‘Dryad read in’ by CactisBoy on flickr https://www.flickr.com/photos/41034618@N06/6587729561/

Have you ever taken a walk through the woods but can't stop checking behind you? Did you feel like you were being watched, or that the woods were speaking to you? If you've ever had

File under: Trails and Influences: Other Pathways. Case #8/52. Well, as I seem to say here and there, while we’re talking about Charles Frégers Wilder Mann (see Day #65/365), here is his docu…

"Rude Bones" art print Original art is hand done in acrylic on colored board. This is an 11 inch by 14 inch digital print on archival quality matte paper. Framed option is in lightweight wooden black frame with glass front. Back is wired and hand labeled. Orders typically ship within 5 business days and are shipped via USPS. If there is any issue with your order please don't hesitate to contact me! I am not responsible for international duties and customs fees. Please take these into consideration when placing your order.

Linda Perhacs - Parallelograms

Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th. See parts 1-3 also for earlier works. Note: Follow me on Twitter for notice of updates @poulwebb This is part 4 of a 21-part post on American Folk Art: This post looks at Frakturs (see description below) and the work of scrivenors and decorators. Fraktur is both a style of lettering and a highly artistic and elaborate illuminated folk art created by the Pennsylvanian German. Most Fraktur were created between 1740 and 1860. Fraktur drawings were executed in ink and/or watercolors and are found in a wide variety of forms: the Vorschriften (writing samples), the Taufscheine (birth and baptismal certificates), marriage and house blessings, book plates, and floral and figurative scenes. The earlier Fraktur were executed entirely by hand, while printed text became increasingly common in later examples. Common artistic motifs in Fraktur include birds, hearts, and tulips, as well as black-letter and italic calligraphy, Today, many major American museums, including the American Folk Art Museum, the Metropolitan Museum of Art and the Philadelphia Museum of Art have Fraktur in their collection. Important Fraktur have been sold by major American auction houses and antique dealers for prices in excess of $100,000. 1760c Ephrata Frakture ink and watercolour on paper 1770-1800c Fraktur by Johann Heinrich Otto (c1733-c1800) watercolour, pen and ink and graphite on paper 33.5 x 42.1 cm Metropolitan Museum of Art, New York City 1775c Adam and Eve attributed to the Sussel-Washington Artist 1776c Baptismal Certificate for Maria Gertraud by the Sussel-Washington Artist watercolour and ink on paper 16.3 x 20.6 cm 1776c Two Soldiers attributed to the Sussel-Washington Artist 1780c Fraktur attributed to Johann Heinrich Otto watercolour and pen and ink on paper 21 x 33.3 cm Metropolitan Museum of Art, New York City 1780c By the Sussel-Washington Artist watercolour and ink on paper 19.7 x 15.9 cm 1782 Birth and Baptismal Certificate by Johann Heinrich Otto (c1733-c1800) ink and watercolour on paper 32.1 x 40 cm Metropolitan Museum of Art, New York City 1785 Religious Poem, Bucks County, PA 1788 Birth and Baptismal Certificate by Johan Zug ink and watercolour on paper 30.5 x 39.4 cm Metropolitan Museum of Art, New York City 1795 Birth and Baptismal Certificate, Dauphin County, PA watercolour and ink on paper 31.1 x 37.5 cm 1795-1805c Small Fraktur of Man and Woman, attributed to Friedrich Krebs (1749-1815), probably Berks County, Pennsylvania 10.2 x 15.2 cm 1795c Christian Mertel, Berks County, PA 1797c Durs Rudy, Lehigh County, PA 1798 Birth and Baptismal Certificate for Anna Maria Oberle attributed to Johannes Ernst Spangenberg (c1755-1814) 1800 Drawing of the Crucifixion watercolour, gum arabic and ink on paper 34.3 x 26.7 cm Metropolitan