The Barge - February 2013

The BargeFebruary 2013

A.S. XLVII

The Newsletter of the Barony of Three Rivers

In this issue...Curia Baronis ��2A Letter from their Excellencies Three Rivers ��4A Letter from the Chronicler of Three Rivers ��511th Century Byzantine Clothing Construction ��611th Century Byzantine Clothing Construction ��711th Century Byzantine Clothing Construction ��811th Century Byzantine Clothing Construction ��911th Century Byzantine Clothing Construction ��1011th Century Byzantine Clothing Construction ��1111th Century Byzantine Clothing Construction ��1211th Century Byzantine Clothing Construction ��13February 2013 Calendar ��14March 2013 Calendar ��1511th Century Byzantine Clothing Construction ��1611th Century Byzantine Clothing - Tunica Pattern ��1711th Century Byzantine Clothing - Divetesion Pattern ��1811th Century Byzantine Clothing - Caftan Pattern ��1911th Century Byzantine Clothing - Chlamys Pattern ��2011th Century Byzantine Clothing - Bibliography ��2111th Century Byzantine Clothing - Bibliography ��22Tournament of Chieftains 2013: ��23Tournament of Chieftains 2013: Schedule ��24Weekly Activities ��25Weekly Activities ��26Weekly Activities ��27Event Distance Chart ��28

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Baron and Baroness Baron Josef von Rothenburg Baroness Slaine ni Chiarain David Haselbauer and Mary Haselbauer [email protected] / [email protected]

Seneschal

Gwendolyn Verch Morgaine

Gwendolyn Sweezey [email protected]

Chatelaine

Ariadne Karbonopsina Christine Misterka

[email protected]

Minister of Youth

*** OPEN *** Open Position

[email protected]

Gold Key

Svein Njalsson Duane Nelson

[email protected]

Demo Coordinator

*** OPEN *** Open Position

[email protected]

Herald Edward de Kent

James Daily [email protected]

Minister of Arts & Sciences

Judith of Three Rivers Judith Bailey

[email protected]

Baronial Librarian

Lucia Octavio da Siena

Starr Mahoney [email protected]

Curia Baronis

mailto:[email protected]










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This is the February 2013 issue of the The Barge, a publication of the Barony of Three Rivers of the Society for Creative Anachronism, Inc� (SCA, Inc�)� The Barge is available from Michael Kennedy (Julian Ó Néill) at [email protected] or at 135 Venice Circle, Saint Charles, Missouri, 63304� It is not a corporate publication of SCA, Inc�, and does not delineate SCA, Inc� policies�

Copyright © 2013 Society for Creative Anachronism, Inc� For information on reprinting photographs, articles, or artwork from this publication, please contact the Chronicler, who will assist you in contacting the original creator of the piece� Please respect the legal rights of our contributors�

Our feature story, “11th Century Byzantine Clothing Construction” is © 2013 Christine Misterka (Ariadne Karbonopsina)� All rights reserved and used with permission�

Administrivia:

This publication was made with Adobe InDesign CS 5�5 using Minion Pro, Old English Text MT, Trajan Pro, Lucidia Bright, and Black Chancery fonts� Calendar managed by Google Calendar� Calendar printing is produced through the Mac OS Calendar application�

Exchequer

Eowyth þa Siðend Tiffany Parrett

[email protected]

Knights Marshal Duncan Fearmac

MacLeod Gary Phillips

[email protected]

Archer Marshal *** TBA ***

To Be Announced [email protected]

Chronicler Julian Ó Néill Michael Kennedy

[email protected]

Webminister Aleksei Rusinovich

Kent Jordan [email protected]








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Unto the People of Three Rivers, from Josef and Slaine, Baron and Baroness,

Greetings!

It is February, and the Gathering of the Chieftains is near! Ladies Ariadne and Judith have been working hard over the past several months to arrange for a spectacular event of Byzantine proportions - literally� This high-persona event will have fighting, classes, inn, and feast based on 11th century Constantinople (not Istanbul)� If you do not know anything about the time and place, a number of people have added articles to the event website to show just about anything you would need for the day� If you do not have time to make a new tunic (note the pictures with dress very similar to tee-tunics), please come as you are SCA-wise� Constantinople was a very cosmopolitan place� We look forward to seeing you there�

Josef and Slaine

Baron and Baroness Three Rivers

A Letter from their Excellencies Three Rivers

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A Letter from the Chronicler of Three Rivers

Greetings unto the populace of Three Rivers,

After a several month hiatus, The Barge is back in publication� This edition focuses on the upcoming Tournament of the Chieftains event on Saturday, February 23rd� This event is expected to be a spectacular Byzantine themed event� Contrary to earlier rumors, you do NOT need a Byzantine persona or Byzantine garb to enjoy this event�

I have been continuing to make changes to make The Barge easier and more efficient to publish� The old manually generated calendar system has been replaced with an automatically generated calendar� There are several formatting differences in this month’s calendar due to this new set up�

If you have any questions, concerns, or articles for The Barge, please contact me at [email protected]� I will follow up as soon as possible� Thank you for supporting The Barge�

