fairamay Completed May 2020 Part 3 of 4

 *Please note sources are listed at the bottom of Part 4 of this project*

And Now Let’s Pause for a Public Service Announcement:

Before I go on to explain materials used, sewing and construction techniques, I need to point out that I have chronic neck and shoulder issues that prevent me from doing very much hand work.  When I started in the SCA I loved hand sewing and embroidery but to do this now results in horrible headaches.  I will endeavour to explain what “should” be done but my goal was to find the best way to complete this project with a sewing machine and minimal hand work.  In doing this I hope to be an advocate for those of us who have physical challenges which prevent us from creating “authentic” pieces whether it be in the sewing world or otherwise.  In essence, I firmly believe we shouldn’t deprive ourselves of pretty things just because we can’t do it the “right” way and similarly we shouldn’t deprive ourselves of entering Arts and Sciences competitions simply because our pieces may not be 100% authentic.  With that said, I welcomed the challenge to create a piece that would look as authentic as possible using modern methods.

My Personal Pattern Design:

My inspiration image shows Isabella wearing a surcote with voluminous fabric with wide and deep openings at the sides and what appears to be fur trim. This will be the basis of my pattern.

Looking at the inspiration image itself, there are several points to consider in its design.  1:  Is the fur trim sewn onto a full surcote gown?  2:  Is the fur trim a separate piece with the heraldic skirt pieces sewn to the bottom of it?  3:  Is the surcote a completely separate full gown piece with the fur portion a completely separate piece laid on top to give the appearance of trim?   What it comes down to for me is personal preference and function.  I chose my third option for these reasons:  I felt it would be easier to make the gown a good fit as a separate piece, it would be easier to treat the fur as a separate piece for fit and sewing, it would be easier to clean the pieces separately than if they were one unit, and having them as separate pieces would mean having the choice to wear the surcote gown alone or “decked out” with the fur overpiece.

Base Surcote Materials:

As mentioned earlier in this paper, using the information about the fabric used for the extant heraldic garments including the pellote of Fernando de la Cerda and the battle jupon of The Black Prince plus the accounts of the Paris Embroiderers Guild, it could be extrapolated that if I were to make my surcote using these documented instructions, I would likely construct the main body from silk and then embroider the arms with silk thread straight onto the gown, embroider them separately and then affix them onto the gown with gilt thread or weave the arms straight into the fabric.

I am neither a weaver nor do I have access or funds for silk fabric.  As well, considering my neck issues, embroidering would cause me a lot of pain.  For my purposes I turn to wool.

Wool was the predominant fabric used in the middle ages with the higher the quality reserved for the higher ranks. (Piponnier et al, 1997) The progression of dyes in the later Middle Ages allowed for the use of many vivid colours, including red, blue, green, violet and black (Piponnier et al, 1997).  Characterized by the finishing process of fulling and particularly due to the use of the highest quality dyes available, scarlet was a fabric of indulgence; scarlet being the name of the fabric, not the colour, though its name is a result of the vivid colour that was most expensive.  (Piponnier, et al, 1997) Yellow wool was also being worn by higher ranking nobles. (Piponnier et al, 1997) With all colours needed for heraldry available in cloth, it became increasingly important for the aristocracy to display arms to display lineage and rank. (Piponnier et al, 1997) With all this said, my gown will be made predominantly with the highest quality wool I can afford and find, using the colours in our devices.  I will use this same fabric for the arms to be applied.  When it comes to the thread being used, of course silk would be the desired material, but again, my ability to afford it is limited and it is not a thread readily used on a sewing machine.  I will use the best quality cotton thread I can find.

What Actually Happened:  Base Surcote:

For the base surcote I was able to find wool fabric (I bought it a long time ago so I don’t remember if it is 100% wool but it would have a high percentage of wool in it).  For thread I chose 100% cotton.

Fig. 33

Fig. 34

Fig. 35 Drawing the neckline on the paper pattern to look more like the inspiration image

For my surcote pattern I would use 4 pieces of fabric in 2 colours in order to create the parti-colour effect of the heraldry.  I experimented with a mock-up piece for fit and then modified the neckline to more closely resemble the neckline in the illumination.

Sewing Stitches Used:

In the majority of cases, in extant finds found in the 14th century, London, a fine running stitch of lengths from 2-4mm, with 2-3mm being the norm, was usual for holding two edges together but in areas where the seams would come under more pressure, such as armholes, a back stitch would be used. (Crowfoot, 1992) These would be my stitches of choice. Since I am using my sewing machine for construction, the basic straight stitch most resembles the back stitch so that is my main stitch of seam construction.

Fig. 36 Hand Stitching the Backstitch Diagram Based on 14^th Century

Fig. 37 Diagram of the Backstitch Side View

I began the project by sewing the two side pieces together on each side (blue front to blue back, red front to red back).

