Bayeux Tapestry Recreation Project Framing Up

In this video I final get round to framing up the linen ready for transferring the design.
We start with a discussion about what we know of embroidery frames and how they were used in the early medieval and later medieval periods. We then move on to the equipment and materials being used in this project, why they were chosen and alterations that had to be made to some of it, and my hopes and fears about using it. Then we reach the actual framing up process. I talk you through the highs and lows, the problems and difficulties, the achievements, the final result and what I think about it. So come and join me for this next stage in the Bayeux Tapestry Re-creation Project.
Images taken from:
Exodus XXXVI, 8-19, The Byzantine Octateuch.
K. Staniland, Medieval Craftsmen: Embroiderers.
Linen thread: 2ply organic linen yarn, white; thicker 2ply organic linen yarn, gold-beige.
Needles: in the end I used a carpet needle.
My book:
The Lost Art of the Anglo-Saxon World: The Sacred and Secular Power can be bought from many bookshops and websites including:
The publisher: www.oxbowbooks.com/9781789251...
Amazon: www.amazon.co.uk/Lost-Art-Ang...

[@yarnexpress]

Forgive a 2nd comment. I'm a hand quilter & often mount a quilt that's 100 inches square(sorry USA here). It's important to keep everything square. What I do, is fold the fabric into quarters then finger press creases at the centers horizontally & vertically. For the wooden rails, mark their centers also. Lace & knot at these 4 points. This initial lacing is removed after lacing is complete. The advantage is that the fabric is automatically kept square in the frame while lacing.

[@EarlyMedievalEmbroidery]

Please don’t apologise, it’s absolutely fine. Yes, I do that when framing up my pieces normally too, but I framed up differently here for the reasons you’ll have seen and heated in the video. You’re right, it is so important to keep everything square. I’ve since tightened the lacing and that’s squared the fabric up more, which I’m happier about.

[@onemoreteaspooncreative7398]

A tip for working with linen thread - coat it in beeswax to prevent stripping/shedding. As candles/various wax products were readily available in this period, this would be a period correct solution. I learned this tip when exploring hand sewing garments from the 18th century and had the same problem.

[@EarlyMedievalEmbroidery]

Thank you. A number of people have asked / mentioned waxing the linen thread. As far as I’m aware we have evidence for it from this period, although that’s not to say it was used. Do you know of any evidence for the early medieval period? If so, I’d like to follow that up. 😊

[@helengorf6438]

Great video… I am curious as to why you used one thread for the whole frame rather than one on each side. Love the tip about making the stitches different distances from the edge. Looking forward to the next video…

[@EarlyMedievalEmbroidery]

Ha ha, see my reply to the previous comment.

[@helengorf6438]

@@EarlyMedievalEmbroidery ha ha… didn’t see that! I’ve done a few large embroideries and have strung the sides separately.

[@elementgypsy]

I subscribed to follow along

[@EarlyMedievalEmbroidery]

Ah, thank you! I’m so pleased you’re enjoying the project.

[@yarnexpress]

Maybe not historically accurate but many lace makers shrink their threads. The technique is to place the spool into a bowl, big enough to cover it, then pour the hottest possible water over it. When cool, remove from the bowl & allow to air dry--a warm place is ideal for example over a radiator. I've done this & was shocked at the shrinkage--up to 20%. Preshrinking the lacing should prevent most instances of tightening the lacing & resulting stress on the ground fabric.

[@EarlyMedievalEmbroidery]

Thank you for this, it’s really interesting. One of the lovely things about studying early medieval embroidery is that you never know what you’ll find out next, so while we don’t know if they did this sort of thing or not but one day, we may. I’ll keep an eye out as I’m researching. If I find anything, I’ll make a video so you know.

[@samanthahayman4539]

I can't help thinking that lacing up the four sides separately would be much more efficient, as well as causing less wear on both the thread and the ground fabric. Completely agree that the chap in the manuscript is embroidering. I guess that by the time it was examined by scholars embroidery was so associated with femininity (unlike the fairly gender neutral task it was at time the manuscript was made) that consciously or unconsciously those scholars decided the had to be doing something else.

[@EarlyMedievalEmbroidery]

You know, I never even thought of working all the sides separately. I'm not sure why. I was very focused getting not using the webbing at the top and bottom and working out the logistics of the whole process. I'll try that next time. I'm not sure when the Byzantine image was first examined but you could be right. Also, there is a lot in that section of Exodus about the making of the textiles and priestly vestments, so that combined with the surrounding images of fabrics and garments 'floating off' the loom/frame that could have helped funnel the way people thought about it.

[@juliedavies7141]

Lovely to see another video. All the way through I was wondering why you were using one thread all the way round and not doing each side separately and now I’ve seen your reply to an earlier comment! I’m sure you must have told us in an earlier video, but I’ve forgotten! What thread count is the linen you’re using? Looking forward to the next video…..