Museum of Art, New York City 1800 Love Token watercolour on paper 33 cm diameter Metropolitan Museum of Art, New York City 1800c Durs Rudy, Lehigh County, PA "Adam and Eve" 1801 George Geistweite, Centre County, PA 1801c Birth and Baptismal Certificate attributed to Georg Friederich Speyer (active 1774-1801c) Berks County, PA letterpress hand-coloured in ink and watercolour 33.7 x 40.6 cm Philadelphia Museum of Art, PA 1803 "E.M.M" Bucks County, PA 1806 Flyleaf ink on paper 30.8 x 26.2 cm Metropolitan Museum of Art, New York City Samuel Bentz (1792-1850) Lancaster Pennsylvania: 1807 (attributed to) Birth Certificate for Johannes Giwler 5 January 1807 watercolour and ink on paper 24.1 x 19.1 cm 1811c (attributed to) Birth Record for Lydia Glasz 1828 Bookplate for Elisabeth Niszly 20 February 1828 1830c (attributed to) Presentation Drawing inscribed to Evans Steiner 1835 Birth Certificate for Catherine Styre 18 August 1835 ink and watercolour 1838 Birth Certificate for John Rayer watercolour on paper 23.8 x 18.4 cm * * * * * 1809c Birth Certificate Fraktur by Reverend Henry Young (1791-92-1861), Centre County, Pennsylvania watercolour and ink on paper 24.8 x 19.7 cm 1809c by Martin Brechall (1783-1830) Fraktur Birth-Baptismal Certificate watercolour and ink on paper 33 x 19.4 cm 1810c Presentation Fraktur, probably Lehigh County, PA 1810c Susanna Hübner (1750-1818) Letter "H" watercolour and ink on paper 1813 House Blessing printed by Samuel Baumann (1788-1820) relief print and letterpress with watercolour hand-colouring 31.8 x 39.4 cm Philadelphia Museum of Art, PA 1815 (Unknown artist) Montgomery County, PA ink and watercolour on paper 9.1 x 7.6 cm Philadelphia Museum of Art, PA 1820 Daniel Otto (1770-1822c) Birth and Baptismal Certificate for Katterina Dinges 1820 Johannes Setzer, Bucks County, PA 1821 Jacob Leith Presentation Fraktur 1822 Birth and Baptismal Certificate ink and watercolour on paper 31.4 x 39.7 cm Metropolitan Museum of Art, New York City 1822 Charles E. Munch Birth Certificate 1830 "S.K. - H.K." Bucks County, PA 1830 Durs Rudy "The Prodigal Son" 1830c Johannes Bard, York County, PA "Hunting Scene" 1830c Pennsylvania Fraktur inscribed "Ubraham Weiny" ink and gouache on paper 29.2 x 39.4 cm 1834 Samuel Gottschall, Montgomery County, PA 1834 Samuel Gottschall, Montgomery County, PA 1834 Samuel Gottschall, Montgomery County, PA 1834-35c (attributed to) Samuel Gottschall (1808-1898) Adam and Eve watercolour and ink on paper 20.3 x 31.8 cm 1835 (Unknown) Fraktur 1840-55 Birth and Baptismal Certificate by Francis Portzline (1771-1857) watercolour wash, gum and ink on paper 32.5 x 39.5 cm Philadelphia Museum of Art, PA 1840-55 Birth and Baptismal Certificate by Francis Portzline (1771-1857) ink with gum on paper 37.5 x 28.6 cm Philadephia Museum of Art, PA 1840c Pennsylvania School, Officer on Horseback watercolour on paper 12.7 x 14 cm 1840c Sarah Kriebel "Swenkfelder Building, PA" 1843 Religious Text attributed to Maris Kriebel (1826-) Montgomery County, PA graphite, ink and watercolour on paper 31.8 x 34.5 cm Philadelphia Museum of Art, PA 1850c Henry Young, Centre County, PA 1851 Francis Portzline, Union County, PA 1854 "Valentine" Fraktur dated 22 May 1754 Two identical printed certificates hand-decorated differently: 1857 Birth and baptismal certificate for Amanda Cressman (b. December 12, 1857) Printed by Blumer und Leisenring, Allentown, PA Decoration and infill by Martin Wetzler relief print and letterpress with watercolour, pen and ink by hand 41.9 x 34.3 cm 1859 Birth and baptismal certificate for Mente Agnes Elisabeth Trump (b. June 15, 1859) Printed by Blumer und Leisenring, Allentown, PA relief print and letterpress with watercolur, pan and ink by hand 42.7 x 35.6 cm Philadelphia Museum of Art. PA n.d. "M.R." Montgomery County, PA n.d. Fraktur n.d. Fraktur