For finishing raw edges of seams, oversewing or overcast stitching has been found from finds in the late 10th century Hedeby age in Haithabu.  (Baker, 2009)

Fig. 38 Overcast stitch, late 10th c, Hedeby (Haithabu)

This seam treatment involves the seam stitched in a running stitch with the raw edges folded in and overcast.  Zig zag stitches on sewing machines resemble hand sewn overcast stitches so this would be the stitch to use.  With that said, in order to make any possible future alterations as easy as possible, I chose to zig zag stitch each raw edge separately.  This way if I need to alter the seams in the future I do not have to undo the overcasting.

As for hemming, because the cut edges of woven fabrics fray rather quickly, various hemming techniques have been used to strengthen the edge.  (Crowfoot, 1992) Pictured below are hem stitches found in 14th century extant deposits in London, England:

Fig. 39 14^th Century Hemming Techniques

For my surcote, because these hems would be more difficult to keep flat with no puckers if I attempted to use the sewing machine to finish them, I have hand stitched the hem of the skirt with a double folk technique using the hem-stitch and have stitched the armholes and neckhole using a double fold technique with a running stitch.

Fig. 40A:  Machine Running Stitch

Fig 40B: Machine Overcast Zigzag

Fig. 40C:  Hand Stitched Armhole Hem

Fig. 40D: Hand Stitched Skirt Hem

Fur Overpiece Materials:

Fur’s main purpose was for lining woolen garments, however, as the middle ages progressed, its use as trim became a sign of prosperity and supremacy. (Piponnier et al, 1997) The most prized furs such as ermine, vair and sable were only available to the bourgeoisie due to restriction in price as well as sumptuary laws. (Piponnier et al, 1997) Considering that the arms for Isabella, Duchess of Brittany include ermine, I believe that the trim on her surcote is ermine fur. It is also important to understand what we are seeing on the ermine fur trim on the surcote.  Ermines change the colour of their coats seasonally. In the summer, their backs are brown, with undersides white, and their tails have a black tip. In the winter, they are completely white except for their black tipped tail. (Canadian Wildlife Federation, 2018)

Fig. 41:  The difference between a winter and summer ermine

Fig 42: Ermine Pelt

It is the winter coat that is used as trim in the clothing of royalty.  (Fur Insider, 2013)  Without understanding how ermine fur is used to trim clothing, it may appear that the fur is simply white with black spots, but in fact, the trim is made by sewing together many coats of the white ermine fur and attaching the black tipped tails to create the patterns we see.  (Fur Insider, 2013)

Figure 43 Modern photo of tailors working on George V’s coronation robe.  You can see that the black “spots” are not completely covering the fur.

Figure 44 Coronation mantle of Empress Alexandra Fyodorovna (1896) This photo demonstrates well how the black tipped tails would appear on the garment.

Unfortunately for me, my personal access to ermine coats as well as the funds available for purchasing said furs is limited.  My intent would be to use the best reproductions possible.

What Actually Happened:  Fur Overpiece:

As mentioned earlier, my personal design would treat the fur trim as a separate piece.

I found a coat at a thrift store that was made using imitation white fur that is, in my opinion, a pretty convincing reproduction of some kind of white animal fur.  For the “ermine”, I was able to acquire, via a fellow Scadian, a fur wrap that was made from real fur in a black colour.  It is not known what kind of fur it is but I am happy to have found something that would serve my purpose for ermine tails using real fur.  My plan was to line the overpiece, so I bought some polyester lining fabric for that purpose since it would be slippery and therefore be able to be worn without the surcote material and overpiece material sticking to each other.

To make the pattern for the overpiece I used the base surcote to estimate.  I then used some felt to mock-up the shape and sew it together to see how it would lay over the base surcote.  After a few alterations, I used the mock-up to create a paper pattern.

I used the paper pattern to cut out pieces from the white fur material.  I had a limited amount to work with since it came from a coat, so I had to have two pieces for the front and two for the back.  I was able to cut the two front pieces from one whole piece of fur each.  For the back pieces I had to lay the pattern over a seam, but the back would be seen less and it turned out that the seam wasn’t too noticeable anyway.  I also made sure to cut the four pieces so the nap of the fur was in the most natural direction possible.

The next step was to decide how to make the “ermine” tails.  I experimented with some of the black fur cut into different shapes and sewn onto a piece of the white fur to see how it would lay.  I didn’t want it to completely mesh with the white fur since it was meant to be a separate tail piece.  I finally settled on a tear-drop shape that would be hand sewn to the white fur piece in the desired pattern.  It took a few days to sew all the tail pieces to the whole thing because I could only hand sew a few at a time due to my neck issues, but there would be no way to do this by machine. I was able to sew the white fur pieces together on machine as well as to attach the lining.  I hand sewed the closings of the lining once it was turned right side out.