In service,

Julian Ó Néill



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11th Century Byzantine Clothing ConstructionBy Lady Ariadne Karbonopsina

(MKA Christine Misterka, [email protected]) © January 2013

In the Early Byzantine period (pre-8th c.) the fashions were still heavily influenced by Roman fashions, and during the Late Byzantine period (13th-15th c.) the styles in the Empire were influenced by the surrounding areas of the Empire due to increased trade and political relations. This handout will focus on the court fashion of the Byzantine Empire during the Middle Byzantine period (8th-12th c.). This period of Byzantine fashion history is unique in that the styles of the capital were distinctly Byzantine - a contrast to both the Early and Late periods. I will be focusing on the court dress of Constantinople because its style is most appropriate for this year’s Chieftains’ high persona theme of 11th c. Byzantine. To finish out the survey of 11th c. Byzantine fashion I will also be discussing the borderland fashions which were influenced by the surrounding Georgian, Armenian, Arab, and Bulgarian cultures. The purpose of this handout is to give a brief overview of what it was like to dress Byzantine during the 11th century, what the clothing pieces looked like, examples of fabric materials, designs, and colors, period images of clothing, and also cover the patterning of these garments so you can make your own Byzantine clothing! Unlike several other areas of historical clothing, there is still a lack of adequate information regarding Byzantine clothing. Some of what I present here on Byzantine clothing is based on conjecture using my limited knowledge of the surrounding areas’ clothing, such as Persian and Russian. Another important thing to note about Byzantine clothing research is the myriad of terms used to refer to the same articles of clothing. This is due to the use of Greek terms, or their Latinized alternatives. In order to reduce this confusion I have chosen to primarily use Jennifer Ball’s terminology, though I list some of the other terms you might see while researching.

Things to Know About Dressing Period Byzantine When looking at images of Byzantine clothing one of the first things you will notice is the modesty of its cut. Garments often have crew necklines and long hems, without a focus on flattering or exposing the body shape. You see an example of this in the above image of Saint Eudokia, with her straight garments and almost androgynous figure.1 During the Middle Byzantine period there is no defined waist in the clothing - this definition was achieved by belting the garments at the natural waist. The generous coverage of fabric also conveyed wealth. When dressing as a member of the court, it is important to remember that your extremities would never be exposed. For men and women, this means that long sleeves were always worn, at least for the innermost layer. This also meant that garments reached the floor as a sign of modesty, especially for women. For men wearing a shorter tunic to mid-shin, he most certainly would have covered his legs with pants or hosen.

1 Image 1: "Icon with Saint Eudokia." Early 10th c. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 42.

Lady Ariadne Karbonopsina © January 2013 | pg.1

11th Century Byzantine Clothing Construction

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Another important feature to remember is finishing your garment. This often helps the clothes hang correctly. For seams that do not show, a simple seam finishing is good. For seams that show, this is more appropriately done with a lining, especially if you have wide sleeves that hang open. A lining also provides more body to the garment to make it look stiffer, and thus more expensive, since heavy silk brocade is outside of most people’s budgets. It also serves as a means of protection for the back side of all your embellishment and beading. And finally, layers! Wearing multiple layers has some major benefits. First, it allows for better body temperature regulation since you can add or remove garments easily. Second, your less expensive fabrics absorb sweat and body oils, protecting your heavily embellished and more expensive top layers. Lastly, layers convey more wealth since they added to the overall weight of your wardrobe.

Fabrics During the Middle Byzantine period one’s salary was paid both “in kind” with materials such as bolts of fabric or new garments, as well as with money. As a result, you displayed your salary and status through your clothing and its weight. You wanted to wear as much of your wealth as possible, so multiple layers of heavily lavish fabric were worn. If you could not afford the silk brocades of the elite you would wear patterned fabric or apply embroidery and appliqued fabric to your garment to make it look more expensive. MaterialsWhen choosing fabric, silk was the first choice as it was the most obvious display of the Empire’s wealth, and your standing as an individual. These would be heavily patterned brocades with geometric patterns, figurative designs of animals or religious scenes, or floral and abstract designs influenced from the Arabic and Islamic fabric industries. Silk could also be in solid colors and of a fine weave. Although natural silk usually has some imperfections, there would not be the large slubs found in raw silk or dupioni. Linen and fine wool were also used during this time since they were less expensive materials. Fine linen is appropriate, as is fine suiting weight wool with a nice finish. The wool would not have been scratchy, rough, or coarsely woven. They could then be embellished to look more sumptuous like their more expensive silk cousins. Cotton was not as common during this period since Egypt was no longer part of the Empire and the cotton trade had thus declined. Embellishment was added with embroidery or appliqued fabric/embroidery. Trim on the neckline, cuffs, and hems was used to finish the look. Pearls and gems were used to embellish the body of the fabric. More was better during this time, thus it was not crucial that all of your precious gems matched throughout your garment. If you could not afford precious gems and pearls, glass ‘gems’ were also used to give the impression of expensive gems.



