| Arts and Sciences |
| Roman Necklace--The instructions for the necklace came from Fire Mountain. They based it on a Roman necklace dated from the 2nd C. CE. Their source was the book "Ancient Gold Jewelry at the Dallas Museum of Art" by Barbara Deppert-Lippitz, photography by Tom Jenkins, (ISBN 0-936227-19-2). I haven't compared the model with the original so I'm not sure how closely it mirrors the one in the original source; however, the original model used gold and emerald while my remake is garnet and gold-filled wire. Each link is made with a simple "S" shape. |
| Poached Pears--experiments with a recipe for pears poached in port wine. |
| Book Review--includes translation of a pigment recipe from the 16th C. |
| Roman Feast--The menu and research that went into the Autumn Rose X feast. (Event to be held on September 4, 2004) |
| Candle Making: Some preliminary research and information on making candles |
| Goldwork Embroidery and Opus Anglicanum: This is the esssay that I wrote for the Laurel Prize Tourney held at Northshield's First Coronation in October 2004. The essy focuses on the changes in English Embroidery from the 10th-15th centuries. |
| Goldwork Sampler--Information on a sampler of goldwork styles. Click here for the text and here for a scan of the sampler itself. |
| Heraldic Embroidery--Based upon documentation found in Donald King's "Opus Anglicanum: English Medieval Embroidery". From my research, it appears that heraldic embroidery was occassionally done in either plait or cross stitches in silk thread combined with couched metallic thread. This embrodiery is an attempt to learn how to use plait stitch. There are several different types of plait stitch; the one used may not be the period form. I also attempted to try couching in such a way that a pattern was formed--notice the Laurel leaves on the silver. Materials used: silver passing thread, colored silks, linen ground. (Device registered to Master John Chandler) |
| Or Nue--I have been trying to find documentation for how or nue was executed. I understand that varying the spacings on various couched colored threads created depth and shading to the image couched on the metallic thread. This is an attempt to try one theorized technique--I stitched the image row by row in the colored thread. This meant that I had up to 6 needles acting at once. I've also seen people lay the gold thread first and then go back over it in colored silks, but I worried that this would cause uneven tension and allow limited access to the image beneath the gold. I would be happy to hear suggestions. (Materials used: gold colored passing thread; colored silks; linen ground) |
