Juelich sleeves as depicted by Christoph Weiditz

I have been trying to work out if Christoph Weiditz can be trusted for his figures of women from Juelich. These are a lot of figures with nearly the same dress and sleeve arrangement after all and this is not an arrangement we see in the Bruyn portraits of women of Cologne.

I decided to treat these images as if they are representative of what I haven’t seen before, after all the rest of the figures really do match very well to imagery we have of dress across Europe.

We have a wealth of portraits of wealthy citizens of Cologne and a few precious images of Anna and her family. And these fragments of information do support this position as there are marked differences in style while maintaining features iconic of the region.

I am used to hanging sleeves of this region being made from the same fabric as the rest of the gown and lined in fur- and indeed even a very very fine fur that is often depicted as very delicate and very short and a very soft and thin skin- sometimes show with the tails often not. Sometimes these sleeves are pinned back and hide the outer.

1557 Portrait of a Woman of the Slosgin Family of Cologne, Metropolitan museum

However this is not what we see in the Juelich figures. And Weiditz fortunately shows figures with sleeves of this arrangement in his own work to compare his own treatment of this kind of turn back.

In the Juelich figures we can see vertical gathers on the white hanging sleeve where it meets the  fitted upper sleeve which does not indicate that the sleeves are pinned over.

I thought perhaps the way the book was created was from sketches Weiditz created during his travel and then he copied those into his book, thus maybe he did not take note of the colour of the hanging sleeves. His first book has been extensively studied but not this second so I am working with a lot of assumptions here!

However I may be right, as the last figure (pink with black guards) is missing colour on her shoulder to our left. And the figure in yellow has some darker paint on her shoulder to our right which may indicate some trouble. 

However this kind of separate soft and hanging sleeve is seen all over artwork of saints and allegorical figures and it does appear in different forms on portraits of women.

Freiburg, Münster, Stürzel Chapel, Stained Glass 1528 (Hans von Rapstein, Rappoltstein) after design by Hans Baldung Grien (copy, original in Augustinermuseum.)

These figures are not North Rhine but they are of the family of the founder of the Chapel. And the female figure in the middle of the right panel is wearing an example of the loose separate sleeve.

1500-1510 Bianca Maria Sforza (during her time at Tyrol.)
Porträtt av Margareta Vasa. Oljemålning. Nordiska museet inv.nr 77238.
Unknown Master, German (active 1540s in south Germany) Gemäldegalerie

This is not conclusive obviously, however these sleeves are seen from the south to the north of the Rhine and so might be a kind of shared fashion.

It is tempting to call these “stoichen” after a term used in Cologne inventories as this has been taken to mean a kind of pendant sleeve. I had originally thought perhaps they were matching sleeves as the de Bruyn costume book shows quitely clearly little fasteners on several loose sleeves that match the same sort of detail seen on fitted sleeves (though they look like thumb tacks not pins.) I suspect this is still a term for the type of sleeve even if not a separate item.

But here we do see that a short half length sleeve not only was in fashion in the later half of the century but also it does make for a very versatile garment. Sumptuary laws clearly show that the accessories were a very strong indicator of rank and so were very important. By alternating accessories and wearing the skirt open or closed the one dress can be worn in many ways.

Short half sleeves can also be seen in paintings. The earliest I’ve found is on a child before 1550 and then on adults after this date. These all are puffed not fitted.

Barthel Bruyn the Elder (1493–1555)  Katharina von Gail and daughters, Louvre.

 Sophia Von Wedigh in 1557.
Porträt eines Mädchens

But what of the paned sleeves? These are seen on both figures of Anna and Amela in the triptych of their family, while the rest of their court ladies have loose sleeves.

Anna, Maria and Amalia

This last portrait is frustratingly difficult to find the original. It was part of an auction on a site that no longer hosts the originals nor any information about the auction, and this is a zoomed view. But there is a very clear paned upper sleeve seen here. This is from a pair of portraits thought to be by the Bruyn workshop. They may have been restored or they may be copies as they do not have the same softness of features.

