Hello all, Today i am going to talk a bit about the costume of Samogitia, or Žemaitija, which is basically the northwest quadrant of Lithuania. For a bit about the history and dialect of this province, see this article. http://en.wikipedia.org/wiki/Samogitia I mentioned in my first posting about Lithuanian costume that there is somewhat of a dichotomy in the source material. The material concerning this region is relatively uniform. I will start by presenting a map so you can orient yourselves. Let us start by presenting a few images from various sources. Firstly, a print by V. Palaima, representing the 20th cent school. And an image from Glemzaite, equally from the 20th cent school. Here is a watercolor representing the 21st cent. school. Here is an image from Bernotiene The chemise is of the type typical for Lithuania, with narrow shoulder tabs, often plain, but also at times with red woven ornament on the collar, cuffs, lower sleeves, shoulder tabs, and front. Here is a color schematic of one sleeve. The bodice, which is made of a home woven plaid or patterned cloth, has a distinctive cut, with a round neck, center opening, and a pleated frill around the bottom. In some photos, the main body of the bodice is rather short, forming an empire waist, while in others it is longer, the frill forming a peplum at the waist . Compare the various images in the posting. Here is the cut. Notice that 1/4th of the frill/peplum is shown. Here is a back view of the short version of the bodice, from Balcikonis. You will notice that in the aprons and skirts, the overwhelming tendency is towards vertical stripes, mostly dark for the skirts, based on red and other colors. The aprons show some variety, some being simple stripes, some being stripes of cat's paw, clover or other motifs. The aprons are often red stripes on a white background. Here are a few examples. The skirts are sometimes plaid, but mostly vertically striped. they tend to be quite full, and are worn over the chemise, with a linen or wool petticoat or under skirt, or more than one. Sometimes the topskirt is kirtled up in order to show the skirt underneath, which contrasts with the upper skirt. You will notice that in place of the nuometas, the wimple, the married women wear a kerchief, commonly plaid, which is sometimes tied under the chin, but very often wound around the head and tied on the forehead. Often these kerchiefs have short fringes around the edges. This gives a unique outline to the headdress. At times, more than one is worn. The karuna, the unmarried girl's crown in this area is often made of two ribbons twined around each other and then mounted on a base these are called rangai. See the second and third images above. This region is close to the Baltic Sea, so amber is very commonly worn, take a look at the various images. The drobule, the rectangular linen wrap was worn in this region, with pattens woven into the linen and red ornament on the edges, woven in with the weft. But it was more common to wear or carry square or rectangular linen or woolen wraps that are striped or plaid. Footwear include shoes, moccasins, nagines, shoes woven of birchbark, vyzos, or shoes carved from wood, klumpes. Thank you as always for reading, I hope you found this interesting. I will conclude with several more images. For more information, you may consult this excellent article by Jurkoviene. http://ausis.gf.vu.lt/eka/costume/cost_zem.htm Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

