Gulf Wars Arts & Sciences Champions’ Battle ID#: 062668EBB Entry Category:
Costuming Antiquity to 600 CE Geographic Region of Entry: Roman
Gaul
Date of Entry:
Late 2nd – Early 3rd Century C.E.
Gallic Coat A suit of clothing for a Gallo-Roman woman based on the extant garments from La Nécropole de Martres-de-Veyre Late 2nd – Early 3rd Century C.E.
1 CONTENTS
Inspiration ................................................................................................................................................... 3 Summary Page ............................................................................................................................................ 4 Materials ..................................................................................................................................................... 5 Tools ........................................................................................................................................................... 7 Explanation of Choices ........................................................................................................................... 7 measuring............................................................................................................................................. 7 Shears................................................................................................................................................... 8 Needles ........................................................................................ .................................................... ........................................................ .... 9 Methods..................................................................................................................................................... 11 Summary of Period Methods vs. Methods Used in Entry ................................................... .................. 11 The Coat .................................................................................................................................................... 12 My Analysis of the Authors Notes on the Coat .................................................................................... 12 Summary of the sources: .............................................. ....................................................... ......................................................................... .................. 22 My analysis of the Photographs ............................................................................................................ 25 Summary of the photographs: ............................................................................................................... 45 My Decisions, Based on Analysis of the Sou rces and Photographs: .................................................. .. 46 Stockings ................................................. .................................................... .................................................................................................. .............................................. 47 My Analysis of the Authors’ Notes on the Stockings S tockings ............................................... ............................ 47 Summary of the sources: .............................................. ....................................................... ......................................................................... .................. 52 My Analysis of the Photographs: .......................................................................................................... 54 Summary of the photographs: ............................................................................................................... 63 My Decisions, Based on Analysis of the Sources a nd Photographs: .................................................. .. 63 Sash ........................................................................................................................................................... 64 My Analysis of the Authors’ Notes on the Sash ................................................................................. .. 64
2 Summary of the sources: .............................................. ....................................................... ......................................................................... .................. 70 My analysis of the Photographs ............................................................................................................ 72 Summary of the photographs: ............................................................................................................... 87 My Decisions, Based on Analysis of the Sources & Photographs: ....................................................... 87 Bibliography ............................................................................................................................................. 89 Appendix: The Grave Goods from Tomb D ............................................................................................. 92 My presentation of the Grave Goods: ................................................................................................... 94 Woolen textiles:..................................................................................................................................... 95 The Basket Tray: ................................................................................................................................... 96 Blue Glass Carafe: ............................................... ...................................................... .................................................................................. ............................ 98 Fruits & Nuts: ...................................................... ............................................................................................................ ................................................................................ .......................... 101 Coin in a Scrap of Wool: ..................................................................................................................... 103
3 INSPIRATION
In 1893 workmen digging for clay in a field owned by b y Monsieur Chalvet Pierre Fredot discovered a number of cinerary urns and several coffin co ffin burials. The workers were forced to tie scarves over the mouths and noses due to the carbonic acid saturating the ground from an ancient volcanic spring located in the area. Upon opening the coffins, the bodies of the the interred lay before them in almost lifelike condition for a few moments. But as the gas that had filled the coffins was replaced with fresh air, the bodies crumbled into dust before their eyes. All that remained of the deceased were they textiles they were buried in, and their hair. The first coffin, later identified as Tomb D, contained the body of a young woman of about 20 years of age, with golden blonde hair. According to the testimony of one of the workman, Monsieur Vimont, who was interviewed by Auguste Audollent in 1921, her body was enveloped by an ample robe held at the waist by a narrow belt. She wore stockings that came up above her knees, and flat leather shoes trimmed with nails. Next to one shoulder was a hairpiece hairpiece similar in color to the hair on her head. Next to the other shoulder was a flat basket containing fruit and a small, blue glass carafe. In one had was a scrap of woolen cloth containing a coin. This description sounds more like a script for an Indian Jones movie than a real-life archeological investigation, but modern science has confirmed that it likely happened very much as described. The carbonic acid permeating the ground in that area infiltrated the coffins and pushed out the oxygen. Carbonic acid is a salt, so the bodies and grave goods were essentially dried to the point of becoming dust over the course of 1700 years. This description, and the remarkably preserved clothing, were the inspiration for this project. The items are presented as if they are being viewed in the grave.
4 SUMMARY PAGE
This project is a recreation of the extant ex tant Gallic coat and stockings discovered in the tomb of a 20-year20- yearold woman near Les Martres-de-Veyre in France. The garments found in the grave consist of the outer gown, called a Gallic coat, a long sash, and sewn stockings. Only woolen textiles survived in Tomb D, though some linen textile scraps did survive in o ne of the tombs. Audollent notes that the woman wore her hair in a four-strand braid at her back, but no ribbon or cord for securing the hair survived. It is also well established that women in this period generally wore linen tunics under their woolen gowns, but no trace of a linen und ergarment was identified with this grave. Nor was any trace of garters found in association with the stockings, though it seems clear that they were worn with garters in life. The Gallic coat and stockings have all been hand sewn out of 100% wool fabric using a bone needle and hand-spun wool thread. The tools used in this project were: a bone needles and small shears approximating Roman shears. All measurements of the garments were made using body measurements measurements (hands, arm length, etc.). The sash was hand-woven using a rigid heddle loom from hand-spun, undyed wool.
5 MATERIALS
Chart of Period Materials vs. Materials Used in Constructing this Entry: Item
Gown/Tunic - Fabric
Material Used in
Material Used in
Extant Item
Entry
Dark brown tabby wool
Carmel brown plain
woven w/ paired wefts
weave tabby wool
(Warp - Z-spin, 10-12
(Warp: 17 per cm;
per cm; Weft: 2 Z-spin;
Weft: 13 per cm)
Is this a substitution?
No
9-13 per cm.) Traces of blue paint all over the fabric. Variously colored wool
Hand-spun, undyed,
(brown, tan, and white)
single ply wool thread.
Gown/Tunic -
Brown wool plaited
Cording made from
Cording
cord
weft threads pulled
Gown/Tunic - Thread
No
No
from leftover fabric Grey wool woven in a
Hand-spun, undyed
tabby weave with a
white wool yarn woven
predominant warp
to size on a rigid
(Warp: Z-spin, 12 per
heddle loom (Warp – 5
cm. Weft: Z-spin, 5 per
Per cm; Weft – 4-5 Per
cm.)
cm)
Sash – Embroidery
Not stated, assumed to
Wool yarn
Thread
be moderately thick or
Sash - Fabric
doubled wool. Original color unknown.
No
No
6 Stockings - Fabric
Stockings - Thread
Dark brown wool in a
Carmel brown plain
2/2 twill weave (Warp
weave tabby wool
and Weft: Z-spin, 9-10
(Warp: 10 Per cm;
per cm).
Weft: 10 Per cm)
Brown wool thread
Weft threads pulled from leftover fabric and hand-spun, undyed, single ply thread.
No
No
7 TOOLS
Chart of Period Tools vs. Tools Used in Constructing this Entry: Task
Tools Used in Period
Tools Used in Entry
Is this a substitution?
Measuring
Unknown
Body Measurements
No
Cutting
Simple bronze or iron
Simple Sheers
No
No
sheers Sewing
Bone and/or iron needles
Bone needles
Weaving (for
Rigid heddle heddle loom
Small Rigid Rigid heddle loom
sash) Weaving (for
No
Wood or bone shuttle
Small wooden shuttle
No
sash)
EXPLANATION OF CHOICES MEASURING We don’t know how Romans or the Britons measured cloth to be cut and sewn into garments. We can guess that they did what even experienced seamstresses do today when in situations where the y must make a garment without any access to yardsticks and tape measures – they used a combination of estimates based on their own experience in measuring using their own body, and wrapping or draping the fabric on the person being clothed. This system works well for these garments because they are not fitted to the body. The principle cutting and construction of the garments was done while sitting field side at SCA even ts, without access to either clean, flat spaces or measuring tools. I used the following “measurements” which I repeated with a tape tape measure to create the guide in the chart below. In this context, the term term “Hand*” refers to the natural position of grasping something (such as fabric, string, or a tape measure) between the thumb and the index finger. I am right handed, so all measurements use my right hand
8 and/or extended right arm. Since this type of measuring will not be exactly precise precise each time it is repeated, the measurements are approximate. Body Measurement
Measurement
Tip of little finger (laid flat)
½”
Thumb width (at knuckle)
1”
Thumb length (tip to inner crease)
2”
Hand width (across the palm, without thumb)
3.25”
Hand width (across the palm, with thumb)
4”
Hand* to elbow
13”
Hand* to shoulder
24”
Hand* to mid-chest (to the sternum)
32”
Hand* to left side of neck
36”
Hand* to Hand* (right outstretched hand to left outstretched hand)
60”
These measurements were sufficient sufficient for most of the process of creating these these garments. Only the stockings required on-the-body draping to achieve a reasonable fit.
SHEARS Shears as a set of blades which are squeezed together in a cutting action. Shears were commonly used by the Romans, and it is believed that the Romans brought the use u se of shears for cutting with them wherever they went. Shears made of iron blades riveted riveted onto a bronze spring were common, and many have been found during the excavations in Pompeii. The Royal Ontario Museum maintains a large collection of Roman iron shears, and early scissors, collected in Eg ypt and dating from the Roman period. The University of York Department of Archeology has been conducting extensive excavations at Elms Farm, Heybridge, Essex, United Kingdom since the mid-1990’s. Elms Farm was the site site of late Iron Iron Age, Roman, and Early Saxon settlements. The Department publishes an online, open access journal,
9 “Internet Archeology”, in which they the y publish catalogs of finds from their various excavations, in addition to other articles about the excavations and analysis of items found. According to Ros Tyrrell’s Tyrrell’s catalog of tools excavated from the Elms Farm, shears “… seem curiously under-represented, with only two pairs, neither of which is from a well-stratified context. However, it is difficult distinguishing between fragments of shear blades and knife blades”. Only one pair of sheers is illustrated (above). (above). This pair is in three pieces and measures 182mm long with a handle 48mm long. Tyrrell notes that “the basic ba sic shape is not unusual for Roman shears, although the handle on this example is
Figure 1. Extant E xtant Roman shears from the Elms Farms excavations.
unusually short.” Another, partial, pair of sheers was also found but not illustrated. Only half the shears were were found, as the handle is broken below the loop, and the blade on the extant half is also broken. The handle on this pair of shears is 75mm long, and the partial blade is 18mm wide. The shears I was able to obtain for this project are not made of iron, but they are operated in the same way as Roman shears and are constructed as hardened steel blades riveted onto a softer metal spring. The blade length is approximately 30mm long by 11mm wide, with a handle length of 70mm.
