From 1872 CE we get this week’s Nalbound Object sewn by P. Nilsson’s daughter in Äspö in Skåne Sweden:1 the remains of a beautifully colored singlad ball.
Description: Not much of the nalbound exterior remains, but what does remain shows colorwork in multiple patterns involving two colors being used in the same row in several places. The ball is 6.5 cm in diameter2; divided into 8 sections, each worked from the edges into the center. The center is presumed to be cork, wrapped with possibly flax cord.3 It was then covered in course cloth, partitioned into eights and then the Simple Looping outer layer was applied.
Material: The nalbinding was worked in multiple colors of wool.5
Stitch(es) used: Z-crossed Simple Looping, F1 O (determination from photo by Anne Marie Decker) called “langettstygn”6 [langett stitch] in Swedish
Singlade balls are very similar in concept and style to Temari balls from Japan. However, Temari balls primarily use wrapped patterns, while Singlade balls are worked in the Simple Looping structure that can be considered a variant of Nalbinding when creating a fabric, but embroidery when worked into the ball base as seen in some of the more complicated modern designs.
In 1932 Mina Lundberg of Gävle, Uppland, Sweden gave this ball she used in her childhood in the 2nd half of the 19th century to the Upplandsmuseet. It is made with a center made of a broken celluloid ball with peas in it. It otherwise made in the same way as the old catalogue records that peas would be put in a goose’s throat, one end stuck in the other, that was then wrapped in yarn and the singlade cover worked over it in buttonhole stitches. https://digitaltmuseum.se/011023861906/boll
Some of the wide variety of patterns that can be worked in Simple Looping on Singlade balls. Photo from a class that was taught at Brodericaféet på Regionmuseet i Skåne in 2018.
A pair of Singlad boll by Zadig Art purchased in the Kulturen gift shop while I was in Lund in 2023 to examine the mitten. I was so excited to find traditional nalbinding available. I had heard of the Skånsk tradition of singlad balls, but hadn’t seen them in person. The yellow and brown one on the left rattles. Photo: Anne Marie Decker
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This week’s Nalbound Object of the Week comes from Central Africa. There are quite a few of these beautifully fine Prestige Capes from the former Kingdom of Kongo now in museums around the world. I was honored to be able to examine this particular one closely. Until you are in the presence of one, it is hard to comprehend just how delicate and fine this complex compound nalbinding is; and then you add in the openwork patterning. Definitely breathtaking.
Photo Credit: Textile Museum Acquisition – Public Domain
Description: A stunningly fine raffia cape worked in a trebly intralaced compound nalbinding stitch with an openwork zigzag pattern. The neck opening has a layer of Simple Looping around the edge. The outer edges have raffia fringe knotted onto them. The front and back rows have strings knotted on every few stitches from which the handle-like tassels are suspended. This cape has one both front and back. Some also have them off the sides.
There is an illustration of an etching, based on a photograph, that was made ca. 1880 of a Chief in Full Dress Attire wearing a nkutu on page 73 of Kongo: Power and Majesty.
Stitch(es) used: B1 UU/OO/UU/OOU as determined by Anne Marie Decker during her examination of the object on 14 June 2023. The row heights are very fine for this compound of a nalbinding stitch; around 5/8ths of an inch. There is a single row of Z-crossed Simple Looping, F1 O, around the neck opening.
The Textile Museum specifies that the structure is “looping,” but not the specific stitch used.7 This type of cape has also been misidentified as sprang8 in other examples, but they are not.
So far, the only other place where we see other stitches in the same trebly intralaced family of stitches is in the Omani stitch sock as described by Peter Collingwood (the only example of that particular stitch out of Oman that has been found so far).
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.
For example, the British Museum’s Af1853,0713.1 lists its technique as sprang: https://www.britishmuseum.org/collection/object/E_Af1853-0713-1, but also provides clear and close photographs that show it is worked in exactly the same interlinking nalbinding stitch as this one in The Textile Museum. ↩︎
Four years ago, I first wrote about the nalbound camel muzzles of the Arabian peninsula. Today, just one day shy, I am bouncing with excitement as I hold two examples in my own hands.
Anne Marie Decker holding two Kuwaiti nalbound camel muzzles. (Camels not included.) One is deep blue and deep rose in color. The other is tangerine orange and deep pink.
