My GOD! I didn't realize how much space the pictures take up! The first two thirds of my notes, which I posted earlier, two up two pages. The last third of my notes takes up seven pages because it is so photo heavy. And there's a bibliography.... cause you know I have to cite all the sources on the internet that I stole photos from. I think the part that took the longest was the very last section on hair taping, because the one and only website that EVERYONE cites has disappeared. Gone, and all her research too. Therefore I had to hunt around to find any kind of portraits of hair taping. I decided to just go with the lovely Italian sources from Realm of Venus, and forgo Flemish and Elizabethan because it took me five or six hours to find the ones I did! Below you'll find the second half of my notes, with all the photos yoinked from elsewhere included, so long as they didn't give me any grief. (Sorry, there's only so much fussing with the photos I'm willing to do at this hour) Basics of Hair Braiding, Or “Just Get It Off My Neck” Lady Petronia Casta Once you’ve got the supplies you need together, what styles are there that are historically accurate? PIGTAILS! That’s right, braided pigtails are accurate for almost any time and place the SCA covers. The earliest example I’ve found is a carved stone, called a hogback, in the St. Michael’s churchyard in Lowther Park in Cumbria. These sculptures are used as grave markers. Collingwood mentions these monuments show that Lowther was settled in the tenth century by Danes from Yorkshire, Christianized Vikings2. The women have long plaits of hair which are curled at the ends. Most women have only a single braid, but others are clearly depicted with two. I don’t know if the curled ends of the braid indicate curly hair, curled hair, a decorative knot as a tying off method, or are simply artistic license. In some of the carvings texture of braiding can still be seen. The next instances of braided pigtails come from the 12th and 13th centuries and are some of the most iconic braids in our period. Bliauts have become the dominant fashion for France and surrounding countries3. The tall, thin body image is reflected in the long thin braids framing both face and body. Most instances of this hairstyle is shown with a minimum of headcovering, crowns are most frequent on the jamb statues of Chartres, which depict kings and queens of the Old Testament. The image from an Italian fresco shows the ladies wearing a hat that looks a lot like a Phrygian cap. These braids are often very long, hip to mid-thigh in length, and some appear to have tassels or weights added to the tips to keep the braids pulled taught. Occasionally, as in the image from the Winchester Psalter4, the ends of the braids may be covered in a long fabric tube. This could be for several reasons, including protecting the hair, but such a style is an excellent way to fake longer hair than one owns. Chartres Cathedral 1210-12153 Provins, St. Thibaut, 1160-703 Madonna of Viklau,Church of Viklau, Sweden3 from the Winchester Psalter, 1160-11704 The Lovers ca.1180, Hortus Deliciarum5 A fresco depicting the story of "the foolish virgins" from Castel d'Appiano in Trentino Alto Adige, Italy, 11253 Joan Ingham, Lady Stapleton c.13657 The 14th century is the beginning of strange new hairstyles, and more attention being paid to arranging the hair. The braids begin to be looped up next to the face in various styles, mostly a narrow, vertical braid on either side of the face descending, or appearing to, from the temples. This style is known by several names, templers or cornettes, though it is affectionately called puppy dog ears or lamb ears. The hair is still parted in the center, and two braids are created. The thickness of the braids on either side of the face seems to indicate that the braids are formed at the temples and are folded once they reach chin length. After this, the ends of the braids disappear. If we believe that the length of hair is similar to previous centuries, this does not seem to accommodate the full length of the hair. In the image from The Romance of Alexander we see the back view of a couple ladies in a circle dance. The braids that descend from either side of the face are also crossed at the nape of the neck6. I’m unsure whether or not this is the method for all of this period’s hairstyling, as many images are either covered with a veil, or are front facing. While often seen with a bare head, the cornettes