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Women’s Head-coverings in North-Western Europe in the Viking Age Brígiða Vadesbana (Brenda Gerritsma) Feb 1, 2008 Master your semester with Scribd Read Free Foron 30this Days Sign up to vote title Contact:
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Table of Contents
Introduction.................................................... ............................................................................................................ .................................................................... ............ Head Coverings - Styles & Forms.................................................. .......................... ................................. ....... Veils and Scarves.................................................... ................................................................................................... ............................................... ....... Headbands.................................................... ............................................................................................................ ................................................................. ......... Caps................................................... ........................................................ ............................................................................. ..................... Hairnets................................................... ....................................................... ................................................................ ................ ....... Head Coverings – Cultural Traditions.................................................... ........................................................................ ........................... ....... Viking Dublin..................................................... .......................................................................................... ..................................... ........ ............... .............. ....... Anglo-Saxon..................................................... ................................................................................................ ........................................... ....... .............. ....... Kents........................................................ .......................................................................................................... .................................................. ........ ............... ............ ..... Scandinavians..................................................... ........................................................................................ ................................... ....... .............. ............... ........ Franks.................................................. ........................................................ ........................................................................... ................... Head Coverings – Fabrics & Dyes ............................................................ ........ ............... ............... ........ Wool.................................................... ............................................................................................................ ........................................................................... ................... Silk.................................................. ........................................................ .................................................................... ................... ....... Linen........................................................ .......................................................................................................... .................................................. ........ ............... ............ ..... Dyes.................................................. ..................................................... ............................................................ ............... ............... ....... Conclusion................................................. ..................................................... ............................................................ ............... ........ Bibliography................................................ ................................................. ....... .............. .............. .......
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Introduction Textiles in north-western Europe often suffer from soil conditions which are no t conducive to preservation, and this is particularly true of the more fragile fabrics commonly used in head-coverings. Improvements in technology and awareness within
the archaeological community have greatly expanded our knowledge and understanding
of costume history in recent decades, however. More and more finds of textiles fragment and impressions left in various contexts are being preserved and analysed and new analyses of old finds are showing us a much broader picture of Early Medieval textile traditions.
I present here an overview of female forms of headdress in Ireland, Britain, Scandinavia
and western continental Europe in the Viking Age and the historical traditions they come
from, organized both by style of headwear and by culture. Included is some information
about the textiles themselves, headdress construction where available to me, and the dye which were used to colour them. Sadly I was unable to include eastern European
traditions in this paper, due to a lack of sources currently available to me. Hopefully they
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There is evidence of short narrow narrow veils or scarves being worn worn in Dublin. A length of sil dyed purple with lichen, and measuring a minimum of 870 mm long and 240 mm wide was found.2 The piece still has both selvedges, indicating the fabric was woven to that width. The ends are hemmed h emmed so it is difficult to determine if it was cut from a longer piece or not.
The veil is not wide enough to cover the back of the head, and may have been secured with a band or pinned to a cap, band or plait of hair, as it is too short to drape over the head and wrap securely around the neck. The piece is broken however, and may have been longer. If 870 mm were approximately approximately the original length, the veil would hang to slightly below the shoulders when worn centred on the head.
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madder. Draped over the head they would have been open at the the back and likely would
have had to be worn secured either with a headband of some sort, or pinned to the hair o
a hat. 3 The lightness of this cloth makes it unlikely that it co uld have been used for muc else but head-coverings, as it would not tolerate much stress. stress.4
The wool fabrics were all of good goo d quality, long staple fleeces, combed and Z-spun firml The average thread had a diameter of 0.2 mm, and fairly high thread count at 16 warp
ends per cm, and 13 weft threads. The tabby weave was open with visible space between threads and was not fulled. This fabric is not seen elsewhere in Europe, though some gauze-like fabric was found at Haithabu (Denmark), some of which might have been