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ColorsThere were very few restrictions on the colors that could be worn in the Byzantine Empire. Imperial purple, its dye made from the sea crustacean murex, and gold were often reserved solely for the Imperial family. The Imperial purple was extremely precious and valuable because “approximately 12,000 shells were required to produce only 1.4 grams of pure dye, which would color the trim of the average garment.”2

Popular colors of the day were red, blue, green, and yellow, with all the other colors imaginable worn with less frequency. Evidence of clothing in red, ochre, yellow, orange, white, lavender, natural, tan, light and dark brown, gold, pink, maroon, light and dark blue, cobalt blue, slate blue, aqua, light and dark green, yellow-green, coral, purple, raspberry, rose, and black. Although they wore an array of colors, make sure that when choosing your fabric you select colors that are not too bright. Vegetable dyes give clear color, especially when dying silk, but they are not neon. Select colors that are in line with those worn in

the Near East, Middle East, and Central Asia because this is where some of the clothing and fabric was produced that the Byzantines wore. You see in the image to the left of the Sebastocrator Kalion and his consort, Dessislava that they wear a variety of colors, all of them highly saturated and akin to what many would associate as “Middle Eastern” in hew.3 DesignsA multitude of designs were available to the Byzantines. They were quite fond roundel designs and this is the most frequently seen design in the artwork and literature. Back-to-back animals, birds, and humans in roundels or squares were popular motifs.The image to the right is of the 12th century shroud of St. Potentien, displaying phoenixes and griffins in a variegated weft yarn and a single colored warp yarn.4 Consort Dessislava divetesion in Image 2 displays roundels as well, their scale adjusting so that they would all appear of the same size when viewed at a distance. We also notice roundels on her chlamys, emphasizing their popularity.

2 Jennifer L. Ball. Byzantine Dress: Representations of Secular Dress in Eighth- to Twelfth-Century Painting. (New York: Palgrave MacMillan, 2005). pg 15.3 Image 2: "The Sebastocrator Kaloian and his consort, Dessislava." 1259. The Resurrection."Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 189.4 Image 3: “Pseudo Kufic script in medallion on Byzantine shroud of Saint Potentien 12th century.” http://en.wikipedia.org/wiki/File:Pseudo_Kufic_script_in_medallion_on_Byzantine_shroud_of_Saint_Potentien_12th_century_rotated.jpg.



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Another popular geometric pattern was lozenges, lattices, diamonds, stripes, or argyle. The image below of Emperor Nikephoros III Botaneiates and Courtiers displays this wide use of geometric and repeating patterns, along with a range of design sizes.5 When selecting geometrically patterned clothing look for small- to medium-sized, repeat patterns with a historical flare that would fit the scale of a human body.

Although Byzantine fashion is often known for its use of geometric designs, non-geometric patterns were also popular due to their influence from the Near East and Middle East. Some of these patterns included vines, rosettes, and leaves. We see examples of vines in Image 2 on the Sebastocrator Kaloian’s divetesion. Despite the multitude of patterns available to the Byzantines, it is important to remember that paisley was not an option. Paisley is a late period Turkish style and only appropriate for clothing post-1500, which coincides with the fall of the Byzantine Empire in 1453. Woven in fabrics are the most desirable as these give a more period look; however, printed patterns are also permissible since these technique was also sometimes used in period.

Patterning with Modern FabricEntire garments could be woven on looms during this time, including the neckhole, leaving only the side seam left to sew. Because our modern technology generally offers us with only 45” (silk, cotton) or 60”

fabric (linen, wool), we much adjust how we pattern our Byzantine garments to account for the presence of seams somewhere in the sleeve - either at the armseye or by adding fabric in the forearm to make the sleeves long enough.

Garments in the 11th c. Byzantine Wardrobe TunicsKolobion - sleeveless tunicKondomanikion - short sleeved tunicChiton, himation, sticharion - all general words for tunicsSticharion - might have been a striped tunicTunica and stola - also seen in some research to refer to a tunic, either short or long sleeved

5 Image 4: "Emperor Nikephoros III Botaneiates and Courtiers." From the Homilies of John Chrysostom. ca. 1071-1081. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 208.



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In general we see long sleeved tunics whenever there is visible evidence of them. The sleeves were close fitting and went to the wrist. The neckline was crew or boat, and the color was opaque if worn as the only layer and white otherwise. It is assumed that the tunics were full length though thought this is hard to know for sure. We see a disappearance of the clavii and segmentae/roundels used in Early Byzantine period tunics. These were replaced by an addition of decorative bands at the neck, around the arms, and hem. The 1078-1081 image to the left of Emperor Nicephorous Botiniates between St. John Chrysostom and Archangel Michael show different hints of embellishment around the cuffs and hems.6 DivetesionThe divetesion is sometimes also called a dalmatica or colobium. It was a long sleeve garment with sleeves long enough to cover the wrists, other examples show them coming to mid-forearm. The sleeves were moderately-wide to wide. In the image below of the “Representation of the Icon of the Virgin Hodegetria,” we see examples of the mid-forearm and moderately wide sleeves.7 Later within the Middle Byzantine period we see the women’s sleeves become more bell shaped, emulating the Western European fashions.