style is frequently adorned with a veil and wimple, a veil and elaborate fillet or a hood of various styles. A false hairpiece in this style has been found, made of human hair and is attached to a tablet woven band8. Philippa of Hainault Westminster Abbey7 Sir John Harsyck & Katherine Calthorpe, Southacre, c.13847 (There should be two more pictures here, but I'm having trouble getting them to load) Lady with Swan Coat of Arms, Martin Schongauer c. 1450/14919 Braided and arranged pigtails show up once again in 15th century Germany. In this arrangement, the hair is parted down the center, appears to be braided at the nape of the neck, and wrapped around the head. The two large braids pass in front of, and cover the ears. The braids are joined at the top of the head, most likely by sewing the braids together and through the hair of the scalp. Many of these braids are extremely thick at their bases, which could mean the hair was dense or curly, teased to achieve that volume, or the presence of false hair. This style is frequently accented by all sorts of crazy hats, as the Germans are wont to do. Kissing Couple. Master E.S. c. 1450/1466. 9 Lady with Radish Coat of Arms. Master of the Housebook. c. 1475/15009 Portrait of a Young Fürleger with Her Hair Done Up. Albrecht Dürer. c. 14979 The Letter B. Master E.S. c. 1466/14679 The last form of pigtails I want to cover is one you might be familiar with, Hair Taping. This style is most commonly thought of as Italian, but is also used in Flemish and Elizabethan styles as a sturdy base for coifs and headdresses. In this style, a ribbon is used instead of sewing thread to secure the hair in a halo around the head. Begin by parting the hair down the center and starting your pigtails as close to the part as you can. This allows your braid to extend as far as it can around your head, and that keeps the thickness of the halo as consistent as possible. I use the elastic ponytail holders for the end of these braids, but sewing them with a thread would be more secure as well as more authentic. Then thread the large blunt needle with a ribbon, ¼” works well, about 2 yards long. Push the needle through the ends of the braids, a couple passes before the tie off. Wrap the braids around the head so there is a loop of ribbon that connects the two tails underneath their starting point. Then, gently pull the ribbon taught, adjust it so you have one short end and one long one, and tie it in a knot at the nape of your neck. Thread the needle onto the long end and sew the braids in place by pushing the needle under the braids toward the center of your head. Continue stitching from outside to the inside advancing around the braid by about 1½ to 2 inches. Once you’ve reached the back again, wrap the remaining ribbon around either the base of the braid, or, for a different look, lay it against the center of the braid to flatten it down. Other Italian decorative methods include tying bows around the braid and jeweled trim in front of the braid. Portrait of a Woman Girolamo da Carpi, c153010 Portrait of a Lady Moretto da Brescia, 154010 Isotta Brembati Grumelli Giovanni Batista Moroni, 1550s (?)10 “Portrait of a Lady”, by a follower of Paolo Ucello, first half of the 15th century Bibliography 1 Miller, M.E. “The Bobby Pin Revealed.” http://www.nyu.edu/classes/bkg/objectsblog/archives/bobby.pdf 2 Collingwood, W.G. "The Lowther Hogbacks." Transactions of the Cumberland & Westmorland Antiquarian and Archaeological Society, Volume 7. (1907) pp. 152-164. 3 ingen Dairmata, Aibell. “The Bliaut throughout 12th Century Europe.” http://www.eg.bucknell.edu/~lwittie/sca/garb/europe_class/europe_bliaut.html 4 Esther. “Bliaut-A 12th century court gown.” http://www.gelfling.dds.nl/bliaut.html 5 Hortus Deliciarum copy of Christian Maurice Engelhardt, 1818 http://bacm.creditmutuel.fr/HORTUS_DELICIARUMbas.html 6 Scull, Judith. “Examples of Women’s Clothing.” http://vieuxchamps.com/persona/wgarb2.php 7 All images owned by Gothic Eye Ltd. are subject to copyright and must be credited as such on reproduction. http://www.gothiceye.com/index.asp 8 Elina© Neulakko 2010 http://www.neulakko.net/wp-content/uploads/2010/03/Cornettes_final_neulakko.pdf 9 Smith, Emmie. “15th Century German Visual and Extant Resources (1450-1500).” Eme’s Compendium. http://www.gluckliche-eme.com/15thcentury.htm 10Wake, Annabella. http://realmofvenus.renaissanceitaly.net 11http://commons.wikimedia.org/wiki/File:Follower_of_Paolo_Ucello_001.JPG