[@EarlyMedievalEmbroidery]

Don't! When I read the first comment, I just though, 'doh! And course that's how I should have framed it up.' The linen is handwoven to the average thread count of the hanging. Hang on, I just need to remind myself what that is.... (play interlude music while I look it up). Got it. 22 warp threads by 18 wefts per cm. Thank you 😊

[@juliedavies7141]

Sorry Alex, I didn’t want to make you feel bad! As I’ve never used a slate frame, I thought there must be a cunning reason for you doing it the way you did! As for the thread count, that must make it about 60 per inch? ( I think you mentioned 64 on the St Cuthbert project?) If it is 60 you must have wonderful eyesight!! Can’t wait for the next video…..

[@EarlyMedievalEmbroidery]

I@@juliedavies7141 It's OK🙂. The thread count works out at an average of 22 warp thread by 18 weft threads per cm. I'm hoping to get the next video sorted over the next week or two. Fingers crossed!

[@user-bq9tz9uw5i]

Surely the original embroiderers wouldn't have had frames long enough to handle the initial 13 m lengths of fabric (the first two sections) in the Tapestry all at once (and surely a frame would distort over that distance). While your 80 cm is manageable for tensioning, how was it possible to keep tension on longer lengths except between the top and bottom edges? This project really reinforces just how incredible an undertaking the original Bayeux Tapestry was, and that those involved in the project must have had to adapt or invent methods of working to handle its size.

[@EarlyMedievalEmbroidery]

We simply don't know. The RSN has huge frames that ran the majority of a large room and when I was there we used a couple of them to work on tapestry hangings. You could sit four or so people on each side. I can't remember if they were the largest or if they had even bigger ones. So it is possible to have big frames. If the ground fabric was attached properly it shouldn't distort. After reading some of the other comments and thinking it through again, I would now frame up each side separately, which would help to keep the tension more manageable. I agree, the original was an amazing feat. What also amazes me is that it probably wasn't exceptional at the time so people involved had all this knowledge that they had learnt over time and could adapt for each new project. For me, that's one of the really cool things about researching this sort of thing and this period.

[@dmt87uk]

@@EarlyMedievalEmbroidery There is the unique discontinuity between the 1st and 2nd panels where the top friezes don't align (after the scene where Harold and Guido meet William) - not sure if that was a tensioning issue.

[@EarlyMedievalEmbroidery]

@@dmt87uk Ah, I've written about this🙂. I suggest it could be a combination of a couple of things including tension and possibly a misalignment when the design was drawn out and / or when it was stitched.

[@allonewordcaps]

Glad to see you back. Please more talking and less silent parts. I kept thinking my phone died! 😂 Looking forward to the next stage.

[@EarlyMedievalEmbroidery]

I told my husband that when we watched it through but he said it'd be OK 🙄. We'll blame him😄

[@allonewordcaps]

@@EarlyMedievalEmbroidery it was great otherwise. It would have so much easier on a table! Can you double up on the thread? In case that other fails? Just a thought

[@EarlyMedievalEmbroidery]

@@allonewordcaps It would have been soooo much easier on a table. I thought about doubling the thread but I've decided not to and if it goes, I'll use that as an excuse to re-do it separately on each side.

[@allonewordcaps]

@@EarlyMedievalEmbroidery okay. I just wanted to help out. It would be a shame to loose all your great work!

[@allonewordcaps]

@@EarlyMedievalEmbroidery as I said I am so excited to see the next part of the project:)

[@cerwelt]

Can’t wait to see the next part of the process. Guessing you’ll be using powder and pouncing it on the ground fabric next! Great video. So many issues we don’t have today. To think using the limitations and mindset of a medieval embroiderer has got to be both challenging and exciting! Thanks for a great video.

[@EarlyMedievalEmbroidery]

So pleased you love it. I might be using the powder and pounce method but there are a couple of other possibilities too. Its going to be another lets have a go and see what happens 😃

[@cerwelt]

@@EarlyMedievalEmbroidery Ok, now I’m curiouser and curiouser! Another method? I’m sitting on the edge of my seat.

[@deadextra]

Have you tried waxing the linen thread? That should help with the shedding and knotting problems.

[@EarlyMedievalEmbroidery]

Hi, no I didn't because there is very little, if any, evidence for waxing threads (for any work) from the period but it's something I'll keep in mind. Lack of evidence doesn't mean it didn't happen so.... you never know. Thanks🙂

[@deadextra]

That is fair enough. I don't think I have ever seen chemical analysis of extant sewing threads that would show traces of wax or not. I know we have sporatic literary references to shoemaker's wax with linen thread and boar's bristles from antiquity to modern times.

[@EarlyMedievalEmbroidery]

@@deadextra Ooh, can you give me some references for the early medieval period? That sounds like it could be really interesting.

[@deadextra]

@@EarlyMedievalEmbroidery I don't have nearly as much as I would like. The earliest tangental reference I have is 4th century, then a jump to the 15th with a direct reference to cordwainer's wax. I will send you a message on your website with the references I've compiled so far.

[@EarlyMedievalEmbroidery]

Thank you

[@beatellamakkabe9940]

Thanks for your experiment. I was wondering … would it help to use some wax on the binding thread?

[@EarlyMedievalEmbroidery]

Possibly. I hadn’t thought of that but I was telling someone else that we don’t have evidence for threads being cleared in wax from this period. It’s not to say they didn’t but as there’s no surviving (not that be there’s be much) and no documentary evidence I haven’t gone down that route. Maybe next time though -an experiment within an experiment