“5. Finland winter folklore (image Fréger)”

by Stasys Eidrigevicius

Cosa unisce un carattere tipografico gotico tedesco del 1500 ai biglietti di San Valentino? Vieni a scoprire cosa sono i Fraktur

Explore what the folk say's 534 photos on Flickr!

Witches' Familiars 16th Century Illustration showing Elizabeth Stile feeding her familiars On 26th of February 1579, four woman were tried at Abingdon Assizes. Their names were Elizabeth Stile, a 65 year old widow from Windsor, Mother Dutten from Clewer, Mother Dewell from Windsor and Mother Margaret, who lived at the almshouses in Old Windsor. They were accused of killing several people by the means of bewitching with a 'poppet'. "In folk-magic and witchcraft, a poppet is a doll made to represent a person, for casting spells on that person or to aid that person through magic. These dolls may be fashioned from such materials as a carved root, grain or corn shafts, a fruit, paper, wax, a potato, clay, branches, or cloth stuffed with herbs. The intention is that whatever actions are performed upon the effigy will be transferred to the subject." Corn Poppet A pamphlet printed at the time of their execution states the following: "One father Rosimond, dwelling in Farneham Parish, being a widower, and also a daughter of his, are both Witches or Inchanters, and can transforme himself by Divelishe meanes into the shape and likenesse of any beaste whatsoever he will. One Mother Dutten dwelling within Cleworthe Parishe, can tell every ones message, as soone as she seeth them approche neare to the place of her abode. And further, she keepeth a Spirite or Fiende in the likenesse of a Toade, and feedeth the same Fiende lying in a border of greene Herbes, within her Garden, with blood whiche she causeth to issue from her owne flank. One Mother Dewell, dwelling nigh the Ponde in Windsor, being a very poore woman, hath a Spirite in the shape of a Blacke Catte, and calleth it Gille, whereby she is aided in her Witchcrafte, and she daily feedeth it with Milke, mingled with her owne blood. Mother Dewell's familiar Gille That one Mother Margaret dwelling in the Almes house at Windsor doeth feede a Fiende named Ginnie, with crumbs of bread and her owne blood. Elizabeth Stile, alias Rockyngham, of her self confesseth that she the same Elizabeth, until the time of her apprehension, kepte a Ratte, being in very deede a wicked Spirite, naming it Philip, and that she fed the same Ratte with bloode, issuing from her right hand, the markes whereof evidently remaine, and also that she gave her right side to the Devill, and so did the residue of the Witches before named. Father Rosimond, with his daughter, mother Dutten, mother Dewell, Mother Margaret, and Elizabeth Rockingham, did accustome to meet within the back side of Mister Dodges, and did in that place conclude upon hainous, and villainous practises. They all purposed and agreed, by their Sorceries, and Inchantementes, to dispatche one Lanckforde a Farmer, dwelling in Windsor by the Thames side, and that they murdered him accordinglie. They also by their devillishe arte, killed one Mister Gallis, who in times past had been Mayor of Windsor. Likewise a Butcher named Switcher escaped not their treacherie, but was by their Witchcrafte brought to his grave. The manner of their Inchantemente, whereby the persones afore named were murdered was thus: Mother Dutten made pictures of Redde Waxe, about a spanne long, and three or four fingers broade. The said Mother Dutten did sticke an Hawthorne pricke, against the left sides of the breastes of the Images, directly there where they thought the heartes of the persones to bee. Every one of them, if any had angred them, would go to their Spirites and say, Suche a one hath angred me, go do them this mischief. And for their hire would give them a drop of their owne blood, and presently the party was plagued by some lamentable casualtie. Elizabeth Stile with the Devil Elizabeth Stile confesseth, herself often times to have gone to Father Rosimond house where she founde him sitting in a Wood, under the body of a Tree, sometimes in the shape of an Ape, and otherwhiles like an Horse. She also confesseth her self to have turned a childes hande in Windsor cleane backwardes. Also this is not to be forgotten, that the said Mother Stile, being at the time of her apprehension so well in healthe of body and limbs, that she was able and did go on foote, from Windsor unto Reading unto the Gaile, whiche are twelve miles distant. Shortly after that, she had made the aforesaied confession, the other Witches were apprehended, and were brought to the said Gaile, the said Mother Dewell did so bewitche her and others with her Enchantmentes, that the use of all her senses were taken quite from her, and her Toes did rotte off her feete, and she was laid upon a Barrowe, as a moste uglie creature to beholde, and so brought before the judges, at suche time as she was arraigned." You can read more about The Windsor Wicthes at Strange Britain. You can read more about Elizabethan witches at Elizabethan Witchcraft and Witches.