The divetesion was full-length and there are generally no slits in the divetesion, though we see some rare examples of there being a slit in the men’s version, going up to the knee, like in Image 5 of Emperor Nicephorous Botiniates. The men’s divetesion was sometimes shorter to mid-shin, exposing the hem trim on the tunic. Women’s divetesions never had slits and were always floor length as a sign of modesty. Silk brocades were most common for this garment. The fabric could be heavily jeweled to further increase its splendor. Decorative bands at the neck, around the arms, and hem were use; a scroll-work pattern popular being quite popular. We see examples of this kind of trimwork in Image 5 on Emperor Nicephorous Botiniates’

6 Image 5: "The Emperor Nicephorus Botiniates (1078-81) between St John Chrysostom and the Archangel Michael." The Homilies of St John Chrysostom. Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 123.7 Image 6: "Representation of the Icon of the Virgin Hodegetria." Late 14th c. Kalavrezou, Ioli. Byzantine Women and Their World. (Cambridge: Harvard University Art Museums, 2003). pg 114.



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outfit. Image 6 illustrates a later style of armbands, which have become wider and more embellished. Purple and gold were reserved for the Imperial family. References are seen of courtiers wearing blue, red, and white divetesions. CaftanThe caftan was similar to the divetesion in that it was a full-length garment with long sleeves that could be narrow to moderately wide. Where it differed from the divetesion and array of tunic styles was that it opened down the front, either partially or completely. It was then fastened with closures, and could have slits on the sides to aid in horseback riding. Unlike the variations of tunics and divetesions, the caftan was not of Byzantine or Roman origin. Rather, it was influenced by the surrounding Armenian, Georgian, Bulgarian, and Arabic cultures. It is important to remember that caftan is often a broadly defined term to mean a tunic with a front opening. In Arabic fashions it is called a qaba. Above to the right we see a Byzantine example of a caftan in this “Portrait of the High Admiral Apocaucos,” characterized

by the use of stiff brocaded fabric with a roundel design.8 To the left is an example of a North African Arabic style caftan, with its straight construction to allow for better air flow.9 To the right is an example of the Middle Eastern/Syrian style, being more flowy and knee length.10

8 Image 7: "Portrait of the High Admiral Apocaucos." ca. 1342. Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 248.9 Image 8: "Dioskorides Presented with Copies of His Book." De materia medica by Dioskorides. 1229. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 430.10 Image 9: "Abu Zayd before a Judge in the City of Merv." Maqamat of al-Hariri. 1222-1223. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 429.



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ChlamysThe chlamys is a descendent of the earlier Roman styles, called the paludamentum. Similar to the Roman styling, the chlamys could be either a half circle or rectangular cloak. Knee-length versions were worn by soldiers and laborers, with full-length cloaks being worn for all other occasions, especially formal courtwear. To wear the chlamys it was fastened with a brooch on the right shoulder, though sometimes it was worn fastened in the center of the chest, like the courtiers in Image 4 with Emperor Nikephoros III Botaneiates. Insignia and a tablion often adorned the chlamys, signifying the wearer’s station and status. Below to the left Saints Prokopios, Demetrius and Nestor are each wearing a chlamys with different designed tablion.11 The Empress Saint Theophono, in the image to the left, displays a very different looking chlamys that lacks a tablion and is made out of a patterned fabric, rather than a solid-colored fabric.12

HeaddressRound, flat-topped hats without brimsConical caps of Phrygian styleTurbans - seen in the borderland fashionsLarge upright fan headdresses - worn only by womenMaphorion - veil worn by women

11 Image 10: "Saints Prokopios, Demetrius and Nestor." Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 131.12 Image 11: "The empress Saint Theophono, first wife of Leo VI." Menologium of Basil II. Treadgold, Warren. A History of the Byzantine State and Society. (Stanford: Stanford University Press, 1997). pg 465.



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The image below shows the “Dance of Miriam with the Israelite Women” and is an excellent example of the fan-shaped hats worn by women.13 It also depicts the variety of embellishment found in the headdress and clothing.

PantsLeggings/hosen - close fitting, sometimes cross-gartered by the shepherdsPants - looser style of Frankish origin, sometimes cross-gartered FootwearSlip on flat shoesAnkle bootsCalf-high boots for laborers and soldiers

13 Image 12: "The Dance of Miriam and the Israelite Women." 1058-1059. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 206.



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2819:00 Herald's Meeting

29 30 3118:00 Weekly Meeting

1 208:15 Clothier's Seminar (Gardner, KS / 276 mi)

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419:00 Officer's Meeting

5 6 718:00 Weekly Meeting19:00 Site Dinner

8 909:00 Heraldic, Scribal, and Dance Symposium (Kirksville, MO / TBA)

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11 1218:30 Gryphon's Mark Contact Group Meeting

13 1418:00 Weekly Meeting19:00 Middle Eastern Dance

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19 20 2118:00 Weekly Meeting19:00 European Dance

22 2308:00 Chieftains (LOCAL / Frontenac, MO)

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2619:00 Gryphon's Mark Pro-ject Meeting

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1 207:00 March Hare Affair (Independence, KS / 367 mi)

3… March Hare Affair (Inde-pendence, KS / 367 mi)




