Fresh off the presses, we’ve got a new article that includes quite a few nalbound examples; including one I hadn’t seen before!
“Icelandic mittens from archaeological contexts” by Charlotte Rimstad, Ulla Mannering, Joe W. Walser III, Freyja H. Ó. Sesseljudóttir and Susanne Mueller includes some very nice photographs of several nalbound mittens; the one found in Iceland and several comparables from Norway, Sweden, and Denmark.
When they say click on the image, they mean click on the orange cover image with the pair of mittens on it. That is the only place where the download link is located. I have heard there are some issues with the image loading on some mobile devices.
For this week’s Nalbound Object of the Week, I’m delighted to be able to bring you evidence of the current tradition of nalbinding in Northern Ghana. I’d had hints that the technique might be found in West Africa, but nothing Ghanaian specific. Thus, imagine my excitement when I came across an example in the Accra Arts Center. I was initially concerned it might be an import, but seeing several others in Cape Coast and with some additional information obtained during bargaining, we’ve confirmed they are a product of Northern Ghana.
Object: Ghanaian bag with coiled base
Description: A cross-body bag with a solid bottom. All the versions I saw were various stripes of natural color, deep purple, and dark blue. This one had some purple going around the mouth and up the strap.
Dated to: 2024. Collected on 21 October, 2024 in the Accra Art Center
Find location: Accra Arts Center, in a stall selling goods from Northern Ghana. The sellers spoke Degaare, which indicates they are of the Dagaaba/Dagaati people. Additional examples were also spotted in a market stall in Cape Coast.
Material: a plant fiber, possibly jute, in natural, purple, and deep blue. The purple is water soluble and can transfer.
Stitch(es) used: Main body is Z-crossed Simple Looping, F1 O. There’s a bit of Cross-knit Looping at the center base and Coiling: Z-crossed Simple Looping around a bundle of carried sticks. Further examination is needed for the stitch around the mouth. (Stitch determinations by Anne Marie Decker)
Inventory number: N/A
Current location: Anne Marie Decker’s personal collection
Photographs:
View of the stripes and connections. Photo credit: Anne Marie DeckerCloseup of the base showing the carried stiffener material. Photo credit: Anne Marie DeckerThe base of the bag is stiffened. Photo credit: Anne Marie DeckerAdditional details of the bag in Anne Marie Decker’s collection. Another bag seen in Cape Coast. Photo credit: Anne Marie DeckerMore bags seen in Cape Coast. Photo credit: Anne Marie DeckerThe handles of the bags in Cape Coast. Photo credit: Anne Marie DeckerThe cross-knit looping start before the stiffened section. Photo credit: Anne Marie DeckerMouth and handle attachment. Photo credit: Anne Marie DeckerDetails of the four similar bags seen in a market stall in Cape Coast.
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The shape of the cuff of this week’s Nalbound Object of the Week never really fit with the 10th century dating assigned to it when it was found in the late 19th century. Recent radiocarbon dating reveals that the mitten from Iceland is dated to between the late 15th to early 17th centuries CE which makes much more sense given its shaping. As more research is conducted on nalbinding, we begin to get a clearer picture of its usage, distribution, and dating.
Arnheiðarstöðum Iceland mitten Þjms. 3405 back on display after I examined it. Photo credit: Anne Marie Decker – 1 Sept 2022
Object: Iceland Mitten
Description: The mitten is densely nalbound of a two ply yarn made of wool fibers of two colors and crimps. Overall the mitten is currently a lovely reddish brown, but close examination shows that there are some darker smoother fibers intermittently mixed with lighter brown crimpier fibers bringing to mind the two coated sheep of Iceland. There is some damage to the cuff and a bit near the base of the pinky finger, but overall the mitten is in good condition. The thumb is rather large in comparison to the size of the fingers and lays flat with an extremely neatly worked connection. It is worked from the tip to the cuff. The direction of work spirals in an S slant fashion which gives the appearance of a right to left working direction when observing the current exterior. However, the stitch itself belies the thought that it might have been worked left handed and more likely it has been turned inside out leaving the technical front currently inside.