Hello All, I am sorry that i have not been able to post for a while due to computer problems and a heavy work load. Lithuania is Latvia's neighbor to the south and speaks a distinct, albeit related language. Lithuania ruled a large area after the decay of the Mongol Empire in the area, including all of Belarus and a good portion of Ukraine. The royal line intermarried with the kings of Poland, and around 1400, the Lithuanian king also became king of Poland. This had the result of Lithuania becoming subordinate to Poland, and the Lithuanian gentry becoming Polonized. This has happened several times in history. Scotland became subject to England when King James of Scotland took over the throne of England as the closest heir of the royal line. Manchuria conquered China, and became assimilated by the Chinese. During the partition of Poland, Lithuania became part of the Russian Empire, except for the westernmost region which was part of the Prussian Empire [which was really German, the Prussians having been assimilated by the Germans by the beginning of the 18th cent.] Like the Ukrainians and the other Baltic States, the Lithuanians attempted to establish an independent state during the final part of WWI. Like Latvia and Estonia, and unlike Ukraine, the Lithuanians succeeded. They were annexed by the Soviet Union in 1940, and only regained their independence in 1991. For further detail see this article. http://en.wikipedia.org/wiki/Lithuania Culturally, Lithuania is divided into between 4 and 7 regions, depending on which source you consult.The simplest categorization is to divide the country with more or less straight lines east-west and north-south which intersect a little to the northwest of the city of Kaunas. The northwest quadrant is called Samogitia, Žemaitija, or Lower Lithuania, the northeast is called Aukštaitija or Upper Lithuania, the southeast is called Dzūkija or Dainava, the land of song, and the southwest quadrant is called Suvalkija or Sūduva. Here is a map showing this. Most sources would include a fifth region, Lithuania Minor, Mažoji Lietuva, or Klaipeda, after its largest city. The reason that some authorities do not include it is because most of the territory of Lithuania Minor is outside the present day borders of the state of Lithuania except for a narrow strip along the coast as you can see above. Here is a map of the five regions. This map shows the historic range of the Lithuanian people. Much of the territory outside the current borders was of mixed population, especially in the south. In the 20th cent. many of these populations have been moved. Some sources will split the region of Suvalkija into two regions which vary somewhat in costume. dialect and culture. They also point out that the city of Suvalkai after which the region is named is now in Poland. The northern half is called Zanavykia, and the southern half Kapsai. Finally, some authorities in the mid 20th cent. considered the area around Vilnius to constitute a distinct region as pertaining to costume. Thus we are now up to 7 regions. There are some distinctive features of the costumes of the various regions, but they tend to be in the details of the color schemes, cut of bodice, weaving techniques, type of ornamentation and suchlike. Lithuanian costume forms a quite distinct whole, and it is quite possible to construct a costume made of pieces which lack the distinctive features and is difficult or impossible to assign to any region. There are two tendencies currently seen in the presentation of Lithuanian Folk Costume. The first is a continuation of the tradition began around the beginning of the 20th cent. This was the time of the development of National Identity in many countries. In Lithuania, as in other places, city people began to recognize National dress as a symbol of their nation, and as an expression of Native Art. They began to wear National dress as a symbol of their identity on special occasions. Scholars began to collect rural clothing, and analyzed them for those characteristics which were most unique to Lithuania, and for the elements which were most decorative and impressive. Items of clothing which resembled those of the Polish or Belorussians were downplayed. The most impressive techniques were copied and developed. Urban women were encouraged to learn to weave on hand looms. This became seen as a patriotic mode of expression. Much artistic effort and creativity went into the development of weaving techniques. The result is the spectacularly beautiful type of costume seen worn by Lithuanians on cultural and political occasions, and at the mass dance gatherings which continue to this day. Here is a typical example. Here is a link to a local Lithuanian dance group website. You can see the variety of patterns and colors within the basic costume structure. http://www.lithaz.org/arts/costume/saule.html This might fairly be considered a National Costume rather than a folk costume. There was at some level an attempt to preserve the differences in the regional costumes while developing each of them. I have, however, seen many amateur groups in which pieces from various regions are combined in one ensemble. I myself once purchased a skirt and apron which, upon arrival, were obviously from different regions. Many times however, the color schemes are different enough to not allow regions to be mixed. This type of costume is depicted in the illustrations of Vitautas Palaimas, which were popular in the 1950's. These types of costumes