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12… Gulf Wars XXII (Lumber-ton, MS / 607 mi)18:30 Gryphon's Mark Contact Group Meeting

13… Gulf Wars XXII (Lumber-ton, MS / 607 mi)

14… Gulf Wars XXII (Lumber-ton, MS / 607 mi)18:00 Weekly Meeting19:00 Middle Eastern Dance




18… Gulf Wars XXII (Lumber-ton, MS / 607 mi)19:00 Officer's Meeting


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AccessoriesCodices, kerchiefs, whips, batonsBelts - jeweled, garments could be worn belted or unbelted In Image 12 of the Dance of Miriam we see wide, decorated belts worn at the natural waist, with one long end that hangs down. In Image 7 of the High Admiral we see a very narrow belt, which is also worn at the natural waist but does not have a long end that hangs down. Additional Garments Worn by the Imperial FamilyLoros (sometimes also called pallium) - long, highly embellished and bejewelled piece of fabricTzangia - highly embellished and bejewelled shoesCrown/stemma/diadem - characterized by pendulia, which were long strands that hung down in front of the ears and were usually made of pearls. The image to the right of “Christ Crowning Michael VII Doukas (relabeled Nikephoros III Botaneiates) and Maria of Alania” shows two styles of the loros as well as two styles of crowns.14

Building Your Outfit

Constantinople Borderlands

Under Layer Tunic Tunic

Middle Layer Divetesion 2nd Tunic (add ease), or Caftan

Top Layer Chlamys Caftan

Headdress Caps, fan hat, maphorion Turban

Footwear Slip on flats, ankle boots Slip on flats, ankle boots, shin boots

Accessories Codices, kerchiefs, whips, batons, Belt

14 Image 13: "Christ Crowning Michael VII Doukas (relabeled Nikephoros III Botaneiates) and Maria of Alania.” Illustration from the Homilies of John Chrysostom. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 182.


belt



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Tunica Pattern

Measurements DirectionsShoulder to Floor : 1.) Take all of the measurements - all of them are standard and Head Circumference : straightforward. To measure the stride take a full step forward on a Chest : measuring tape - this measurement equals half of your total hem.Waist : 2.) Chalk out all of your pattern pieces. You will have 2 bodyHips : panels and two sleeves. Do not forget to add seam allowance.Stride : 3.) Sew shoulder seams.

4.) Cut and finish neckhole using head circumference.Sleeve Length : 5.) Attach armseye end of sleeves to the body panels. This will Armseye : create a t-shaped flat garment.Duck Hand : 6.) Sew side seams and seams of sleeves, starting at the cuff.

7.) Finish all hems and seams.


11th Century Byzantine Clothing - Tunica Pattern

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Divetesion Pattern

Measurements DirectionsShoulder to Floor : 1.) Take all of the measurements - all of them are standard and Head Circumference : straightforward. To measure the stride take a full step forward on a Chest : measuring tape - this measurement equals half of your total hem.Waist : 2.) Chalk out all of your pattern pieces. You will have 2 bodyHips : panels and two sleeves. To determine your cuff measurement add Stride : (Duck Hand) + 2(Armpit to Waist) OR (Duck Hand) + 2(Armpit to

Top of Hip), depending on how wide you want your sleeves to be. Sleeve Length : Do not forget to add seam allowance.Armseye : 3.) Sew shoulder seams.Duck Hand : 4.) Cut and finish neckhole using head circumference.Armpit to Waist : 5.) Attach armseye end of sleeves to the body panels. This will Armpit to Top of Hip : create a t-shaped flat garment.

6.) Sew side seams and seams of sleeves, starting at the cuff.7.) Finish all hems and seams.


** It is helpful to line the divetesion since the underside and sleeves will be exposed.**


11th Century Byzantine Clothing - Divetesion Pattern

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Caftan Pattern

Measurements DirectionsShoulder to Floor : 1.) Take all of the measurements - all of them are standard and Head Circumference : straightforward. To measure the stride take a full step forward on a Chest : measuring tape - this measurement equals half of your total hem.Waist : 2.) Chalk out all of your pattern pieces. You will have 2 bodyHips : panels and two sleeves. To determine your cuff measurement use Stride : your armseye measurement - this will make a straight sleeve. Do

not forget to add seam allowance. Also remember to add extra Sleeve Length : seam allowance for the opening down the middle. Armseye : 3.) Sew shoulder seams.Duck Hand : 4.) Cut and finish neckhole using head circumference.

5.) Attach armseye end of sleeves to the body panels. This will create a t-shaped flat garment.6.) Sew side seams and seams of sleeves, starting at the cuff.7.) Finish all hems and seams.

** It is helpful to line the caftan since the underside and sleeves will be exposed.**


11th Century Byzantine Clothing - Caftan Pattern

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Chlamys Pattern

Measurements DirectionsShoulder to Floor : 1.) Take all of the measurements - all of them are standard and Width of Fabric : straightforward.

2.) Chalk out a half circle, using your Shoulder to Floor measurement or the Width of Fabric. If your fabric is narrower than your shoulder to floor you can add a trim of fabric to make up for the extra length. Do not forget to add seam allowance.3.) Cut out chlamys. 4.) Cut and finish neckhole using head circumference.7.) Finish all hems and seams.