wool, similarly woven with with a slightly lower lower thread count. No information is available o thread diameter, so it is difficult to determine if the fabric was as light as the Dublin pieces. 5
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than the wool at 0.09-0.14 mm, and have a higher thread count, particularly in the warp, at 30-40 threads per cm, and 16-26 in the weft. 6
Other silk pieces have Z-spun warp ranging from 0.05 to 0.13 mm in diameter, and
untwisted weft of 0.45 to 1.0 mm. These are a denser cloth but still still too light to to have bee suitable for garments other than headwear. They have a thread count of 17-27 per cm in the warp and 26-33 in the weft. There are also fragments of a type of silk silk cloth with untwisted threads ranging from 0.11-0.12 mm in the warp and 0.45-0.5 mm in the weft,
but not much else is able to be determined from them. These silk fabrics are well known in other parts of Europe, and have been found all over England and Scandinavia. 7
Among Anglo-Saxons veils are more securely securely assigned a place. It is relatively relatively common to find lightweight linen tabby woven cloth c loth (preserved or cloth impressions) lying in front of brooches worn on the shoulders and chest of buried individuals. These fabrics range from gauzy to close-woven but bu t are generally of finer fabrics than those found on other parts of the body. The fabrics appear to lie in loose folds, or, in the case of the denser fabrics, in gathers and pleats, sometimes sewn in place.8
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complaint against nuns by Saint Aldhelm mentions veils held in place with ‘ribbons’ sewn to them. 10
Master your semester with Scribd Read Free Foron 30this Days Sign up to vote title closed rings, annular brooches, and metal clips shaped staples begin & The NewSmall York Times Useful like Not useful modern Early to Mid-Saxon Veil with attached band
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Special offer for students: Only $4.99/month. appearing near the ears in graves at this time. The rings have sometimes been interprete interprete
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may indicate a specific change in status of a female at this age, most likely marriage. This is in contrast to when the peplos dresses generally began being worn; the approximate age at which a female is capable of bearing a child. The fabrics interpreted as veils are also not found on women under the age of 16. 13
In the 5th and early 6th century short white white linen veils were worn. Gauzy black veils and
at least one red one are found in in Yorkshire. These veils hung around only the shoulders
and upper chest, with the longest veil found only reaching to just above the elbows. elbows.14 Th is evident from the fact that metal artefacts a rtefacts worn lower on the body preserve other materials, but the veil material is only preserved around the head and shoulders.
These began lengthening in the 6th and 7th centuries and a wider range of fabrics began
being used. Veils are found to the hips and even the thighs, and the pleats seen in some o the heavier early veils had become tight, close pleats. Coloured veils seem more
common, and according to literary evidence, may even have been so long as to fall to th
ankles.15 Veils also become more common among girls in the 7th century, probably due t the influence of Christian morality. 16
Master your semester with Scribd Read Free Foron 30this Days Sign up to vote title the 7 century veils appear to have become a medium for displaying status and & The NewByYork Times Useful Not useful th
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Special offer for students: Only $4.99/month. fashion sense, with veil options including plain, o r ornamented with patterned braid (and
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and in Byzantine art Mary is often depicted wearing a black veil over a white coif, whereas secular, court ladies are more often portrayed in white or patterned veils. 18
In the 10th and 11th centuries most art depicts women wearing voluminous veils, covering the head and neck and hiding the hair. This appears to have been worn by all women except very young girls. One possible variation of this head covering is a large rectangular veil, draped loosely about the head and pinned at one end to the head on the
opposite side. This is not a practical practical style for physical physical labour, and may be more commo commo among the upper classes that dominate in in artistic depictions. Another possibility for a
closer fitting veil is a rectangle or oval with a hole cut out near one long edge for the fac to emerge from. Or the veil may be worn tucked into the neck of the gown underneath rather than loose about the shoulders.19 Most of these veils are depicted as being unornamented though there are a few which may have been pattern-woven silk.20
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Pins are never shown in depictions, depictions, but are common finds. They are usually small, small, round-headed pins, which could have been discreetly used to hold the veil in place.21
Early in the period, the fashions in Kent were a bit different than other parts of England, due most likely to being settled by the Jutes and Frisians rather than the Angles or Saxons. In the 6th century Jutish fashions were replaced with Merovingian. 22
Kentish women almost certainly wore veils. Veils were fashionable among Merovingian women, likely an import from Byzantine styles. One veil falling to the hip appears to
have been made from brocaded fabric. The ground fabric has disappeared, so it’s unclea what the veil was made of. These veils likely framed the face more closely than the
Continental fashion, however, as there is evidence that brooches were used to fasten the
under the chin, and Kentish women were generally not found to be wearing the elaborat earrings popular in the Frankish courts.23
Many veils found in Kent edged with gold thread are from this period. While some of th gold-brocaded bands have been interpreted as headbands, and the location of some of
thesesemester bands support this, some Scribd of the bands also appear to fall alongside the face and are Master your with Read Free Foron 30this Days Sign up to vote title possibly veil edgings. & The Newquite York Times Useful Not useful 24
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Among the Frankish courts, elaborate elaborate and lengthy veils were fashionable. The burial at
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The evidence for veils in Scandinavia is a bit scarcer, at least in the archaeological record. At Birka, several metal-brocaded bands have been found with fragments of silk cloth preserved beneath them, suggesting the possibility that the bands had been worn
over a veil or a cap. Gauze-like cloth has been found at Danish Haithabu (Hedeby) datin
to the 9th century, it may be wool and the open-weave of the cloth is similar to what was found in Dublin, dating from the 10th and 11th century. Some more closely woven wool fabric at Kaupang in Norway may also be related.27 The Oseberg Queen is also said to
have been found with evidence of a veil, possibly soumak woven, however I have as yet not been able to access the recent research released on the textiles found in the Oseberg burial.
