Mammen, Denmark (970

Reconstruction of the brocaded band from Mammen using 19 tablets, 9 for the central patterns and 5 per
side for the borders. This reconstruction was woven with DMC No. 10 gold thread and 100/3 silk (which
replaced the original vegetable threads). This band is very narrow (Hansen, p. 67).
Mammen, Denmark (970-971AD)
The rich burial at Bjerringhoj, Mammen parish, Denmark, yielded the best examples of tablet weaving
known from 10th century Denmark. The Mammen textiles were not treated particularly well in 1868 when
they were removed from the barrow where they had lain for nearly 900 years. Consequently, many of the
textile remains are fragmentary. Despite this, the finds are remarkable in the delicacy of the workmanship,
the silver and gold brocading work (both precious metals were used in some pieces) and the patterns.
Different researchers have come to different conclusions regarding the structure of the tablet woven bands.
It was originally believed that there were only 2 warp threads in the central pattern sections of the bands.
Both Hald (1980) and Collingwood (1982) examined the bands and discussed their weave structure under
this assumption. Hansen (1990) and later researchers tend to believe that there were 2 wool and 2
vegetable threads per card. The vegetable threads (flax, nettle or even hemp) simply did not survive. This
would be consistent with the current thinking about other Danish finds at Hvilehøj, Hørning, Slotsbjergby,
and Elisenhof. Researchers have re-created the patterns using both 2- and 4-hole-threaded cards.
The brown silk decorative braids, with gold nalbinding panels in the center, might have originally been ties
to the cloak in the Mammen grave. Or they might have been a fillet or hlad, worn around the forehead to
hold the hair out of the eyes. They measure 22cm in length (Roesdahl & Wilson, p. 274). These bands are
7.5cm wide (Hald, p. 106).
Close-up of the tablet weaving and a bit of the nalbinding on the Mammen fillet (Hald, p. 301).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
25
These two padded silk wrist-bands from the Mammen grave measure 8.5cm in diameter. They may have
originally been attached to the sleeves of the shirt (Roesdahl & Wilson, p. 274).
The threading pattern for the Mammen wrist-bands. The band had 3 cards on each side for a border, with
16 cards in the middle. The cards are arranged in pairs that twine towards each other (Hald, p. 232).
Mammen, Denmark (970-971AD)
The gold and silk brocaded tablet woven wrist-bands (or armlets) from Mammen (Hald, p. 231).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
26
Reproduction of one of the woolen bands from Mammen in 20/2 worsted wool and 16/2 semi-bleached
flax. The find had only the wool warp threads left, so the use of flax in half the holes is conjectural.
This pattern is a double 3/1 twill that used 17 tablets which were threaded so that the threads angled
towards the middle of the pattern. The cards were most likely turned free-hand (Hansen, p. 67).
Mammen, Denmark (970-971AD)
The 3 woollen bands below have a simple threading and pattern of clear motifs. The original bands were
brown when they were found, though there remain traces of woad dye in the middle of the warp. It is
likely the bands were a brighter color originally (Hald, pgs. 105-106). Collingwood examines a method
for weaving this band with only 2 threads per tablet in his book, which would make the pattern threads
recede into the ground threads (see pgs. 233-235).
These three tablet woven woollen bands from the Mammen grave measure 10cm x 1cm, 9.5cm x 1.5cm
and 11cm x 1cm respectively (Roesdahl & Wilson, p. 274).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
27
Reproduction of the Elisenhof band by Egon Hansen which used 20/2 worsted wool and 16/2 flax. The
band was produced in double 3/1 twill with 2 border tablets per side and 19 central pattern tablets.
The combination of wool threads (which tend to stretch) and flax threads (which do not stretch as much)
gave the pattern some depth. Note that the central pattern as Hansen wove it is very similar to the 11th13th century brocaded band from Plessenstrasse, Germany (Hansen, p. 70-71).
Elisenhof, Germany, (10th C.)
Band 4 from Elisenhof, Germany, is a 2 color
tablet weaving originally done in red and white
threads, half of which were wool and half of
which were of an unknown vegetable fiber.
