Embroidered belt favor

The purpose of this project was to create something which identified the wearer as an Æthelmearc Equestrian. When not mounted, equestrians are not easily recognized as such by the general populace. In terms of promoting the equestrian program, this invisibility is a deterrent. I believe that through helping identify our equestrians, the program benefits. Something easily recognized also opens the door to conversation. People who may have an interest in the equestrian activities in the SCA often do not know who to approach for information. Wearing a visible indicator may encourage these people to approach the wearer, ask about it, and hence gain access to an equestrian who can provide them with the information they seek. 

It is generally understood in the SCA that the wearing of a belt favor as used in the Society was not a period practice. The use of these favors is an SCA convention and tradition that has been generally accepted because of its long history within the Society. I decided to use this form because it is small enough to be present with the wearer most of the time, and it is such a common practice that it is easily understood for its purpose.


16th Century Italian armor for man and horse,
Nelson-Atkins Museum of Art,Kansas City, Missouri.

In designing the favor, I chose the subject of a mounted knight or warrior. This symbol is easily understood as being associated with a medieval equestrian. The example for the piece is a 16th Century Italian set of armor for man and horse that is in the possession of the Nelson-Atkins Museum of Art in Kansas City, Missouri.

The embroidery style used for this project is the Bayeux Stitch. Since learning this stitch several years ago for my first Ice Dragon submission this has become one of my favorite stitching styles.  It produces a very sturdy product and I especially like how it firms up the cloth. It is also very enjoyable to execute. The Bayeux Stitch is a type of laid work which was used primarily by the Anglo-Saxons. When I wanted to complete that first project several years ago, I sought out sources to learn the stitch. Obviously, I referred to the Bayeux Tapestry. Additionally, I located an excellent website, which clearly demonstrated the technique of the “Bayeux Stitch.” 

The tapestry is constructed of linen stitched with wool yarn. There are basically two different stitches used in the tapestry: Outline or stem stitch, for the lettering, lines and outlines of figures, and laid work or couching for filling in of figures. The latter is what is referred to as The Bayeux Stitch.

                                                          The Bayeux Stitch

Detail of Bayeux Stitch from the Bayeux Tapestry

After laying down parallel lines of thread, coming back up through the fabric close to each stitch before the last (instead of looping back to the beginning of each stitch, which lays down a thread the entire length of the stitch on the underside), the whole mass is held down with the couching thread. This stitch is made by laying down a stitch perpendicular to the first set of threads, and then working back along that thread, to tack it down at evenly spaced intervals. The result is a tightly covered area which will not lift up from the fabric the way satin stitching will. Laid yarns are couched in the same color and in contrasting colors throughout the Tapestry. The latter technique added a unique depth to the figures.

Other period stitches were used in the embroidery and in the construction of the favor.    Additionally, as was common practice during the period, the favor is lined or backed with a contrasting color of linen.

The Process

Obviously the first stage involved conducting research and designing the project. Some of the research I had already done for other projects, such as the Bayeux Stitch and period stitches. I searched for a period subject to embroider as well. As noted above, I decided to use the armored man and horse that is on display at the Nelson-Atkins Museum. I used some left over linen from another project and decided on the size for the project. As noted, the original Tapestry was made of linen and this type of cloth was commonly used throughout the medieval period.  I decided to use wool thread as this was also used in the Tapestry and creates a pleasing effect. After making these decisions on the project materials, I cut out the linen, leaving extra room for a seam allowance. Once this was ready, I hand drew the picture on the cloth, applying details that would help guide in the direction of the stitches to add effect and "shading".

I then began the process of embroidering the project. The first step was to stem stitch around the figures and main features with black wool thread. This was followed by filling in the features including the horse and its armor, using stitch direction to help show features. I chose black for the horse to provide contrast. As was done in the Bayeux Tapestry, I added horse shoes on the horse’s feet. I used light gray wool to indicate the metal of the horse’s armor. Once again, I tried to use the direction of the laid work to help add detail to the piece, and give an illusion of shape and dimension to the figures. I used periodic contrasting white thread to add highlights and further detail and to emphasize parts of the armor. This process was repeated for the mounted warrior. The saddle and cloth was done in brown tones, with a golden colored saddle cloth. I used these colors for contrast but also to indicate leather parts, distinguishing them from the metal armor. Small details such as the stirrups are indicated in black, as are the reins. Imitating the Museum piece, the barding cloth under the armor is red. (The purpose of this cloth is to protect the horse's skin from the metal armor and add padding similar to a man's gambeson.) I extended the black outlines to highlight the contours of the barding cloth to add depth and dimension and then added tassels in gold as indicated in the original. I tried to mimic tassel construction to give these a “real” look of tassels. 