There is a 10th century burial at Horning in Denmark, where fragments of a loosely woven tabby cloth, dyed blue, have been identified as a veil with a tablet woven edging
falling on both sides to the knees. This burial of a high-ranking lady is b elieved to reflec Frankish fashion, which seemed to be popular among the elite in Denmark at the time.
The only artistic depiction I have seen record of is the Lewis chessmen, which were
Master your Scribd foundsemester in Scotland, butwith appear Norse in style. The Queens in in theFor set30 areDays depictedwearin Read Free Sign up to vote on this title veils under their crowns. & The Newshort York Times Useful Not useful 29
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Shorter pieces in wool and silk silk measure approximately 380 mm as well. At least two of
the wool bands appearing to be a complete loom-pieces, as warp loops are present at one
end of one, with the other hemmed, and the other piece appears to have the fringes tucke
into hems at both ends. It is impossible to tell if the silks are also loom-pieces as the end are still stitched down. One of the silk bands was found with a knot of flossy silk yarn, and the ends of the band were drawn in as though the yarn may have been sewn to the ends to allow the band to be tied tied around the head. One of the wool bands also shows signs of similar bunching at one end. 31
Thin gold bands with Scandinavian associations, perforated at the ends to allow for a tie to be threaded through have also been found in Dublin. Dublin. These may have been used to hold scarves and veils in place, as could gold and silver brocaded tablet woven bands found in Dublin. Such bands have a long history in Europe of being worn with with or
without other head-coverings. The undecorated wool and silk bands of loom woven clot may be a lower status version of these tablet woven bands. 32
Master your with Theresemester are few depictions in art Scribd of Anglo-Saxon women wearing headbands but written Read Free For 30this Days Sign up to vote on title indicate they were a typical garment of married so Not much so that a form & The Newsources York Times Useful useful women, Cancel anytime.
Special offer for students: Only $4.99/month. of sign language developed for use by monks who had vowed silence indicated a
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possibly on the ends of longer ties, with the hair and veil covering the undecorated parts,
though the largest example had brocading on 250 to 340 mm, which would stretch from temple to temple or even from behind one ear to behind the other. 35
Master your semester with Scribd Read Free Foron 30this Days Sign up to vote title is oneTimes illustration (showing the daughters of Ruel) that shows theuseful band being wor & The NewThere York Useful Not Metal-brocaded Head-band common across Northern Europe
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Special offer for students: Only $4.99/month. over veils, and another illustration of Emma, King Cnut’s wife wearing a stiffened band
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separates from the veil. 37 These bands would have been rich items, as they were one of the most commonly bequeathed garment in women’s wills. 38
In Kent these headbands commonly were gold brocaded. At least ten burials have gold
strips on or near the head. There are several other burials that also contain the same type
of gold strips used for brocading, but the position of the strips was not recorded, and it is
therefore impossible to say for certain they were also also headbands. These headbands were probably tablet woven and likely of silk, as the Continental examples of these types of
headbands were. The gold brocading was made of gold foil cut into narrow strips, which were brocaded into the bands, then flattened and burnished to look like a solid gold
pattern. If brocaded onto red silk they they would have looked remarkably similar similar to the gold
and gilded jewellery inlaid with garnets or red glass that was being imported from amon the Franks. 39
The Kentish bands were probably derived from the fashions of the Franks, among whom some of the earliest examples of these bands appeared (5th and early 6th century), where vitta. They were popular in the later 6th and 7th centuries. A they were referred to as vitta.
Master your semester with Scribd gold particularly elaborate example comes from a grave inRead Cologne Cathedral, with the Free Foron 30this Days Sign up to vote title brocaded a soumak weave, and a gold and garnet ornament the brow. The band & The New YorkinTimes useful Useful setonNot Cancel anytime.
Special offer for students: Only $4.99/month. were so notable, they appear frequently in Frankish literature. literature. They seem to be especial
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woven bands. Silver is more common than gold in Scandinavia, both in the relative numbers of gold and silver brocaded bands worn in Scandinavian, and in comparison to other areas of Northern Europe.41
Some of the bands have fragments of silk lying under them, suggesting the band was
worn with a cap or veil (there’s evidence of stitching some of the fragments). Viking Ar however often depicts women bareheaded, with their hair knotted, and sometimes confined with a headband to keep it in place.