The diagram to the left shows the top view of
the band as woven, while the diagram to the
right shows the turnings—white boxes
represent forward turns and dark boxes
represent backward turns. Both of these
diagrams are for the pattern woven with 4
threads per card, 2 white and 2 red, following
the threading pattern shown below (Gehlhaar
tablet weaving website).
The photo at the top of the page and the
diagram to the left are a good example of
different interpretations of the same pattern
which produce somewhat different end results.
The second pattern is more elongated which
better emphasizes the cabled look of the white
threads.
Diagram of Guido Gehlhaar’s warping pattern for Elisenhof Band 4,
based on Hansen’s work. He notes: “First row: top hole away weaver,
second row: bottom hole away weaver, third row: bottom hole near
weaver, fourth row: top hole near weaver.” (Gehlhaar website)
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
28
Hvilehøj, Hørning, and Slotsbjergby,
Denmark (10th C.)
The Hvilehøj (below), Hørning, and Slotsbjergby (right)
finds of fragmentary tablet weaving are significant
because all are similar to the Mammen finds. All these
graves had tablet weaving done in silk thread with gold
brocading, with only 2 holes threaded in silk in 4-hole
cards in the brocading. The other 2 holes probably had
flax thread in them that disintegrated over the centuries.
Slotsbjergby fabric bits (Hald, p. 120).
The fragmentary remains of tablet woven bands from the burial at Hvilehøj (Hald, p. 120).
Close-up of Hvilehøj sketch (Krag, p. 29).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
Enlargement of Hvilehøj weaving pattern (Krag, p. 29).
[email protected]
September 2011
29
Reproduction of the band from Kekomaki, Kaukola, Finland (1200AD), woven in 15 tablets (7 for the
center pattern and 8 for borders) in two colors in 20/2 wool yarn. The band is made using a variation of
Egyptian diagonals, where each tablet is threaded with 2 threads in 2 colors, with the tablets threaded so
the colors are in pairs. This threading pattern gives a great deal of variety in making up patterns while
weaving. In the case of this band, the weaver followed a repetitive turning sequence (Hansen, p. 71).
3 Bands from Finland (11th-13th C.)
There are quite a few Finnish tablet weaving finds, but only a few written up in English. The 3 bands
described here share similar threading techniques, although the Kekomaki band used only 2 colors in the
warp threads, and the Humikkala and Eura bands both used 3 colors each.
Reproduction in 20/2 worsted weight wool of a band from Humikkala, Masku , Finland, dated to 1,0001100 AD. This band was very likely a woman’s belt. This reproduction band is woven with 27 pattern
tablets and 2 border tablets per side, with a free-hand turning pattern (Hansen, p. 70). This band shows a
technique which is common in medieval tablet weaving, which is to have the color used for the figures
remain the same throughout the weaving, while the other color changes, giving the effect of background
stripes. Though it is hard to see in the greyscale scan above, the band has alternating red and lavender
stripes running the length of it. The borders are actually alternating strips of red/white and
lavender/white which are twined down the length of the band which give the borders a candy cane effect.
A similar threading pattern in the center of the band was used on the large stole from the Church of St.
Donat, Arlon, Belgium (12th C.), later in this presentation.
The pattern below is from the reconstructed Eura, Luistari, Finland (Grave 56), dress which dates to
1000 AD. Note that the pattern reverses itself partway through the band (Lehtosalo-Hilander, p. 50).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
30
Kirkkomäki, Turku, Finland (11th C.)
One unique feature of the Kirkkomäki
bands is that they have tubular
selvedges, which gave the bands more
stability. In some cases, the selvedges
are woven in 2 colors, giving them a
candy cane striped effect. This is seen
in the band from Humikkala, Masku,
Finland, shown on the previous page.
The selvedges were warp-twined along
the length of the band with few
reversals (Penna-Haverinen, p. 197).
Sketch of the pattern from Kirkkomäki grave 27. Note that
the patterns in these bands are very like the pattern in the
Hvilehøj, Denmark bands, which indicates a tablet weaving
industry rather than a home craft (Penna-Haverinen, p. 196).
This sketch shows the details of the weaving to create the pattern seen above right. The pattern draft just
above on the left also shows the 180 degree reversals as small triangles (Penna-Haverinen, p. 196).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
31
Plessenstrasse, Schleswig, Germany (11th-13th C.)