often take center stage at Museum Exhibitions. Here is a link to the Lithuanian Museum of Art in Lemont, Illinois in the Chicago Area, showing exceptionally artistic variants of the costumes of different regions. http://www.lithaz.org/museums/ldm/fabric/index.html The second current tendency in Lithuanian Costumes, which might give rise to some confusion to those who peruse the existing material, started around 1990. [I am informed by one of my readers that it in fact dates back to the period between the two World Wars, and was fueled in part by pro-Soviet and anti-Soviet camps.] It is typified by a couple of excellent books, Both entitled 'Lithuanian National Costume' one by Terese Jurkuviene, published in 2004, and the other by Vida Kulikauskiene et al in 1994. The watercolor illustrations of the second are typical of this new school. [If someone who reads Lithuanian can tell us the artist's name, i would be very grateful, as i cannot make out which of the names cited is the artist]. This movement has gone back to the 19th century and emphasizes reconstruction of the clothing actually worn at that time. It has abandoned the artistic elaboration of the 20th cent, in part, i believe, because hand work in general is no longer as accepted a part of our daily lives in the same way that it was a century ago. This school may be considered to be more concerned with 'Folk Costume' as opposed to 'National Costume'. There is more emphasis on simpler clothing, on bought materials, such as brocades and damasks, rather than on the elaborate artistic weavings emphasized in the 20th cent. The 20th cent. interpretations emphasized nagines [moccasins], or clogs, whereas this new school emphasizes shoes and boots. Here is an excellent website which typifies this school of thought. It includes several illustrations by the same artist as in the book cited just above. http://ausis.gf.vu.lt/eka/EWG/ewgtitulinis.htm It would seem to me that both can be considered equally 'authentic', as both are expressions of the art of Lithuanian costume. Embroidery does of course, exist in Lithuanian Costume, but the larger emphasis by far is on woven ornament. Basic Lithuanian costume consists of: Chemises, Marškiniai The chemise has relatively narrow shoulder pieces, as in most Latvian costume, Typically the collar, cuffs, sometimes the front opening and shoulder pieces, and especially the LOWER sleeves were decorated with designs woven into the linen. The concentration of ornament on the lower sleeves is unusual and typically Lithuanian. The lower part, from the waist down were typically made of a coarser linen. As in many places, starting in the 1950's the upper part of the chemise was sometimes cut off so as to be able to wear it with modern clothing. Skirts, Sijonai, Skirts were usually worn at ankle length, of wool or linen, generally 3.5 to 4 meters/yards around. Plaids are more common in the East, and Stripes, [usually vertical] in the West, Horizontal bands of ornament are also known, and greatly emphasized in the 20th cent. elaborations. Aprons, Prijuostes, Unlike Latvia, in Lithuania the apron is considered to be an indispensable part of female costume. There is an extremely wide variety, short, long, wide, narrow, linen, wool, brocade, plaid, plain, striped, horizontal ornament, vertical ornament. There isn't space to go into this here, i will return to this subject. Bodices, Liemeneles, The costume could be worn without the bodice, but when dressing for a special occasion, it was considered necessary. The exact cut varied with the region, but generally was hip length, included a peplum or large lappets, had woven designs finer than those found in the apron or skirt, and fastened in front. Examine the various photos here in this posting. Headcoverings, Karunas There is a wide variety of these, most commonly seen in dance groups is one of the variants of the crown-shaped open topped headdresses proper to unmarried girls. These generally have woven ornament and ribbons hanging down the back. There are various names depending on which exact type one is referring to. Married women traditionally used forms of headdress which covered the hair. Sashes, Juostos, The sash is considered the single most important piece of the national costume. It tends to be 3 to 4 inches wide, circles the waist twice and hangs down quite a bit. It is usually inkle woven, although other techniques are also used. There are many elaborate designs used. One of the most common types of folk art sold as souveniers or displayed in the home are the sashes, sometimes with a place name or phrase woven into the design. They always end in fringes, and usually have supplemental fringes inserted between the weft at both ends. Even when the men abandoned traditional wear for contemporary city clothing, the sash was the last piece of the costume retained. This has been just a general introduction, and is far from complete. I will be preparing posts on each of the seven regions, and on some of the individual costume pieces and ornamentation techniques. There are many exceptions to most of what i have stated here. I will end this post with a photo of an exceptional costume in the 20th cent style. This was given to Princess Diana by the Lithuanian community of Great Britain. It was designed and woven by Anastazija Tamošaitienė, sash woven by Aldona Veselkienė, and silver brooches crafted by Antanas Tamošaitis. Thank you all for reading. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

