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.

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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/

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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.  

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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.

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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.

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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.

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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. 

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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