42
This is shown on the Oseberg cart and
the Kinsta figure, both of which appear to have a band, not across the forehead, but running along the hairline. In some graves it would appear it could also have been worn only around the back of the head. 43
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fillet is not what is meant here. 44 It may be similar to the short, narrow scarves found in Dublin.
Caps Several wool and silk caps have been found in Dublin, the most common form being about 160 mm wide and 480 mm long (unfolded). The front edge is usually rolled, or
folded and sewn; the bottom edge double folded and hemmed (average fold 5 mm/5 mm
on the wool caps, and 2-3 mm in the silk caps); and the back over-sewn with the selvedg edge turned in 2-25 mm. A curved line of running stitch stitch shaped the peak of the hat to
skull, and the peak is left revealed. The over-sewing on the back often was not continued past the beginning of the curved line of stitching, and in some cases the back was not
stitched together at all, the back edges being rolled and stitched like the front. Ties were sewn to the front bottom corners of the cap. None have been found still attached, but si
ribbons and braids have been found, which may have been used for ties, and the fronts o the caps show signs of stress consistent with having been pulled by ties. 45
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It is unclear whether the wool caps were loom-pieces as the bottom edged are hemmed, but most had selvedges on both sides so were woven to the finished width, likely specifically for making caps with. The width is slightly narrower than that o f the wool
scarves. 46 The silk caps have only one selvedge or none extant, suggesting these were cu down from wider cloth to match the parameters of the wool caps. 47
The sewing on the wool caps was on average 2-4 stitches per cm and about 1-4 mm long
on the silk it was 3-6 stitches per cm and 1-2 mm long per stitch. In most cases the fibre
used to stitch the cap was the same as the cap was made of. The wool sewing thread was Z-spun and S-plied with two strands, and around 1 mm in diameter. The colours ranged from reddish-brown to black, with black predominant. The silk sewing thread was used both single and double strands (S-plied) with diameters ranging from 0.4-1 mm and appeared golden to dark d ark brown in colour (these colours may be the result of the soil in which they were found). All extant beginnings of a line of stitching had knots to secure the end, with no instances of taking several stitches in place as later became common.
The variations in technique and skill suggest that the pieces were made on an individual basis as needed or wanted, rather than being commercially produced by b y a specialist. 48
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Special offer for students: Only $4.99/month. that the caps may have been in general use in the community. It is not completely certain
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Several show signs of repair; darning, patches, and ties replaced. One cap has a patch sewn on the inside over one ear. This is an odd position, position, as it has left a hole visible on
the outside. Possibly this hole hole was created after the patch patch had been applied, and the patc had been intended to reinforce a thin area that had not worn through yet. Or perhaps it was worn only as a nightcap or under another covering so comfort on the ear was more
important than appearance. 50 These sometimes extensive repairs suggest that these caps
had a complex and a nd lengthy pattern of use, possibly as status symbols worn alone or with a fillet when first made, and gradually being be ing put to more general use as a s they became worn, or handed down to younger family members, servants, or such. 51
There are no extant caps or hairnets found among the Anglo-Saxons, however, some kin
of coif does seem likely. Coifs and caps of various sorts have a long history in Northern
Europe and both the veil of the nun’s habit (with its roots in early medieval dress) and th
Moslem veil are typically worn with a cap and/or headband to hold the hair securely and provide a base for the veil. 52
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hæt (hat), cuffie (loose The Anglo-Saxon language has h as three terms for kinds of hats, hæt (hat), fitting hood or scarf) and scyfel and scyfel (hat (hat or cap with some form of projection). 53 A cuffie is related to the modern word coif, but could also be related to the word cufle, cufle, a monk’s
cowl, suggesting the cuffie was shaped more like a hood. There is also the possibility of
some kind of round hat, perhaps in a pillbox style. The 6th century pot lid from Spong Hi
is often interpreted as piled up hair, but may be hair confined in a pillbox style hat. Som Frankish and Germanic art from the 9th and 11th centuries also depict such a hat, 54 and one has been found in the Merovingian or Carolingian level at Raskwerd, the Netherlands. 55 Such hats appear in the archaeological record in Greenland as well,
though they are dated past the scope of this paper. 56 A further possibility is some form o hat with a projection of some sort that shades the face, which may be what is meant by Scyfel is a cognate of the Icelandic skupla skypill , which refers to a the scyfel the scyfel . Scyfel is Icelandic skupla or skypill
women’s hood, which hides or shades her face. Such a hat is depicted in the 11th century English Harley Psalter. 57
Caps similar to the Dublin caps were found in York, London and Lincoln, Birka
(Sweden), and Maskuwith (Finland). The closest comparable o nes are the ones at York Y ork (in th Master your semester Scribd Read Free Foron 30this Days Sign up to vote title to century layer at Coppergate) and Lincoln, all of which are silk of similar weaves & The New10 York Times Useful Not useful th
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the Dublin silk caps, and like like them, had one selvedge edge and one cut one. The basic Special offer for students: Only $4.99/month. pattern, including the curved line shaping the peak to the head was present, though at
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Jorvik Cap (in linen, with headband)
At Birka, the evidence is less firm. A silk fragment with with evidence of stitching, is
described as a small cap by Agnes Geiger, which she suggests was worn on the back of
the head, and secured with a metal-brocaded band, the silver strips of which preserved th
fragment. A headdress found at Masku is is similar in shape and dimensions as the Dublin
Master your Scribd caps,semester but is made of a with thicker wool twill fabric, whichRead would stood up Free Foron 30this Days Sign up tohave vote titlearound the & The NewheadYork Times Not usefulof Kiev in in a stiffer fashion. A fresco in Kiev shows the daughters King Useful ofthe Special offer for students: Only $4.99/month.