Dated to: Recently radiocarbon dated to 1480-1640 CE.1 The original dating of the 10th century had been estimated when the mitten was found in the late 19th century and was based on jewelry found nearby.2
Find location: The mitten was found in 1889 when they were digging to build a new house at the farm at Arnheiðarstaðir in the east of Fljótsdalshérað, Iceland.3
Material: Wool4 Two-ply with a diameter of just under 1/8th inch (3mm).5
Stitch(es) used: Oslo F1, F1 UO/UOO6 (Stitch determination by Margrethe Hald. Confirmed by Anne Marie Decker during her examination of the mitten on 1 September 2022)
Gauge: 6 stitches to the inch. 1 and 3/4 rows to the inch.7
Pálsson, Pálmi. 4. Tveir hanzkar in “Um myndir af gripum í forngripa-safninu.” Árbók Hins íslenzka fornleifafélags10. Reykjavik 1895. pgs. 34-35.
Rimstad, Charlotte, Ulla Mannering, Joe Wallace Walser III, and Susanne Mueller. “ICELANDIC MITTENS” Oral Presentation at the European Association of Archaeologists 29th EAA Annual Meeting in Belfast, Northern Ireland, 30 August – 2 September 2023 https://www.e-a-a.org/EAA2023/Programme.aspx?Program=3 click on the Abstract Book (30 Aug) link to find the abstract.
Photographs:
Arnheiðarstöðum Iceland mitten Þjms. 3405 Photo credit: Anne Marie Decker – 24 Jan 2019Display including the Arnheiðarstöðum Iceland mitten Þjms. 3405 Photo credit: Anne Marie Decker – 24 Jan 2019 Anne Marie Decker’s hand comparing size with the Arnheiðarstöðum Iceland mitten Þjms. 3405 Photo credit: Anne Marie Decker – 24 Jan 2019Tip of Arnheiðarstöðum Iceland mitten Þjms. 3405 and thumb. Photo credit: Anne Marie Decker – 24 Jan 2019Arnheiðarstöðum Iceland mitten Þjms. 3405 taken from above to better show the damage to the outer edge. Photo credit: Anne Marie Decker – 24 Jan 2019Photos taken when I first saw the mitten on display in January 2019.
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The museum made the decision to post the recent radiocarbon dating in the online catalog entry for the mitten https://sarpur.is/Adfang.aspx?AdfangID=323304 Accessed 27 May 2024. The online catalog entry also contains a link to the testing laboratory’s Report of Radiocarbon Dating Analyses: https://sarpur.is/Uploads/Files/2290209.pdf (Accessed 23 June 2024). The dating was presented in the Icelandic Mittens presentation given by Charlotte Rimstad et. al. at the European Association of Archaeologists 29th annual meeting in Belfast in 2023 which was apparently not recorded, but the dating is noted in the Abstract for the presentation (pg. 1079 of linked pdf). Apparently an article will be forthcoming in an issue of the Norwegian Textile Review this summer or fall. ↩︎
Hald, Margrethe. “Vötturin fra Arnheidar-Stödum” in Arbok Hins islenzka fornleifafélags, 50. årgang, 1949-1950, Island, pgs. 73-78 ↩︎
After a brief hiatus due to surgery, I bring you another Nalbound Object of the Week. This artifact was mentioned as an aside in an article about Pierre de Courpalay’s gloves (which will be a later post) and for the longest time I could find no more information about it other than it was supposedly an early 14th century green silk reliquary pouch from Namur, Belgium worked in space patterned Simple Looping with a carried thread. There was a stitch diagram, but no picture. My friend Ann Moreau took up the quest to track down more information and was able to provide me with a photograph and a couple of very interesting sources: a master’s thesis and the conservation report.
Photo credit: Bazzo, Stéphane, IRPA CC BY 4.0 KIK-IRPA, Brussels (Belgium), cliché X142949
Object: Namur Reliquary Purse
Description: The purse measures approximately 6.5 inches by 6.3 inches (16.5 x 16cm) not inclusive of the tassels or ties.1 The main body is worked in a pattern of diamonds enclosing four smaller diamonds that is regular on the face, but shows an error in the pattern at the top of the reverse turning it into chevrons.2 There’s a strip of plain green on each side and a green eyelet band at the opening.
The pictures show that the main body of the purse was not worked in the round. Had it been worked around the purse, the slits in the space patterned Simple Looping would have been horizontal like those seen making eyelets on the green eyelet band. However, the slits in the main body are vertical, indicating that the fabric orientation has the base row along the right side of the face (left side of the reverse) and the fabric was built up to the left side. There is no noticeable seam showing at the bottom. All of which may indicate that the face and reverse were worked as one rectangle, sewn up the sides, and then the eyelet band worked around the opening.