NEEDLES Romans used both bone and metal needles. The majority of Roman needles found found by archeologists are very large and clumsy by modern standards. standards. Nina Crummy experimented with a 6mm diameter needle, sewing through hessian cloth with with seven warp threads per 10mm. She found that the, since the needle was moving the warp and weft threads aside, rather than punching ho les in the fibers, it did not leave large holes because each successive stitch stitch helped to close up the previous holes. Needles with spatulateheads caused less displacement than round round ones. “Clearly, though, it would be advisable advisable to always select the thinnest possible needles when sewing finer materials and to use a thread of approximately approx imately the same diameter as those from which the cloth was woven.”
10 The University of York Department of Archeology has been conducting extensive excavations at Elms Farm, Heybridge, Essex, United Kingdom since the mid-1990’s. Elms Farm was the site of late Iron Age, Roman, and Early Saxon settlements. The Department Department publishes publishes an online, open access journal, “Internet Archeology”, in which they publish catalogs of finds from their various excavations, in addition to other articles about the excavations and analysis of items found. According to Ros Tyrrell’s Tyrrell’s catalog of the sewing needles found at Roman settlements at Colcester and Elms Farm, there were seven bones needles found, including needles with both pointed and flat heads, seven copper-alloy needles, and 10 iron needles/needle fragments.
Diagram of Roman needles found by Crummy at Colchester and Elms Farms.
11 METHODS
SUMMARY OF PERIOD METHODS VS. METHODS USED IN ENTRY
Task
Measuring
Methods Used in
Methods Used in
Period
Entry
Unknown
My right hand, my
Is this a substitution?
No
body, and on-the-body draping Cutting
Shears
Small shears
No
Sewing
Running stitch
Running stitch
No
Sewing
Single folded hems
Single folded hems
No
Sewing
Run-and-fell seams
Run and fell seams
No
Fringing
Plaited fringe
Plaited fringe
No
The specific methods of construction used in e ach piece are detailed within the following sections.
12
THE COAT
MY ANALYSIS OF THE AUTHORS NOTES ON THE COAT Date Author
Coat/Gown Notes:
My Analysis:
Audollent, 1923 Audollent,
Measurements: 1 m. 25 cm.
It is difficult to say because the best photos I
Aug
tall x 1 m. 70 cm. wide w/ the
have of the garment have the sash lying over
sleeves extended. Each sleeve
most of the tuck, but the tuck appears to be
40 cm. A tuck of 8 cm; "A
wider than 4 cm (1.6"). Assuming that the
single piece of cloth constitutes
tuck is a *total* of 16 cm (8 cm/3.15" on
the garment."
each side of the fold), the original o riginal fabric width would be 141 cm (55.5"). This is 11.4 cm (4.5") narrower than my modern 152.4 cm (60") wide fabric. We do not know how tall the young woman was, nor do we know how long the garment was on her. I am 163.8 cm (5'4.5") tall. A finished garment length of 125 cm (49.2"), (49.2 "), as noted in the extant garment, would fall to mid-calf on me without belting. Since there is no pictorial or literary evidence that women in Gaul wore their skirts knee-length, I will assume that the deceased woman was substantially shorter than I am (and probably slimmer as well).
13 If we guess that she stood 152.4 cm (5'0"), a gown with a length of 122 cm (48") would reach approximately to the top of the foot. A finished gown of 125 cm (49"), worn belted, would then be approximately ankle length. To scale up the gown length I would need a finished length of 134.3 cm (52.9") [152.4 tall /125 long = 0.82; 163.8 tall x 0.82 = 134.3 long] Therefore, my tuck needs to be a total of 18.1 cm (7.13"), or 9.05 cm (3.56") per side. This translates to 1 cm (0.41") longer per side than the original tuck to achieve the same relative length. The original garment width is given as 90 cm (35.4"), which would give a total garment measurement of 180 cm (70.9") around. At 48 years old I am not as slim as I was at 20 years, so while a 71" garment will fit me fine, it will not have the same aesthetic as it would on someone significantly slimmer. On the other hand, since the width of the garment forms the shoulders and part of the sleeves, there is a limit to how far the width can reasonably reasonabl y be scaled up. Again, since we have no skeleton to use, we must make some guesses. As an experienced seamstress I know that the average shoulder width for women is 35.6 - 38 cm (14-15"). My own shoulders are actually 41.9 cm (16.5"). If I scale the width
14 of the garment using shoulder width as my my guide I get 106.2 cm (41.8") per side or a total garment measurement of 212.4 cm (83"), which should more accurately reflect the excessive width of the original garment. ([41.9/35.6 = 1.18; 90 x 1.18 = 106.2] Per Audollent, each sleeve on the extant garment is 40 cm (15.75") long. This makes the garment 150 cm (59") wide from cuff to cuff across the shoulders [40 + 70 + 40 = 150]. If we then subtract our guess of a 14" shoulder width, we get a total sleeve length len gth (dropped shoulder plus sleeve) of 68 cm (26.8"). [150 - 14 = 136/2 = 68] If I use the same scaling factor as I did for the shoulders, I get a sleeve piece length of 47.2 cm (18.6"). [40 x 1.18 = 47.2] and a total sleeve length of 67.55 cm (26.6"). [82.6 + 47.2 + 47.2 = 177 - 41.9 = 135.1/2 = 67.55] This is just slightly shorter (less (less than 1/2 cm) than the extant sleeves, so I am using the original sleeve length. This results in sleeves that are wrist length when the arm is bent and which cover most of the hand when w hen the arm is hanging at the side. "The sleeves are almost as
The sleeves are 28 cm (11") (11 ") wide [or 56 cm
wide at the wrist (26 cm) as at
(22") around] at the point where they the y are
the shoulder (28 cm)."
sewn onto the body of the garment. There is a very slight, 3 cm (1.18") taper to the sleeves so that they are 26 cm (10.24") wide
15 [or 52 cm (20.5") around] at the cuff. This shaping is likely produced by angling the stitch line and increasing the seam allowance as is noted at the shoulders, rather than by cutting the sleeves to shape. A hem [tuck] of 8 cm to make
Since the stitches on the tuck appear to be
it shorter, was made with white
the only stitching mentioned as being carried
wool using a double rank of
out in white wool, I would assume that the
course stitches
tuck was put in after the original o riginal construction was completed in order to alter it to fit the wearer.
"The two extremities are sewn
From these comments, and from close
under the arm without much
examination of the available photographs, it
art. The same is true for the
appears the majority of the seams employed
sleeves, whose seam is very
some variety of flat felling. This results in
apparent on the outside."
both visible stitching on the outside of the garment and a visible lump where the cut edges are contained.
"Here and there, on the edge, is
This is not particularly helpful as "here and
noticed a hem in the form of a
there" could mean almost anything! Since
twist, similar to the one to be
the fabric of the garment is turned sideways,
discussed below, No. 50…"
it is unlikely that this technique is used in
16 #50. Sample of 26 cm. by 15
either location. Wild distinctly mentions that
cm. cut at right angles and
the fabric of the neckline is simple turned
bordered by two edges; one
under and stitched down. Pages describe the
formed by two cords of seven
creation of a corded edge using exposed
strands each, the other by a
warp threads. This technique could be
hem of complicated twisting
applied to the small section of the side seam
over the entire width of the
that was left unsewn near the hem
cloth." [for a more detailed
(presumably to allow greater freedom of
description, see C. Pages
movement). Close examination of
below]
photographs showing that area of the garment do appear to show a thickened, rounded edge there. The ends of the cording could then be caught up in the felled seam running up the side of the garment. Desrosier & Lorquin mention that the reinforced selvage edge is contained within both sleeve seams, which I interpret to mean that the selvage is found inside the underarm seam. This means that the warp would be running in the proper direction to use this kind of finishing on the sleeve hems. Close examination of visible stitching on the sleeve in one of the photographs reveals that the sleeves are actually hemmed with a small rolled hem. This leaves the side "vent" as the only logical location for this type of finishing treatment.
"Elsewhere, the cloth is
After closely examining all of the
finished with a single thread
photographs, I could not find a location on
overlock."
the *outside* of the garment that appeared app eared to
17 use a "single thread overlock" as an edge finish. This leads me to conclude that this method of finishing was used on the *inside* * inside* of the garment, possibly to reduce bulk in the felled seams.
1923 Pages, Charles
"The two sides of the dress are
The garment has been deliberately
distinguished by no appreciable
constructed to be as identical as possible on
difference."
the front and back.
Fabric: Warp: wool, single thread, approx. 550 twists per meter, left torsion. Warp: wool, single thread, approx. 450 twists per meter, left torsion. 10 warp threads per cm x 8 weft threads per cm. Weft is doubled. The wool is fine and shiny. Relatively lightweight fabric. Sample #1: "curious hem in the
As noted above, the only place I can visually
form of a twist…mode of
identify as using this method of edge
execution is thus deduced as
finishing is on the unsewn edges of the side
follows: 1- The fabric is
"vent" located at the hem of the garment.
dissected from B to C by
This finishing relies on having exposed warp
tearing off the weft, leaving
threads, so the sideways orientation of the
bare warp threads on for a few
fabric limits the places where it can be used.
centimeters. 2- at B, the first
An additional consideration is the fact that
two warp threads are twisted
this method of edge finishing creates a
together (right twist); 3- they
somewhat bulky, stiffened area in the fabric,
are joined to one of the cords
as seen in the photographs of the extant
and the whole is twisted
garment. This would also limit the areas
18 together with a right twist (true
where it would be a practical seam finishing
selvage from A-B was formed
technique. In order to use this edge finishing
by two cords of 7-strands each
technique on the "vent,” it i t is necessary for
twisted together). 4- The next
the hem of the garment to be reinforced with
two threads are twisted
the twined cords (two bundles of 7 strands
together (right twist). 5- These
each) used to reinforce the original selvage
two threads are joined to the
edge. Since my selvage does not use these
second cord and twisted
twined cords, it was necessary to create
together with a right twist. 6-
them and apply them to the selvage edge of
The two cords are then twisted
the fabric.
together strongly (left twist), tightening the edge of the fabric. Work continues across the entire width of the fabric. 1985 Wild, John-Peter
the shoulder were seamed,
The shoulders are seamed with the selvage
leaving a slit for the neck,
turned over and stitched down. The neckline
which was edged with a simple
is created by leaving a gap in the seam. As
turned-over hem
noted by in Fournier's pattern, by Smith, and by my own analysis of the garment via photographs, the shoulder seams are not flat but angle downward slightly. This is likely achieved by angling the stitch line and simply securing the selvage to the body bod y of the garment, rather than by cutting the shoulder line to the desired shape.