** It is helpful to line the chlamys since the underside will be exposed.**


11th Century Byzantine Clothing - Chlamys Pattern

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Romanesque and Byzantine. http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/romanesque.htm. Sofya La Rus: 13th - 14th Century Medieval Russian Life. http://www.strangelove.net/~kieser/Russia/index.html. ImagesImage 1: "Icon with Saint Eudokia." Early 10th c. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 42. Image 2: "The Sebastocrator Kaloian and his consort, Dessislava." 1259. The Resurrection."Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 189. Image 3: “Pseudo Kufic script in medallion on Byzantine shroud of Saint Potentien 12th century.” http://en.wikipedia.org/wiki/File:Pseudo_Kufic_script_in_medallion_on_Byzantine_shroud_of_Saint_Potentien_12th_century_rotated.jpg. Image 4: "Emperor Nikephoros III Botaneiates and Courtiers." From the Homilies of John Chrysostom. ca. 1071-1081. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 208. Image 5: "The Emperor Nicephorus Botiniates (1078-81) between St John Chrysostom and the Archangel Michael." The Homilies of St John Chrysostom. Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 123. Image 6: "Representation of the Icon of the Virgin Hodegetria." Late 14th c. Kalavrezou, Ioli. Byzantine Women and Their World. (Cambridge: Harvard University Art Museums, 2003). pg 114. Image 7: "Portrait of the High Admiral Apocaucos." ca. 1342. Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 248. Image 8: "Dioskorides Presented with Copies of His Book." De materia medica by Dioskorides. 1229. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 430. Image 9: "Abu Zayd before a Judge in the City of Merv." Maqamat of al-Hariri. 1222-1223. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 429. Image 10: "Saints Prokopios, Demetrius and Nestor." Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). pg 131. Image 11: "The empress Saint Theophono, first wife of Leo VI." Menologium of Basil II. Treadgold, Warren. A History of the Byzantine State and Society. (Stanford: Stanford University Press, 1997). pg 465. Image 12: "The Dance of Miriam and the Israelite Women." 1058-1059. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 206. Image 13: "Christ Crowning Michael VII Doukas (relabeled Nikephoros III Botaneiates) and Maria of Alania. Illustration from the Homilies of John Chrysostom. Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). pg 182.


11th Century Byzantine Clothing - Bibliography

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Bibliography BooksBall, Jennifer L. Byzantine Dress: Representations of Secular Dress in Eighth- to Twelfth-Century Painting. (New York: Palgrave MacMillan, 2005). Boucher, Francois. 20,000 Years of Fashion: The History of Costume and Personal Adornment. (New York: Harry N. Abrams, Inc., 1965). Evans, Helen C. and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843 - 1261. (New York: Harry N. Abrams, Inc., 1997). Houston, Mary G. Ancient Greek, Roman and Byzantine Costume. (London: Adam & Charles Black, 1947). Kalavrezou, Ioli. Byzantine Women and Their World. (Cambridge: Harvard University Art Museums, 2003). Rice, David Talbot. Art of the Byzantine Era. (London: Thames and Hudson, Ltd, 1963). Treadgold, Warren. A History of the Byzantine State and Society. (Stanford: Stanford University Press, 1997). Articles----. "Byzantine Dress." http://en.wikipedia.org/wiki/Byzantine_dress. Bruhn, Jutta-Annette. Coins and Costume in Late Antiquity. (Washington D.C.: Dumbarton Oaks Research Library and Collection, 1993). Elphinstone, Megan (MKA Sharon Rust-Ryburn). "Early Byzantine Clothing, Ornamentation and Accessories: Eastern Roman Empire, 5th - 6th Century". (March 2006). http://www.srclink.net/users/Meghan_Elphinstone/MeghanByzantineClothing.pdf. Tauna, Black. “Basic Patterns.” http://blacktauna.tripod.com/patterns.GIF. Tauna, Black. “A Clothing How-To for Garments of the Byzantine Empire”. http://blacktauna.tripod.com/byzantineclothinginfo.html. Vukson-Van Beek, Dawn. "Byzantine Costumes". http://library.thinkquest.org/04oct/01181/Byzantine%20costume.pdf. WebsitesByzantine Times and Mosaics. http://library.thinkquest.org/04oct/01181/byzantium.htm. The Byzantine World. http://blacktauna.tripod.com/byzantine.html. Christobel and Peter's Homepage. http://members.ozemail.com.au/~chrisandpeter/index.html. Fashion Encyclopedia. http://www.fashionencyclopedia.com/fashion_costume_culture/Early-Cultures-The-Byzantine-Empire/index.html. Kingdom of Atlantia A&S Sources for Byzantine Clothing. http://moas.atlantia.sca.org/wsnlinks/index.php?action=displaycat&catid=330. Loose Threads: Yet Another Costuming Blog. http://cathyscostumeblog.blogspot.com/search/label/Byzantine.