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what appear to be close-fitting caps, though they appear more generously constructed
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A late 10th century statue from Germany shows Mary wearing what is possibly a closefitting cap, or a small wrapped headdress head dress with a cloak closed by an elaborate eagle brooch. This gives credence to the idea that people who wear elaborate jewellery would
not likely wear garments that habitually covered them up. 61 Roman sculptures from a fe
centuries earlier also show Germanic women wearing ca ps or hairnets, at least in indoor settings.
62
Sculptures in Rhineland show women with drawstring caps over bundled hai
63
Pillbox style hats also appear in Frankish and Germanic art. The 11th century Paris Psalter shows a woman in a round hat, carrying a scarf or veil, and 9th century Carolingian illumination shows a cloth wrapped round a similar hat. In archaeological
finds there was a pillbox hat found in the Netherlands in the Merovingian or Carolingian levels. 64
Hairnets Hairnets are very fragile in nature and few survive in the archaeological record. Seven knotted silk hairnets were found in Dublin, and one piece of sprang. 65 There is no
Master your semester with Scribd evidence Anglo-Saxon women wore sprang, though itRead wasupFree known Forin 30Britain Days Sign to vote on this title in the & The NewBronze York Times Not useful Useful Age. No sprang pieces or other types of hairnets ha ve survived in England in 66
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though the soils are poor for textile preservation and very little textile
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Head Coverings – Cultural Traditions Traditions Viking Dublin Our knowledge of headwear in Viking controlled Dublin is primarily from the 10th and 11th centuries. Very little is known about dress in other parts parts of Ireland at the time. The women of Dublin do not appear to have worn worn veils commonly. This is not unusual, as veils known to be worn in other cultures during this period were generally relatively voluminous, and impractical for working in. Dublin was a trade town and the areas in which the Dublin caps and an d scarves were found were primarily populated by artisans,
rarely than the wealthy elite, who might have had the leisure to wear impractical clothin Also, the caps and scarves were found in settlement areas, discarded, rather than buried graves, where people were commonly buried in their finest.
Art in Ireland at this time shows women with their hair either dress to shoulder length, o wearing short veils or caps. It is unclear if this was a native fashion or Scandinavian influence, though the presence of similar caps in Viking controlled York and Lincoln suggests the latter.
Master your semester with Scribd Read Free Foron 30this Days Sign up to vote title & The NewScarves York andTimes veils were narrow and short, only about 240Useful mm wide, anduseful about 600 mm Not Special offer for students: Only $4.99/month.
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long. They were woven to size, with selvedges on both sides, and a nd warp ends, sometimes
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certain that they woven to length as well, though it seems plausible. They were also shorter than the scarves, at 480 mm unfolded.
A typical cap had a rolled, or folded and sewn, front edge (front edges with cord whip-
stitched on are also present). Doubled folds of 5-20 mm were hemmed along the bottom
edge with ties sewn to the front bottom corner. The backs of the caps could be hemmed, but otherwise left unstitched, or more commonly, over-sewn with the selvedge edge turned in 2-25 mm, often continuing continuing only to where the peak was shaped. shaped. A line of
running stitch curved across the peak of the hat, shaping it to the skull, with the peak lef standing. No ties have been found still attached to the caps, but silk braids and ribbons have been found in context with the caps, which may have been used. There is no sign embroidery or decorative stitching was used on the caps.