Reproduction of the 2 color silk band in 100/3 silk. The original was 9mm wide and was made with red
and white silk threads with spun-gold brocading thread. 13 tablets formed the central pattern and 5 border
tablets were used per side with 2 white and 3 red, for a total of 23 tablets (Hansen, p. 70). Note that the
pattern on this band is very like the pattern on the 10th century Elisenhof Band 4.
Trondheim, Vitenskapsmuseet, Norway (11th C.)
The original band from Trondheim Vitenskapsmuseet (Inventory No. N 89028) was 0.9cm wide and 3.5cm
in length. The warp is silk, possibly brown, while the brocading weft was gold S-spun around a core
thread. There were 23 tablets, with 3 for each border and 17 in the center pattern area. The tablets were
threaded alternating S and Z so that each pair twined towards each other (Spies, p. 149).
Trondheim, Vitenskapsmuseet Weaving Diagram
Graph of the Trondheim band’s brocading pattern of repeating diamonds and swastikas. The black dots
represent the gold brocading weft, while the white squares represent the ground weave and tie-downs. The
little +’s at the edges show where the pattern repeat starts (Spies, p. 149).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
32
Church of St.
Donat, Arlon,
Belgium (12th
C.)
The stole (left) and
maniple were woven
in double faced 3/1
broken twill. The
background stripes are
blue and brown, and
the figures are worked
in white. It is thought
these belonged to St.
Bernard, who died in
1153 (Collingwood, P.
212). This piece has
many similarities to
Viking Age tablet
weavings, such as the
white figures worked
on a striped 3/1 twill
ground, similar motifs
but no repeating
pattern, and warptwined borders.
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
33
Approximately 1 metre of the tablet woven band was preserved; the entire band was at least twice as long.
The band was 4.5cm wide and was woven in yellow, red, orange and green wool, and had a piece of green
string sewn onto the band as an edging. The sketch above shows the pattern, which repeated its motifs along
the length of the band. The workmanship of the tablet weaving is unusual, though the motifs are similar to
others found in Europe in the 11th and 13th centuries (Nockert, “A Scandinavian Haberget?”, p. 101).
Leksand Cloak Band (11th-13th C.)
The cloak was found buried in the deepest layer of a gravefield containing approximately 160 people under
the porch of a church in Leksand, Dalecarlia, Sweden in 1971. 30 coins found in the gravefield were dated
from the 10th to the 14th centuries. Only the skull survived in this grave, but based on the other grave
goods, it was believed to be that of a middle-aged woman. The cloak was the only surviving textile. The
cloak is of particular interest because broken-lozenge twill was less common after the 10th century in Europe.
This reproduction of the Leksand cloak band is done in 20/2 worsted wool and 16/1 flax. The band is
worked in 4 colors, and the pattern figures are outlined by soumak embroidery (Hansen, p. 71). Hansen
suggests that the original band also had soumak weaving outlining the figures, which accounts for the
slightly raised look of them. In addition, he believes there were vegetable threads missing, which has leant
confusion to the interpretations of the method of weaving. Hansen conjectures that the band was woven
using the same technique as the Snartemo V band (Hansen, p. 51). If this is so, it would be evidence of the
continuation of a complicated weaving technique spanning five centuries in Scandinavia.
Another reproduction of the Leksand band showing the difference between weaving with the additional
vegetable warp thread added (the left side of the band), and the weaving without it (right) (Hansen, p. 42).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
34
Greenland, Denmark 12th-14th C.
Many Greenland gowns were finished with tablet woven piped seams and edgings (Østergård, p. 104).
This sketch shows the same technique used to reinforce the edges of garments. Three examples of this
were found in mid-14th century City of London excavations (Crowfoot, Pritchard & Staniland, p. 161).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
35
Greenland, Denmark 12th-14th C.
These 50mm x 50mm (5cm x 5cm) bone tablets were found in Russip Kuua, in the Vatnahverfi
settlement in Greenland. The meaning of the different markings on the tablets is unclear. Tablet woven
edgings on garments have been found on Greenlandic garments, but no separate tablet woven bands
have been found in Greenland to date (Østergård, p. 113).
Sunnifa Gunnarsdottir (Charlotte Mayhew)
[email protected]
September 2011
36