Fig. 45A: Closeup of Fur Overpiece Showing Seam on the Back which is Barely Visible

Fig. 45B: Closeup of “Ermine Tails”

Fig. 45C: What the “Ermine Tails” Look Like Underneath

Fig. 45D: Finished Fur Overpiece

Stay tuned for Part 4 of 4

Personal Heraldic Surcote by THL Isolda Fairamay Completed May 2020 Part 2 of 4

*Please note sources are listed at the bottom of Part 4 of this project*

The Importance of Books of Hours in Relation to Heraldry and Women:

Before I continue on to present the inspiration and design of my own heraldic surcote I must first talk about a particularly important exhibition of heraldry for women in the Middle Ages: the book of hours. The most popular devotional manuscript by the beginning of the 14th century was the book of hours.  (Hand, 2013).  On the surface, books of hours were pretty little books of prayers, but they meant so much more to women beyond that.  Books of hours for noble women provided avenues for religious and political declaration, as well as genealogical lineage and heritage whereby the inclusion of heraldry would be of the utmost importance.  (Hand, 2013) During a time that appeared to belong mostly to men, the commission of books of hours specifically for women significantly added to their cultural and spiritual contribution to society.  (Hand, 2013) Books of hours were often commissioned as gifts for women upon significant occasions, such as marriage, and served to solidify family alliances.  (Hand, 2013).  It is important to note that women even commissioned these prayer books for their own keeping, which would serve to record the most important parts of themselves, such as personality, religious expression and personal missions.  (Hand, 2013) Once a book of hours changed hands such as through inheritance or as a gift from mother to daughter, it served to propagate religious ideals and family heritage, but subsequent alterations that were frequently made also served to propagate issues that were not only religious, but secular in nature. (Hand, 2013). It is for all these reasons that I am most excited to share the inspiration for my heraldic surcote design.

My Personal Heraldic Surcote Inspiration:

I chose a beautiful depiction of a heraldic surcote worn by Isabella Stuart in The Hours of Isabella Stuart.  It displays impaled heraldry on the skirt with what appears to be fur trim on the top.

Fig. 21 Folio 20r.  The Hours of Isabella Stuart, France, Angers. C 1431. MS 62

Fig. 22 Closeup of Inspiration Garment.

How excited I was to learn about its history.  According to the information from the Fitzwilliam Museum, The Hours of Isabella Stuart is a “highly personalized combination of images and texts.  It was completed by 1431 for the learned and powerful Duchess of Anjou, Yolande of Aragon.  Over the next three decades, the manuscript belonged to three other women and was continuously adapted to suit their devotional needs and dynastic aspirations.” (The Fitzwilliam Museum) 

History of The Hours of Isabella Stuart:

Yolande of Aragon (1381-1442):  The manuscript was originally ordered by Yolande of Aragon with a start date of sometime after the death of her husband, Louis II of Anjou in 1417, and produced by the group of artists known as “The Rohan Masters.”  (The Fitzwilliam Museum) Yolande of Aragon appears in the manuscript in 3 of the miniatures in the act of praying.  (The Fitzwilliam Museum) 

Yolande of Anjou (1412-1440):  The manuscript was completed in 1431 and likely given to Yolande of Aragon’s daughter, Yolande of Anjou, around the time of her marriage to the future Duke Francis I of Brittany. (The Fitzwilliam Museum) She was most likely the woman originally depicted in the heraldic surcote that is my inspiration in Folio 20r.  (The Fitzwilliam Museum) 

Isabella Stuart (1427- after 1494):  After the death of Yolande of Anjou, the manuscript was adapted for the second wife of Francis I of Brittany, Isabella Stuart, at the time of their marriage in 1442.  (The Fitzwilliam Museum) Her portrait was painted over the original image of Yolande of Anjou in Folio 20r by the Breton artists of Nantes and her arms were also added. (The Fitzwilliam Museum)  

Margaret of Brittany (1443-1469):  Margaret inherited the manuscript from her mother, Isabella.  Images of Margaret were added to the manuscript around 1455 by the Breton artists of Nantes, marking her marriage to Francis II of Brittany. (The Fitzwilliam Museum) 

The ancestry belonging to this manuscript adds a great amount of personal inspiration to this project in that this book of hours is a perfect example of the purpose of heraldry for female identification of status, propagation of personal ideals and the inheritance of such an important piece of penned and painted publication from woman to woman.

