Stitches in Medieval Time

“They must be careful, diligent and wise,

In Needleworkes that beare away the Prise.” 

– William Barley, 1596

“She (Mary, late Countess of Pembroke) wrought so well

in Needleworke that she nor yet her Worke

shall ere forgotten be.”  

– John Taylor, 1630

 

Women artists in the middle ages worked with

the needle and created other artworks,

but often remained obscure.  According to this article

“Women Artists in the Middle Ages”, by Stephanie Smith

there were some odd things resulting in the “almost” disappearance

of various types of women’s works. 

It can reasonably be assumed that most women, from a young age,

would be expected to gather certain skills in order to

become viable contenders on the social marriage market. 

Even in more recent Regency

times, young women had to learn piano,

to sing, to create needlework,

to sketch, and mind her manners to become an eligible bride. 

Perhaps this social trending accounts for the relative obscurity of

women’s arts, as it appears a gathering of creative strings

to their bows was mandatory, and was not considered

particularly special. 

However, this does not seem to affect noble women,

whose names often

endured past their own lifetimes, some of which continue to be well

known today.  Perhaps it was not possible to enjoy fame

if the purse or position was not high enough in medieval times? 

Certainly the patroness of the City of Ladies, Christine de Pizan,

has endured to be closely studied in modern times,

and other luminaries like Hildegard of Bingen, refuse to disappear

into obscurity.  Perhaps a middle class woman’s stitching was

not considered remarkable enough to be lauded

beyond her time, but here are some nice examples of

medieval styles and samples of embroidery from the

Victoria and Albert Museum in London, courtesy of the

comprehensive “Medieval and Renaissance Embroidery” web site,

well worth exploring in fine detail, through the various links.

However mandatory it was for a woman to stitch, it seems a

shame to categorize this skill 

to the realms of the mundane.  Imagine

a gallery showing the works

of Christine de Pizan, which her mother

urged her to make, albeit mostly in vain,

or a decorative collar work

by a traditional housewife of her times? 

Social purse or position did

not dictate innate talent, and genetics

could grant the humblest woman a skill

with the needle, which would be

a blessing to her, and those around her.

Some further reading and historic trending follows,

in the rich resources of

Soper Lane, regarding the Medieval London Silk Women,

and their

daily lives, which is worth the consideration of

valuable women’s work.

(copyright Imogen Crest 2008.)

(Above quotes courtesy of Whiteworks online.)

Noble Women at Work

“The joy you give me is such that a thousand doleful people

would be made merry by my joy.” 

 - Beatritz de Dia, Trobairitz.

 

Further exploration on the theme of the Trobairitz

and what she traditionally did,

brings inspiration in the following link

from Wikipedia,

detailing sample music from the mysterious

Comtessa de Dia, whose rare ancient composition can

be heard here, interpreted by modern singers.  Usually

the Trobairitz was of noble birth,

as opposed to her male

counterpart.  No doubt she took her role seriously, and

delighted many a court with her

finely schooled voice and

composing skills.  To be able to witness such a grand evening

would be a treat, with the beautiful

lamenting tune echoing

off the walls of ancient abbeys or castle halls.  There is a coloured

icon medieval image of her in the attached link,

and she certainly

gives all the appearance of

an accomplished noble woman at work.

(copyright Imogen Crest 2008.)

Trobairitzes – Working for a Song

Expanding more on the theme of women’s work,

and lesser known roles in medieval times,

brings to mind the Troubairitzes, the female version

of the male medieval Troubadours.

Often, the work of these women was secondary

only in fame to their male counterparts, and not in quality. 

The women’s works

had a lightness and intelligence of emotion,

which men might not

convey through their sung tales.  These songs

often contained wise instruction

on courtly love, or served as laments, or tales of woe in song. 

The style came from the south of France,

at a time when much was changing in women’s

lives, and more freedoms were gained,

as discussed in the article on women and the Crusades below.

Here is some interesting material in lyric form,

on these works,

which have been reproduced for modern CD listening,

  Early Women Masters. 

The lyrics are quite fascinating,

even by today’s standards,

showing how little has changed

with the passage of time.

(copyright Imogen Crest 2008.)

(Linked material is copyright to their respective authors.)

Abandoned at Work and Home

“Jerusalem, you do me a great wrong

by taking from me that which I loved best.

Know this to be true: I’ll never love you,

for this is the reason for my unhappiness…

Fair, sweet lover, how will you endure

your great ache for me out on the salty sea,

When nothing that exists could ever tell

the deep grief that has come into my heart?

When I think of your gentle, sparkling face

that I used to kiss and caress,

It is a great miracle that I am not deranged….”