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Site Fee:• $10 for Adults 16+ yrs�, $5 Non-member surcharge• $5 for Youth 11-15 yrs�• $3 for Children 6-10 yrs�• Free for Children 5 yrs� or younger• Feast: $10 Adults

There will be an Inn (lunch) and Feast (dinner)� Feast entertanment includes Persian dancing, brewing contest judging, hobby horse jousting, and period music�

More information is available at: https://sites.google.com/site/tournamentofchieftains2013/

Chieftains Class Listing“Trichinopoly” by HE Donald Andrew Macdonald•This will be a class on trichinopoly, also known as Viking wire weaving� In this 2-hour class you will make a bracelet that you can take home! First 6 attendees will have materials provided�“Middle Eastern Garb” by Mistress Mairghead de Chesholme•An overview of creating a Middle Eastern costume from extant garments and illuminations� We will discuss basic parts of layers and most used patterns from extant garb�“Persian Dance” by Mistress Rahil al-Sirhaan•This will be for any level of dancer�“Intermediate Middle Eastern Dance” by Mistress Rahil al-Sirhaan•This will be for anyone who has take at least three Middle Eastern Dance classes in the past�“The Taste of Medieval Food and Drink” by THL Michael de Safita •Ancient food was bland and tasteless, right? Medicinal drinks must have tasted awful? These questions can only be answered with a time machine OR experimental archaeology using Medieval recipes from the Middle East and Europe� Inscriptions on a pottery shard at Tell Tuneinir (Syria) sent Professor Fuller into the laboratory to recreate a “wine to cure the bad cough” and “wine to cure the blue disease�” Multi-chambered spice bowls and cooking pots from Tell Tuneinir pointed to time consuming experiments with exotic herbs and the elusive sauce called Murri� Yes, all test subjects survived and the results will be discussed�•Participation in the “taste” portion of the class is only for those 21+ years� Underage observants are allowed�“Byzantine Pottery, Glass, Lamps, Coins and Mosaics” by THL Michael de Safita•Excavations in the area of the Byzantine Empire produce a relatively homogeneous material culture in terms of pottery, glass, lamps, coins and mosaics� Examples will be examined and discussed from the excavations at Abila (Jordan), Pella (Jordan), Petra (Jordan) and Caesarea (Israel)� Handout will cost $2�00“Byzantine Clothing Decoration” by THL Fiondel Songspinner•A discussion of, and pictures, of styles, themes and stitches used in the creation of the clavii and roundels in Byzantine clothing�“Classical Herbalism” by Lady Rosamistica Tomacelli de Greene•Greek and Roman influences shaped medieval herbalism, but nowhere is that more evident than in Byzantine and Eastern countries� Explore the beginnings of Western Herbalism�“A Brief Overview of Byzantine Law” by Lord Edward de Kent•A survey of the history and substance of the law of the Eastern Roman Empire, with a particular emphasis on the Corpus Juris Civilis, the basis of the law in force at the time of Emperor Basil II’s return to Constantinople in 1022�“Lamps in Period” by Lady Alessandra de Piro•This class will cover the use of lamps in period, along with how to care for and use a period oil lamp�•“The Hagia Sophia & Its Significance Throughout History” by Lady Rochwen Morwenna•A discussion of the Hagia Sophia and its significance as an architectural, cultural, religious, and political landmark from the Byzantine Empire into our present day�

Tournament of Chieftains 2013:Return to Glory - Constantinople 1022

https://sites.google.com/site/tournamentofchieftains2013/

24

Event Schedule:

Gate 8:00 AM - 3:00 PM

Armored Combat Fighting Authorizations 9:00 AM - 10:00 AM

Calon Steel Authorizations & Pick-up Fights 9:00 AM - 12:30 PM

Armored Combat Tournaments 10:00 AM - 2:00 PM

RUSH Arts & Science Classes 10:00 AM - 3:00 PM

Youth Activities - Session 1 10:00 AM - 11:30 AM

Inn 11:00 AM - 2:00 PM

Calon Steel Tournament 12:30 PM - 3:00 PM

Youth Activities - Session 2 2:00 PM - 3:30 PM

Arts & Science Competition Judging 3:00 PM - 3:30 PM

Court 4:00 PM or At Their Majesty's Discretion

Feast & Entertainment 6:00 PM

Event Ends 9:00 PM

Site Closes 10:00 PM

Class Schedule:

10:00 AM “Lamps in Period” by Lady Alessandra

de Piro

“Persian Dance” by Mistress Rahil al-

Sirhaan

11:00 AM “The Taste of Medieval Food and Drink” by

THL Michael de Safita

“The Hagia Sophia & Its Significance

Throughout History” by Lady Rochwen

Morwenna

“Byzantine Clothing Decoration” by THL Fiondel Songspinner

12:00 PM “Byzantine Pottery, Glass, Lamps, Coins

and Mosaics” by THL Michael de Safita

“Classical Herbalism” by Lady Rosamistica Tomacelli de Greene

1:00 PM “Trichonopoly” by HE Donald Andrew

Macdonald

“A Brief Overview of Byzantine Law” by

Lord Edward de Kent

“Middle Eastern Garb” by Mistress

Mairghead de Chelsholme

2:00 PM “Trichonopoly” class continued

“Intermediate Middle Eastern Dance” by Mistress Rahil al-

Sirhaan

These schedules are tentative� Check at the event for final details�

Tournament of Chieftains 2013: Schedule

25

MondayFirst and Third Monday 7:00 PM: Officers Meeting What: This is where the business of running the barony is decided� Officers meeting is open to anyone who would like to attend� If you are thinking of running an event or submitting a bid, you are encouraged to talk to the officers or attend an officers meeting� Where: Creve Coeur, MO Contact: Josef and Slaine, 314-918-1062