Desrosiers, 1998 Desrosiers,
Fabric: wool, tabby weave w/
Sophie &
paired wefts. Warp: Z-spin; 10-
Alexandra
12 per cm. Weft: 2 Z-spin; 9-13
Lorquin
per cm.
See comments above about the wool fabric
19 Measurements: H 125 cm x W See comments above about measurements, 90 cm (without sleeves); each
shaping, and using the fabric with the warp
sleeve L 43-44 cm x W 28-29
running horizontally.
cm T-shaped, woven in three pieces (body and two sleeves) Warp runs horizontally at the waist, 8 cm tuck sewed by 2 rows of running stitches Reinforced selvedges (bottom
The presence of the selvages inside the
of tunic, within both sleeve
sleeve seams determined how the sleeves
seams)
were cut out.
Transverse edges with finishing
It is unclear to which areas of the garment
cord (two sides of the body and
this statement refers. The first time I made
one sleeve bottom)
this garment I interpreted it to mean that a cord was used to reinforce the side seam (either internally or externally) and then it was duplicated on the folded side of the garment, and along the sleeve hems. Having found additional, high quality photographs of the extant garment and examined them closely, I no longer believe this to be b e the case. Initially I interpreted "sleeve bottom" as "cuff/hem" because the same article references the reinforced selvedges located within both sleeve seams earlier. It would be very helpful now to be able to examine the garment in person, but since that is not
20 possible I will confine my use of "finishing "finishing cords" to those locations discussed above.
Gidney, B. 2010 Gidney,
a conspicuous tuck, 8 cm deep,
A. and
has been made towards the
Louisa
middle of the garment with a
Hons
double row of large stitches in
See relevant discussions above.
white wool Fournier shows sloping shoulders on his small scale drawing which also appear in the museum photos There is a slight taper on the sleeves as well as the shoulder It is thought unlikely that the cloth would have been cut to shape. Instead, the seams were used to give the shape, without losing any cloth. Fournier's pattern clearly
This detail, as noted here, does appear in
shows that the tuck widens at
Fournier's pattern diagram but does not
the sides and narrows center
appear anywhere in his text. It becomes
front and back.
readily apparent in some of the photos ph otos when you look for it. Unfortunately, none of the authors who handled the garments took measurements of the width of the tuck at
21 different locations across the body of the garment. Analysis of the photos will give us an approximation.
22 SUMMARY OF THE SOURCES:
Fabric: o o o o
Brown wool with a undistinguishable pattern all over it in blue paint Fiber count: 10 warp x 8 weft per cm Weft is doubled Fabric is relatively lightweight, and is fine and shiny
Measurements: Finished garment measurements: 125 cm tall x 170 cm wide wide o Body – 125 cm tall x 90 cm wide, with the tuck o Original body length (before the tuck) – 141 cm (note: this is actually the fabric width as the fabric is used sideways) o Tuck – 16 cm total length (8 cm finished length) Sleeves – 40 cm long x 28 cm wide at the join (56 cm total) & 26 cm at the cuff (52 cm o total) Adjusted Measurements for My Reconstruction: o Scaling based on height:
Extant gown estimated to be about ankle length on a woman 152.4 cm (5’0”) tall – 125 cm finished length; 141 cm original extant fabric width I am 163.8 cm (5’4 ½”) tall. I need – 134.3 finished length; 152.4 cm modern fabric width 152.4 (estimated height)/125 (extant length) = 0.82; 163.8 (my height) x 0.82 = 134.3 scaled finished length.
Modern fabric width 152.4 – 134.3 (my finished length) = 18.1 cm total tuck length; 9.05 cm per side Scaling based on shoulder width:
Garment width: Extant garment width 90 cm (total diameter – 180 cm) o My shoulder width 41.9/35.6 assumed original shoulder width = o 1.18 Extant width 90 x 1.18 = 106.2 cm scaled width (212.4 total o diameter) Sleeves: Extant Garment: o In most humans, the total arm span is equal to their height, so our estimated 152.4 cm tall woman would have an arm span of approximately 152.4 cm. The average woman’s hand is about 16 cm long, We can estimate that our deceased woman may have had a
23 measurement of approximately 120 cm wrist-to-wrist (with arms held straight out to the sides). Sleeve length adds about 10 cm to this distance for each arm, thus 140 cm from wrist to wrist. The extant garment is 170 cm wide, so it probably reached to about the fingertips on each hand. It could probably be worn covering the hands when it was cold, and with the sleeves rolled up at other times. Scaled Garment: My total arm span is 163 cm. My M y hands are 17 cm long. Arm span 163 + 20 bent arm additional length = 183 cm total garment width including sleeves. Total garment width 183 – 106.2 scaled width = 76.8/2 sleeves = 38.4 cm sleeve length. Since this is actually SHORTER than the original sleeve length, I will use the original sleeve measurements. Sleeves – 40 cm long x 28 cm wide at the join (56 cm total) & 26 cm at the cuff (52 cm total)
o
o
Construction: Seams: o All the seams are noted as being unsophisticated There is a seam down the side where the fabric is joined together, and under the arms There is at least one area on the garment that uses a complicated edge finishing, created by twisting exposed warp threads into a pair of twined cords used in the reinforced selvage. This would have been used in the small vent at the hem. Other locations are uncertain. Other hems are formed by folding the edges under and sewing them down (standard hemming) Other fabric edges finished with a single thread overlock Shoulders: The shoulder line is formed by sewing the fabric together and leaving the space for the head/neck open. The selvage around the neckline is turned back and stitched down. The line of stitching across the shoulders angles downward toward the outer edge. The fabric is not cut to shape – shaping is accomplished via the stitching. Tuck: The stitching on the tuck is the only stitching mentioned as being done in white wool. Sleeves:
o
o
o
24 There are selvages inside the sleeve seams, which run under the arms. Unclear statements: Transverse edges with finishing cord (two sides of the bod y and one sleeve bottom)
o
Decoration: o None mentioned aside from the unreadable pattern in blue paint all over the fabric
25 MY ANALYSIS OF THE PHOTOGRAPHS
c. 1895, the Musée de Clermont: The Clermont: The first item is a photograph of the original display dating from the end of the 19th century at the Clermont Museum. This photograph was published in Desrosiers & Lorquin’s article “Gallo-Roman Period Archaeological Textiles found in France.” I was unable to find a better copy of the photograph. Even so, it serves as a valuable reference tool for the fit and general appearance of the clothing.
26 1921, Audollent – “Les Tombes de Martres-de-Veyre”: This is one of the few photos I found where the tuck in the waist can be seen clearly. The garment is oddly draped, which disrupts the lines. There is a better copy of this photograph in Audollent’s article published in 1923.
27 1923, Audollent – “Les tombes gallo-romaines à inhumation des Martres-deVeyre (Puy-deDôme)”: Note that the display is the same, but the angle of the photograph is slightly different and the printing is superior, which allows details to be seen more clearly. The two lines of stitching that create and secure the tuck are clearly shown. The bottom of the tuck is not secured to the body of the garment, as was done in some of the Roman tunics from Egypt made mad e during this period.
28
This close-up photo looks more closely at the tuck. The Second line of stitching appears to follow the first line faithfully. As you can see from the scaled ruler, on the left side of the photograph, the second line of stitches is about 2 ½ cm below b elow the first line. It does not appear that the second line of stitches secures the tuck down the body of the garment. My theory is that the second line of stitching was actually put in first, in an attempt to shorten the garment for wearing. The first tuck may not h ave shortened the garment enough, so the second line of stitching was put in. The additional reduction in length of 5 cm (1.96”) would w ould make a substantial difference to the wea rer if the gown was intended to be ankle length (or to the top of the foot). Unfortunately, this photograph is not clear enough to be able to judge the stitch length, but it is clear that the stitching in the tuck is a simple running stitch using relatively large stitches.
29 1956, Pattern Diagram from Fournier’s article “Patron d’une robe de femme et d’un bas galloromains trouves aux Martres-de-Veyre:”
Fournier’s “pattern” depicts the approximate shapes of the finished pieces, as if they were cut to shape. These patterns are not useful for cutting out the garments, but are very useful in visualizing the seam lines to create the resulting shapes without cutting the rectangles o f fabric.
30 c. 1980, Clermont Museum photo from undated guidebooks and postcards:
It’s impossible to say if the way the garment is displayed is c reating the appearance of a very v ery uneven hem, or if the hem is truly that uneven. In this display, the hem does not appear to curve upward, as described by Fournier. In addition, the tuck appears to slope downward at the sides of the garment.
31 2010, from The History Guru blog. (http://historyguru.com.au/Blog/June-2010/Gergovie http://historyguru.com.au/Blog/June-2010/Gergovie)) Posted on June 18, 2010: This photograph is interesting because it shows the scale of the extant garment. This retired history teacher interpreted this as a tunic for a “very large woman.” I believe that the placement of the sash over the tuck in the museum case actually creates a distorted picture of what this garment probably looked like when worn.
32 c. 2012, Photograph of the current display at the Musée de Clermont published in the “Archeological Site of the Month” on the ActuHistoireantique blog “Civilisations Antiques Grecques et Romaines”
(http://fp.reverso.net/actu-histoireantique/4419/en/categorie-11824676.html http://fp.reverso.net/actu-histoireantique/4419/en/categorie-11824676.html)): This nearly straight down view of the entire extant garment provided a good image to work out many patterning questions and issues.
33
The first step was to remove the background and level the image of the garment. Due to the wrinkling on the right side of the garment, I opted to use the flat sleeve as my scaling measurement. The ruler image has been scaled to the garment and the same, scaled ruler has been used in all of the images.
34
This means that the neckline opening is approximately 30 cm wide.
Although barely discernable in the printed photograph, the stitching securing the hem around the neckline lies a little less than 1 cm from the folded edge of the neckline. n eckline. The stitching also appears to continue along both sides of the shoulder seam where it secures the seam allowance (selvage) inside the garment.
This photograph shows the slope of the shoulders. Although the two shoulders do n ot appear to slope evenly, that may be du duee to the way the garment is lying in the case, stretching of the fabric, or a number of other factors. My analysis of the photograph sh owed a drop of about 2 cm on the left shoulder (as you
35 are looking at the garment), and a drop of about 1 ½ cm on the right shoulder. The fabric on the right shoulder is rolled forward, so that the shoulder seam is facing upward, so I will use the left shoulder as my reference source.
This photograph shows that the upper line of stitching on the tuck falls approximately 60 cm below the highest point of the shoulder line. That falls at the level of the low waist/high hip on my body. The museum has oriented with upper edge of the sash to be level with the upper stitching line of the tuck. This would place the body of the sash around my hips. As noted by Gidney, this is reminiscent of a 1920’s flapper dress and does not correspond to any iconographic evidence that tha t I am aware of from this period.