(by Anonymous singer of women’s songs)

 

Thanks to a brilliant essay from The Women’s World Curriculum,

“Women and the Crusades”,

at Medieval Sources Online, detailing women’s work and roles

at the time, more can be learned about the lesser known

phenomenon of men leaving their wives to tend to their

estates at the time of the Crusades. 

The excerpt above from a French

song of lament, though anonymous,

gives a voice to the feelings of

women at the mercy of the nature of those times. 

Often, these

men did not return, communication would have been scant

and difficult, and absences could last years. 

Before the real danger of

these crusades was known, women sometimes accompanied

their men, but after the devastating cost was known,

there was a ban on

anyone but men attending the ravaging travels of crusades.

The linked essay also contains some great revelations,

and details of

a noble lady, making her stand and “do or die choice”,

in the name of

protecting her estate when her noble husband was away. 

Accounts of women finding their administrative powers

over their home and land

flourish in a time of great hardship, and present

an odd boon to this troubled

age, which was the stretch in the reach

of women’s perceived limits, showing

their full capabilities, at women’s work.

(copyright Imogen Crest 2008.)

 

Pens, Needles and Linens

Women’s days throughout history were busy with things to do, varying with the different eras, the regions where they lived, and their family size and priorities.  The house was invariably the woman’s domain to manage.  Every day women were required to either clean or oversee the order of the home, manage the preparation of food and food sources, tend to the sewing, handwork, and often the clothing of the children.  They also managed the administrative tasks, such as writing letters, and kept up a vital chain of correspondence until it became an art. 

Often throughout history, women were and are, like a threaded needle working through cloth, weaving their words to friends and family, whether written on paper or embroidered, or just merely spoken to neighbours and others.  My grandmothers were both modest women of letters and linens, and their work lives on, handed to the generations who follow them.  Both were skilled with their hands, with thread and needle.

Imagining even a day, let alone an era, without such communication seems impossible, or without the handwork which gave women great joy.  Many modern women cherish heirlooms their mother’s mother made, or even further back.  It is the way they maintain the thread through the generations.  It is a way of hearing the wisdom of women who made their mark before them, and who then handed the needle to future women to go on with.  Here is a lovely quote, which says some interesting things about women and linens:

“White linen is the paper of [housewives], which

must be on hand in great, well-ordered layers,

and therein they write their entire philosophy

of life, their woes and joys.”

- Gottfried Keller, from “Der Grune Heinrich” (1854)

 

The idea of women’s days being recorded on linens seems a wonderful thought, honouring all that women did or tried to do, as if their stories were imprinted on it like damask roses.  Also, this quote shows a sensitivity of the author, which likewise honours women’s work.  The linens, like the paper letters, told the stories of the households, and were often wept over, laughed at, smiled at, or used for more practical purposes.  Women exchanged linens as they did letters, respectively, using them to announce births, as much as to adorn babies heads.  Paper and fabric, the pen and the needle, were and are an important part of a woman’s day.  She used them to express herself, and share part of that self with those around her, and no doubt always will.

Quote sourced from Heather Blakey’s reference book:

“Women’s Work – The First 20,000 Years”

by Elizabeth Wayland Barber.

 (copyright Imogen Crest 2008.)

Round Dance – Red Book of Montserrat

This piece, “found in the library” at the City of Ladies, was written for festivities in early Medieval Spain.  The whole town would involve themselves in these events, which would usually last for days at a time.  The text dates from around 1100, so is interesting to relate to as a part of history, and it provokes thought of ancient cities and what women did who lived there.  It’s interesting to see all types of women included in the festivities, none being barred due to status or purse.  It can be certain women played a part in providing food and sustenance during these marathon type events in medieval times, and this was their work.

Red Book of Montserrat – Round Dance

Resplendent star on the mountain, like a sunbeam miraculously glowing,

hear the people.

All joyous people come together: rich and poor,

young and old,

climb the mountain to see with their own eyes,

and return from it filled with grace.

Rulers and magnates of royal stripes, the mighty of the world,

possessing grace,

proclaim their sins, beating their breast,

and call on bended knee: Ave Maria.

Prelates and barons with their noble suite,

all monks and also priests,

soldiers, merchands, citizens, sailors, townspeople

and fishermen are praising here.

Peasants, ploughmen and also scribes, advocates,

stone-masons and all carpenters,

tailors and shoemakers and also weavers, all craftsmen thank here.

Queens, countesses, illustrious ladies of power and maidens,

young girls, virgins and old women and widows,

climb the mountain, and also nuns.

The community is gathered here to make a vow,

to give thanks and to fulfil the vow for the glory of this place,

so that all may see and return in joy, partaking of salvation.

We shall all – of both sexes – pray,

and full of humility confess our sins

to the glorious virgin,

mother of clemency, so that in heaven

we may be with the merciful.

(Full lyrics are available through a Google search.)

(copyright Imogen Crest 2008.)