Hello all, this is my 200th article, and I thought i should do something rather different. I will do an overview of the folk costumes of Europe. I will follow nation-states, as inappropriate as that may be, but i will also cover nations without states. Some very small and obscure ethnic groups will be omitted for lack of available material. I will also not be covering the north Caucuses, as there is simply too much material there. Where there is a recognized or unofficial 'National Costume' I will show that. This will necessarily not include much in the way of explanation. Iceland Upphultur Peysufot Faldbuningar Faroe Islands Ireland Scotland England Wales Brittany Bigoudin Kemper [Quimper] Plougastel France Berry Normandie [Normandy] Provence Euskadi [the Basque Country] Andorra [also Rousillon and Catalonia] Spain Andalucia La Mancha Galicia Portugal Minho Madeira Algarve Monaco [also Nice] Italy Lombardy Lazio Calabria Arbëreshë [Italo Albanians] Vatican City There is no women's costume for the Vatican Sardinia Florinas Orgosolo Quartu Sant'Elena Malta Switzerland Appenzell Valais/Wallis Graubunden/Grisons Liechtenstein Germany Miesbach, Bavaria Gutach, Schwartzwald Scheesel, Lower Saxony Luxembourg Belgium The Netherlands Volendam Beveland Staphorst Friesland [Frisia] West East North Denmark Fanø Hedebo Amager Norway There have been several attempts to design a national costume, but most of them have not received much acceptance. The most successful was a simplified form of the Hardanger costume, but this is currently little used, as most people wear their local bunad. Hardanger Setesdal Gudbrandsdal Sweden National Costume Värend Rättvik Sabme [Lappland] Jokkmokk Kautokeino Skolt Finland Häme, western Finland Kaukola, Finnish Karelia Tuuteri, on the Finnish Isthmus Estonia Järva-Jaani, North Estonia Muhu Island Setu, South Estonia Livonia Latvia Latgale Vidzeme Nica Lithuania Aukštaitija Žemaitija Vilnius Kaszëbskô [Kashubia] Poland Łowicz, Mazowsze Krakow, Małopolska Podhale One of many Górale or Highlander costumes Sorbia [Lusatia] Chosebus [Cottbus], Lower Lusatia Slepo [Schleife], Upper Lusatia Catholic costume, Upper Lusatia Bohemia Plzeň [Pilsen] Blata Nové Paky, Northeast Bohemia Moravia Hanak Valašsko Vlčnov, Slovacko Slovakia Myjava Detva Šariš Hungary Palóc Kalocsa Matyó Austria Montafon, Vorarlberg Tyrol Upper Austria Slovenia Gorenjsko Dolenjska Bela Krajina Croatia Posavina Zagrebačko Prigorje Dubrovnik/Konavle Bosnia Moslem town costume East Hercegovina Orthodox Serbian Costume Travnik, Catholic Croatian Costume Serbia Šumadija Vojvodina Gniljane Crna Gora [Montenegro] Macedonia Skopska Blatija Galichnik Radovish Gorani Albania North Albania and Kosovo [Gheg] Sulovë, Central Albania Fieri, South Albania [Tosk] Greece Amalia Costume, Athens Kriti [Crete] Karagouna, Thessaly Cyprus Bulgaria Sofia [Shope] Rhodope Severnjashko [North] Vlach in Serbia in Greece in Albania Romania Wallachia Transylvania Moldavia Moldova Gagauz Crimean Tatar Ukraine Central Ukraine Hutsul Volyn' Carpatho-Rusyn, Lemko Komancha Venhryny [Čirč region] Jakubany Belarus Svetlahorski region, Western Polissia Malarytski region, Eastern Polissia Russia Peasants from northern Russia Kaluga Province Voronezh Province Karelia [Russian held part] Tver' Province Karelians Veps Nenets The Nentsi [formerly known as the Samoyed], live along the arctic coast from the White Sea to well past the Urals, and thus into Asia. Komi Permliak Udmurtia Northern Udmurt Southern Udmurt Mari-El Ural Mari Mordovia Erzya Moksha, Contemporary Costume Men Chuvashia Anatri Chuvash bride and her father Anat Enchi bride, groom and married woman Virial Chuvash Matchmaker Tatarstan [Kazan'] Bashkortostan [Bashkir] Kalmuk [Kalmyk] Thank you for reading, I hope that you have found this to be interesting and informative. Roman Kozak

