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Cleaning your linens

Taking care of your beautiful household linens – Table cloths:

With the best will in the world,  stuff gets spilled, and some things are more difficult to remove than others.

For a general wash;

  • Treat any normal stains with an oxygen-based or colour safe bleach, following the directions regards pre-soaking etc. We advise not using chlorine bleach as this can damage the textile.
  • A hot wash with a regular detergent on the delicate cycle should wash clean the table cloth, and help to keep the fringe from getting tangled.
  • To minimize or avoid ironing, lay the table cloth out wet from the wash on a counter or table, smooth out the wrinkles, and then hang so it falls straight. Otherwise, a short tumble dry – again, this is to keep the fringe maintenance down to a minimum.
  • Once dry, fold carefully and store under other linens so that the folds will set as seen in period art.
  • Alternatively, you can iron the patterns in as desired with a hot iron and steam.

To remove candle wax

There are a number of ways to achieve this but our preferred method (and one used in period) is as follows;

  • simply scrape off the excess candle wax;
  • lay several sheets of CLEAN (non-waxed) paper underneath the candlewax spill and another sheet of paper on top of the area;
  • with the iron on a low heat, gently iron over the spot to allow the brown paper to draw out the oily residue left behind (yes, they did have irons, though it took considerably more technique and experience to use them);
  • IMPORTANT!! Keep the Iron moving so that you don’t burn the fabric!
  • Move the affected area onto fresh sections of the paper so that they can draw the oils more efficiently.

To aid with the removal of Red wine stains;

  • Mop as much as you can but do NOT rub at the red wine, it will just grind into the fibers;
  • If you can (depending on the state of the diners), dilute the stain with water ( or soda water) and mop with a clean towel;
  • Then (and this would have been an expensive fix in period), pour a generous amount of salt onto the freshly mopped red wine spill and allow it to dry;

Wash as usual, but before drying, check to see if the stain is still there, some stain may require stronger solutions to deal with any residual stain.

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What are the different weights of linen thread used for?

If you are new to sewing, then the different numbers in front of the linen thread can be confusing. What does it mean? What are they for? We wrote an article about how they compare to sewing machine threads here but that doesn’t really clear up the question of, but what should I use the different weights for? Below, we discuss what we use the different weights of linen thread for

90/2 – What we call “Extra Light”. This sewing thread is very fine and is good for delicate fabrics, like light weight linen, which aren’t going to have a lot of stress put on them. Napkins, veils and cuffs of shirts are where we would use this thread. It’s also good for lace work.

60/2 – What we call “Light” – Slightly heavier than the extra light, and good for construction seams on light linen – such as shirts, smocks and underwear.

35/2 – What we call “Medium” -This is our most common thread and used for constructions seams in linen and medium weight wools.

25/3 – Our “Heavy” thread. It’s what we use for construction seams of wool garments and other medium to heavy weight fabrics.

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Why is our horse shoe pendant upside down?

The modern superstition is that a horse shoe should be positioned such that the horse shoe looks like a U with the ends facing the sky. The superstition is that by tipping the horseshoe – the luck will run out of the shoe, making it unlucky and so the horseshoe is always kept upright.

But the medieval superstition in the late 14th and 15th century is that by having the horseshoe upside down, the luck pours out over the wearer- making the wearer lucky. So good luck tokens such as our reproduction pendant, are always worn so the luck pours out over the wearer.

Why not get a lucky charm of your own with the Keystone Forge horseshoe pendant which is dated 1375-1424 and based on an original found in The Netherlands.

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What do I need to start hand sewing?

Historical hand sewing requires a few different supplies to get started, which might not be easily available from your local sewing store.

That’s why we’ve curated our beginning hand sewing kit with everything you need to start handsewing the medieval way.

In the kit is, high-quality linen thread in the appropriate weight should be waxed with beeswax before use. This helps strengthen the thread and makes it smoother which makes for easier sewing as the thread glides more easily through the fabric. Linen thread, especially hand sewing linen threads, can have slubs and the beeswax helps that go through the fabric more easily as well.

Good quality needles are also worth having for long sessions of hand-sewing and the thimble drives the needle without hurting the fingers, a necessity for a long sewing session.

The tailors awl is for the common task of eyeleting and the snips are for snipping the thread.

The kit contains:

  1. Linen thread – 10m samples of Swedish Bockens Lingarn 35/2, 60/2 and 90/2 on wooden spools
  2. Good quality assorted sharp and crewel needles
  3. Pins
  4. Needle storage cloth
  5. Thimble
  6. Beeswax
  7. Thread Snips
  8. Modern tailors awl
  9. Cotton bag.

