Pins, Pins, and More Pins!

When I started doing research on medieval dressing pins I knew that their use was extremely common. A lot of clothing, particularly women’s clothing from the 1500’s on, relied on pins to hold sleeves on, fronts closed, and accessories in place. Men used pins to hold ruffs in place and later cravats and other items. Bruegel’s market scenes clearly show the little pins holding partlets in place, and even portraits of important people show pin heads, usually gilded or gold, holding dresses closed.  Knowing all of this, I had no idea what a pain it would be to locate actual find records for dressing pins with good pictures.

Now you may be wondering what dressing pins are. Note – I said dressing, not dress. If you search for dress pins you will locate tons of wonderful, decorative, and often very fancy, dress pins. They generally range in size from two inches to six inches, and they can have cast, filigree, enamel, or even jeweled tops. They are meant to be seen. Sometimes they were functional, and sometimes they were just for decoration. Dressing pins, on the other hand, are designed to be functional. They are sometimes gilded to look like gold, or tinned, to look like silver. The majority of them are made of a copper alloy – basically some sort of brass or bronze, and they were used to hold clothing together. Why a copper alloy? Iron pins RUST! Here is a nice collection of pins from England

So what did these amazing little pins look like up close? Basically they were a straight piece of wire with another piece of wire wrapped tightly around the top to form the pin head. The head was most often round, but it could also be a columnar form. Sometimes the heads were left plain, and sometimes they were tinned to look like silver or gilded to look like gold. The length of the pin body varied from about an inch to 2 inches, depending on the intended use. This example is 1 1/2 inches long.

one horizontal pin

Most dressing pins are simply categorized as pins in data bases, possibly because there is no way to discern between them and sewing pins, and possibly because the individuals categorizing them are not familiar with their potential uses. By the time we get to locations like Williamsburg, VA we see the archaeologists distinguishing between copper alloy pins and iron pins. They consider the iron pins to be used for sewing and the copper-alloy pins to be used for dressing. And this distinction appears to have continued down to Victorian times. Here is a great link to a blog about 18th century use of pins in women’s clothing. And lest you think that information for Williamsburg is irrelevant to Medieval dressing pins – the manufacturing technique and form of the spiral headed pins remains the same to this day. Inexpensive solid headed dressing pins did not become available until 1824, when a patent was issued to Lemuel Wright, an American, for the equipment to manufacture them.

The lack of distinctions between pin types in most data bases means that a researcher has to wade through all of the entries for pins, looking at pictures, and reading descriptions to determine which pins might have been dressing pins. The word tedious doesn’t even vaguely come close.

And now that you know how important pins were to the properly dressed lady, and gentleman, you can understand the importance of “pin money”.

16th Century Glass Buttons

Today we seldom give much thought to how our clothes are fastened together. Velcro, zippers, ties, two-way zippers, reversible zippers, and buttons. Sometimes you can learn the most by studying the simplest technology, like buttons.

I have been researching all kinds of buttons including wooden buttons, fabric covered buttons, self buttons, and in particular, glass buttons, for years. I make 1500’s reproduction glass buttons to sell in my shop, and I’m always looking for more information – new finds, old finds, new academic articles, newspaper stories, old books, museum displays –  well, you get the idea. The original button that I based my glass buttons on was bought for me by my husband as a surprise. Later, I discovered several more glass buttons, incorrectly identified as gaming pieces. All of these buttons came from a source in the Netherlands. The buttons look black (but are actually very dark purple), with a U-shaped iron shank. Virtually the same exact black glass buttons are found in England, Germany, Maine, and Virginia – a pleasant discovery for me.

Maine and Virginia, you say?

When we are searching for late 16th century artifacts, it is important not to overlook the earliest American colonies. Both Jamestown I and Popham Colony – also known as Fort St. George – were founded in 1607 (just post period!), while St. Augustine, Florida was founded in 1565. Since these sites were inhabited primarily by working people, common, every day, artifacts will predominate.  The big advantage to finding locations in North America is that the sites will probably be excavated using American techniques. Now, exactly what do I mean by that apparent bias? You often encounter statements in British journals that say something like “We don’t find many of these buttons, pins, etc., but we would probably find more if we sieved the dirt.” What they are referring to is the fact that historically they didn’t put the most artifact-rich portions of a dig through a fine sieve to catch the tiny artifacts that are easy to miss. ARRGGH! I’ve seen the results of this sieving myself. Dirt that I would have sworn was completely free of any artifacts, was subsequently washed on a window screen. The process yielded sewing pins and seed beads! Anyway, back to black glass buttons… There are black glass buttons, just like the ones from the Netherlands, at both of the Virginia and Maine colonial sites.

Now I have seen the glass buttons from Maine online before and they appeared to have a decorative swirl on the front. Well, in short, the swirl isn’t there. The swirl is an optical artifact. Now what the heck does that mean? The swirl is either a feature that is created by a combination of the lighting and the digitizing process of the original photos, or it is the camera picking up “bubble trails” in the glass. OK, so what is this about bubbles? Well, tiny bubbles in the glass can affect the way the glass transmits or absorbs light. So a swirl of bubbles inside the glass might show up in the camera but not be visible to the naked eye.