Because I wanted this to be distinctly indicative of an Æthelmearc equestrian, I decided to add the populace escarbuncle. On the original example, heraldic badges are distributed over the barding cloth. I didn't feel there was enough space to add shield like items to the embroidery, so decided to embroider the escarbuncle directly over the Bayeux stitching. I used period stitches –the split and chain stitches which were used throughout the medieval period by various cultures including the Anglo-Saxons. I started with a circle in the middle and stitched out spokes of the escarbuncle.  In order to indicate the fluted ending, I used a single loop of chain stitch to create three loops.  

This was quite difficult to keep consistent and even because I was trying to apply the stitching over the bulky Bayeux Stitch. Additionally, it was not possible to draw a guide on the already stitched surface. I also could not reference the cloth below in the manner most artists use to create small consistent stitches by counting the threads. I sewed five escarbuncles and started on the last as depicted below. I decided not to do more over the rear end for aesthetic reasons.

The picture below shows the back of the completed piece. With this technique, the back side of the embroidery is not expected to be as clean as modern embroideries. In fact, scholars admit that the back of the Bayeux tapestry is quite messy. Additionally, it is clearly possible to see the over-all design through an examination of the back of the Tapestry as shown in the picture on the right. An examination of the rear side of the piece clearly shows how the stitches were completed and confirms adherence to the techniques of the Bayeux Stitch.


Back of Bayeux Tapestry

Back of project piece

After finishing the embroidery portion of the project, I turned over and finished the edges, using the whip stitch, which is a period stitch.

Finished edges of front piece

As noted, it was a common practice to line finished products and is seen in a variety of items from altar pieces and tunics to larger pieces such as horse barding or caparisons. I definitely wanted to line the piece to enhance its appearance and protect the back side of the project. I certainly did not want to leave the stitches there exposed. Therefore, I cut a piece of contrasting linen, black in this case, to match the front piece. This method of construction also afforded me a way to attach the belt loops in an aesthetic manner. After cutting out the black linen, I loosely stitched, or basted, the edges down with a running stitch which is also a period stitch. I made two belt loops of white linen backed by black and attached these to the black backing with whip and running stitches (both period stitches).

Working on the straps

Having done this, I pinned the white front to the black backing and stitched the pieces together with small whip stitches. I used this stitch because it is strong and it is possible to conceal the thread so it doesn't show through either surface if sewn carefully.

This completed the project which is now ready to use.

 Bibliography

Archaeological Sewing techniques, 5 Feb 2010, <http://heatherrosejones.com/archaeologicalsewing/index.html>
Atlantian MOAS site (Embroidery and Needlework), Jan 2009,< http://moas.atlantia.sca.org/wsnlinks/index.php?action=displaycat&catid=56>
The Bayeux Stitch, 1 March 2010, http://imgs.embroiderersguild.com/stitch/pdfs/bayeux.pdf>
The Bayeux Tapestry, March 2010,http://hastings1066.com/
Bayeux Tapestry, Museum of Reading, Berkshire, United Kingdom, March 2010,< http://www.bayeuxtapestry.org.uk/>
The Bayeux Tapestry, March 2010,< http://wkneedle.bayrose.org/Articles/bayeux.html>
Bayeux Tapestry, 31 Jan 2010,< http://rubens.anu.edu.au/htdocs/bytype/textiles/bayeux/>
"Clothing and Appearance of the Pagan Anglo‑Saxons," 24 Jan 2010, <http://mahan.wonkwang.ac.kr/link/med/england/anglo‑saxon/culture/dress.html>
Period Stitches, Jan 2009, March 2010,< http://jauncourt.i8.com/stitches.htm>
(referenced information on Hem treatments including the whip stitch)
Period Stitches and Extant Examples, March 2010, < http://www.personal.utulsa.edu/~marc‑carlson/cloth/stitches.htm>
The Nelson-Atkins Museum of Art, Feb 2013, < http://www.nelson-atkins.org/collections/iscroll-objectview.cfmid=28588>.
Split stitching, Jan 2009,< http://www.bayrose.org/wkneedle/Articles/split_stitch.html>
Wilson, David A. The Bayeux Tapestry.  London: Thames & Hudson, 1985.