Теодор Аксентович «Русинська дівчина зі свічкою». 1888. Teodor Axentowicz, Ukrainian Girl

The book Československé lidové hračky (Czechoslovak Folk Toys) by Emanuel Hercík was truly a labor of love. He worked on this project for over 30 years and as you look at the illustrations, you can see his passion in each pen stroke.

This Huichol work of art is done in the yarn painting style, but the designs are created with seed beads impressed in wax rather than yarn or thread. Popular Arts Museum Mexico City

On the surface, old-time music is easy. You only need to know three chords in one or two keys, the solos aren't fancy, and a creaky singing ...

Hello all, Today I will do an overview of the costumes of the Saami people. Previously they were called Lapps, but this is not what they call themselves, and they consider the term to be pejorative. The origin of the word Lapp is controverted, but it may be from Old Finnish/Estonian for a place far away. The Land of the Saami; Sápmi, Sábme, or Saemie, depending on the Dialect, is split between four nation-states, Norway, Sweden, Finland, and Russia. It consists of the northern part of the Fenno-Scandian peninsula. Here is the webpage of the artist who created this map, Hans Ragnarmathisen http://www.keviselie-hansragnarmathisen.net/ The Saami do not have political recognition as a people, but they do have a flag. The colors of the flag are the same colors used in Saami costume, for the most part. Linguists group the various Saami dialects into 9 Languages, of which 3 are moribund. These languages are completely unrelated to Norwegian, Swedish or Russian, and only distantly related to Finnish. There are about 160,000 Saami worldwide, of which maybe 20,000 speak one of their native languages. In spite of this linguistic diversity, they do indeed think of themselves as one people, and recently have been very active politically. For more information see these articles. http://en.wikipedia.org/wiki/Sami_people http://en.wikipedia.org/wiki/Sami_languages There are a large number of blogs and articles online as well. I will be following the linguistic groups in my discussion of the costumes. Here are two maps which show the different groups. The second one omits the three moribund languages, but has many useful place names. I will be referring to both groups and locations throughout the article. Saami languages were also once spoken much further south. This second map lumps some of the groups together: 1 Southern Saami 2 Central Saami 3. Northern Saami 4 Inari Saami 5 Skolt Saami 6 Kola Saami The term which the Saami use for their costume is Gákti. This has been borrowed into Norwegian as Kofte, into Swedish as Kolt, and into Finnish as Takki. There is no equivalent in Russian. The couple at the head of the article are wearing the costume which is the most famous, from Kautokeino (Guovdageaidnu) in Norway. [Throughout this article I will give the internationally recognized name of a location first, followed by the Saami name in parentheses.] This is undoubtedly the poster child of the Saami group, being one of the most colorful and impressive. Most of the Gákti have the same basic construction, however. The main part of the costume consists of a pullover, which is basically the same for men and women, the mens' version hangs about mid thigh, while the womens' hangs to the knee or mid calf, depending on the local variation. The following drawings by Max Tilke show the basic cut. The first is a woman's garment from 'Tornelappmark', which is an old name for far northern Sweden. This is a man's garment, place