From 41c7fd7206288325f559a165ab5cb5f62a574b2b Mon Sep 17 00:00:00 2001 From: Alisia Trudel Date: Sun, 26 Oct 2025 13:59:10 +0800 Subject: [PATCH] Add So what Tools do we See? --- So-what-Tools-do-we-See%3F.md | 9 +++++++++ 1 file changed, 9 insertions(+) create mode 100644 So-what-Tools-do-we-See%3F.md diff --git a/So-what-Tools-do-we-See%3F.md b/So-what-Tools-do-we-See%3F.md new file mode 100644 index 0000000..66573c6 --- /dev/null +++ b/So-what-Tools-do-we-See%3F.md @@ -0,0 +1,9 @@ +
Almost all are either paintings, drawings, or prints. While I try to concentrate on tailors and [Wood Ranger Power Shears manual](https://gitea.fuluzhanggui.com:99/deannaregalado) [Wood Ranger Power Shears features](https://link.1hut.ru/georgiannasimo) [cordless power shears](http://git.ibossay.com:3000/adolfog7618357) Shears price pourpointiers, some drapers, embroiders, spinners, and so forth may be included if they've fascinating tools or interesting ways of managing them. Successful tailors sometimes turned draper-taillors who both sold cloth and made it up, and there are extra footage of reducing cloth to size than of cutting it to shape. To limit the burden of this page in MB, I'll hyperlink to some images fairly than show them immediately. Where Did I Look? So What Tools Can we See? What Tools Don't We See? Where Did I Look? I also mined Janet Arnold's works. I feel one other good place to look would be stained glasses and sculptures of donors to cathedrals. The Códice rico of the Cantigas de Santa Maria is a luxury manuscript made for King Alfonso the Wise of Castille around 1281-1284. Cantiga 117 (fol. She broke a vow not to work on Saturday and was punished for her sin until she repented and made a pilgrimage to Chartres.
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The illustration exhibits her cutting linen then embroidering it with a satan looking over her shoulder. Morgan MS. G. 54 Der Wälsche Gast (Trier, c. Österreichische Nationalbibliothek Cod. ser. 2644 Tacuinum Sanitatis (northern Italy, c. More images from the Tacuinum of Liege (Université de Liège. Nouvelle acquisition latine 1673 Tacuinum Sanitatis (Pavia or Milan, c. Jacques de Cessoles, Le Livre de la moralité des nobles hommes et des gens du peuple sur le jeu des échecs (aka. Trans. Jean du Vignay. BNF, MS fr. 1166 (Paris, c. 09.htm (this illustrates guide 3, chapter 3 on "notaries, advocates, skryvenars, and drapers or clothmakers", there are some similar illustrations on imaREAL eg. Schachzabelbuch, Wien, ÖNB, cod. Lienhard der Schneider (d. Murals in the Salone of the Palazzo della Ragione, Padua (after 1420, based on earlier paintings by Giotto from c. Two ladies sew shirts. Kunz Dorenberger within the Mendel Zwölfbrüderstiftung (d. Hans Frumann within the Mendel Zwölfbrüderstiftung (d. Ulrich Schneider within the Mendel Zwölfbrüderstiftung (d.
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One hundred fifteen Stuttgart, Württembergische Landesbibliothek, Inventar-Nr. Cod. poet. fol. 2 (Hagenau, 1467) fol. 244r "Draper" (a Schachtzabelbuch) fol. 244r, "Taillor and Bathhouse Keeper" fol. Filialkirche Hll. Primus und Felicianus, Sv. Maerten van Heemskerck, "Portrait of a Lady Spinning," (c. 1531), [Wood Ranger shears](https://karabast.com/wiki/index.php/Need_A_Nice_Pair_Of_Scissors) Museo Nacional Thyssen-Bornemisza, Madrid, inv. Porträtbuch des Hieronymus Beck von Leopoldsdorf (c. Whereas taillors for the reason that 16th century educate you to draft every part before the cloth is minimize, medieval tailors are often proven slicing items which have already been cut out and faraway from the larger piece of cloth. I do not assume any of those shows the chopping plan marked on the uncut cloth. Tailor's chalk or charcoal might be onerous to see except you are close and Cennini casually mentions tailor's chalk and charcoal for drawing patterns to paint or embroider on linen. Medieval tailors use symmetrical scissors, whereas at the moment we like scissors with a protracted slender loop parallel to the blade and a brief large loop at proper angles so we are able to keep our hand closer to the table as we cut.
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The clothes hangers seem important to them. Some folks right now advocate leaving a garment to hang overnight before you set within the lining in order that it finishes stretching into the form it could have when it is worn. If you do not, the dealing with and the lining might shift relative to one another after the garment is finished. Medieval and sixteenth-century tailors generally tie a weight to the garment to assist pull it down. Medieval broadcloth might be quite robust and heavy. My understanding is that medieval individuals often saved clothing both hanging on a rail or folded in a chest, so clothes hangers which supported the garment throughout the shoulders have been a specialty software. We see the grasp or mistress standing to cut cloth or speak to customers, while apprentices or journeymen sit sewing. Many of those shops make hose, robes, and pourpointery. Some towns had particular hosiers and doublet-makers, or grouped the doublet-makers with the armour commerce. Some towns had specialist seamstresses making shirts, shifts, and breeches (the robe-linge in France).
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In Paris in 1358, the tailors of robes and pourpointiers acquired into a dispute about who had the appropriate to make doublets. Some of these retailers both sold fabric and made it up. This was the best way for somebody in the clothing trades to get rich. In France, some towns acquired drapers-chaussiers. In Germany, a Gewandschneider might sell fabric and make it into clothes. Muzzarelli, M. G. 2014. Breve Storia Della Moda in Italia. By far the most typical instruments are a table to cut on, scissors or [Wood Ranger shears](https://echbar.online/tcystanley881) to cut with, a yard to measure cloth, and [Wood Ranger shears](https://santo.kr:443/bbs/board.php?bo_table=free&wr_id=151705) rails to dangle clothes on. Sometimes we see little wicker sewing baskets which may include other issues, but we don't see exactly how people handle their totally different threads and notions. Only NAL 1673 fol. 95 and Freyle show what may be a piece of tailor's chalk for marking the pattern. In certainly one of her letters, Margherita Datini says that she will be able to mark (segnare) a garment to show how a replica must be altered, and pin on (apichare from piccare) a bit of cloth to mark how lengthy an opening ought to go.
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