36
This photograph shows the curve of the hem, which is created by the tuck. Fournier noted that the tuck widens at the sides and narrows at the center front front and back. The hem is on the selvage, so it was not cut to shape. Interestingly, this image seems to show a substantial curve to the hem, while the early, flat museum display does not. The difference in height between the lowest point of the hem (at center front) and the highest (at the left side) is 5 cm.
37
The white wool stitches creating the tuck v ary from ½ - 1 cm long, with a space of ½ - to 1 cm between stitches. The stitching appears to be quite irregular.
To the right is an enlarged view of the lower right corner of the garment, showing the thick, rounded line of the plaited cord finish described b y Audollent and Pages. This is the “vent” in the garment, described several times above. The vent is approximately 15 cm long.
38 2008, Photographs of the Clermont Museum Textiles, by Michael J. Fuller, Professor Emeritus of Anthropology, St. Louis Community College from his Virtual Museum of Medieval Archaeology (http://users.stlcc.edu/mfuller/ClermontMuseumTextiles.html http://users.stlcc.edu/mfuller/ClermontMuseumTextiles.html)):
You can see what appears to be a trace of the blue paint pattern in this image.
39
More traces of the blue paint on the back of the left sleeve where it has been folded over. ov er. The seam joining the sleeve to the body can just barely be seen in the fold at the very left side of the photograph.
40
41 The seam running along the underside of the sleeve is visible on the right side of the photograph. ph otograph. It appears be a felled seam. The stitches securing a very narrow rolled or folded hem are just visible on the cuff (upper right corner of the photograph). These stitches s titches are also angled, and since there is no lump as you might expect with a double-rolled hem, I believe that this is a single rolled hem with more single thread overlock. As n oted elsewhere, the visible stitches are all in a light-colored thread, possibly the same white thread used for the tuck.
42
The line of securing stitches for the felled seam lies app roximately ¾ cm from the seam line. Note that the thread of the visible stitches is light colored – possibly the same white wool as the stitching of th e tuck. It is less visible on the outside due to the small size of the stiches.
43
The visible stitching on the outside of the garment along the sleeve seam varies in length from 2-3 mm, spaced ½ - 1 ¼ cm apart. a part. The stitching is a bit more regular and un iform than that on the tuck. The stitches appear to be at a slight angle, possibly indicating that they form the “single thread overlock” finishing on the inside of the garment described by Audollent.
44
A view of the seam on the underside of the other sleeve, which is revealed where the sleeve is folded over. This seam closely resembles the seam on the other sleeve, which is more readily visible.
45 SUMMARY OF THE PHOTOGRAPHS:
Measurements: o Neckline – 30 cm wide Shoulder angle – drop from the edge of the neckline of 2 cm o Vent – 15 cm long o Tuck – 60 cm down from the sides of the neckline o The Hem curves up 5 cm at sides, so the tuck must be 2.5 cm narrower at the center front and back than it is at the sides
Construction: Thread Color – the stitching of the tuck is clearly white, or light colored, thread. Th e o visible stitching of the felled seam on the sleeves is also light colored and may be the same thread. I had intended to pull threads threads from the leftover leftover fabric for sewing, but I will try using the same white wool thread for construction as I planned to use for the tuc k. Felled Seams – the sleeve seams, and presumably the side seam, are felled. The line of o felling stitches lies approximate ¾ cm from the seam. The visible stitches are slightly irregular, approximately 2-3 mm in length and are generally about ½ cm apart. ap art. The stitches are angled, suggesting that the internal finishing is a single fold over secured by the single thread overlock described by Audollent. Hems – the neckline is visibly hemmed b y folding over the selvage and stitching it down. o The securing of the selvage/seam allowance continues along the shoulder line to the sleeves. The hem on the sleeve cuff appears to be a single-fold hem with single thread overlock. Parallel lines of irregular running stitches used to create the tuck o Second line of stitches is approximately 2 ½ cm below the upper line of stitches
Decoration: The remnants of the blue paint are visible, but no pattern can be identified. o
46 MY DECISIONS, BASED ON ANALYSIS OF THE SOURCES AND PHOTOGRAPHS:
Fabric: o o o o o
I am using a caramel brown plain weave tabby wool Warp – 17 per cm; Weft – 13 per cm Moderately lightweight fabric with some shine 60” wide Used sideways, with the selvages at the shoulders and hem
Measurements: Finished Garment Length – 134.3 cm o Garment Width – 106 cm (212 cm around) o Tuck – 9 cm at the sides; 6 ½ cm at the center front and back o Located 60 cm below the shoulder at the side of the neck (58 cm below the shoulder at the sides of the body) Sleeves – 40 cm long x 28 cm wide at the shoulder; 26 cm wide at the cuff o o Neckline – 30 cm long o Shoulder Angle – drop of 2 cm from side of neckline to edge of shoulder Vent – 15 cm long o
Construction: Hand-spun, single ply, undyed white wool thread o All visible stitching on the outside is hem stitching o Stitches are 2-3 mm long Approximately ½ cm between stitches Line of hem stitches approximately ¾ cm away awa y from seam All construction seams, except shoulders & tuck – Running stitch with right sides o together, then raw edges paired and hem stitched to one side.
Conclusions: Using bone needles and hand-spun thread to sew this garment was more di fficult than I o expected. My stitch work is larger and messier than I would have liked, but improved as I became more practiced with the materials. The twisted thread fabric edging used on the vent is extremely difficult to duplicate. I o tried it several times before getting the knack of it, which caused me to have to cut back the corner on one side a bit. In the end I had to secure the twisted roll with some stitches made with threads pulled from the warp in order to stabilize the twisted edging.
47 STOCKINGS
MY ANALYSIS OF THE A UTHORS’ NOTES ON THE STOCKINGS Date
Author
Sash/Belt Notes:
My Analysis:
1921
Audollent, Audollent,
Fabric: Wool fabric
Brown wool fabric. The description "rise
Aug
Color: Brown Measurements: Not given
to the middle of the thigh" does not no t agree with the eyewitness statement of "over the knee.”
"Course scale, which had to rise to the middle of the thigh" 1923
Audollent, Audollent, Aug
Fabric: "brown felted wool" Color: brown Color: brown
Brown "felted" wool… probably actually means fulled? Felting refers to non-woven fabric made from wood fibers matted together to form a type of cloth, whereas fulling takes woven cloth and felts it to various degrees. In Roman times, this process was called "scouring" where workers (usually slaves) continuously walked on wool cloth submerged in vats of human urine. The purpose of fulling cloth was to thicken it and make ma ke it stronger; it also makes it more resistant to unraveling. A certain amount of fulling makes sense for socks, especially socks that might sometimes be worn with sandals in the Roman fashion. My wool fabric was felted via agitation in hot water, not human urine.
48 Measurements: Leg portion,
These measurements confirm my
including the heel - 55 cm
comments above. 55 cm (21") comes to
high; foot portion - 20 cm long
the top of my knee. Audollent does not say if this measurement includes the fringe or not? If it includes the fringe, then the threaded garter would be just below my kneecap, in the logical place for a garter. Again, Audollent does not say sa y exactly where on the foot piece he took his measurement. If the piece measures 20 cm (7.9") from the point at the top of the foot, then these stockings would fit my feet. If the measurement runs from the point at the side of the foot, they are a little too short for me.
"They consist of only two
No width measurement is provided for the
pieces: one for the leg
leg portion of the stockings, which appear
including the heel…sewn from to be constructed as a straight tube. I am behind; The other for the foot,
not a young woman with skinny skinn y legs. If I
sewn underneath…"
make these stockings as a straight tube, either I will be unable to fit my 52 cm (20.5") calves into the stockings, or they the y will bag excessively at the ankle. The legs l egs of my stockings are cut as rectangles to accommodate my legs, with the shaping accomplished in the seaming (as was done with the Coat/Gown).
"They are adjusted by a very
It is unclear to what this statement is
coarse point."
referring.
49 "The top is terminated by a
The fringe on the stockings is 2-4 cm lon g
sort of short fringe, 2-4 cm
(0.8 - 1.57"). Although Audollent states
long. A little beneath it still
above that, the fabric was "felted,” it was
appears a fold, which was
probably lightly fulled. If it were heavily
perhaps used to pass a string
fulled, there would be no need for the
to hold up the bottom, serving
fringe at the upper edge. Indeed, it is quite
as a garter."
difficult to create fringe from a heavily fulled (or felted) fabric.
Towards the same place, at the
There is speculation that the initials "PRI"
edge of the seam, one of these
may have been a maker’s mark on the
stocking is marked P R I with
cloth, or the manufacturer of the
white wool.
stockings. I used my own mundane initials as my makers mark - EBB.
1956
Fournier, Fournier,
Fabric: Wool
Seam locations are provided here: One
Pierre-
"each stocking is made of two
seam runs down the back of the leg and
Francois
pieces of fabric: one of the leg and the heel, sewing from behind, the other for the foot, sewn underneath"
turns under the heel, the other runs underneath the foot. Fournier's diagram appears to show the seam running underneath the center of the foot. The Final seam is the join between the two pieces, which runs across the front of the ankle and under the instep. There is no discussion of whether these seams turn to the inside or outside, how they are finished, etc.
1998
Desrosiers, Desrosiers,
Fabric: wool, 2/2 twill weave,
This is the only evidence provided for the
Sophie &
probably shrunken and nap
theory that the garter was threaded
Alexandra
raised. Warp & Weft: Z-spin,
through the top of the stocking like a
Lorquin
9-10 per cm.
drawstring. In examining the photographs
50 Color: dark brown color,
closely, I am not convinced of this. If I
probably natural because of
am looking at the correct spot, the slit in
the presence of pigments and
the stocking runs parallel to the top of the
the negative results of dye
stocking. If a garter or cord were threaded
analysis by ITF
through the fabric of the stocking, I would
Measurements: Leg piece 50 cm high; foot piece 20 cm long
expect the opening to be oriented the other way (around the leg instead of up and down the leg), and I would expect to see several of them rather than just one.
"1893b (Audollent tomb D): a
While a threaded garter would be quite
ca. 20 year old woman
comfortable and convenient, I do not
wearing a large dress held at
believe this is what was done. I suspect
the waist with a belt, stockings
that a more traditional, wrapped garter
reaching higher than the
was used and the old fold noted by
knee…"
Audollent was where the stocking was
composed of two pieces: one
folded down over the garter. This also
for the leg including the heel,
assists the theory that the garters may
sewn behind; the other for the
have been made of linen, which rotted
foot, sewn underneath
away in the grave. If the garters had been
Weaver's Mark - PRI embroidered with paler thread in probably corner of cloth
interwoven through the wool stockings, surely there would be more evidence of it? It is possible that the body was dressed for burial after death and no linen
Plaited fringe of warp thread (3-4 cm long) at top.
undergarments were put on her. In that case, they might have simply slid the
A short way below [the
stockings onto her legs without tying on
fringe], there is a section
garters, which would again support the
where the weave is
theory that the garters were not threaded
interrupted, leaving some of
through the stockings.
the warp threads bare. This could have been used as a
51 channel for threading a drawstring.