The relic purse was classified as a Treasure by the Commission consultative du Patrimoine culturel mobilier [Consultative Commission for Movable Cultural Heritage] on October 4, 2021.3
Dated to: radiocarbon dated to ca 1260-1390 CE4 (77.4% certainty between 1260 and 1310)5
Find location: prieuré de Hastière [Priory of Hastière], Belgium.6 Donated in 1885 by M. Perpète Sarton and recorded as register number 16166 along with another purse.7
Material: Silk. The tassels include gilded silver metallic threads.8 “The beige and pink threads of the lining are colored with safflower and a dye containing traces of flavonoids, the green thread of the fringes with woad or indigo, and the beige thread of the boucle network with red wood.”9
Stitch(es) used: le réseau bouclé simple10 The opening is worked horizontally in Z-crossed Simple Looping, F1 O, with a carried thread leaving holes for the drawstring. The main body is worked vertically, also in Z-crossed Simple Looping, F1 O, with a carried thread worked with space patterning to make the diamond/chevron pattern of holes. (Stitch determination verified via photograph by Anne Marie Decker)
Inventory number: 229F
Current location: Owned by the Société Archéologique de Namur (SAN). Exhibited in the Musée Provincial des Arts Anciens Namurois (TreM.a).11
Some sources in which more information can be found:
Damen, Emma, Griet Kockelkoren, Judith Goris, Ina Vanden Berghe, Marina Van Bos, and Mathieu Boudin. “Étude technico-matérielle et traitement de conservation, préservation et présentation de 7 bourses à reliques de la Société Archéologique de Namur (SAN).” Report on IRPS dossier 2017.13760 dated 9 September 2021.
De Ceuninck, Emmeline. “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1 et 2.”Master en Histoire de l’Art et Archéologie Mémoire [Master’s thesis], Université Libre de Bruxelles, Année académique 2022-2023.
Desrosiers, Sophie, Patricia Dal-Pra, and Isabelle Bédat. “On medieval pontifical gloves and glove medallions and wristbands found in France,” In [Archäologische Textilfunde/Archaeological Textiles] NESAT IX. ed. Antoinette Rast-Eicher and Renata Windler, p. 159-165. Ennenda: Archeo Tex, 2007. ISBN 978-3-033-01267-7.
Gagneux-Granade, Marguerite. L’Homme et les Mailles: histoire critique des mailles textiles : filets, réseaux, tricot, crochet. Bordeaux: Éditions INsensées, 2016. ISBN 978-2-9558095-0-1.
Photographs:
Cropped close up of eyelet band and body. Photo credit: Bazzo, Stéphane, IRPA CC BY 4.0 KIK-IRPA, Brussels (Belgium), cliché X142949Cropped to show chevron pattern on reverse top. Photo credit: Bazzo, Stéphane, IRPA CC BY 4.0 KIK-IRPA, Brussels (Belgium), cliché X142950Photo credit: Bazzo, Stéphane, IRPA CC BY 4.0 KIK-IRPA, Brussels (Belgium), cliché X142950
Desrosiers’ “On medieval pontifical gloves and glove medallions and wristbands found in France” has a diagram of the stitches making the pattern of a portion of the diamond in Fig. 2b on page 160. The diagram is flawed as it shows a whip stitch instead of the Z-crossed Simple Looping. It is showing a B1 O which makes a whip stitch instead of the F1 O that makes Z-crossed Simple Looping. The loops have also been regularized to the top which does not match the direction of work.
De Ceuninck’s “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 2.” includes some lovely photos and schematics of the purse in Figs. 11, 12, 80 & Schéma 33, 34, 35, 36, 37.
Please note that sharing to other venues will likely be intermittent. If you wish to receive these each week, please remember to follow the blog. Patrons on Patreon receive early access previews, occasional extra details, and priority requests.