Narrow bands of silk and wool were also utilized, sometimes knotted together from mor
than one short length. These were loom-woven bands and some of the shorter pieces ma have had some kind of ties sewn to them to secure them behind the head. These bands could be a lower status version of the metal-brocaded silk tablet bands found in Dublin
Master your semester Scribd in the and across Britain andwith the Continent. Solid narrow metal bands with30a Days perforation Read Free For Sign up to vote on this title whichTimes could have been threaded with ties, ties, havealso been found. These would hav & The Newends, York Useful Not useful Special offer for students: Only $4.99/month. been very high status symbols.
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The archaeological record shows many extending e xtending to the hip or thigh, but literary eviden points to the fact that some hung as far as the ankles.
While bleached white linen was typical early on, and continued in use u se into the Viking
Age, a much wider range of fabrics and styles had appeared. Veils were often plain but could be ornamented with costly braid braid and possibly beads. Most common were tablet woven borders, possibly only on the front edge. Some of these borders were only sewn on the veil across the forehead, forehead, and then detached to form ties to to secure the veil. The
point of detachment was sometimes reinforced with brooches, rings, or staple-like metal clips. Veils could also be pleated and/or worn with or without a coif or a headband (which was usually worn underneath, but could occasionally be worn over top of the veil).
Veils appear to have been the exclusive province of married women in the early period,
but by the Viking Age, all a ll but the youngest of girls would have been wearing some form
of head covering. By the 10th and 11th century these head coverings would cover the head
and neck and conceal the hair completely, but in the earlier Viking age, literary evidence
Master your semester with suggests hair was often visible Scribd at the forehead and temples. The For later30veils were also Read Free Days Sign up to vote on this title unornamented for the most part, though a few seem to be silk. & The Newdepicted Yorkas Times Useful Notpatterned useful Special offer for students: Only $4.99/month.
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Headbands were a typical feature of Anglo-Saxon women’s headwear. While the most o the finds are of metal-brocaded tablet woven bands, this would have been an expensive item, and fibre-brocaded tablet bands, or non-brocaded patterned or plain bands would probably have been worn wo rn on a day-to-day basis and by lower classes.
The bands often appear to be brocaded only on the front, presumably because the veil an
hair would cover the rest. Some of the bands seem to have been quite long, and hang ou from under the veil at the the bottom. These tie ends appear to have been ornamented, at least some of the time, possibly with further brocading, embroidery or even jewelled. Solid metal bands have also been found.
Coifs have not been found in Anglo-Saxon England, though textile historians do conside them likely. They were common elsewhere in North-western North-western Europe during this period period and would provide a firm base for the veil, as well as holding the hair back. The Anglocuffie, which is Saxon language does have several words for types of hats, including a cuffie,
often translated to mean a loose fitting hood or scarf, which would fit the de scription of the nearby Dublin caps and scarves. Other possibilities for Anglo-Saxon hats include a
Master your semester with Scribd 11 pillbox style, as possibly depicted on the 6 century Spong Hill pot lid, and in the Read Free Foron 30this Days Sign up to vote title Harley Psalter. One possible reconstruction for of headdress & The Newcentury York Times Usefulthese Not useful how types th
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Special offer for students: $4.99/month. wouldOnly be worn is to tie the coif at the chin or nape of the neck, tie the wide band of cloth
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Veils were common among the women of Kent, and many were richly decorated with
gold braid borders and gold threads running running through the weave. One veil appears to hav
been brocaded all over with gold thread. They seem to have been worn close around the face, as pins have been found under the chin, and the elaborate earrings of the Frankish courts, from which Kentish fashion derived, do not appear.
Gold brocaded bands were quite common in Kent, sometimes as fillets, and sometimes a
veil borders. The gold strips, which formed the brocading, was smoothed and burnished to appear as though the designs were formed of solid pieces of gold. The bands
themselves were most likely silk, and if they were done in red, would have looked much like the garnet or red g glass lass enamelled gold jewellery that was then being imported into
Kent from the Frankish territories. Shortly into the Viking age, however, the differences between Kentish fashion and that of the rest of Anglo-Saxon England had mostly disappeared.
Scandinavians Master your semester with Scribd Read Free Foron 30this Days Sign up to vote title & The NewThere York Times Usefulin Not useful is little evidence for veils in the archaeological record in Scandinavia. Special offer for students: Only $4.99/month.
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Some silk
fragments have been found under a metal-brocaded band in Sweden, suggesting the
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Caps like those found in Dublin were also found in Viking settled York and Lincoln, and
in London. One of the York caps has the peak trimmed off, but otherwise the hats are, fo the most part, similar. similar. A fragment of stitched stitched cloth, found under a brocaded band at Birka, suggests this fashion existed in Scandinavia as well. Sprang hairnets were also known.
Franks The veils of Frankish women were often depicted as very similar in style to that of
Byzantine Empire, with whom the the Frankish kingdoms had close ties. ties. The veils were lon and elaborate, some of the finest found being of red silk satin, or having h aving gold threads worked in at the edges.