The half length paned sleeve is seen in allegorical and religious figures especially in sculpture.

Of special note is the figure on the far left as she has the same style of hat Anne wears in the triptych. A different kind of cap is also seen on a portrait of the Countess Emeza von Kappenberg as a sketch and detail of the Xantener altar. 

JOURNAL ARTICLE: BILDNISZEICHNUNGEN VON BARTHOLOMÄUS BRUYN D. Ä. HILDEGARD KRUMMACHER Wallraf-Richartz-Jahrbuch Vol. 26 (1964), pp. 59-72. Note the braid is part of the figure behind her, also dressed in contemporary dress and likely another contemporary person.

The figure to the right of the group of three even has sleeves quite similar to the portrait of Maria (the mother of Sibylla, Anna, and Amalia.)

On balance it does seem more likely that Weiditz had access to images or people that are no longer represented clearly in the art we can easily access now. However elements of the style can be found both within the North Rhine and outside. 

Koeln style pages

Oh boy. I have been trying to get dates for a large number of image files, but I think I need to very quickly get what I have online as there are a handful of images that are stubbornly not at all easy to pop into my current folders as the dates simply to not match the style in the art. So I’m going to have to bookmark a whole lot of sites to come back to so I can do this fast start to my pages so that I can then explain my rationale for dates.

printing plates

Not my own plates this time, though I did get my spiral sleeves sorted.

Collecting modelbooks and books of trades really helps with interpreting art. Today after tracking back an image in a document (reverse image search is getting very good!) and then finding the original I was able to find even more images of people in hand crafts.

The book today is often refered to a book on lacework, but it’s clear the patterns are quite far reaching.

Title : [Libro primo-Libro secondo] De rechami per elquale se impara in diuersi modi lordine e il modo de recamare, cosa no mai piu fatta ne strata mostrata, elquale modo se insegna al lettore voltando la carta. Opera nova. : [estampe, livre de modèles]

Publisher : [Alessandro Paganini] (Italie)

Publication date : 1532

Description : Référence bibliographique : Courboin, 1041-1042

Rights : public domain Identifier : ark:/12148/btv1b10537222v

Source : Bibliothèque nationale de France, département Estampes et photographie, RESERVE 4-LH-102

Relationship : http://catalogue.bnf.fr/ark:/12148/cb40354751t

Provenance : Bibliothèque nationale de France

Date of online availability : 09/05/2016

This is by Paganino Paganini and according to Wikipedia he pretty much lived and worked all his life in Italy (Brescia then Venice) along with his son.

The works suggest a great deal of contact with German engravers. These scenes of transfering a design to fabric are quite a neat mix of elements one would expect of a German and Italian engraver.

The low slung braids and shaped skirts of one and the evenly rounded linen headdress of the other.

However there is a plate that appears a few times that gets down right Cologne! It is entirely probable the plates were created separately to the text that fills the space.

The timing is perfect for a mixing of cultures, Venice attracted a lot of German printers, and Durer famously traveled and recorded dress of women from the region.

Exactly why there are women in extremely North Rhine clothing has not been able to be uncovered in an afternoon, however the sculptural strip of linen at the front of the headdresses are so very iconic. The key feature being the wings and square frame effect.


This figure even has the braids of an unmarried woman at the front her her headdress but there appears to be a tail to the back that does not appear in North Rhenish dress.

And there is a family connection:

PAGANINI, Paganino
di Angela Nuovo – Dizionario Biografico degli Italiani – Volume 80 (2014)

Sposò Cristina, figlia di Francesco Della Fontana (Franz Renner da Heilbronn), stampatore tedesco attivo a Venezia dal 1471 al 1486, una parentela insolita nel panorama della stampa veneziana, dove la tendenza era a legarsi e imparentarsi secondo la provenienza geografica.


He married Cristina, daughter of Francesco Della Fontana (Franz Renner from Heilbronn), German printer active in Venice from 1471 to 1486, an unusual kinship in the panorama of the Venetian press, where the tendency was to bind and relate according to geographical origin.


duerer’s portrait of a girl from cologne

The portrait of Anne of Cleves is perhaps the most well known example of headwear worn in the region of the North Rhine. It is found in Gelderland, Jüllich-Cleve-Berg, as well as Cologne. There are dozens of portraits especially of women of Cologne wearing highly decorated as well as plain linen variations.