Buy your hand sewing kit here

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Extant Examples of Whistle spoons

Whistle spoon

Various examples of whistle spoons can be found, particularly in the netherlands

2 examples of whistle spoons – both have lost the stem/bowl of the find – which can be common in soil finds due to the more fragile nature of the stem in the Rotterdam museum. Both spoons are dated to the 1350- 1450 time period and are made of lead pewter

https://bodemvondsten.rotterdam.nl/objecten/?_object=fluitjeslepel

In this Article from the Dutch Tin Association, whistle spoons are talked about in detail, including a whistle spoon found whole, expected to be dated around 1280. It also have several fragments, including one of the two in the Rotterdam museum.

https://www.nederlandsetinvereniging.nl/wp-content/uploads/001-100/0031/031_Tinkoerier-2012-jrg-20-nr-1.pdf

16th Century English – Pewter

https://ryedaleauctioneers.com/catalogue/lot/6f2090b26541b596041968303f1605cd/9d11f60be671b513983083c71f4b193c/monthly-antiques-interiors-collectables-lot-670

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Oh No! I Burnt The Soup!

It’s a terrible feeling?when you realise that you looked away from your delicious pottage for just a second and now it’s burnt. It’s too late to start another pot, and people are depending on this for their meal. We’ve compiled the list of medieval sources about removing the burnt taste from the pottage here.

Continue reading Oh No! I Burnt The Soup!

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Amsterdam Ceramics : A City’s History and an Archaeological Ceramics Catalogue 1175-2011 – Review

Alex the Potter of Flaming Gargoyles says “It’s great!”

Amsterdam Ceramics provides a look at the ceramic finds in Amsterdam over the past 900 years. It’s organised by time period and each piece has a brief description of what the item is and the size. Each chapter has a brief intro with some other (non ceramic) archeological finds. (Iron handsaw! Finally we find someone who has the evidence!)

Buy The Book Now at The Book Depository, Free Delivery World Wide[tabs] [tab title=”Publishers Blurb”] Amsterdam Ceramics explores nine centuries of urban history and archaeological ceramics from the city of Amsterdam. A total of 1247 archaeological ceramic items are presented in a catalogue which is chronologically subdivided into nine chapters covering the period 1175-2011, and offers a representative selection of finds from over 200 excavation sites. In introductory chapters to each chronological period the finds are set alongside the changing topography of the city. [/tab] [/tabs]

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The Medieval Cook- Review

The Medieval Cook
Bridget Ann Henisch

This is not a cookbook. There are no redactions and no receipes.

There is an awful lot of in paragraph sourcing though, and that’s nice, rather than having the information paragraphed with a footnote directing to the original source.

This book is about cooks. How they were treated, their station in life, from the cooks attending to the richest nobles to the ordinary “cotttage” cook.

There’s some illustations detailing cooks in manuscripts but the illustrations are done in a much better way compared tosome books and aren’t a weak part of the book.

The good:
Well referenced with plenty of primary sources used.
Interesting word with a good informative tone without being too dry.

Reccomend for anyone interested in the social and historical context of cooks and food itself.

Not for anyone who just wants to cook medieval receipes with no context.

Buy The Book Now at The Book Depository, Free Delivery World Wide

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Images in the Margins – Review

Images in the Margins by Margot Mcilwain Nishimura

This is a cute little book about the marginalia often shown in medieval manuscript. It talks about th history of marginalia and how it started in the large capital letters of earlier manuscripts.

Images in the Margins does a good job of detailing which manuscript in particular the images come form so it’s possible to look up digital copies of the text later. There’s also brief history notes alongside the marginalia, talking about the importance of hunting for instance alongside hunting marginalia.

Marginalia often serve as a good insight into the mindsets of the people copying the manuscript. It also often gives us clues into the more common aspects which aren’t always depicted in other places, such as the image of the swimmers.

Buy The Book Now at The Book Depository, Free Delivery World Wide

[tabs] [tab title=”Publishers Blurb”] “Images in the Margins” is the third in the popular Medieval Imagination series of small, affordable books drawing on manuscript illumination in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme and provides an accessible, delightful introduction to the imagination of the medieval world. An astonishing mix of mundane, playful, absurd, and monstrous beings are found in the borders of English, French, and Italian manuscripts from the Gothic era. Unpredictable, topical, often irreverent, like the “New Yorker” cartoons of today, marginalia images drawn in the margins of manuscripts were a source of satire, serious social observation, and amusement for medieval readers. Through enlarged, full-color details and a lively narrative, this volume brings these intimately scaled, fascinating images to a wider audience. [/tab] [/tabs]