Emmeline De Ceuninck,”Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 2.” (Master en Histoire de l’Art et Archéologie Mémoire [Master’s thesis], Université Libre de Bruxelles, Année académique 2022-2023), pg. 1. and Damen, Emma, et al. “Étude technico-matérielle et traitement de conservation, préservation et présentation de 7 bourses à reliques de la Société Archéologique de Namur (SAN).” Report on IRPS dossier 2017.13760 dated 9 September 2021. Pg. 10. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 76. and Damen, Emma, et al. “Étude technico-matérielle et traitement de conservation, préservation et présentation de 7 bourses à reliques de la Société Archéologique de Namur (SAN).” Report on IRPS dossier 2017.13760 dated 9 September 2021. Pg. 10. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 2,” pg. 108. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 74. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 28. See also page 79. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 28. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 76. ↩︎
Translated from De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 74. See also pages 78-79. ↩︎
De Ceuninck, “Étude historique, artistique et technologique de sept bourses conservées à la Société archéologique de Namur (SAN) et récemment restaurées à l’Institut royal du Patrimoine artistique (IRPA). Volume 1,” pg. 75. and Damen, Emma, et al. “Étude technico-matérielle et traitement de conservation, préservation et présentation de 7 bourses à reliques de la Société Archéologique de Namur (SAN).” Report on IRPS dossier 2017.13760 dated 9 September 2021. Pg. 10. ↩︎
Damen, Emma, et al. “Étude technico-matérielle et traitement de conservation, préservation et présentation de 7 bourses à reliques de la Société Archéologique de Namur (SAN).” Report on IRPS dossier 2017.13760 dated 9 September 2021. Pg. 3. ↩︎
For the Nalbound Object of the Week, we head to Australia where there is a strong nalbinding tradition amongst the aboriginal peoples. Most commonly we see this in their string bags. This bag was collected in 1896 and is now in the Ethnographic collections of the Peabody Museum of Archaeology and Ethnology.
Description: A rectangular bag with alternating light and darker brown stripes. Not quite 11 1/2 inches tall and 6 1/2 inches wide (29 x 16.5 cm)1 The body of the bag and string around the mouth are both Z twist. The carrying string is S-twist.
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One of the best things about researching any topic is that continued research will always bring further insights; be that greater clarity on a particular detail, proof of a particular theory, proof that a particular hypothesis was wrong, correcting a technique misidentification, new design details, new stitches, new dating, and more artifacts to examine. Hypotheses get developed and sometimes they are supported and possibly proven. Sometimes they are disproved and new hypotheses are born.
Add to that, things that are true of our modern esthetics in the craft may prove to be constant throughout the historical record, or they may prove to be recent inventions. Care should always be taken to ensure that we are not making assumptions, even based on our prior knowledge, and allowing our biases to hide the new data. Insights may come from the most unexpected sources and even experts can be proven wrong. I have had thousands of theories that have been made or dashed with arrival of new data. It’s exciting!
I’ve discussed several examples of this process on this blog previously,1 but today, I’d like to add a few additional examples.
Direction of work:
Nalbinding is predominately worked left to right, regardless of whether the work is dependent from the working row or hung above. Both of which leave telltale, but different, signs in the resultant fabric. Obviously, there are exceptions: lefthanded people often work in the opposite direction, and of course, there is the option of an esthetic choice to work in the non-dominant direction for a variety of reasons; including opposing spirals or flat work for example.
So the question becomes, how often do we see nalbinding worked in the non-dominant direction, when, where, and can we tell why? This is not an easy question to answer as so little research published has included this important detail about the artifacts.
Several of the artifacts that initially appeared to be worked in the non-dominant direction have turned out to be more likely found with the technical back to the outside. For example the Egyptian sock now in the National Museum of Scotland in Edinburgh.2 This could be accomplished by working in the non-dominant direction, but is more likely simply a case of the creator or wearer deciding that they preferred the texture of the technical back to the outside. In the case of the sock in Edinburgh, it seems a common trait of socks made in that particular stitch. In the case of the pair of socks from Sudan,3 only one is “inside out.” This could be a case of the wearer not noticing, the person dressing the dead not noticing, or some cultural reason of which I am not aware.
In both cases, and in fact in all of the 115 or so known Egyptian socks, the socks are worked from the toe up to the ankle. The hats from the tip down. Up until very recently, all of the pre-17th century handcoverings I’ve examined have been worked from the tip of the fingers to the wrist. And yet, last year I had the opportunity to examine a beautiful glove from medieval Kalmar that surprised me in several ways. One was the particular stitch used as I had never seen its like before. And the other, was that it was clearly worked from the wrist towards the fingers. More research as to the direction of work of thumbs (and fingers on gloves), especially in relation to the associated handcovering, is desperately needed.
Wrist Bumps:
17th century mitten with a tar stain from Copenhagen . National Museum of Denmark Photo credit: Anne Marie DeckerCloseup of the wrist bump on the 17th century mitten from Copenhagen. Photo credit: Anne Marie Decker
I once had a idea that wrists that showed a prominent bump in the spiral might have been started at the wrist. Examinations of artifacts has consistently proven me wrong so far on that hypothesis. It was my modern esthetics that had given the the incorrect impression that the maker would always smooth out the final spiral.