I have had tendrils out various locations across the Arabian peninsula trying to get one to examine for years, but they had all come back empty. Apparently, camel accoutrement sellers are not on the normal tourist tracks; or even that of city office workers. And yet, the quest has proved amusing enough that people are willing to keep an eye out and now one of those tendrils has returned successful.
Both muzzles have an F2 UOO/UUOO structure corresponding to the nalbinding stitch variant commonly called Mammen. This matches the predominant stitch I could see in those photos that were close enough to see evaluate as reported in More Camel Muzzles.
Thank you to everyone who has listened to me babble on with excitement about this particular continuing tradition of nalbinding; especially to those that have been willing to join the quest. I look forward to being able to examine them closely.
November is Native American Heritage Month here in the U.S. As we celebrate and explore nalbinding as it is found around the world and in many cultures, it does behoove us to remember to have a care that our appreciation does not tip over into appropriation. Many of the cultures that produce nalbinding suffer from the effects of colonialism. Many of the stitches are universally used around the world, but some of the motifs, colorwork, object shaping, and descriptive words have sacred meanings.
Some places have put formal protections in place. For example:
The US Department of Interior’s Indian Arts & Crafts Board provides clarification regarding the Indian Arts and Crafts Act of 1990 (P.L. 101-644) which prohibits misrepresentation by falsely suggesting an item advertised for sale is Indian produced, an Indian product, or the product of a particular Indian or Indian tribe or Indian arts and crafts organization in the marketing of Indian art and craft products within the United States. The penalties for even a first violation are rather steep. https://www.doi.gov/iacb/act
The National Cultural Commission and Investment Promotion Authority of Papua New Guinea issued a joint press release entitled “Caution on the Misuse of Papua New Guinea Traditional Motifs and/or Designs from Traditional Bilum on Textile and Material Fabric.” https://www.facebook.com/107862945033802/photos/a.116069377546492/181536697666426/?type=3 “Furthermore, it must be made known to the public that “bilum-weaving” is a reserved activity under the Reserved Activities List. This means that only Papua New Guineans can weave bilums and sell bilums in the country. Local communities into bilum weaving should begin to take ownership of the bilum weaving knowledge and skills within thier own communities and begin to document their traditional design.”
In general, the formal protections relate to the sale of cultural heritage items. Nonetheless it behoves us as we learn more of how nalbinding is used around the world, the cominalites of stitches and uses, to understand its importance to many cultures, so that we may better appreciate it without appropriating items of cultural and sacred significance.
Festive Koteka from Papua New Guinea on display in The Icelandic Phallological Museum in Reykjavik, Iceland. Photo taken by Anne Marie Decker August 30, 2022.
Traditional forms of nalbinding are used for a wide variety of purposes around the world. One area with a strong continuous tradition of nalbinding is the highlands of Papua New Guinea and West Papua, Indonesia. While one is most likely to be familiar with the Bilums from the region, another usage of nalbinding is found covering some Koteka.
A Koteka is a traditional penis sheath worn by some ethnic groups of Papua; mainly in the highlands. One may also see the koteka referred to as a horim. While often made of a particular gourd, the ones of most interest to this blog are the ones that have an outer layer of nalbound textile.
I have not yet had the opportunity to travel to Papua to see the amazing amount and variety of nalbinding that their traditions have and continue to produce. I do hope to make it to their annual Bilum Festival and Gala someday. And yet, Papuan nalbinding has been collected by colonizers and purchased by modern tourists for centuries and thus found its way into some of the most unexpected places. So much so, that when I once again find nalbinding where I didn’t expect it, I’m not surprised to often find that the example in question is Papuan.
On my most recent trip to Iceland, where I was honored to be able to examine the mitten from Arneiðarstaðir in Iceland, I also took the opportunity to go to several other museums. I picked up a new nalbinding needle at the Saga Museum. But having entirely forgotten about nalbound koteka covers, I was rather pleased and surprised to find nalbinding in The Icelandic Phallological Museum. Probably the last place I expected to find nalbinding. Even more so than finding nalbinding in a Ripley’s Believe it or Not.
The Festive Koteka in The Icelandic Phallological Museum uses both the Simple Looping variant (often called Blanket or Buttonhole Stitch) and a spaced and staggered Cross-Knit Looping variant. The Danai tribe Koteka shown in the Ripley’s Believe it or Not! video has the Simple Looping variant on the sheath itself and what looks like a compound variant (undetermined) in the strap.