2016
Smith, Smith, Heather
Fabric: 2/2 twill wool
See discussion above.
Color: undyed wool "constructed from a tube of fabric sewn up the back of the leg and heel w/ a slight cut curve on the front to the ankle to accommodate a D-shaped piece of fabric which wrapped around the toes and was seamed under the instep" "Topped with a fringe - no drawstring or garters found but suggested by missing threads in the weave under the fringe"
2017
Harlow, Harlow,
The stocking were also found
I do not agree with this statement. While
Mary
to be problematic and when
we are used to modern, seamless, or
reconstructed had an
mostly seamless socks, reenactors who
uncomfortable seam that ran
wear period fabric socks and chausses do
under the foot
not find the seams overly uncomfortable. By fulling the cloth, the maker eliminated the need for bulky seams, resulting in a relatively comfortable pair of stockings.
52 They were also made for feet
These measurements indicate that the
larger than those suggested by
stocking would be slightly longer in the
the shoes [Note - Audollent
foot than the hobnailed shoes and the
gives measurement of both the
slippers (which were not identified as
hobnailed shoes and the
belonging to any specific tomb and so are
slippers as 23 cm long and the
not included in this project). It is possible
foot portion of the stocking as
that the stockings were purchased "off the
measuring 20 cm minus the
rack" (so to speak), since they have what
heel.]
has been interpreted as a maker's mark on them. In which case, they would be a rather generic fit but loose stockings would not necessarily preclude the shoes from fitting properly over them. I have worn my husband's chausses with my own shoes; the excess fabric simply puffs out a bit at the back of the ankle.
SUMMARY OF THE SOURCES:
Fabric: o o o o
Brown wool fabric, naturally colored (no dyes d yes present) Lightly to moderately fulled 2/2 twill 9-10 threads per cm
Measurements: Leg part (including the heel) – 55 cm high o No width given Foot part – 20 cm long o no width given
Construction: Leg part is sewn up the back of the leg and under the heel o Foot part is sewn under the foot o Join is sewn around the foot at the instep o Decoration:
53 o
Possible decoration or maker’s mark – initials “PRI” crudely embroidered at the top of one stocking, near the corner of the fabric
Finishing: 3-4 cm long plaited fringe at the top of each stocking o Wearing: o Authors suggested a threaded garter, I believe it would have been a wrapped garter
54 MY ANALYSIS OF THE PHOTOGRAPHS: 1921, Audollent – “Les Tombes de Martres-de-Veyre”:
55 1923, Audollent – “Les tombes gallo-romaines à inhumation des Martres-de-Veyre (Puy-deDôme)”:
56 1956, Pattern Diagram from Fournier’s article “Patron d’une robe de femme et d’un bas galloromains trouves aux Martres-de-Veyre:”
57 c. 1980, Clermont Museum photo from undated guidebooks and postcards:
58 2008, Photographs of the Clermont Museum Textiles, by Michael J. Fuller, Professor Emeritus of Anthropology, St. Louis Community College from his Virtual Museum of Medieval Archaeology (http://users.stlcc.edu/mfuller/ClermontMuseumTextiles.html http://users.stlcc.edu/mfuller/ClermontMuseumTextiles.html)):
This view clearly shows the seams on the stocking. The seam allowances are clearly clea rly found on the inside of the stocking and the seams appear to be sewn with running stitch. There does not appear to be any seam finishing, which fulled wool would likely make unnecessary.
59
Close up of the photo from from the previous page. You can see the seam that runs under the bottom of the foot. It also appears to be sewn with running stitch with the seam allowances on the inside.
60
Close up of the fringed top of one stocking and the crudely embroidered initials.
61
Enhanced view of the stocking top and embroidery. embroidery. The color has been lightened to show details.
62
A view of the other stocking. This view clearly shows the straight lines of the leg portion portion of the stocking. The woman who wore this stocking would have been slender slend er with small calves.
63 SUMMARY OF THE PHOTOGRAPHS:
Construction: Thread Color – the stitching stitching appears to have been in a lighter colored colored thread. I will use o the same hand-spun thread as I used for the gown. Seams – all seams appear to be sewn with running stitch, with the seam a llowances o turned to the inside. There is is no visible evidence of seam finishing or felling. Thanks to the fulled wool, seam finishing is not necessary. Hems – there is no hem. The upper edges of the stockings are a re finished into a fringe. o Decoration: There are three initials crudely embroidered in light colored thread near the upper edge of o one of the stockings
MY DECISIONS, BASED ON ANALYSIS OF THE SOURCES AND PHOTOGRAPHS:
Fabric: o o o o
I am using a dark brown twill weave fulled wool Warp – 10 per cm; Weft – 10 per cm Moderate weight fabric with no shine 60” wide
Measurements: Height – 50 cm o Foot piece length – 22 cm o Leg piece – modified to a wedge shape in order to fit my legs o Construction: Hand-spun, single ply, undyed white wool thread o All construction seams, except shoulders & tuck – Running stitch with right sides o together, then raw edges paired and hem stitched to one side. Upper edge of the stocking is fringed o
64 SASH
MY ANALYSIS OF THE AUTHORS’ NOTES ON THE SASH Date
Author
Sash/Belt Notes:
My Analysis:
1921
Audollent, Audollent,
Fabric: Wool fabric
Wool fabric; now in two parts but
Aug
mentioned Color: Not mentioned
Measurements: 4 m 30 cm w/ fringes belt now in two parts
reconstructed intact; total length 4 m 30 cm (4 yards 25.29" or 14'1 1/4"). This seems se ems extremely long! There are many unknown factors, such as the waist/hip size of the woman, where on the body she wore this sash, and exactly how she wore it. See more discussion under Derosier & Lorquin below.
1923
Audollent, Audollent,
Fabric: "This belt is, like the
Woven of undyed wool (now gray) without
Aug
dress, entirely of single-strand
any special selvage edge
wool, with a selvage without a particular border or edging." Color: "The "The warp and weft, the condition of which is very good, do not appear to have been dyed." Measurements: 3 m. 90 cm
Body of the Sash: 3 m 90 cm (12'9.5" or 4
w/out the fringes which read
yds 9 1/2"). Fringe: 20 cm (7.9") at each
20 cm at each end. Total
end
length of 4 m. 30 cm; width of 12 cm. "The dress we have just
Worn as a belt according to the eyewitness
considered was, in the
testimony, in spite of iconographic
65 testimony of Mr. Vimont, held
evidence that the so-called "Gallic Coat"
at the waist by a belt
was *not* worn with a belt. Later 2nd
(cingulum?), now separated
century Roman-style gowns, which were
into two pieces…"
made like Roman tunics, were constructed
"…a sort of narrow scarf, ornamented with fringes at its extremities."
almost identically and were worn with belts. Could this garment be erroneously labeled as a Gallic Coat simply because of of its location?
"Not far from the fringes,
Applied decoration at each end and in the
three thin braids, distant
middle of the belt.
between them of 3-4 cm, a clear space between two dark lines of wine, cut the scarf perpendicularly. These are, I think, mere ornamental motifs. Towards the middle, two more of these decorative tresses reappear in two places." "The quality of the wool
Of relatively coarse, rather than fine, silky
seems coarse and without
wool.
shine." 1923
Pages,
Fabric: Warp: Wool, single
I chose to weave my own sash using a
Charles
thread, approx. 350 twists per
small, portable rigid heddle loom. I used
meter, left torsion. Weft: wool,
undyed, naturally cream colored (not
single thread, approx. 300
bleached) hand-spun wool yarn. My threads
twist per meter, left torsion. 12
are not as fine as those used in the extant
Warp threads per cm x 5 weft
sash, so my thread counts lower (?? Warp x
threads per cm. No particular
?? weft per cm).
border to selvage. The quality
66 of the wool is coarse and dry. d ry. Medium weight fabric. Color: no dye present 1956
Fournier, Fournier,
Fabric: Wool
Pierre-
Measurements: 12 cm wide x
Francois
4 m 30 cm long, including the
See other commentary.
fringe on each end the belt held the loose dress in at the waist now in two fragments 1998
Desrosiers, Desrosiers,
Fabric: wool, tabby weave,
Sophie &
warp predominant. Warp: Z-
Alexandra
spin, 12 per cm. Weft: Z-spin,
Lorquin
5 per cm. Color: gray, with 8 rows (3
All of the authors who claim to have hav e
near each end and 2 in the
handled the items agree on the overall
middle) of a structure looking
length, they disagree on the length of the
like weft twining or chain
fringes. If we postulate that this was
stitch embroidery. Dye
actually a garment worn in a Roman R oman style,
analysis of embroidery threads
Roman-style sashes tend to be worn at the
without results.
high waist. Depending on your body, this
Measurements: L 430 cm
can add 5-8" or more to "waist" to floor
(and 12 cm long fringes at
distance which would accommodate
each extremity) x W 12 cm
slightly longer hanging ends. Even so, if we
67 "1893b (Audollent tomb D): a
assume that the deceased had a 76 cm (30")
ca. 20 year old woman
under-bust/high waist measurement,
wearing a large dress held at
wrapping the sash around the waist three
the waist with a belt, stockings
times before tying would still leave about
reaching higher than the
101 cm (39.8") hanging on either end. That
knee…"
is a manageable length, but longer than what is typically show in art of the period. In discussing this with other costumers, several suggestions were made: that perhaps the sash was wrapped around the torso in the manner of the ancient Greeks? G reeks? First and Second century Romans did not do that, nor is there any evidence that the Celtic tribes did either. Besides, at 12 cm (4.7") wide, this sash is too wide for that. It was suggested that maybe it had been worn in life as a fascea (breast band), but the long fringes would make that highly impractical and the coarse wool would likely be uncomfortable. However, if the sash were folded in half prior to wrapping around the body, the fringed ends could be passed through the loop created by the fold and tied. This makes the belt a much more manageable length [430/2 = 215 - 76 = 69 cm (27")] that is much more manageable (approximately knee length vs. approximately ankle length). This more more closely resembles extant art, and the stress placed on the fold at or near the middle of the sash might explain why the extant ex tant sash
68 broke apart in that location and no other. Even on my decidedly un -girlish figure with a high waist of 114 cm (45"), wearing the sash this way leaves hanging ends that are 50.5 cm (20") long, reaching nearly to my knees.
Fringes grouping several war
There is no mention made of knotting the
threads twisted together at
fringes to keep them from untwisting. I
both ends
believe that I can see a hint of a knot on one of the fringes, so I have knotted these as they last longer that way.