of origin unspecified. This shows a pair of pants and a variety of different hats and bonnets used by the Saami. The basic garment is belted with either a woven sash or leather strap, which may be variously ornamented. Men wear pants, and women also in cold weather; low boots with woven straps are worn, some of plain leather and others of reindeer fur. Reindeer fur leggings are worn in winter over the pants, these sometimes have 'wings' attached to the upper edge. Hats and bonnets vary greatly according to location. The basic color of the cloth is usually the blue of the Saami flag, but it may be black, off-white, or sometimes green. Garment pieces may also be of leather. The trim is almost always red and yellow, with some green added at times. Overgarments of reindeer fur are worn in winter. DMC has put out a book titled 'Lapland Embroideries', but NONE of the embroidery designs pictured in the book are Saami. There are a couple of designs from the woven sashes on p. 40, but the rest of the designs are from various other northern peoples ranging from the Icelanders to the Nanai. The Saami do not traditionally do embroidery as such. They do a lot of applique and patchwork on their costumes, and they do a type of metal couching using pewter wire. This is commonly done on belts, and on the bags which hang from the belt, and are also done on the dickey which is worn under the main garment in many Saami costumes. Here are a couple examples of this work, In the eastern parts of Sabme, beadwork is also done. In this image, the two woven sashes are Northern Saami from Enontekiö (Eanodat) in Finland, and the beaded one is Skolt Saami. I will now give short illustrations of the costumes of the various groups. This will by no means be exhaustive, as there are many regional types, and detailed information is difficult to find on some of them. Please refer to the above maps. SOUTH SAAMI There are about 2000 South Saami, of whom perhaps 600 can speak the language. Here is the costume from between Femunden and Saltfjellet in Norway. A closeup of the dickey, pin, purse and belt of this costume. Notice the pewter wire couching. This costume is from around Idre in Dalarna, Sweden. This young man is also South Saami from Sweden, from around AmmarnäsTärnaby, VilhelminaÅsele. CENTRAL SAAMI The central Saami traditionally spoke the Ume, Pite and Lule languages, going from south to north. Ume Saami currently has about 10 speakers, and Pite Saami has between 25 and 50. There are more who no longer speak the language. So many good sources of images do not bother to record the exact origin, so many of the images which I have are simply marked 'Sweden' or 'Norway'. I have not been able to find many images of these people. Ume Saami This is the only image which I have been able to find which is unequivocably Ume Saami. This woman is LenaMaria Nilsson who is active in Saami politics. Pite Saami Lule Saami Lule Saami is still spoken by perhaps 2000 people, the second largest of the Saami languages. A Lule Saami couple from Tysfjord Norway Lule Saami from Jokkmokk (Jåhkåmåhkke or Dálvvadis) in Sweden NORTHERN SAAMI The Northern Saami are found in the northernmost parts of Norway, Sweden, and Finland. Theirs is the largest of the Saami languages at 15,000 or more speakers. There are districts where they are still the majority population. There are a dozen or more very colorful costumes worn by the Northern Saami I will highlight just a few. Sweden: Jukkasjärvi (Čohkkirasjávri) Karesuando (Karesuanto, Gárasavvon or Karasavvon) Norway These are some of the Northern Saami