Brocaded tablet bands were common, and as a fashion likely also derived from Byzantin styles, though the technique of metal-brocading probably came from the Gallo-Romans.
Frankish gold-brocaded bands were especially elaborate, and included soumak-wrapped weave, and were so notable they often were mentioned in Frankish literature. They
Master your semester with Scribd appear to have been especially associated with brides,Read butup married women seemto have Free Foron 30this Days Sign to vote title & The Newcontinued Yorkwearing Times Useful Not useful them, at least on ceremonial occasions. Special offer for students: Only $4.99/month.
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The wool fabric found at Dublin has some similarities to fabric found elsewhere in northern Europe; the particularly fine tabby wools are pecu liar in the archaeological record to Dublin. It was all of light, open-weave tabby, averaging 16 warp threads per cm, and 13 weft threads and was not fulled. The threads were all Z-spun firmly, of long combed wool staple and the average diameter of the threads was 0.2 mm. The wider
fabric was between 140-180 mm wide where both selvedges are extant, and between 380
490 mm long. The bands were between 80-120 mm wide. 71 16 warp threads per cm was
also typical of the narrow bands, but while one band has a similar weft count to the wide
fabrics, the other has a weft count coun t of 17-21 threads per cm. Many of the fabrics appear to have been complete loom-pieces, woven specifically not just to width, but also length, scarves at least, having clear warp loops plied into tassels on several pieces. 72
A few of the Anglo-Saxon veils are of wool; they are described as semi-transparent netlike Z/Z spun tabbies of fine, smooth yarn. These weaves are found in England (6th-7th centuries), Germany (7th-8th centuries), and in the Viking Age, in Anglo-Scandinavian
York, Hiberno-Norse Dublin, Mammen (Denmark), and Haithabu (Sweden). The Viking Age weaves are a bit finer, but generally the same technically. technically. They were often dyed
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Special offer for students: $4.99/month. As theOnly tools for wool production from fleece to finished garment are present in all
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Introduction to Twel�h Century
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which indicates many pieces, would have been woven to size. All types seem to have reinforced selvedges with extra threads. These types of fabrics were well-known in Europe, with finds at York, Jelling, Mammen, Perth, Lund and London
The no twist/no twist silks were all small fragments, and are distorted, so the density of
the weave is difficult to to establish. The yarn diameters were 0.11-0.12 mm in one set, an 0.45-0.5 mm in the other.
The Z/Z tabby is the finest fabric, with a yarn diameter of 0.09-0.14 mm, and a thread
count of 16-26/cm (warp) x 12-15/cm 1 2-15/cm (weft), to 30-41/cm (warp) x 19-32/cm (weft). Th
weave is open and some of the pieces have a well-crimped yarn, which gives the fabric a crepe-like appearance, though the twist of the threads is light to to medium. There are traces of decorative fringes on several of the pieces. The one exception to the general parameters of the fabric is the largest silk scarf, which has thicker yarn and a denser weave than the others.
The Z/no twist silk is of a denser weave than the Z/Z tabbies. The yarn diameter of the the
Master your Scribd warpsemester is 0.05-0.13 mm,with while the weft ranges from 0.45-1.00 mm, a thread count of Read Free Forwith 30this Days Sign up to vote on title 24-27/cm to 28-33/cm-26-31/cm. This cloth is very similar to the silks used & The New17-20/cm YorkxTimes Not useful Useful Special offer for students: $4.99/month. for theOnly York, Lincoln and London caps. 74
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A few rare types of silks were also found. Silk taffeta was found at Birka, 77 and a satin weave was found at Arnegunde (the burial is dated 580-90 CE, before the Viking Age).
Silk cloth is less likely to be locally produced. While silk thread was being imported since at least the early 7th century for use in embroidery, there is no evidence of silk weaving in Europe at that time. 79
Linen Linen was a widely available cloth in the Viking Age, but because it does not survive well in archaeological settings, it is often more difficult to find evidence of. Its use for
veils in Anglo-Saxon England and on the Continent is known from impressions and som
fragments, 80 There were no pieces of linen from Dublin positively identified as parts of headdresses. This doesn’t mean it wasn’t wasn’t used, only that it it the soil conditions are not
conducive to its survival. It may have been used to make make the same sorts of headdresses, or even possibly a form currently unknown. 81
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No traces of dyes were found on the Dublin caps, though a few showed signs of the
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woad, and one had traces of madder. 83 Some of the pieces had a golden brown tint to them. This may be their natural colour, however, or colour leached in by the soil. 84
Dye analyses in Anglo-Saxon textiles indicates dyed cloth was a lot less common than
previously thought, and occurred with greater frequency in accessories such as veils and
scarves and in trimmings than in whole garments. Reds and purples tended to be confine to threads for embroidery, narrow bands and headdresses. Blues, greens, browns and yellows were a bit more common on larger pieces of clothing, and also used for accessories and trims; blue in particular. 85
The same is true in Scandinavia, where undyed clothes were the norm in day-to-day garments. Most undyed clothing came from naturally pigmented wools, which were rarely dyed, and natural or bleached linen. Dyed wools were predominantly predominantly white
originally. Blue is one of the commonest commonest colours mentioned in relation relation to clothing in th sagas. It is also the usual colour of a specific type of cloth called Birka-type, which is generally dyed a deep blue, as are the fine tabbies in high-status graves.