This is Vincas Juska, a knygnešys — "book smuggler" — one of the brave people who defied Tsar Alexander II's "Temporary Rules for State Junior Schools of the Northwestern Krai"…

Kodėl su malonumu puošiamės japoniškais, afrikietiškais ir daugybės kitų šalių etniniais motyvais išmargintais drabužiais, tačiau šnairomis žiūrime į savo tautinį kostiumą? Ar tikrai jis tinkamas tik vaidinti klojimo teatre? O gal vilkėti tautinį kostiumą šiandien madinga?

Hello all Today i am going to write about the costume of the region of Kapsai, somewhat of a sister region to Zanavykia. Kapsai is south of Zanavykia, between Lithuania Minor and Dzukija, bordering on Poland to the south. This corner of Poland historically had a sizeable Lithuanian community, and actually i am not familiar with any Polish costume native to this corner of Poland. Here is a map showing the Kapsai region. This map shows Dzukia extending to the south of Kapsai. Different maps do not agree as to the exact extent of the various regions, Dzukia in particular. Kapsai has perhaps the most colorful and impressive costume of LIthuania. Sometimes artists mix pieces from different regions in their drawings. When this is the case, they almost always depict an apron from the region of Kapsai. Here is the most prominant of the Lithuanian costumes on display in a museum in Moscow. A good representation of the Kapsai costume. Here are a couple of prints from V. Palaima representing the Kapsai costume. A couple of images from Jurkuviene. An example from Glemžaitė front and rear. And a couple of photos from Tamošaitis. , The most evident differences between this and the Zanavykian costume is that the bodice has a different cut, generally being much longer, and the apron has horizontal ornament. Starting with the chemise, It has the usual Lithanian cut, tunic type with narrow shoulder tabs. It was ornamented with overshot weaving, hemstitching, broderie anglaise [which was exceptionally popular in this region] or other embroidery. The embroidered chemises tend to have shoulder pieces which have been widened. Here is a closeup of the costume from the Russian museum. Overshot weaving in white and ecru on a lower sleeve. Hemstitching on lower sleeve and shoulder piece. Broderie Anglaise on a shoulder piece. Cross stitch on a chemise. You will notice that the upper sleeve is gathered into the shoulder as in Zanavykia, and the tulip and rue plant are major motifs. The skirt is most commonly woven with vertical stripes on a dark background, as in Zanavykia, sometimes solid stipes, and sometimes the stripes have ornamental motifs woven in.But plaid and solid color skirts, perhaps with spot motifs woven in, are more common than in Zanayvkia as a result of influence from neighboring Dzukija. Again, as in Zanavykia, the apron takes center stage. Peruse the images in the posting. Horizontal arrangement is distinctive for this region. Sometimes the upper part is left unornamented or made from a cheaper material, because the bodice covers it. The sash is wide, with very ornamental motifs, it is tied either under or over the bodice. Tulip motifs are often prominant, and the supplemental weft fringes are well in evidence. The bodice varies somewhat, but tends to be longer than anywhere else in Lithuania, resembling the kersetka of eastern Ukraine. It is made either of home woven or bought material. Some examples flare more widely. Here is a back view of one example, and two different patterns. The headpieces greatly resemble those of Zanavykia, kerchiefs with or without front pieces, galloons, netted caps with front pieces. The beaded headbands are apparantly not found in Kapsai. Here is an image of a somewhat different type of karuna found in Kapsai. This is a headress called pakalke, similar to the karuna, but without points and higher. A linen kerchief with woven ornament and attached frontpiece. Necklaces of amber, coral or glass beads complete the costume. Thank you for reading, i hope you have found this interesting and possibly inspiring. Jurkuviene treats this costume together with the one from Zanavykia in her article.on Suvalkija. http://ausis.gf.vu.lt/eka/costume/cost_suvalkija.html Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