Finding any direct link between the written evidence and the visual is vanishingly rare. Wills, testaments, inventories do not include any artwork as they are official documents. Personal accounts are quite common by the sixteenth century in the Netherlands and Germany, however most again are not furnished with illustrations!. In the absence of a Matthäus Schwarz style clothing book it is the context of these written accounts that carries meaning.

A silverpoint Drawing by Albrecht Durer has often been referred to as a record of the style of headwear worn. The illustration itself compares well with contemporary art of the region at that time, however the words to the upper left of the entire work has drawn differing interpretations.

National Gallery of Art, Albrecht Dürer: Master Drawings, Watercolors, and Prints from the Albertina, accessed March 14, 2018

This silverpoint drawing has text to the left of the girl from Cologne, while there is text to the right of Agnes Dürer.


The text beside Agnes seems to be fairly consistently correctly transcribed as “awff dem rin mein weib pey popart” (auf dem Rhein mein weib bei Boppard/my wife at Boppard on the Rhine.)


However the text beside the girl has been mostly imperfectly transcribed. As written it appears as “Colnisch gepend” however variations of the spelling in other written works about this drawing can include “Cölnisch” or “gepent” this does not change the meaning however it does create some difficulty in tracking down all sources and determining what “gepend” means.

Another drawing by Durer of a woman in clothing of Nurenberg is inscribed “Also ist das gepent und kleidung der erbern frauen zu nornberg.”

Das erbar gepent: zur ständischen Kleidung in Nürnberg im 15. und 16. Jahrhundert
Zander-Seidel, Jutta
In: Waffen- und Kostümkunde, 27 (1985), pp. 119-140

Ständische Kleidung in der mittelalterlichen und frühneuzeitlichen Stadt
Zander-Seidel, Jutta
In: Terminologie und Typologie mittelalterlicher Sachgüter: das Beispiel der Kleidung ; internationales Round-Table-Gespräch, Krems an der Donau, 6. Oktober 1986 . Krems an der Donau 1988, pp. 59-75 (Österreichische Akademie der Wissenschaften. Philosophisch-Historische Klasse: Sitzungsberichte ; 511)

Here the general term “headdress” is used.

Dürer als Zeichner und Aquarelist
Hans Tietze,1951

Technik, Metallstift auf grauviolett grundiertem Papier (W. 814 = L. 64) ; es ist ein kühles und sachliches Bildnis der Matrone, die noch einmal im Reiseskizzenbuch erscheint, diesmal vielleicht mehr, um ihre imposante Reiseschaube mit dem Cölnisch gepend, dem zierlichen Kopfputz des jungen Mädchens, auf demselben Blatt zu kontrastieren (Abb. 74).

(google translate) Technique, metal pencil on gray-violet primed paper (W. 814 = l. 64); it is a cool and matter-of-fact image of the matron, which reappears in the travel sketchbook, perhaps more this time, to contrast her imposing travel mask with the Cölnisch gepend the delicate headdress of the young girl, on the same page (ill. 74).


In this context it is easy to understand that Durer indeed intended to refer to the headdress of the girl. It does appear that the term is used in Saxony and Bavaria along with the term “gewand” that usually refers to a gown or robe.