TuesdaySecond Tuesday 6:30 PM: Gryphon’s Mark Contact Group Meeting What: General meeting for the St� Charles contact group, Gryphon’s Mark� Where: Home of Wayne of the Heights, 17 Snow Hill Drive, St� Peters, MO Contact: Wayne of the Heights, 636-397-1323 or 314-517-4516

Forth Tuesday 6:30 PM: Gryphon’s Mark Activities Night What: Teaching, assisting, and companionship for assorted projects� Call ahead to find out about the night’s activities� Where: Home of Wayne of the Heights, 17 Snow Hill Drive, St� Peters, MO Contact: Wayne of the Heights, 636-397-1323 or 314-517-4516

Weekly Activities

26

Weekly ActivitiesThursday

6:00 PM: Weekly Populace Meeting, A&S Class, Fighter Practice � What: Business meeting for the Baronial populace� All are welcome and the meeting is open to the public� A weekly A&S class is held in conjunction with the meeting� Contact the A&S minister for more information or to schedule a class� Fighter practice includes SCA combat practice and instruction� The fighter practice on the last Thursday of each month is oriented especially toward newcomers� Where: Olivette Community Center, 9723 Grandview Drive, Olivette, MO; SCA meets in Room 8 and the gym, in the northwest wing of the Community Center� Contact: Gwendolyn Verch Morgaine (meeting); Judith of Three Rivers (A&S class); Sir Duncan Fearmac MacLeod (fighter practice)

First Thursday 7:00 PM: Site Dinner Fundraiser What: This is a dinner that we hold on the first Thursday of every month at the weekly Baronial meeting� It raises money to help pay for our meeting site and has proven to be an anticipated social evening as well� Every month a different set of volunteers supplies a delicious home-cooked meal� We sell those meals for donations of $5 (or less as suits your budget� We’re flexible�) We’re also willing to just sell a dessert or a side dish if that’s all you want� Where: Baronial Meeting Site, in the Gymnasium and Kitchen Contact: Elynor and Isen

27

Weekly ActivitiesSecond Thursday 7:00 PM: Middle Eastern Dance What: This is an informal Middle Eastern (belly) dance teaching session for any skill level� No experience is necessary� Dances will be taught� Where: Baronial Meeting Site� Contact: Gwendolyn Verch Morgaine

Third Thursday 7:00 PM: European Dance What: This is an informal European dance meet up� No experience is necessary and dances will be taught� Where: Baronial Meeting Site� Contact: Tzipporah Ebrea DaPessaro

Friday7:00 PM: Archery Practice What: The weekly informal archery practice session� Loaner archery equipment and instruction is available� Check with the B3RList or the Archery Marshal for start times� Where: Town Hall Archery, 5901 Cool Sports Road, Belleville, IL Contact: Archery Marshal, [email protected]

SundayArmoring with Grimwulf What: Teaching and assisting for armoring and leatherwork, etc� Armoring is a dirty process� Materials are relatively inexpensive� I ask only that you pay for what you consume� Tipping is appreciated� Where: 424 Hazelgreen Drive St� Louis, MO 63119 Contact: Grimwulf Harland, 314-359-7163; please email or call ahead�


MissouriBarony of Forgotten Sea Kansas City 248 miShires of Amlesmore Hallsville 130 miCollege of Bellewode Kirksville 212 miShire of Calanais Nuadh Rolla 107 miShire of Crystal Mynes Joplin 288 miShire of Lost Forest Warrensburg 217 miShire of Lost Moor Saint Joseph 305 miShire of Midgaards Crossing Eldridge 170 miShire of Oakheart Springfield 217 miShire of Wyvern Cliffe Jefferson City 133 mi

ArkansasShire-March of Grimfells Fayetteville 361 mi

NebraskaBarony of Lonely Tower Omaha 439 miBarony of Mag Mor Lincoln 443 mi

IowaBarony of Coeur d’Ennui Des Moines 348 miCanton of Axed Root Ames 395 miShire of Deodar Cedar Rapids 284 miShire of Flinthyll Burlington 218 miShire of Heraldshill Mason City 421 miCollege of No Mountain Grinnell 324 miShire of Shadowdale Iowa City 262 mi

KansasBarony of Vatavia Wichita 446 miShre of Bois D’Arc Parsons 334 miShire of Carlsby Lawrence 287 miShire of Crescent Moon Topeka 311 miShire of Dun Ard Leavenworth 280 miShire of Spinning Winds Manhattan 367 miShire of Westumbria Hays 513 mi

Event Distance Chart

From Barony of Three Rivers (Saint Louis, MO) to:

The Barge - February 2013

Documents

Transcript of The Barge - February 2013