Master your within northern Scribd in woad Blue semester dye came from woad, nort hern Europe. While the Free chemical component Read Foron 30 Days Sign up to vote this title same Times in indigo, which produces more dyestuff, indigo tropical plant that does & The Newis the York Usefulis a Not useful Cancel anytime.
Special offer for students: Only in $4.99/month. not grow Europe and would have been impractical to import at that time, when woad
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Purple is most commonly commonly derived from lichen. Several lichens will produce produce this dye in various shades. It was particularly particularly favoured in in Dublin, 88 but rare in much of England, perhaps reflecting a scarcity of the types needed. 89
Yellow can come from a number of sources, one an unidentified plant labelled ‘Yellow X’ which is only known in Scandinavia. 90 Among the Anglo-Saxons weld and dyer’s greenweed were used. They give bright, fast yellows, and greenweed in particular was commonly used with woad to produce greens, hence its name. 91
Brown, aside from naturally pigmented wool, came from the tannins in walnut shells. Without a mordant, it gives a rich, reddish brown, 92 and over-dyed with woad, a deep blue-black. 93
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Conclusion A rather wide range of garments with which to cover, protect and dress the head were available to women in north-western Europe during the Viking Age. There was considerable overlap in styles between cultures, possibly due to increased amounts of
trade between them during this era, though it is still somewhat unclear in some cases how widespread certain styles were. Clearly however, headdress was a remarkably evocative and important part of a woman’s attire, displaying to her contemporaries her wealth and status, her tastes, her culture and her beliefs.
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Bibliography Crowfoot, Elisabeth, Sonia Chadwick Hawkes. 1967 “Early Anglo-Saxon Braids” Medieval Archaeology: Vol 11. Available at < http://ads.ahds.ac.uk/catalogue/adsdata/arch-7691/ahds/dissemination/pdf/vol11/11_042_086.pdf>, (last accessed 26 Dec, 2007) Crowfoot, Elisabeth, Frances Pritchard & Kay Staniland. Textiles and Clothing: 11501450. The Boydell Press, Woodbridge. 2001. Dawson, Timothy. “Propriety, Practicality and Pleasure: The Parameters of Women’s Dress in Byzantium, AD 1000-1200”, Byzantine Women: Varieties of Experience, AD 800-1200. ed. Lynda Garland. Ashgate Publishing, Ltd., Aldershot. 2006. Ewing, Thor. Viking Clothing. Tempus, Stroud. 2006. Heckett, Elizabeth Wincott. “Some silk and wool h ead-coverings from Viking Dublin: uses and origins – an enquiry”, Textiles in Northern Archaeology- NESAT III: Textile Symposium in York, 6-9 May 1987. ed. Penelope Walton and John-Peter Wild. Archetype Publications, London. 1990. Heckett, Elizabeth Wincott. Viking Age Headc overings from Dublin. Royal Irish Academy, Dublin. 2003.
Master your semester Scribd Knudsen, Lise Raeder.with “Brocaded Tablet-woven Bands: Same Appearance, Different Read Free Foron 30this Days Sign up to vote title Technique, Horning, Hvilehoj and Mammen”, Northern Archaeological & The NewWeaving York Times Not useful Useful Textiles – NESAT VII: Textile Symposium in Edinburgh, 5 -7 May 1999 1 999. ed. ed . Frances Fran ces th
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– NESAT VII: Textile Symposium in Edinburgh, 5th-7th May 1999 199 9. ed. Frances Fra nces Pritchard Pri tchard and John Peter Wild. Oxbow Books, Oxford. 2005. Walton-Rogers, Penelope. “The Anglo-Saxons and Vikings in Britain, AD 450-1050”, The Cambridge History of Western Textiles. ed. D. T. Jenkins. Cambridge University Press, Cambridge. 2003. Walton-Rogers, Penelope. Cloth and Clothing in Early Anglo-Saxon England. Council for British Archaeology, York. 2007.
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