Lanndtßordnung der Fürstlichen Graffschafft Tirol
Heiliges Römisches Reich Ferdinand I. (Kaiser)
Silvan Otmar, 1532 – 46 pages

Ond der müter Gewand/Gepend von Clainat auf die Döchtern fallen:

Schweizerisches Idiotikon: Wörterbuch der schweizerdeutschen Sprache, Volume 10
Friedrich Staub, Ludwig Tobler, J. Huber, 1930 –

.[Stirbt der Mann vor der Frau, so erhält diese] ir claider, clainoter, ring, kettin, Silbergeschirr, gepend, gest., verschrotten gewand. [Stirbt die Frau vorher und sind keine Kinder vorhanden] soll im volgen und werden ain tusent guldin haimstür . . . das übrig guot . . . sampt der morgengab, klaider, klainoter, ring, kettin, Silbergeschirr, bettgewat, gepend, gest., verschrotten gewand . . . soll ouch volgen und werden iren nechsten gesipten fründen.’ 1565, Z (Ehevertrag). S. noch Bd IV 1334u

(google translate) [If the man dies in front of the woman, he receives this] ir claider, clainoter, ring, kettin, silverware, gepend, gest., Scrapped robe. [If the woman dies before and there are no children] should be in the crowd and become ain tusent guldin haimstür. , , the rest guot. , , sampt the dawn, klaider, klainoter, ring, kettin, silverware, bedweave, gepend, gest., scrapped robe. , , ought to obey, and will give birth to the next most clever. ‘ 1565, Z (Ehevertrag). S. noch Bd IV 1334u


However his use of the word “geband” is not always translated perfectly. Most commonly writers have described “gepend/gepande” as ribbons/ties/binding.

The Complete Drawings of Albrecht Dürer: 1520-1528
Walter L. Strauss, 1974 pg Page 2096

“Next to these portraits, Dürer noted: “Colnisch gepend /… [Cologne ribbonry / …”

Even though the same term is used in a description of the study of the woman in her linen Sturz (as discussed above.).

“Durer’s inscription reads: “Also ist das gepend und kleidung der erbern frauen zu nornberg””


Another writer quotes directly from the Grimm dictionary of 1815 but doesn’t distinguish between different uses of the word.

Da sah ich viel köstliche Dinge: Albrecht Dürers Reise in die Niederlande
Gerd Unverfehrt, 2006 – History – 260 pages

Die von Winkler an das Ende der Reise datierte Silberstiftzeichnung W. 780 zeigt links das Brustbild einer jungen Frau mit der Inschrift »Cölnisch gepend« (»bei frauen bänder zum aufbinden und schmücken des haares, dann kopfputz der frauen überhaupt«). Die Haube findet sich wiederholt auf Gemälden des Kölner Malers Barthel Bruyn.

(google translate)The silver pen drawing W. 780 dated to the end of the journey by Winkler* shows on the left the bust of a young woman with the inscription “Cölnisch gepend” (“on women’s ribbons to tie up and decorate the hair, then headdress of women at all“). The hood can be found repeatedly on paintings by the Cologne painter Barthel Bruyn.

The dictionary is available in digital form with many other uses of the term “gebende”:

Deutsches Wörterbuch von Jacob Grimm und Wilhelm Grimm.

GEBENDE, gebände,

4) bei frauen bänder zum aufbinden und schmücken des haares, dann kopfputz der frauen überhaupt, genauer mhd. houbetgebende, ahd.houbitgibenti serta, auch houbitpendil sertum Graff 3, 138es heiszt aber noch nhd., landschaftlich bis heute auch einfach haarband (s. d.). 

(Google translate) in women’s bands for untying and decorating the hair, then head-dress of the women in general, more precisely mhd houbetgebende, ahd.houbitgibenti serta, also houbitpendil sertum Graff 3, 138. but it is still nhd., to this day also simple hair band (sd)


Other writers have used the ties/binding translation as well.

Dürer’s hausfrau.Ein kritiſcher Beitrag zur Biographie des Künſtlers, Von M. Thauſing: 

Zeitschrift für bildende Kunst, Volume 4, 1869

Auf der anderen Seite befindet ſich links das Bruſtbild eines Mädchens mit eigenthümlich aufgebundenem Haare, darüber die Worte: „Cölniſch gepend“ (Gebände),

(google translate) On the other side, on the left, is the half-length portrait of a girl with curiously tied hair, above it the words: “Cölnisch gepend” (Gebände),

Dürer: Geschichte seines Lebens und seiner Kunst
Moriz Thausing, 1876

 “Es zeigt auf der einen Seite den hier nachgebildeten Löwen, auf der Rückseite ein Mädchen mit eigenthümlichem Haarbund: »Cölnisch gepend«”