No compounds detected with DMF/MeOH rinsing 2010
Gidney, Gidney, B.
Measurements: 4.3 m L
See the commentary above on the length of
A. and
(including fringes) x 12 cm W
the sash and my hypothesized method of
Louisa
(measurements from
wearing it. Although this theory partially
Hons
Audollent)
explains the sash, it does not account for
a girdle was found on the torso but no clear account of the position or manner of wrapping it on the body was made
the width of it – 12 cm (4.7”). This is very wide for a sash/belt! Extant artwork from the period shows visible belts that appear to be a few inches wide, but none of them appears to be as proportionally wide as this
69 sash. Admittedly, I am short-waisted, but my total waist to under-bust distance is only 15.24 cm (6”). The extant sash is more than 75% of that total width. This sash would fit me more like a Japanese obi o bi than anything depicted in contemporary art! While we cannot take the stylized art of the period as being 100% accurate, it cannot be entirely dismissed either. My initial thought was that perhaps, in addition to being folded in half, the sash was folded along its length as well. Close examination of the photographs does not appear to show any lengthwise creasing, though this remains my best guess at how it would have been worn in life. Experiments with simulated sashes made to the extant measurements were unattractive and uncomfortable to wear without folding the sash lengthwise. 2016
Smith, Smith,
Measurements: 4.3 m long w/ See discussion above.
Heather
fringe x 12 cm wide "some form of woven scarf or sash was found on the body" "It has not been suggested how this piece would have been worn" "alternating band of two other
This is the only source that appears to
colors, possibly brown & tan
mention that the decorative embroidery at
that appears either woven or
the ends of the sash is actually in two different colors! It is clear from the
70 embroidered into the piece
photographs that the two outer bands are in
close to the ends"
one color, and the middle band is in another color.
2017
Harlow, Harlow,
a large, long-sleeved wool
Mary
tunic with a tuck, a pair of
See discussion above.
twill, knee-length stockings and a long length of cloth interpreted as a belt or sash Creases on the tunic and initial reports by the original excavators suggest that the belt was originally tied at the waist
SUMMARY OF THE SOURCES:
Fabric: o
o
o
o
The Sash is made of undyed wool which is described as “gray,” and as being coarse and dry, without any shine. The threads are single-ply and not as tightly twisted as those used in the Coat/Tunic or Stockings (Warp – 350 twists per meter, left torsion; Weft – 300 twists per meter, left torsion) The fabric is a warp-dominant, simple tabby weav e with no reinforcement on the selvages. It is a medium weight fabric. Thread count: 12 warp x 5 weft threads per cm
Measurements: The Sash is a total of 430 cm (14’ 1 ¼”) long, including the fringe. o The fringe is either 20 cm (7.9”) long lon g (according to Audollent), or 12 cm (4.7”) long o (according to Desrosiers & Lorquin). The Sash is 12 cm (4.7”) wide o Decoration: There are 8 lines of applied decoration on the sash, in what a ppears to be chain stitch o embroidery, or possibly weft twining There are 3 lines at each end of the belt, above the fringe. o
71 The outer two lines are both in a darker (brown or wine) color; the inner inn er line is in a lighter (tan or yellow) color The 3 lines are not touching each other, there is a clear space between each line, with a total distance between the outer o uter lines of 3-4 cm. There are 2 additional lines at the middle of the sash
o
Finishing: The sash is finished at each end with long fringes made by grouping several warp threads o together and twisting them into a fringe. Wearing: o Eyewitness testimony from the excavation claims that the belt was wrapped around the waist of the deceased in the grave. This claim appears to be substantiated by the presence of creases on the tunic. The belt appears to be excessively ex cessively long and wide for practical use, unless it was p erhaps o folded when worn.
72 MY ANALYSIS OF THE PHOTOGRAPHS
73
c. 1895, the Musée de Clermont: The first item is a photograph of the original display dating from the end of the 19th century at the Clermont Museum. This photograph was published in Desrosiers & Lorquin’s article “Gallo-Roman Period Archaeological Textiles found in France.” I was unable to find a better copy of the photograph. Even so, it serves as a valuable reference tool for the fit and general appearance of the clothing. Notice that the fringes of the sash appear to fall to about the knee, and the sash appears to be folded as it passes around the waist.
74 1921, Audollent – “Les Tombes de Martres-de-Veyre”: This photograph clearly shows that the sash is broken into two unequal parts. It also also shows an abundance of crease marks, both vertical and horizontal. It is impossible impossible to know if the crease marks are original to the sash, or if they were created by the original display of the items.
My initial reaction to this photograph was that it disproves my theory about the sash being folded in half when worn. Upon reflection, I realized that this is not necessarily the case. The sash could simply have torn at another location, possibly even during the removal of the clothing from the coffin. It is also possible that the sash was not folded into two equal parts, but was folded unequally. An unequal fold would allow the two fringed ends to hang at different lengths, which would be quite q uite attractive.
75
1923, Audollent – “Les tombes gallo-romaines à inhumation des Martres-de-Veyre (Puy-deDôme)”: This photograph appears to be either the same photo that appeared with the 1921 article, or it was taken of the item in the same display at the Clermont Museum.
76 c. 2012, Photograph of the current display at the Musée de Clermont published in the “Archeological Site of the Month” on the Actu-Histoireantique blog “Civilisations Antiques Grecques et Romaines” (http://fp.reverso.net/actu-histoireantique/4419/en/categorie11824676.html)): 11824676.html This was the first modern, color photograph I found that showed the sash. For the first time we are able to see the actual size of the scarf in proportion to the coat/gown. I feel that the visual proportions are thrown off by the inaccurate placement of the sash. The museum has placed so that it is covering the majority of the tuck, but if you look closely at the first photograph you can see that the tuck actually falls at the hips. The museum’s placement of the sash creates an optical illusion that makes this relatively full, ankle-length garment for a woman look as if it might be a knee knee-length -length tunic for a very large person with skinny arms.
77 2008, Photographs of the Clermont Museum Textiles, by Michael J. Fuller, Professor Emeritus of Anthropology, St. Louis Community College from his Virtual Museum of Medieval Archaeology (http://users.stlcc.edu/mfuller/ClermontMuseumTextiles.html http://users.stlcc.edu/mfuller/ClermontMuseumTextiles.html)):
This is the first photograph in a series focusing on the sash. The bands of embroidery at one end and in the middle are barely visible from this angle.
78
This close-up clearly shows the weave of the sash. It is a relatively loose weave – you can c an contrast it against the much denser weave of the coat beneath b eneath it. The warp runs vertically through the larger section on the right of the image, and horizontally through the section behind it. Although not described by any of the authors, a uthors, it appears to me that some of the threads may be paired, but the two sections do not appear to use the same threads, density den sity or weaving pattern. I am not an expert weaver, but it is possible that the sash was inexpertly woven and the techniques and materials used varied over the course of the 430 cm. It would be interesting i nteresting to be able to look closely at the weave across its entire length.
79
80
81
Previous page: Close up of the chain stitch embroidery on one end of the sash. Although faded, you can clearly see that the three lines of stitching are in two different colors. The uneven spacing between the lines is also visible.
82
View of one of the fringed ends of the sash and a portion of the length. A closer view of the fringe is below. The mostly intact length of fringe on the left appears to be knotted at the end.
83
Close up of what I assume is the other end of the sash, though the fringe is hidden from view. The Th e three lines of embroidery are easily seen, with tails of ex cess thread hanging down. The Embroidery is thick and appears to have been worked with thick yarns or double threads. The tails appear to be plaited and approximately the same length – its possible that they were originally turned back and tacked down and have come loose due to the damage to this part of the underlying fabric.
84
On this end of the sash, the lines of embroidery appear to be about ¾ cm wide. There is a space of 3 ¼ cm between the first line (on the far left) and the middle line. There is a space of approximately 3 ¾ cm between the middle line and the one on the far right. At this level of magnification you can also see that the stitching is imperfect and the tails, which appeared to be plaited on the earlier photo look as if they might be twisted instead.
85
The lines of embroidery appear to be approximatel y ½ cm wide at this end of the sash. There is a space of 2 ½ cm between the first line, at the top, and the middle line. A distance of about 2 cm separates the middle line from the one below it.
86
The close-up view of the sash end blown up to approximately app roximately life size for reference.
87
SUMMARY OF THE PHOTOGRAPHS:
Fabric: o o
o
The color photographs show that the undyed wool appears to be a grayish-white color. It appears to be very loosely, and coarsely, woven compared to the fabric of the tunic and appears to use much thicker thread There are many weaving faults visible in the th e photographs.
Measurements: The photographs seem to confirm my speculation about the excessive width of the sash o compared to the overall dimensions of the coat. o The early photographs of the sash on its own show both horizontal and vertical creasing, but this may be due to the use of the sash in the original museum display, rather than due to creasing resulting from the grave. Later museum displays do not show this. o
Decoration: The lines of embroidery are actually in two different, alternating colors o The lines of embroidery are not evenly spaced, nor are the lines perfectly straight o The lines appear to be embroidered with relatively thick, or perhaps doubled, threads o The stitching looks a little bit uneven as well w ell o On one end of the sash, the tail ends of the embroidery embroider y threads are left hanging off the o sash appear to be plaited and of a uniform length. o They were possibly plaited to start and/or finish the line of decoration, and the tails turned back and stitched down. The underlying fabric is heavily damaged on this section, so these tails may have come loose. Finishing: o A mostly intact length of fringe appears to be knotted at the end.
MY DECISIONS, BASED ON ANALYSIS OF THE SOURCES & PHOTOGRAPHS:
Fabric: o
o
The fabric of the sash is comparatively coarse an d has many weaving faults. It is possible that this sash was manufactured at home, rather than in a workshop. Using this as inspiration, I chose to weave my own sash on a small, rigid heddle loom. I am not an experienced weaver, so my sash also h as many weaving faults. I chose to use plain, un-dyed, un-bleached wool for my sash because the extant sash shows no evidence of having been dyed. After it is no longer needed in an Art/Sci capacity, it will be given to my husband (a Knight in the Society) as a wearable love token.
88 o
My hand-spun threads are not as fine as the threads used in the extant sash, so my thread count is much lower. I did have some finer thread, but I did not have enough of it to warp the sash for the entire length necessary. I alternated the finer threads with thicker threads in the warp, and used a two-ply thread in the weft rather than doubling a thinner thread as appears to have been done (based on some of the photographs). My sash is not as fine as the extant one, but it is sturdy, and will serve well as a knight’s belt.