Now, we do have examples where the final spiral ending is rather smooth. The Oslo mitten gives the appearance of a smooth ending. However, looking at the rows above it, one can see that it has been pulled and distorted such that the result is the edge currently looks like it was smoothly finished, but in fact it was a rather short transition that now significantly distorts the row to which it connects.
Oslo Mitten C28155 on display at the Historical Museum in Oslo Photo credit: Anne Marie DeckerDetail of the Oslo Mitten C28155 showing the short transition of the final row. Photo credit: Anne Marie Decker
Lace:
Another example. In 2004, I was approached by someone with a lace shawl they had that they wanted to know if it could be nalbound or not. The pictures they sent showed that an individual row had a structure we know can be produced by a particular nalbinding stitch, but the connections between rows were unclear, so we were missing important secondary construction details that can be vital to understand which particular technique produced the particular structure fabric.
I allowed as how it was possible that it might be nalbound, but that if it was that brought up many additional questions that would have to be answered. Such as, how would the connections be made in such an openwork structure without falling apart? In 2005, another was brought to my attention. My friend, Virginia Miller, became quite interested in the lace shawls and set about trying to find their source.
Around this time, many other examples of this particular type of shawl were apparently being examined at a variety of locations. Others were recognizing the structure of the chain as being a possible nalbound structure, but the specifics of the secondary constructions details that would reveal their true construction technique would not be recognized until the details of a related structural cross-over were discussed.4 These details show that there are a significant number of miss-identified examples in museums around the world.
Crocheted chain lace shawl from Turkey gifted to me by Virginia Miller in 2012. Photo credit: Anne Marie DeckerDetail of the chain lace shawl from Turkey showing the crocheted connection. Photo credit: Anne Marie Decker
Virginia, having tracked down the origin of at least some of the shawls, kindly managed to procure one for me. Being able to examine one in detail up close has led to an understanding that allows me to understand details that while I had seen them before, had not revealed their relevance. Now, given sufficiently clear photos, it is easy to determine that these shawls are a form of crocheted chain lace. Rather similar in structure to the earliest forms of crochet that been identified.5
Another example of this structure’s construction technique being misidentified is a lovely pair of baby booties in the V&A Collection. https://collections.vam.ac.uk/item/O136095/pair-of-bootees-unknown/ The Simple Looping in cream on the ball at the top of the tassel at the ankles is a form of nalbinding (and also a form of needlelace), but the green lace are these open worked crocheted chains. Once again, it’s the connections between the chains that reveal the technique used.
Hypotheses come and go, but that is in many ways the fun part of research. We are always learning new things. Theories become proven. Hypotheses are dashed and formed again. All of which leads to a better understanding of the entire corpus of both nalbound textiles and related looped textiles, their origins, transmission, development, traditional uses, and influences on the modern craft.
Speaking of exciting new opportunities and artifacts to examine, I have recently learned of new excavated socks to add to the corpus of nalbinding that have never been examined before. Unfortunately, my travel budget to go see them is rather dry. If you’ve enjoyed my research and would like to be a part of my support team, I sincerely appreciate any assistance you are willing to send my way. You can use the one time donation link in the menu or become a monthly Patron. Patrons on Patreon receive priority requests, early access previews, and occasional extra details.
The Nalbound Object of the Week this week takes us back to Peru with another Simple Looping cap. However, this one is topped with feathers! With stripes reminiscent of the Omani Sand Socks and feathers like those seen on hats from Cameroon, this 10th-15th century CE Peruvian hat reminds me of both the similarities and differences of nalbinding around the world.
Peruvian Feathered Cap, Accession number 1994.35.136 Photo credit: The Metropolitan Museum of Art – Public Domain
Object: Feathered Cap
Description: A stunning cap worked from the top in alternating three rows of cream camelid yarn with three rows of dark brown yarn. Brown feathers have been attached to the top; splaying in a bouquet like fashion.