costumes found in Norway. Troms (Romsa) Varanger (Várnjárga) Karasjok (Kárášjohka) The same basic costume is also worn in Tana. You can see the 'wings' on the fur leggings on the man. Kautokeino ( Guovdageaidnu) This is often described as 'embroidered', but in fact the ornamentation consists of rows of appliqued patterned ribbon. Finland The costumes of Enontekiö (Eanodat) are basically the same as in Kautokeino (Guovdageaidnu) Sodankylä (Soađegilli) Utsjoki (Ohcejohka) INARI SAAMI The Inari and Skolt languages are each highly divergent from the other Saami languages. About 300 people currently speak this language, although there is a movement to start teaching it to younger people. The Inari only live in Finland. SKOLT SAAMI The Skolt Saami number about 1250 and live in Norway, Finland and Russia, although most of the 400 speakers of the language live in Finland. Some of them abandoned the Gáktii for chemise and Sarafan as worn by their neighbors, The Karelians and the White Sea Russians. The women wear beaded caps which are similar to the Sorokka worn by the Karelians. KOLA SAAMI These only live in Russia. Of the three languages, Akkala is extinct, and 2 people still speak Ter. Kilden Saami is still spoken by perhaps 600 people. It is not used much in daily life, and most Saami in Russia do not speak it. I have found several images of Saami from Russia, but I do not have information as to which costume comes from which location. Some of these may be Skolt. Here is one blog which is devoted to Saami culture. This is well worth looking over for more information and links. http://saamiblog.blogspot.com/ Thank you for reading. I hope that you have found this interesting. The circumstances in which the Saami find themselves, being split by political borders, having local ways of speaking which are unintelligible to other communities, having no common language of their own, Identity at best ignored or often suppressed by the governments of the majority people are not unique. They are unfortunately similar for many indigenous people around the world. Each culture is a unique treasure which in a sense belongs to humanity at large. We should at least be aware of them. I have pieced this article together from many sources, and while I have caught some obvious errors, there may be others which have found their way into this article. I am particularly unsure concerning the material from Sweden. If anyone, Saami or otherwise notices such errors, I apologize and would greatly appreciate better information and images. Thank you. 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. I also choreograph and teach folk dance. Roman K. [email protected] Source Material: Ulf Hård af Segerstad, 'Dakkan En Bok om Samernas Slöjd', Malmö, Sweden, 1971Rolf Kjellström et al, 'Saami Daaidda', Helsinki, 1981 Heidi Fossnes, 'Norges Bunader og Samiske Folkedrakter', Oslo, 1994 Liv Trotzig et al, 'Sockendräkter Dalarna', Dalarna, 1976 Natalia Kalashnikova et al, 'National Costumes of the Soviet Peoples', Moscow, 1990 L. N. Molotova, 'Folk Art of the Russian Federation', Leningrad, 1981 Max Tilke, 'East European Costumes', London, 1926 Charles Holme, ed., 'Peasant Art in Sweden, Lapland, and Iceland', London, 1910 Laila Duran, 'Scandinavian Folklore vol I - III', AB, Sweden, 2011-2013 Much of this material I found online, I thank all those who make such information available. Upon request I will include explicit sources of the images. Thank you

In honour of the summer solstice we revisit the time we showcased the new fabric collections in pagan and English folk costumes