Some concerted effort to discover the location of buttons from either of these sites yielded exciting news for me personally. The Virginia glass buttons were contained in storage, but the Maine glass buttons are on display. Augusta, Maine is only a short 650 mile trip from our summer SCA (Society for Creative Anachronism) event. I actually saw the buttons from the Popham Colony in person in the Maine State Museum. The display is well lit with the buttons displayed in a conveniently close to the glass position. The front of the buttons is smooth, just like the ones that I make.  I have also had extensive communications with one of the Archaeologists from Jamestown, and their glass buttons are exactly the same as the ones found at Popham.

brief article on the Popham Colony. As a bonus, at the bottom of the page is a link to an amazing list of museum websites from all over the world. I haven’t been to all of them yet, but some of them are really awesome. The website with Popham artifact photos seems to have disappeared. Examples of some of the later period glass buttons found in the Virginia area. There is essentially no difference between these black glass buttons and the pre-1600 versions. Some have iron shanks and some have brass shanks, but the size range and form of the glass is the same.

Since I did my original research on pre-1600’s glass buttons, more and more of them are beginning to appear in the digitized libraries of museums and research organizations around the world. Great Britains’ Portable Antiquities Scheme now contains at least two glass buttons that are probably pre-1600. Here is a pale yellow glass button. And here is a bright blue glass button .

In case you are wondering what my version of black 1500’s glass buttons look like here is an entire page of different sized buttons.  My Cobalt Blue glass buttons closely resemble the blue button in the Portable antiquities Scheme

I hope that you enjoyed this brief view of pre-1600’s glass buttons. Many people are familiar with Renaissance metal buttons, but little has been written about the glass buttons that were made and used during this time-frame.

 

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Simple Subtelties Can Be Subtle

Subtlety – today we think of the word as the quality or state of being subtle. Our Medieval ancestors knew a subtlety as a cooked dish that looked like one thing but was something else.

There are many little “touches” that you can use to make a period feast prettier and more authentic-looking. In a previous article I discussed making sugar plate and candied violets and then using them to create an enjoyable and unique, by modern standards, subtlety. Another project comes immediately to mind – something simple with an easy culinary joke.

“White mice” is a simple Roman recipe – an easy and inexpensive way to serve eggs. When we served this dish people were already getting the idea that some of the things we were doing were jokes, or a play on words. The first tray of “mice” was announced and placed on the dayboard (snack) table. People thought they were cute and they were eaten fairly quickly. A couple of our volunteer kitchen staff took pictures. This picture shows a tray of mice with carrots for tails. The sauce boat has not yet been placed on the dish.

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The next tray was announced as having something special about it. People came to see it and many pictures and much laughter ensued. Can you see what is special?

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The answer: Three Blind Mice!

It was really interesting to see how many people really enjoyed the joke. That sort of jest would have been a common part of a medieval feast.

White Mice(Roman era recipe)

6 hard boiled eggs

12 blanched almonds

whole chives (we also used carrot strips)

cloves or peppercorns

sauce:1/2 tsp ground pepper

1/4 tsp cuminpinch of caraway seeds

small bay leaf

fresh herbs to taste

2 oz dates finely chopped

4 tbs wine vinegar

4 tbs vegetable stock

2 tsp olive oil

Grind pepper, caraway, cumin and bay leaf together in a mortar. Add green herbs tied in a muslin bag, finely chopped dates, vinegar, wine, stock and olive oil. Bring to a boil then simmer gently for 20 minutes to reduce. Remove herb bag. Cut eggs lengthways and place side by side on a serving platter. Place the sliced almonds as ears, cloves or peppercorns as eyes and use the chives as tails. Pour sauce over the mice and serve.

WARNING: Don’t eat these eyes! We chose to put the sauce on the side and allow people to serve themselves. We suggest labels to let folks know what is in a dish. Some of the flavors can be a bit startling to the modern palate.

Another approach to décor for a Medieval feast is embellishment with pastry. There are many Medieval cooking manuals and descriptions of feasts which detail the elaborate constructs of pastry that were often presented at feasts – Gilded and painted presentations of the bakers’ art. A simple, but effective approach to this is to simply use the crust from a pie or tart and make it more decorative through the use of cookie cutters. I am fortunate enough to own cutters designed for pastry dough, but any simple shaped cookie cutters can be used. Simply place the cutouts using your fingers and a knife to fine tune the positioning.

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Pastry in place before baking.

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This is the version for the Head Table. The other tables received a simpler version with fewer cut-outs. The cut-outs were designed so that every slice received a decorative piece of pastry dough.

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This use of extra pastry has now become a tradition in our home. All of the pumpkin pies at Thanksgiving and Christmas are decorated with leaves and acorns.

I hope that this gives you some ideas about how a simple culinary joke or bit of pastry can improve the mood and feel of a feast.

 

 

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