(google translate) On the one hand it shows the lion reproduced here, on the back a girl with a peculiar Haarbund)

Schriftlicher Nachlass, Deutscher Verein für Kunstwissenschaft, 1956 –

Während des folgenden Aufenthaltes in Köln zeichnete Dürer in sein Skizzenbuch auf die Rückseite des Genter Löwen-Blattes (W. 781) mit Silberstift das Brustbild eines Mädchens und schrieb dazu: „Cölnisch gepend”, d.h. hier [houbet]gebende und meint de Bänder zum Aufbinden und Schmücken des Haares, den kölnischen Kopfputz.

(google translate) During the following stay in Cologne Dürer drew in his sketchbook on the back of the Ghent Lion-sheet (W. 781) with silver pen the bust of a girl and wrote: “Cölnisch gepend”, ie here [houbet]gebende and means de bands to Tie up and adorn the hair, the Köln Headdress.


Yet another translation suggests it describes illustration being made at Cologne.

Albert Dürer: His Life and Work, Volume 2
Moritz Thausing, 1882  (translated to English at time of printing)

“a girl with her hair tied in a strange fashion, and the words ” Colnisch gepend ” (” Painted at Cologne “)”

Gepend appears in English-Dutch dictionaries earlier than the 19thC as “fetahered” or possibly “quilled.” However neither of these terms is correct as the drawing is in silverpoint.


And finally there is an interesting translation which reads the word as synonymous with “gewand.”

Sketchbook of the journey to the Netherlands (1520-1521)
Lund Humphries, 1968

“Durer’s inscriptions read *Colnisch gepend* [Cologne dress], on the left,”

This connection is also made outside of discussion of this illustration.

Wiener-Skizzen aus dem Mittelalter: Zweite Reihe
Johann Evangelist Schlager
C. Gerold, 1836

Seydem gepend (Gewand) sulln sy nicht tragen alle sambt.

This doesn’t seem likely given the context of Durers own repeat use the term “gepend/gepent.” However it does lead to another discussion on searching through texts of early modern German/Dutch and in particular the regional dialect of the North Rhine. To be continued.

my pink cleves gown and some inspiration behind it

From Facebook: Emily Gibbs‎ to Canterbury Faire 201829 January at 19:58 · Kaikoura Suburban, New Zealand

I am so inordinately happy with this! It has everything I love about the Cranach Saxon style with the weirdness of everything in the Nordrein (North Rhine.)

But it is weird. I’ll break down all the weirdness as I go but of note is the tone on tone. I deviated a little from the original, or rather combined two (three) figures in one. So the pink ground of two and the crimson velvet borders of another.

But tone on tone is very definitely part of this region, especially in the red/pink tones. And especially as velvet on a flat fabric.

Bildnis einer Frau 
Datierung:um 1555/1560Sachbegriff:Gemälde
Sammlung:Köln, Wallraf-Richartz-Museum, Sammlungskontext: Stiftung Dr. Hubert Dormagen / Kerp, Inventar-Nr. WRM 3300, Zugang: 1980.12.31, Dauer: ab 1980.12.31

Kostüme der Männer und Frauen in Augsburg und Nürnberg, Deutschland, Europa, Orient und Afrika – BSB Cod.icon. 341
Publishing place: Augsburg
Year published: 4. Viertel 16. Jh.
Pages: 384
BSB Call Nr.: Cod.icon. 341
Project ID: BSB-Hss Cod.icon. 341
URN: urn:nbn:de:bvb:12-bsb00011752-7

Thuringen, I am not sure, Cologne (see what I mean by variations of spelling!)

So this is just one manuscript, and the Cologne image might be shot gold and red, but it is from the period. this is a hand drawn costume book, so little concern about it being coloured in at a later date. This work is full of pink as a main fabric. Full. But I am specifically looking for the tone on tone elements.

The Triumph of Maximillian is another illustrated book full of pink. But here again I have limited to tone on tone in red/crimson.