Iron Wolf statue. August 2006

Hello all, Today i will talk about the costume of Lithuania Minor,Mažoji Lietuva in Lithuanian, the westenmost region of Lithuania, much of which remains outside the borders of the present state of Lithuania. The major city of this region in Lithuania is Klaipeda, and the region is sometimes named after this city. The history of this region is distinct from that of the rest of the territory inhabited by Lithuanians, in that it very early came under the control of the Teutonic Knights, and was an integral part of the Kingdom of Prussia for many centuries. The influence of Germanic culture and the Lutheran faith was very strong in this region. For more information about the history and development of this region, see this article. http://en.wikipedia.org/wiki/Lithuania_Minor Here is our map again, so you can orient yourself. There is a lot of variety in the costume of this region. Sometimes the clothing is as colorful as in other parts of Lithuania, but sometimes the clothing is quite dark and soberly colored, in keeping with protestant sensibilities. Some features of the costume of this region, while not always present, are diagnostic. 1. The main part of the chemise embroidery being on the uppper sleeve and shoulder inset. 2. pleated skirts, 3. aprons with vertical woven ornament completed with a piece with horizontal ornament attached to the lower edge. 4. a narrow sash supporting an ornamented seperate pocket, worn on the hip. 5. basket shaped headress braided from cord in netting. 6. rectangular white shoulder wrap with curvilinear floral embroidery in white or red down the center lengthwise. I will start by presenting some images from various sources. Keep an eye open for the above costume characteristics. The chemise in this region is often sewn with a different cut than in the rest of Lithuania, with a shoulder inset sewn to the top or side of the main body pieces. The shoulder inset has woven ornament or is embroidered, the ornament being displayed on the uppper arm. Sometimes embroidery is also added at the top of the sleeve. This is very similar to what is found in slavic costume. It is interesting to speculate where this came from, as this part of Lithuanian is furthest from Russian/Bielorussian influence. Other cuts are also used. Here is a schematic of the cut. Here are some examples of the embroidery used on the chemises. Here are some of the embroidery patterns used. One unfortunate recent development is that the embroidery is sometimes placed lower on the sleeve through a misunderstanding of the cut of the chemise, especially when the entire sleeve is made in one piece. This unfortunate tendency is also seen in modern Ukrainian blouses as well. Here is one example of embroidery hanging too low on the arm. Skirts are plaid or striped, or, unusually for Lithuania, of a solid color. The skirts are sometimes pleated, which one does not find in other parts of Lithuania, although it is common in Estonia. Skirts are also sometimes shorter than in other parts of Lithuania. Take a look at the skirts in the various images presented. Aprons, as in other parts of Lithuania vary quite a bit. Some have vertical ornament in red on a white background, copied perhaps from brocades of the 18th cent. They may be of a solid color, of linen or damask, and may have a flounce on the bottom. Take another look at the various images. The type of apron usually considered to be the most unique to the region has vertical woven ornament in the body of the apron, with a piece attached to the hem which has horizontally sewn ornament. Here is an example. Bodices are short in this region, often not extending past the waist, but bodices with short peplums are also known. Here is one cut given for a bodice from Lithuania minor. These bodices are sometimes ornamented with braid or ruched ribbon. The neckline can be cut more deeply than in other parts of Lithuania, showing moree of the chemise, and giving the effect of narrow straps over the shoulders. One type of bodice used in this region is cut straight across the top under the arms, and in fact does have straps, the result being a square 'neckline'. Here is an example. Sashes are worn here as in the other regions of Lithuania. Some are wide with showy patterns. But another kind of sash is also used here, which is narrow and has many different patterns woven into it, the so called 'hundred pattern sashes'. A pocket was often worn with the costume in Lithuania as in many other places. this was usually worn under the skirt or apron. In Lithuania Minor, there was also a very decorative pocket called delmonas, which was worn on the outside of the skirt. This garment, while very common in Scandinavia, is rare or unknown in the other parts of Lithuania. The most casual perusal of the images in this posting will show the incredible veriety of shapes and ornament used on these pockets. However they are usually flat with an open top, or a slit on the front, or a flap, and are threaded onto a length of the 'hundred pattern sashes'. Here are a few more examples. The festive attire was finished with a necklace of glass, coral, or especially amber, as this region lays on the shore of the Baltic Sea. Headgear is varied, consisting of a kerchief, karuna, cap, or bonnet. The most unique headgear consists of netted string placed over a frame, which was only worn by married women. This does not seem to have been worn in the city of Klaipeda. Unmarried girls did not cover their hair, but braided it into a crown, and sometimes added wreaths of flowers or leaves, especially of rue, which has a special significance for the Lithuanian people. See the following two photos. At the end of the 19th century, in some places, especially in the cities, short jackets were popular. Over these, and even over bodices were worn triangular folded shawls which were similar to those worn in central and western Europe. In other areas, the old rectangular shoulder wrap, the Drobule was retained. These were made of one panel of cloth, and often embroidered in a wide strip down the center. When they were worn, they were folded to be relatively narrow, and wrapped around the shoulders, perhaps in imitation of the empire style. The embroidery was either in white or in red. Here are two examples of the distinct embroidery done on the Drobules. Thank you for reading, i hope that you have found this to be interesting, informative, and perhaps inspiring. Let us continue to make beautiful things to fill our world. Here is one last image for this posting. For more information on the Klaipeda costume see this article by Jurkuviene. http://ausis.gf.vu.lt/eka/costume/cost_klaipedar.html Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: Albert Kretschmer, 'Das Grosse Buch der Volkstrachten', 1977, Basel, CH [Reprint of the 1890 original] AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

The Latvian and Lithuanian people have the Old Prussians to thank more than anyone else for their existence.

This is one of the Soviet postal stationery of the folk dance of each Republic consisting the Soviet Union issued in 1960. It is bilingual in Russian and the language of each ethnic group. I find the Soviet stamps and stationery during the 50's, 60's and 70's are particularly well designed.

A legend surrounds the founding of Vilnius, the present day capital of Lithuania. It is The Legend of the Iron Wolf. The legend begins with a hunting trip undertaken by the Grand Duke of Lithuania,[1] Gediminas to the holy woods in the Valley of Sventaragis around the year 1323. Gediminas was joined by the nobles of […]

Scans of "Lithuanian National Costume"(by Baltos Lankos), a book I have purchased in Nida at the Maxima, (the one and on...

The Lithuanian legend Jūratė and Kastytis tells the sad story of an impossible love between a goddess and a man in the Baltic Sea.