Decoration

   Decoration was limited to those who had the time to spend on it. There were three main forms of decoration; bands of contrastingly coloured fabric, embroidery, and tablet-weave. Decoration was commonly seen at the neck, hem and cuffs, with only a few references to decoration on skirts, down the front and on headgear.

 

Contrast Bands

   This was the cheapest form of decoration available, as the bands could be made from scrap fabric left over from making other garments. Contrast bands are seen on tunics and dresses at neck, hem and cuffs. (see the tunic of the Anglo-Saxon Nobleman)

 

Embroidery

   Anglo-Saxon women were famed for their embroidery. The most notable example of this is the Bayeux Tapestry, thought to have been stitched in England for the Bishop of Bayeux. Other examples are the Cuthbert vestments and the Maaseik embroidery.

 

The Maaseik Embroidery
Anglo-Saxon embroidery of about 800 AD, now in Maaseik, Belgium.

   The embroidery is worked on a linen backcloth in silk threads of red, beige, green, yellow, light blue and dark blue and in 'spun gold' threads. The designs are outlined in silk, then filled with gold threads which are attached to the surface by couching. A polychrome background worked in split stitch and stem stitch, in silk, completely covered the backcloth.

   There are three main designs: continuous arcading which contains and encloses areas of densely packed ornament of zoomorphic, geometric, stem and foliate kinds; roundels containing birds and animals in profile; and four monograms, two with geometric, two with stem and leaf ornament. Large pearls or beads, were once attached, edging the arcades and roundels.

 

   It was mainly the wives of the wealthy who could spare the time to do embroidery, taking their inspiration possibly from the intricate designs in manuscripts and books of hours. The less wealthy may made up designs based on vines and leaves, as they would not have had access to books. We cannot know for certain what form the embroidery took as textile evidence is lacking and the pictoral evidence from manuscripts is generally of wealthy figures and the embroidery is very stylised into simple circles, dots and lines.

   In the manuscripts, embroidery can be seen around the neck, cuffs and hems of tunics and dresses, with less common depictions of decoration on the skirts, down the front and one illustration of a group of nuns from Barking who have embroidered head-dresses.

   The embroidery could be done directly onto the garment or onto a band of constrastingly coloured fabric, which could then be sewn onto the garment. This gave the added bonus that if the garment got damaged, the band could be taken off and used on something else. (see the belt of the Middle Saxon Woman)

 

Heads of the nuns of Barking Abbey, from London, Lambeth Palace Library, MS200, fol 68v.
Image taken from 'Dress in Anglo-Saxon England' by Gale R Owen-Crocker.
Tablet-weaving
   Tablet-weaving is a method of making decorative braid using small cards or tablets instead of a large loom. The warp threads pass through holes in the corners of the tablets and as the tablets are turned the weft passes through and produces a braid that is thick and flexible and which can be patterned on both sides, the weft being concealed except at the edges.

   Tablet-weaving is thought to have originated in Germany, about 500 B.C., when it was used to secure the ends of plain cloth before it was woven. It can also be used for belts, head-bands and stitched onto garments for decoration.

   A narrow braid (about 2cm wide) was found at Fonaby, Lincolnshire and had traces of blue or green in the central part, bordered by red. A braid found at Mucking, Essex had blue and possibly yellow threads, bordered by red. The end of a linen braid found attached to a strap end at Cambridge, which was probably a belt, had white, pale-green and blue identified in it.

   Tablet-woven headbands found in 6th century Kent were embroidered with gold thread, which was made of strip metal spun round a fibre core, possibly horse-hair. (see Late Saxon Wimples - Fillets)

 

Sources:
'The Anglo-Saxons' by Rowena Loverance.
'Textiles in Archaeology' by John Peter Wild
'Dress in Anglo-Saxon England' by Gale R Owen-Crocker
Archaeo-Botanical Computer Database - http://intarch.ac.uk/journal/issue1/tomlinson/

 

© Rosie Monument 2002
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