Title Triunfo del Emperador Maximiliano I, Rey de Hungría, Dalmacia y Croacia, Archiduque de Austria :… de quien están descritas y colocadas en esta colección las acciones gloriosas de S.M. Imperial, durante su vida…
Date entre 1501 y 1700?

Edition S.XVI-XVII Type Manuscrito

Subject Maximiliano I, Emperador del Sacro Imperio Romano Germánico

Page 96 and 97 and 97 again.

(these are huge zoomable images)




(Royalty Guide and Wikicommons respectively)

Sophia von Mecklenberg, married the Duke of Brauchweig, part of estphalia and so also has the mix of influences.I did not know of this image until today, however I am familiar with the two pieces of stonework depicting her in a very similar dress- I had it set aside as research for the sleeves, this confirms that the sleeves are weird, hooray! She was buried in Cell an

But the colours are nearly identical to my frock 🙂 So that is exciting. I was working with a limited range of fabric.

I knwe of her through the following images from Bildindex (handy hint, grabmal is a great search term for looking for images


Grabplatte der Herzogin Sophia von Mecklenburg
nach 1541 Grabplatte, Grabskulptur,  Sandstein

Standort: Celle, Kirche, Evangelisch-lutherische Stadtkirche Sankt Marien, Chor

Gedächtnis: Sophia (Mecklenburg, Herzogin) Herzogin Sophia von Mecklenburg war die Gemahlin Ernst des Bekenners

Also a full 3d view


Epitaph des Herzogs Ernst des Bekenners und seiner Frau Sophia, Herzogin von Mecklenburg
Cornelis Floris (2) (Werkstatt) 1576 Epitaph, Grabskulptur Alabaster

Standort: Celle, Kirche, Evangelisch-lutherische Stadtkirche Sankt Marien, Chor (Nordwand)

Gedächtnis: Ernst (Braunschweig-Lüneburg, Herzog) Gedächtnis: Sophia (Mecklenburg, Herzogin)

So side track aside there are many more examples of red based tone on tone garments of the wider region.

Both by Noclas Neufchatel.

Brady hart Gallery and wikicommons and liveinternet respectively.

These are of course from Nuremberg and so are quite a distance, but we see the range of tones for tone on tone (also the red dyed braids!!!)


1516 Circle of Hans Holbein the Younger (1497-1543) Portrait of Dorothea Meyer, wife of Jakob Meyer zum Hasen (Basel)

From Barbara Wells Sarudy’s post about winter clothing

Kunstauktionshaus Schloss Ahlden GmbH 2017 

Christoph Amberger
(Um 1505 Nürnberg – 1561/62 Augsburg) attr.;
Portrait der Maria Hieronymus Sulzer

This is much more suble, and leaning towards the crimson on yellow seen at about the same rate.


transcribing and translating

So it looks like I have been pretty bang on the money when hunting out documents. Today was spent scanning and transcribing the introduction to a book full of snippets from inventories and while I had hoped to find more, getting confirmation that a) I spotted a garment not discussed elsewhere (several pages in this source though) and that b) rock is a bleeding useless term in the 16thC. In the documents I’m looking through it’s really not obvious if it is a skirt or dress. And in context it’s still not terribly easy.

So the next step is to go into each garment category and pull out all the region specific terms. Guh. And to continue to brute force variations of spelling in search engines.

more gear from mina

(Mina is the shortform of my SCA name and tends to be used just as a nickname for me- I like it 🙂 )

I just grabbed a set of a knife and fork from Trademe- mother of pearl handles, silver decorative join to the functional end. Not suse the content of the functional end.

They are really lovely, and fit what I wanted 🙂

I want to make a case for them. So it means having them in hand sooner rather than later 🙂 I am not entirely sure how they are made but I have a few options to work with.

So, why a knife and fork? Aren’t forks out of era. Nope.

My favourite set ever is Italian and is made with rock crystal.


It seems to have been redesignated later than 16thC but there are similar that are earlier.