Peruvian Feathered Cap, Accession number 1994.35.136 Photo credit: The Metropolitan Museum of Art – Public DomainPeruvian Feathered Cap, Accession number 1994.35.136 Photo credit: The Metropolitan Museum of Art – Public Domain
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I’ve been hoping to find Sámi nalbinding as there is so much nalbinding in the region, but finding Sámi specific nalbinding has been a bit of a challenge. Today’s Nalbound Object of the Week is a Skolt Sámi hat collected in 1933 that was brought to my attention by Ingela Lindberg Anderson after her trip to the National Museum of Denmark. As she was trying to find more information about some of the objects she had seen on display, she ran across this hat in the online catalog.
Skolt Sámi hat ObjectId 19278 Item number K.782 Photo credit: Mads Kildegaard Nielsen – Nationalmuseet, Danmark CC-BY-SA
Object: Skolt Sámi hat
Description: A light brown, natural colored, nalbound hat. The National Museum of Denmark provides the following measurements: Largest measurement 22 cm, Diameter 18 cm, Height 18 cm.1
Dated to: collected in 1933
Find location: The museum lists the location as “Samer – Suonikylä. Petsamo Lapps, Finland.”2 This reflects the terminology of 1933 when the hat was collected. This region of the larger Sápmi is no longer within the borders of Finland as it was ceded to Russia in the Second World War.3
Stitch(es) used: According to Margrethe Hald, the hat is worked in Långaryd stitch5, UOOOO/UUUUOO F1. However, the surface texture does not match that stitch determination. Further research should follow the Ethical Guidelines for Research Involving the Sámi People in Finland.
Inventory number: ObjectId 19278 Item number K.782
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This week’s Nalbound Object of the Week is another Incan wig Cap from Peru. Similar to the cap posted in late July, this is a stunning example with a beautiful set of braid wrapped ends that together make a zigzag pattern.
Cap Woven with Human Hair, 1983.491.2 Photo credit: The Metropolitan Museum of Art – Public Domain
Object: Inca Wig Cap with zigzag braid wraps
Description: A cream colored cap with a broad brown stripe around the middle from which many brown human hair braids are hung. The braid ends are wrapped tightly in brightly colored wraps that form a zigzag pattern across the braids. This cap with braids is 28 inches long.1
A black and white photo of the Cap Woven with Human Hair, 1983.491.2, laid out flat. Photo credit: The Metropolitan Museum of Art – Public Domain
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Peru and Egypt have both excellent preservation characteristics and extensive excavation histories, so I often return to these locations for nalbound artifacts. However, for this week’s Nalbound Object of the Week, I’d like to explore an item that reflects a different tradition. While we don’t know much about archeological examples, the Arabian Peninsula has evidence of a very strong traditional usage of nalbinding. زرابيل zarbool,1 or sand socks and camel muzzles2 seem to be the predominant items made with nalbinding there. This particular pair of Omani Sand Socks, I had the pleasure of seeing while they were on display in the Socks & Stockings exhibition at the Textile Research Centre in Leiden, Netherlands in 2019.
Omani Sand Socks as on display in the Socks & Stockings exhibition at the Textile Research Centre, Leiden in October 2019. Photo: Anne Marie Decker
Object: Sand socks زرابيل
Description: The socks are worked from the toe up in alternating stripes of white and black. The stripes are two rows deep and the color is carried from one row up to the next color change. The heel is a wedge heel. There is a slit in the ankle with ties at the top to close it. The bottom showing in this image shows the pads that are worked onto the sock starting from the mid-foot and sewn down on three sides. The socks are 12.6 inches long by 5.5 inches wide (32 cm long by 14 cm wide3).
Heel and toe pads sewn on TRC 2018.2807a-b Photo credit: Anne Marie Decker 2019Close up of the slit reversals TRC 2018.2807a-b Photo credit: Anne Marie Decker 2019The black yarn being carried across the white rows to the next black row TRC 2018.2807a-b Photo credit: Anne Marie Decker 2019Gauge is 2 – 2.5 rows to the inch depending on where it was measured. TRC 2018.2807a-b Photo credit: Anne Marie Decker 2019
Acknowledgements: My thanks to Diana Lankhof and Lies van de Wege for making it possible for me to visit the Socks & Stockings exhibition at TRC. My timing was soo very tight and they graciously arranged to open an hour early so that I could have time to examine the nalbound sand socks and see the displays.
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The Arabic term for camel muzzles or mouth coverings is possibly transliterated as lisama or lasama according to this video brought to my attention by Susan Elizabeth Aiken: https://youtu.be/YcKxQ0sGpr4?si=G5uO28Y9AR1lD9RY Accessed 7 June 2024 ↩︎