When we think of traditional,* rather than historical, Scandinavian nalbinding, I think most people think of the beautifully embroidered mittens. But today I would like to talk about nalbound strainers. There are apparently two types of nalbound strainers in Scandinavia. Those used to strain milk and and more rarely those to strain hops or ale.**
The nalbound milk strainers tend to be flat with a round or oval appearance. Sometimes with a slit on one side or both acting as a kind of handle. They are used by either folding them into a cup shape and holding them or by placing them in a cup/bowl and board (one piece or two) set up that can be placed across the container.
Melkesil HH.1954-0280. Photo: Mostue, Erik / Domkirkeodden Additional photographs of this milk-strainer and support are available at: https://digitaltmuseum.no/021027744194/sil
Those identified as hop strainers, or more generically as ale strainers, tend to be more basket/bag shaped with two examples nalbound directly onto the rectangular support frame. This frame is the same shape as that found in hop/ale strainers having woven baskets for the strainer portion. The woven basket type appear more frequently in the online collection records for Norway, but I am most fond of the nalbound ones.
Both types of nalbound strainers are made of “hair,” not wool, generally from cow’s tails.*** We also see horse, goat, and pig hair in strainers and other nalbound objects made of hair.
It is one of the joys of updating the bibliography and reorganizing my sources for easier use that I get to re-read and explore books that I haven’t read in a good many years. In doing so, I am reminded of old favorites, the hop strainers have always been one, and interesting tidbits such as their anthropological use.
Concerning the actual use of the hair strainers, we have a short description from Flesberg in Numedal, Buskerud: ‘In the olden days they strained the milk through a straining which in Flesberg was called sællær and further up in the valley sallar. They spun cow’s hair and made sallarane in the same way as they made the short hair stockings, raggeloddar. When straining, they folded them up into a cup-like or bag-like form and ladled the milk into it. They also had wooden straining cups with a square hole in the bottom, over which they put the strainer. Such strainers may still be found on some farms. When they had strained the milk, they poured some hot water into the milk-cup, took the hair strainer and cleaned the cup with it. In that way they both cleaned the hair strainer, and rinsed the milk out of it at the same time. Afterwards the hair strainer was beaten against the wall or against something hard in order to thrash the water out of it, and then the strain was hung up to dry. But periodically they had to boil the hair strainer in a decoction of juniper, in order to prevent it from going sour. After they started to use straining cups of tin and with a strainer of brass netting, they utilized the hair strainer as a dishcloth.’
Odd Nordland, Primitive Scandinavian Textiles in Knotless Netting(Oslo: Oslo University Press, 1961), p. 108.
Nordland goes on to state that in other areas, the practice is to use the nalbound fabric as a dishcloth first. Then, once it has been softened and properly matted, using it as a strainer. Apparently this is associated with areas that tend to nalbind looser density strainers in simple variants.****
Starting at 5:54 minutes in, the video starts a section on Cow hair and coarse wool spun on a handspindle. It starts with carding the hair and wool and creating a rolag. Then preparing a bundle of fibers which they hang from the ceiling and spin on a large spindle. Then plying from a ball. At 7:53 they shift to binding with a needle. At 8:06 they shift to looking over her shoulder at her nalbinding. While the majority of the film runs very fast, at 8:18 they slow it down to slow motion and you can see fairly clearly how she is working the stitch. At 9:16 it states “The yarn in a milk-strainer was of smooth cow-hair.”***** At 9:38 they start to show how she adds an additional length of yarn having used up the prior length. At 10:20 they show using the nalbound milk-strainer in a cup & board shaped strainer board. 10:52 they show washing it and striking it against a hard surface. The next section show hair shoe-covers being tied on over the shoes prior to putting on skis.
Nordland’s book, Primitive Scandinavian Textiles in Knotless Netting, is the best source for the nalbinding stitches used in these nalbound strainers. However, his classification system is based on describing 1/4 of the circle created by the spiral coiled variants which causes some difficulty in being certain of his description. His system only records the changes in intralacing within half of the working of a stitch, but not the initial direction. Thus each stitch he classifies could be one of two options. Add in the fact that when the stitch uses an F2 connection instead of an F1, he leaves off the last intralacement with the working thread, in those cases we can have four possible stitches that could all fall under the same classification of Nordland’s.