Measurements: I do not believe that the extant sash was worn without being folded ov er, or crumpled. o Since neither I, nor my husband, have the figures to support wearing a nearly n early 12 cm (5”) wide sash, and it is ultimately destined to belon g to him, I made my sash 8 cm (3”) wide. This is his preferred width and was a conscious co mpromise. Decoration: The chain stitch embroidery was worked in two shades of doubled brown wool threads. o The thread was twisted together for approximately 2 c m (¾”) before beginning to stitch o onto the fabric of the sash. This Th is starting tail was folded over the edge and caught down by the stitching. A second tail was twisted at the other end, which was then folded fold ed over and stitched down. The placement of the stitching lines imitates that on the extant item. o Finishing: As seen on the extant item, multiple warp threads were taken together and twisted to form o a long fringe, which is knotted on the ends. Wearing: It is my theory that the sash was folded in half both across and along its length when o worn. My sash does not need to be folded along its length, but b ut it is being displayed folded roughly in half and knotted through the fold. I believe that the sash would have been worn, in the Roman fashion, at the high o waist/below the bust, and it is displayed that wa y.
89 BIBLIOGRAPHY
Audollent, Aug. ""Les tombes gallo-romaines a inh umation des Martres-de-Veyre (Puy-de-Dome)." Memoires Memoires presentes par divers savants savants a l'Academie l'Academie des des inscriptions inscriptions et blles-lettres blles-lettres de l'Institut l'Institut de France. Premiere serie, Sujetx divers d'erudition. 13.1 (1923): 275-328.
—. "Les Tombes des Martres-de-Veyre." Man 21 (1921): 161-164. historique et scientifique scientifique de l'Auvergne l'Auvergne —. "Resume de la communications de M. Audollent." Bulletin historique
42 (1922): 147-8. Bartman, Elizabeth. "Hair and the Artifice of Roman Female Adornment." American American Journal of Archaeology Archaeology 105.1 (2001): 1-25.
Beaudry, Mary. Findings: The Material Culture of Needlework and Sewing . New Haven & London: Yale University Press, 2006. Cleland, Liza, Glenys Davies and Llewellyn-Jones Lloyd. Greek and Roman Dress From A to Z . New York: Routledge, 2007. Constans, , L. -A and A. Audollent. "Les tombes gallo-romaines a inhumation des Martres-de-Veyre (Puy-de-Dome)." Journal des des savants 22.2 (1924): 77-78. Croom, Alexandra. Roman Clothing Clothing and Fashion Fashion. Stroud: Amberley Publishing, 2012. Desrosiers, S. and A. Lorquin. "Gallo-Roman Period Archaeological Textiles Found in France." Textiles in European Archaeology: Report from the 6th NESAT Symposium, 7-11th May 1996 in Boras .
Ed. L. B. Jorgensen and C. Rinaldo. Boras: Goteborg University, Dept. of Archaeology, 1 998. 53-72. Fournier, Pierre-Francois. "Patron d'une robe de femme et d'un bas gallo-romains trouves aux Martresde-Veyre." Bulletin historique historique et scientifique scientifique de l'Auvergne l'Auvergne 76 (1956): 202-3. Gidney, B. A. and Louisa Hons. "The Romano-Gaulish Woman's Garments from Les Martres de Ve yre: A Possible Reconstruction." 1 January 2010. Rent a Peasant. Peasant. .
90 Harlow, Mary and Marie-Louise Nosch. Ancient Textiles Textiles Series, Series, Vol. 19: Greek and and Roman Testiles Testiles and Dress - an Interdisciplinary Interdisciplinary Anthology Anthology . Vol. 19. Oxford & Philadelphia: Oxbow Books, 2014.
Harlow, Mary. "Little tunics for little people: the problems of visualizing the wardrobe of the Roman child." Children and Everyday Life in the Roman and Late Antique World . Ed. Christian Laes and Ville Vuolanto. Milton Park & New York: Routledge, 2017. 43-59. Archaeological Sewing Sewing . 29 February 2004. January 2016. Jones, Heather Rose. Archaeological
. Notis, Mike R. and Aaron N. Shugar. "Roman Shears: Metallogoraphy, Composition and a Historical Approach to Investigation." Proceedings of teh Archaeometallurgy in Europe Conference . Milan, 24-26 September 2003. 109-118. Pages, Charles. "Etude technique sur les tissus decouv erts dans les sepultures gallo-romaines des Martres-de-Veyre." Memoires presentes presentes par par divers savants savants a l'Academie l'Academie des des inscriptions inscriptions et belles-lettres de l'Institut de France. Premeire serie, Sujets divers d'erudition. 13.1 (1923): 329-
384. Rogers, Penelope Walton, Lise Bender Jorgensen and Antionette Rast-Eicher, The Roman Textile Industry and its Influence: Influence: A Birthday Birthday Tribute Tribute to John John Peter Wild Wild . Oxford and Havertown, PA:
Oxbow Books, 2014. Smith, Heather. "'Celtic' Clothing (with Greek and Roman Influence) from the Iron Age - a Realistic R ealistic View Based on What We Know." n.d. Academia. Academia. 15 July 2016. . Frontier Studies: Studies: Proceedings Proceedings of the XVth Studies, International Congress of Roman Frontier. Roman Frontier International International Congress Congress of Roman Roman Frontier Frontier Studies . Ed. Valerie A. Maxfield and Michael J.
Dobson. Exeter: University of Exeter Press, 1991. Tyrrell, Ros. Crafts and manufacture: Objects used in the manufacture or working of textiles: Needles . n.d. University of York Dept. of Archeology. 28 November 2016. . Verhecken-Lammens, Chris. "Piecing together a Roman linen tunic." Archaeological Archaeological Textiles Textiles 51 (2010): 31-33. Newsletter Newsletter 51
91 Warden, Alexander J. The Linen Trade, Ancient and Modern . London: Longman, Green, Longman, Roberts & Green, 1867. Wild, John Peter. "Facts, Figures and Guesswork in the Roman Textile Industry." Textilien aus Archaologie Archaologie und Geschichte Geschichte:: Festschrift Festschrift fur Klaus Klaus Tidow . Ed. Lise Bender Jorgensen, Johanna
Banck-Burgess and Antoinette Rast-Eicher. Wachholtz Verlag, 2003. 37-45. —. Textile manufacture in the Northern Roman Provinces . Cambridge: Cambridge University Press, 1970. —. "The Roman Horizontal Loom." American American Journal of Archeolog Archeologyy 91.3 (1987): 459 - 471. 15 November 2016. . . —. "Tunic No. 4219: An Archaeological and Historical Perspective." Riggisberger Riggisberger Berichte Berichte 2 - Varia 2 (1994): 9-36. Wild, John-Peter and Lise Bender Jorgensen. "Clothes from the R oman Empire: Barbarians & Romans." Archaeological Archaeological Textiles: Textiles: Report Report from the the 2nd NESAT NESAT Symposium Symposium . Ed. Lise Bender Jorgensen,
Bente Magnus and Elisabeth Munksgaard. Arkfeologisk Institut, Kobenhavns Universitet, 1988. 65-98. Wild, John-Peter. "The Clothing of Britannia, Gallica Belgica and Germania Inferior." Aufstieg und und 1985: 362-423. Niedergang Niedergang der Rommischen Rommischen Welt Welt II 1985:
92 APPENDIX: THE GRAVE GOODS FROM TOMB D
Audollent, in “Les tombes gallo-romaines à inhum ation des Martres-de-Veyre (Puy-de-Dôme) published in 1923, lists the contents of each grave that are known to be found in the Clermont Museum’s inventory. Lost items and those of uncertain origin a re not included. The items ite ms he lists as having been found in Tomb D include:
a mat of blonde hair plaited into a braid (from the deceased’s skull)
a hairpiece made of a length of braided and wrapped blonde hair
the dress
sash
stockings
hobnailed leather shoes
a wicker basket tray with fruit
a glass carafe
There are additional items mentioned in the text of his article that are not included in this list, such as the 1st or 2nd century copper coin wrapped in a wool rag that had been placed in the young woman’s hand. Other items are not specifically mentioned in the testimony of Mr. Vimont, the local man who was present when the coffins were opened, but which can be assumed based on his description of the other coffins include blankets and other textiles of varying quality. It is also important to note that, with one ex ception, the only surviving textiles found in most of the graves at Martres-de-Veyre were made of wool. Audollent specifically mentions that, in the 1893 discoveries, two intact heads of hair were found – both gathered behind the head into a braid, for which the hair ribbon has completely disappeared. Given that the body does not retain a linen undergarment or other linen textile in an area known kno wn for linen production in Roman times, and some linen textiles were found in the elaborately prepared tomb of the little girl, it must be assumed that the same properties that allowed the woolen textiles to survive also caused the linen textiles to rot away. Because no scraps of linen have been found in this tomb, none have been included in this presentation though they have been created and are included in the appendices to the documentation in order to show the garments as a wearable outfit.
93 Taken from the testimony of Mr. Vimont regarding the excavation of Tomb D:
“Cinerary urns (urns for holding a person’s ashes after cremation) were found at a depth of about one meter, with the coffins found much lower. They consisted of wooden coffins, co ffins, where the deceased were dressed up. However, “one of the dead, a man, recognizable by his long beard, had been buried without a coffin, on the ground.” “In the first case, [in a coffin] made of perfectly preserved fir wood, lay the body of a young woman, with golden blonde hair, about twenty years old. An ample robe enveloped her, held at the waist by a narrow belt; she wore stockings that came higher than the knee and flat shoes, of leather, trimmed with nails. Next to her shoulder was a curly braid, sewn onto two pieces of skin; the color resembling that of the hair of the deceased. At the same height, on the other side, was a basket of wicker, almost intact, containing fruit. “A second coffin belonged to a woman of middle age, with braided hair of dark chestnut; her wooden shoes were finished with heavy fabric inside. “The two women, according to Mr. Vimont, each had in their hands a coin of copper, folded in a small woolen rag, but very rough, one certainly from the first century, the second appeared to be an Antoninus [Antoninus Pius – a coin issued between 138 – 161 CE].” (Audollent. Les Tombes Gallo-Romaines a inhumation des Martres-de-Veyre (Puy-de-Dome). Pp. 284-6.)
Audollent noted that, thanks to the work of Mr. Chalvet Pierre Fredot in the field, some of the objects exhumed were able to be put directly into the safe keeping of the Clermont Museum. Unfortunately, not all possible precautions were taken in the field to preserve the entirety of the finds and many man y amateurs were convinced to give up the items they had taken into the keeping of the museum. He also noted that excavators took apart the wooden coffins and used the boards as pathways to ease the passage of their wheelbarrows through the loose soil of the quarry. We can help but wonder how much invaluable information and relics were lost in this process?