So I originally tried to find modern cutlery I could adapt, but Most just cannot- I need each end to unscrew and have a core to thread crystal on to.. So a look around at further designs:


All from Bildindex, info in photos. All 16-17thC and across the states.

So my theory is that we don’t just see sets of knives in the Trachtenbucher but possibly knife and fork sets.

Mostly the forks are long tined. I personally do not want to run the risk of poking myself in the face with them so I am fine with a smaller tine set further to the end. In the first image there is a case that may be associated witht he matching set.

But now for the cases:

https://www.bildindex.de/document/obj05227007 https://www.bildindex.de/document/obj05227006

These could well be wedding knife sets. There don’t seem to be a top end to the cases. And they seem to be silver.

These do appear to match the sets worn in the trachtenbuch.

These are from Weigel’s book https://commons.wikimedia.org/wiki/Category:Frauen-Trachtenbuch_(1586)

https://www.bildindex.de/document/obj00290368  and https://www.bildindex.de/document/obj00290368

These are from de Bruyn.

These appear on both unmarried and married women, so I think these are a status symbol- I found single knives in cases on working women though.

So, any evidence that these are knives and forks:


This is later, but the case and cutlery are a match.




Yes! I can make a case like this from the scraps of heavy russet I have. I think I’ll need to learn some techniques from shoemaking as I’ll want really crisp edges. But I’ll be able to embroider the case 🙂 or… I still have diamon shaped brass stampings I used for my Valois ouches set. They could be shaped to fit.

Anyway. Yay! Now I need to find a matching spoon to carry in my purse 🙂

cleves leaves progress

I don’t know how I got this energy- well I do and it has everything to do with my therapy and being able to actually do stuff and then build up on that to do more stuff 🙂 Had a day of sleep at one stage though 🙂

So the frame is apparently the perfect cat shape as he makes a bee line for it no matter where I set up!

These leaves are the same as my Krantz, and in order to make sure they sew in place I had to hammer out holes from the pointy end. (I have found there are indeed flitter haube from further west, it makes sense with the influence from Nurnberg but it’s not close enough to Kleve!)

It’s very bright. Like blinding in bright light!

And how it looks as of just shy of the end of my birthday 🙂 So yay! That is a very good birthday present to have 🙂

(Subtle laurel is not at all subtle, though might have to get less subtle in the back.


Progress from 2006:

Progress 2016 after stripping all the fire damaged bezants and sequins:

New pearls on the upper right, the same pattern was repeated on the upper left and a matching overlapping design added to the lower part.

Yes, it looks very wobbly. This is part of how the fabric was eased over the original support. I’ll be clipping the cotton tulle to let it ease as well.

Stash of pearls used for the update. There are a good number left to be able to use over the seam once assembled.

I am about to add the leaves again, these are different, they are what I used on my Krantz for my laurelling, so these are very apt 🙂

Again the pearls look wibbly, I don’t want to stretch the stitches once I put this back on the support so am having to live with it until then. Once on the support these will have heavier thread passed through to support the curves.

So happy to get this progress. I am doing eat therapy on my hands every couple of hours, 10mins at a time.

Fresh start!

I was not sure that I would actually restart my blog, however with fixing my phone so it can take photos, and all that has happened in the last month I think it is now time 🙂

I will stick to health and costume updates alone.


This shows the newly secured vinyl floor in place (just boot weight until I can get hold of firmer) and the old floor (that is all resin splash over or paint on the floor! Not worth getting it cleaned but it may be worth replacing the flooring anyway as the fibres are brittle.

Back left corner is now tidier!


Maleficent is back on my to finish this season pile 🙂 I got excited about finally finding products I want to make the wings and then I realised I need to bring this project back from the UFO pile 🙂

Made all of that from 8.5m of fabric! In two pieces at that!


Both of these are remake projects- the red gown with black borders a remake of my CLeves gown 🙂 I have the wool and linen dresses in good condition so really wanted the fancy dress to match 🙂


The construction and shaping are both so very different that I am enjoying the challenge of going from one to the other, and is even inspiring me to work on a project I had also left alone for many years 🙂