The red and green dots show the portion of the stitch that Nordland’s classification system describes. In this case he is describing the Dalby stitch. In Hansen’s classification this stitch is UOU/OUOO F1. As you can see, the superscript numbers of Nordland’s system describe changes in the intralacement as you exit the stitch. However, it does not specify which side of the fabric on which the intralacement begins. Thus 5112 could be Dalby, UOU/OUOO F1 or it could be OUO/UOUU F1. (Note: his system doesn’t address back or mid connections.) Had the stitch used an F2 connection, Nordland would have written it as 5111 (losing the green dot) which could be UOU/OUOO F2 or UOU/OUOU F2 or OUO/UOUU F2 or OUO/UOUO F2.
That said, Nordland records a large number of stitches being used in nalbound strainers. For example: Simple Looping in the center with 31 (probably a Danish stitch like U/OU F2) outer rows, Loop & Twist, 311 (probably Danish stitch, U/OU F1), 311m (Danish with a carried thread F1), 412 (Oslo, UO/UOO F1), 411 (most likely Oslo, UO/UOO F2), 4111 (probably Björsbo, UO/UOU F1), 51111 (probably Telemark, UOU/OUOU F1), 512 (possibly Fåberg, UUO/UOOO F2), and 522 (Korgen stitch, UOO/UUOO F1). He also emphasizes that there is the strong tendency for the strainers to be nalbound using whichever stitch was predominant in a particular location as traditional nalbinding in Scandinavia tended to reflect the use of one stitch only in any particular location. The need for a variety of textures and densities being filled by changes in yarn diameter/type and gauge.
We can be thankful to the anthropological and ethnographical departments for collecting these strainers. We have no archeological evidence of nalbound strainers being used prior to the late 19th and early 20th century collections of ethnographic materials. Most of the strainers themselves are undated. Their accession from anthropological circumstances instead of archeological ones imply that they were at least in use or in the household of the donator and unlikely to be of extremely earlier age than the collection date or century. The stitches used encompass the wide variety of stitches found in Scandinavia, including some of the simplest versions that are also found in earlier contexts. Odd Nordland argues that the peasant society changed little although we know from their clothing that there was a change around the 18th century. We know the technique of nalbinding existed earlier based on the socks and mittens that have been found. There is a cup and board support inscribed 1618. There is even a presumed board of a separate cup and board support for a strainer found on the Oseberg ship. Any evidence for Viking Era nalbound milk strainers has yet to be found. The concept is possible, possibly even plausible, but not yet provable.
As I was looking for more examples of nalbound strainers in the online museum catalogs of Scandinavia, I also came across a few in their Ethnographic collections from West Africa. Worked on the support more like the hops strainers than the milk strainers, though in a simpler variant. These are apparently used for palm oil.
I hope you’ve enjoyed this look into other traditional uses of the nalbinding technique. We so often think of it as used for mittens, socks, and hats that I find it fun to explore other uses. I’ve included a collection of links below to other Scandinavian nalbound strainers.
*Note: I tend to differentiate between “historical” and “traditional” era nalbinding. Generally when I say historical, I am referring to any time up to the early Modern Era. Usually pre-1600 AD or thereabouts. When I say traditional nalbinding, I am generally referring to more recent nalbinding. Anywhere from the 17th century to present day although the concentrations are more likely late 18th century through early 20th century.
**It’s not that hop/ale strainers are rare, just that nalbound ones are rare.
Only one of the hop strainers found in the search of DigitalMuseum.no shows a nalbound basket, even though Nordland shows two other examples. However, in this search for humlesil you can see that the shape of the wood supports is the same for both the nalbound and woven basket forms: https://digitaltmuseum.no/search/?aq=descname%3A%22Humlesil%22&o=0&n=80
So many people have asked what the process of my research looks like. So this time I am taking notes and if this ever gets published, you’ll see the entire rough process. (Written October 2020 with edits November 2021)
Ever since I started to see the nalbinding community make its forays online, there has always been someone brave enough to make a sweater using the nalbinding technique. They are always fascinating examples of a very impressive amount of work. And yet, body garments for warmth just do not seem to show up in the archaeological contexts. We see lots of socks and mittens and some hats, lots of bags, and many many fragments whose original purpose is just unknown, but no hoods, shirts, or trousers outside of the full body ritual masque costumes of 19th & 20th century Central Africa. (Likely due to the efficiencies of woven cloth for those type garments.)