94 MY PRESENTATION OF THE GRAVE GOODS:
It is beyond the scope of this project to manufacture the hobnailed shoes, w eave a willow basket, create a blown-glass carafe, or scalp someone in ord er to provide an authentic mat of blonde hair. It was also beyond my abilities to build a wooden coffin of fir, or create an authentic experience by having the body crumble into dust upon the opening of the coffin. Despite these limitations, I wanted to p resent the clothing in a manner as evocative of their discovery as possible, so I have included “grave goods” in my presentation.
In choosing which grave goods to present as part of the display for the entry, entr y, which consists of the extant clothing items only, I wanted to be evocative without being overly cluttered or overwhelming the available space for this entry. I also wanted to enhance the entry, without distracting from it. As a result I chose to include the following items:
Wool textiles
Basket tray
Glass carafe
Fruits & nuts
A coin in a scrap of wool
I chose not to include a pair of shoes or any of the hair. Although I saved the 18” 1 8” of hair I recently cut off of my own head, and could create a small hairpiece to include in the display, I cannot represent the extant portion of the young woman’s woman ’s hair and scalp without resorting to a modern hair piece. Since I cannot begin to equal the skill of the Gallo-Roman shoemaker, I would have to purchase shoes to display. I do not believe that th at the inclusion of either the shoes or the hair would provide any additional enhancement to the display, and, on the contrary, would tend to add more clutter and greater confusion.
A discussion of each included element in the display can be found on the following pages.
95 WOOLEN TEXTILES: Although no additional textiles are mentioned as being found in Tomb D, aside from the clothing worn by the young woman, the descriptions from other graves all include mention of at least a cloth found under the body. The body of the woman found in 1851 rested on a red and black striped woolen cloth, and was covered by b y three layers of wool fabrics ranging from very fine to v ery thick and course. The body of the little girl found in 1893 was covered with a layer of fine linen, and had been laid upon a pad of folded linen fabric covered by a blanket of white wool with fringe at the ends. Since no linen textiles were noted from Tomb D, there is no covering layer l ayer of linen for the “body” in in this display. The “body” is laid on two layers of wool. The bottom layer is a fairly scratchy wool shawl that I found in my local thrift store while searching for a wool blanket or yard goods made of “an inferior grade” of wool. Although the design and manufacture of the shawl are modern, mo dern, it is appropriate that a woman of modest means would be laid to rest on older clothing or household items. The top layer is my Gallic mantle with fringed ends, which is m ade from hand-woven blue twill wool fabric woven by Hon. Lord Lars Knarrarsmidr. The fringed ends mimic the white wool textile mentioned in the grave of the little girl, and again, it seems appropriate that a young woman might be laid to rest with her best mantle.
96 THE BASKET TRAY: On page 306-7 of “. Les Tombes Gallo-Romaines a inhumation des Martres-de-Veyre (Puy-de-Dome)” Audollent discusses the baskets found in the tombs, and the basket tray from Tomb D specifically: “Two very interesting pieces, but of very unequ al conservation, represent the work of the basket maker: they are two round baskets. Mr. Col recognized willow, without being able to de termine specifically the species of the genus salix the y belong to. He insists that he remarkable preservation of the tissues is doubtless due to the tannins which abound in the cord. “The first [from Tomb F] is badly damaged. Onl y the bottom and some fragments of the edges remain. On the whole it is somewhat mottled by b y deposits from a tattered, muddy cloth. Fruits, of which was shall soon speak, are deposited there. “Identical to the preceding one as to material and work, the second [basket] [b asket] is on the contrary almost intact. The flat part has the appearance of a while with tight rays against each other; The edge, around which runs a double twist, is still upright, formed by simple intertwined strands. The basket, of a remarkable lightness, weighs, empt y, on 58 grams. “Its diameter is 0 m 26; its height 0m 04. “It is a perfect specimen of an industry widel y diffused in Roman Gaul, and the armchairs of the kourotrophic goddesses, the statuettes in the white earth of the Allier, or the steles of the museum of Sens, for example, attest to the diffusion. The direct study of the fragments obtained, moreover, allowed Mr. Col to conclude that “these basket-made trays were of common use. For the presence of an outer zone, where the wooden vessels [branches?] themselves are crushed, indicates that the willow has been gathered after the vernal awakening of the vegetation, while the presence of fruits, such as grape, pear, or apple, indicates a burial at a different time of the year. They have not, therefore, prepared these baskets specially for them to place in the tombs which us; They were used in the regular production, which used willow stems harvested in all seasons. “Plate VII, #13. (Tomb D) [photo on the next page]”
97 . n s . i m 3 a y 3 r s a 9 g s e 2 r ’ d 9 8 t 1 1 8 t t n n e 4 n 5 n e i o k t l l i t s 2 i h o a d d a d e g d e e r i u m h b t s e e u l w a c v w A h i o o o . n b , l i u l c m i l A s p e à i c f r w y D ” s o ) 4 e n e . t 9 i n e a V t h 2 a m m e n g 3 o i o d m ô e e o D m R h g e - s r e r a - d e a , o r l p o l l t l m l a r a C c n a y o u G M f 6 g P o 2 3 s ( D f e r 1 e e A o i d e # r , b e s t y e I y m e t I o r g a u m t u l V V t l a o i s i s n e e e e v r D t a L d c e t e . l s h e D P “ d t e e t n r m b m l o m o c r i c l m o e o r t i o r a r S f k t F a M
o e t r r n e n e a i h y o t t e i t e o e e r c v e h a h m t t e a l r l t i , l d a e o , c r g d c i e i e y h l m t r e n t a c e u i d V n ? - f o b . i e o r ? t d e n a ? o - i v a n s t m B t e a o h e r l t g r t a i n w c e a r a s e o e l H p M e g . a t r n e t u h o h a p t s e y a s r e d D y e n f i n b l t h d t a m h a n g e o i d u d e z a h i o i f r e s T e n n b a y b e i p a h r e t d t o m t h n h o t v r e s e g u o g c k u f . u c a e s o o a t h y o t i f b d T r a n a e t r h l e e . t r e t g s m t a s f a u c e l t d a i n d ? k s m o e i o h n . a i V a ? b s g t
98 BLUE GLASS CARAFE:
Second century AD Gallo-Roman
Vintage hand-blown glass carafe
glass carafe from the village of
purchased on Etsy. Height ??.? cm,
Martres de Veyre located 24
diameter ?.? cm. Though the color,
kilometers outside of Claremont.
size, and shape are not identical to the
Discovered in 1893 in tomb D.
glass carafe found in Tomb D at
Inventory Z 210. Height 12.8 cm,
Martres-de-Veyre, they are similar
diameter 8.2 cm. 1st century AD
enough to be highly representative of
glass found in a 2nd century AD
the grave goods that accompanied the
context. From
young woman buried there into the
http://users.stlcc.edu/mfuller/clerm
afterlife.
ontmuseumglass.html
99
On page 299 of the same article, Audollent discusses the blue glass carafe: “Although none of informants mention it, I do not hesitate to add to the list a graceful light blue carafe, 0 m 12.5 cm high, and measuring 1 m 27 cm circumference at the paunch. Their silence is surprising in regard to a specimen so characteristic; it might lead one to believe that this piece was mistakenly inserted among the furniture of our tombs if it had not somehow left its authentic mark on another of the series. In the midst of a basket of wicker, which will be discussed below, there remains a rather thick deposit of round shap e, hollow with a regular furrow, like that produced by the foot of a vase; The foot of the carafe adapts exactly. Such a coincidence cannot be fortuitous, and we must admit that the two objects were together in the tomb of the young woman of Martres. Martres. This glass carafe is very light; The weight of the carafe is only 95 grams. Besides its delicate tint, it is still recommended by its very elegant curve; the belly, the neck and the orifice form a harmonious line; Only the handle is a little heav y in tis upper part, the two folds which have been added overload it without embellishing it. For what purpose was this receptacle deposited in the grave? It had to contain a liquid which evaporated without leaving any appreciable traces. Plate VII, #6. (Tomb D) [below]”
100
101 FRUITS & NUTS: On page 308-310 of “. Les Tombes Gallo-Romaines a inhumation des Martres-de-Veyre (Puy-deDome)” Audollent discusses the fruits and nuts found in the tombs: “Many of the receptacles which have just been described, especially in the sepulcher of the little girl (Tomb F), contained an abundance of nuts and fruits…. “I cannot think of examining one by one all the fruits which pious hands had profusely poured into the vases and baskets. The enumeration would be fastidious, and useless besides. It will suffice to indicate rapidly the species represented. Some are recognizable at first glance; Others are less easy to identify. “In the first group [of burials], hazelnuts are extremely abundant. Those which have been extracted from the tomb of the little girl (Tomb F), it seems, still possessed their green envelopes [skins] in all their integrity. These skins have, for the most part, now disappeared; Those which remain have a more brown tint; As for the wood [shell], it is most often intact, rarely split. Some leaves, with their very characteristic veins, accompanied the fruits. “Two nuts were collected, one not opened with its shell intact, the other broken. “There is no shortage of grapes. They The y had to be deposited in clusters in this collection because several stems remain; but many of the fruit have separated, before the discovery of the sepulcher; or since, during the successive manipulations which these objects have undergone; They are not split in the middle of the other fruits. Their volume has b een reduced and their skins flattened, these grains nevertheless remain always recognizable. “The doubtful fruits are generally fleshy. In their number ar e certainly apples, perhaps also pears and quinces, but apples dominated, even if they had not been exclusively admitted.”
In my recreation of the grave good, I wanted to include the glass carafe and the basket tray, so it seemed se emed important to also include some fruit as was found on the extant basket tray. The difficulty was in finding a way to represent a tomb that has just been opened, which excludes fresh fruit, while not decorating the table and hall h all with the presence of old, putrefied fruits. I decided to use a combination of
102 hazelnuts in the shell, since they were found in large numbers in the other tombs, and old grapes (aka grape stems and raisins). The raisins are a reasonable substitution for 1800+ year-old grapes.
103 COIN IN A SCRAP OF WOOL: “The two women, according to Mr. Vimont, each had in their hands a coin of copper, folded in a small woolen rag, but very rough, one certainly from the first century, the second appeared to be an Antoninus [Antoninus Pius – a coin issued between 138 – 161 CE].”
(Audollent. Les Tombes Gallo-Romaines a inhumation des Martres-de-Veyre (Puy-de-Dome). P. 286.)
Unfortunately, no coins appear to have hav e been retained by the Clermont Museum in association with these tombs, nor does anyone appear to have recorded which coin was found in which tomb. Nor was the nature of the first century coin recorded. Purch asing a real Antoninus Pius for use as a display prop is beyond my price range, and I was unable to find any affordable replica coins from the right era. I decided to use one of the first coins I ever received in the SCA as a reasonable substitute. It’s a silver coin, rather than copper, but I believe that it is evocative of the original.