 Dating of the Surcote Design Represented in the Illumination:

When it comes to the design of the surcote garment itself, there are considerations that affect the reliability of its portrayal in Isabella’s manuscript.  In general, the date of a person’s death may appear on a monument, but the effigy itself may not have been created until years after the date of death; the clothing depicted therefore may have been designed after fashion of the present day and not the clothing of the person portrayed.  (Piponnier et al, 1997) The clothing represented in manuscripts would not necessarily represent actual pieces of clothing as artists would often copy earlier images and then update them with inspired fashions of the day even if the persons depicted would not have worn those pieces.  (Piponnier et al, 1997) The media itself may create limitations with respect to colour, size and method. (Piponnier et al, 1997) And finally, there is the aspect of artistic license; clothing may have been exaggerated and figures were not necessarily portrayed with realistic technique until the 14th century.  (Piponnier et al, 1997)

We can see some evolution of the clothing depictions from the original patron in Folio 20r to Isabella in the headdress. Due to the use of different pigments, variations can be seen using near infrared imaging where it is clear that the original portrait depicted the kneeling woman with a large oval headdress but was later painted over to modify it to a small ducal coronet. (The Fitzwilliam Museum)

Closeup of Headdress Fig. 23

Near Infrared Imaging Fig. 24

Considering the fact that Isabella Stuart’s Book of Hours was a manuscript passed down through generations, and without an extant piece available, it is difficult to know whether or not this surcote existed and was worn by her.  The artistic modifications from one generation to the next in manuscripts is reason enough to question the validity of clothing styles depicted in any one period.  With that said, if I am to choose to believe in the existence of Isabella’s heraldic surcote, I need to take a leap of faith that the surcote styles seen in the effigy and manuscript art I have shared in this paper are depictions of the style at the time within reason and that these pieces could have existed, if only for ceremonial purposes.

Designing the Arms for My Heraldic Surcote:

Isabella herself was born in 1427, daughter of James I of Scotland and Lady Joan Beaufort, which is the origin of her familial coat of arms. (Harthan, 1997) Francis I of Brittany gains his arms from the Duchy of Brittany. (Harthan. 1997) As a result of her marriage to Francis I of Brittany, the arms of Isabella of Scotland, Duchess of Brittany, are the impalement of her family’s coat of arms with her husband’s family coat of arms. (Harthan, 1997)

Fig. 25 Royal Arms of Scotland, origin, King William the Lion who reined from 1165-1214:  lion rampant within a double tressure flory counter-flory gules

Fig. 26 The Coat of Arms of Brittany, origin 1318 as the emblem of the Duchy:  ermine plain

Fig. 27 The Arms of Isabella of Scotland, Duchess of Brittany:  a lion rampant gules within a tressure flory counter-flory

Fig. 28 Isabella Before the Virgin and Child, f. 20, The Hours of Isabella Stuart, Duchess of Brittany c. 1431.  A reminder: The process for illustrating marriage on a female’s arms would show the husband’s arms on the dexter and the female’s arms (family arms) on the sinister. (Slater, 2003)

In the closeup of the manuscript page, one can clearly see Isabella’s arms on the surcote.  In the manuscript, the lion’s paws almost seem to be cut off in the design which might lead one to believe that the arms have been dimidiated (split) in their marshalling.  However, since most of the image is visible, I am guessing it has more to do with artistic licence than anything.  If the arms were truly dimidiated the lion’s shape would be much more cut in half.  Also, considering that the Fitzwilliam Museum, which holds this piece, lists the arms depicted as impaled, it’s safe to say that the arms are impaled.  (The Fitzwilliam Museum)

In full disclosure, I originally interpreted Isabella’s arms as presented in dimidiation and even went through the process of designing the placement of arms on my surcote design as such:

Fig. 29 My bizarre creation!  Honestly, I think it would have been glorious!

However, I sincerely wanted to create a heraldic surcote as authentically as possible so, interpreting Isabella’s arms as impaled on her surcote, my full arms would be placed on the dexter and Spurius’ full arms would be placed on the sinister.

Reminder:

Dexter:  right (from the point of view of the shield bearer) (Slater, 2003, page 124)

Sinister:  left (from the point of view of the shield bearer) (Slater, 2003, page 125)

Fig. 30 Spurius Genucius Rutilus Heraldry

Fig. 31 Isolda Fairamay Heraldry

Transposing the Arms to a Surcote Pattern Design:

Thankfully, I have a resourceful husband who was able to get his hands on a projector that I then used to blow up the images of our arms and trace onto a paper pattern of the garment.  I then used parchment baking paper to trace out the shapes I would then use for applique.  The fabric used for the applique pieces would be cut from the same cloth as the skirt itself in corresponding colours.  I also used some iron-on stabilizer to reduce fraying.

Fig. 32A Transposing of Heraldry, Front of Skirt

Fig. 32B Transposing of Heraldry, Side of Skirt

Stay tuned for Part 3 of 4