At the same time, while my most recent focus has been primarily on the Egyptian examples, I am interested in nalbinding worldwide and have been collecting interesting tidbits for a long while now. Some of those were just tantalizing glances at things I did not have ready access to at the time, but for which the world has since become more technologically savvy and interconnected. Objects for which I had perhaps only an out of focus photograph from what was likely a book in a language I didn’t read, are now having high resolution photographs uploaded online and machine translation, while not perfect, is helping to be able to get the gist of what is written about them.
Our Nalbinding Get Togethers* on Zoom, which we began as a social gathering of nalbinders around the world to help alleviate some of the isolation of the COVID-19 shutdown, have given us the chance to meet people across the world. Peruda Florit has been especially interested in Russian nalbinding given her current circumstances. When I first began researching nalbinding, getting information out of the then USSR was extremely difficult from here in the US. I could track nalbinding right up to the Karelian border from the Finnish side, but barely make any headway across. However, over time I had run into the finds from Novgorod and a few other places. Occasionally, I’d get snapshots of images from books etc. Peruda has been having me go through some of those old snapshots to try and find some pieces she may be able to go see in person.
That day, not long after talking about Yuko Hirata’s newest nalbound sweater design, all of which are amazingly beautiful, I thought I’d take a stroll through the old photo files to find some more Russian examples for Peruda. In doing so I ran across this “sweater.”
It’s a picture I collected sometime during or before 2011 of a photograph in a book. Probably found on VK’s nalbinding forum although I don’t remember exactly now. I believe this is the 2nd photo of it I had seen. The other being even smaller and less detailed. The image is not that clear, but the surface texture has the horizontal banding reminiscent of compound nalbound textiles. At the time, machine translation was not very good. I vaguely remember taking the time to translate the caption and look up the saint associated. As I knew that there was an extremely high likelihood of nalbinding in Russia being done at the time of the saint (15th century), I was not too surprised by the concept of it being nalbound. While I was very intrigued, my access to Russian sources was soo limited that I did not pursue it at the time.
With all the amazing sweater designs coming out of the modern nalbinding usage, and the ever present interest in history, running across this particular find again sparked a good bit of interest. My access to Russian speakers is much greater now than it was then. Machine translation, while in no way perfect, is much better and can help narrow down what pieces I want properly translated. And… there are others interested which helps motivate any search.
So step one of the search, I run across a potentially interesting photograph or tidbit of information. In this case, all the wording is in Russian and I’m on my phone (which is currently reducing my ability to find Cyrillic letters). I send the link to Peruda, who kindly transliterates it for me and runs it through the machine translation.
Saint Nilus of Sora’s hair-shirt. So we look him up. Saint Nilus, otherwise known as Nil Sorky, lived between 1433 and 1508. Very interesting. Early for a cardigan styled item of clothing, but hair-shirts don’t seem to have followed standard practices and I don’t know that much about 15th & early 16th century Russian clothing in detail.
A quick poking about by Google search of Saint Nilus of Sora’s name, revealed a new picture of the hair-shirt on display: http://cultinfo.ru/news/2008/5/1096. A bit more and I find a book reference within a Pinterest pin which also has a slightly better quality photo: https://www.pinterest.com/pin/531495193517251984/ “Власяница и четки преп. Нила Сорского. Кирилло-Белозерский монастырь // Романенко Е. В. Повседневная жизнь русского средневекового монастыря”
And then, several more interesting hits. This one caused me to exclaim, “Captions, I need captions!” https://xtkani.ru/vlasyanica/ As there appears to be an additional interesting hair-shirt for which I have no date or place information. Peruda then sent me this link, with another image of the more dress-like hair-shirt: https://otzovik.com/review_5601725.html
Having not had much luck in my search using English, I shifted to the Cyrillic for St. Nilus of Sora and the word for hair-shirt. That got me the very interesting link to the Kirillo-Belozersky museum (whose name we had sussed out as likely to have it in their collection via the sources above, but had not yet reached out to) with a very nice photo of the hair-shirt in question that is of such high resolution one can zoom in to see details: https://kirmuseum.org/ru/object/vlasanica-iz-verbluzei-koricnevoi-sersti Much excitement ensued. Of interesting note, the image appears to be reversed from the printed ones above with what had appeared to be the left sleeve now on the right. (It’s not unheard of for an image to be flipped when printed.)
And at this point though, I’m questioning its designation as a nalbound textile.
Zooming into to focus on the rows reveals a texture on all but the bottom most rows that I have seen before, but in slip stitch crochet (SSC), not nalbinding. Looking closely at the neckline and cuffs and I can see loops pulled through loops. While it is possible to achieve that structure with end-led nalbinding as discussed in my NESAT presentation “But it looks like...,” the direction of work would be from the outside edge into the shirt, not working from the body out as one would with the loop-led slip stitch crochet. However, the surface texture was not an exact match for the SSC I had seen before. Both sides appeared to have the same texture, instead of dramatically differing textures, and the rows appeared to alternate between what would be produced by the technical front of back loop only (BLO) SSC and that produced on the technical back side of front loop only (FLO) SSC. It appeared to potentially be a match for working back and forth, instead of in the round or separate rows in the same direction. I immediately sent a copy of the link off to my friend Cary Karp who is researching the history of crochet and is the one that helped me learn to recognize SSC structures and surface textures. Cary tells me that this type of back and forth turned flatwork work in SSC is called a Rib Stitch in the 1840’s Victorian fancy work literature, but as a specialty stitch with nothing in any earlier literature.
Our web search did turn up some information about the provenance of this hair-shirt. It is attributed by legend to Saint Nilus of Sora. However, the first solid mentions are that it was displayed in the Tikhvin Cathedral in the 19th and 20th centuries where it was used for healing.
The Russian term Вязка is often translated as knitting, but in truth is a broader term that might be more appropriately translated as looping as the Russian language does not differentiate between the various looping techniques such as knitting, crochet, or nalbinding. Instead, if one is intending to be specific in Russian, a modifier is added that tells you what type of tool is used.
The Nalbinding Get Togethers (celebrating one and a half years now) are an interesting addition to my research. I used to fill that slot by reaching out to friends that had expressed interest (both casual and academic) in person or one on ones via phone or email/text/messaging. I still do reach out to certain ones specifically, though the in person option hasn’t been available. But as some of my most useful foils aren’t local anyway, those conversations have just continued as they always do.
But my usual process goes something like this: Either I find a hint or mention of a new to me find that might be applicable or I do one of my regular searches to see if something new to me shows up (or I stumble across something as I was looking for something else). I then go see what else I can find out about it. If what I stumbled on originally wasn’t a treasure trove of pictures, I go looking for images as the objects I’m interested in are not clearly and consistently described. In this process I am looking for as many images as possible. Presentation photos, documentation photos, conservation photos, right on down to someone’s terrible vacation photos as sometimes that’s all I can get and sometimes they just happen to capture something the formal ones don’t. I’m also looking for associated diagrams and any analysis that has already been performed. Mining bibliographies for previously published books and articles that relate to the object or its type.
All the while I’m comparing and contrasting with the corpus I already have. I may also start making test samples to help work out or confirm what I’m seeing on the surface structure shown. Then I start talking with others about this interesting thing. In person (my oh so patient husband who doesn’t understand the details, but loves to see me excited about a new tidbit. My mom, who does understand a good bit more) and online via messaging to my sometimes collaborator, to my mentee, to friends, to the get togethers (the group is intended to be a social space and sometimes all we do is chat and work on/show off/encourage our projects, but a big part of my projects is the research and the group is interested in the history of the craft).
Then I start working on in what format I want to share the info (and how detailed) to the broader world: blog post, popular media, peer-reviewed article, seminar presentation (academic or crafting), or multiples of varying depth. I may start formally teaching a particular craft portion at this point as an additional way to find out what words and order best express the concept. Eventually I may end up writing an instruction manual (that’s happened twice, but quite a while ago now as I had a break from the intensive analyzing part and some of the crafting part too due to health issues). And we’ll see where the whole ends up someday, because each new piece adds to the whole as well. I’m working with others on a cross technique standardization of language used to describe the specifics of structural details common across Looping techniques. Trying to see trends that can better improve the overall understanding as so many of these finds are still dated on art historical principles yet without a proper understanding of the specific corpus. Worldwide trends, both historically and where its usage has continued through to today.
Case in point, a comment on a picture that was posted in the Sprang group asking if the item was sprang work (it wasn’t) provided me with a search term that opened up a whole area of current traditional use of nalbinding in South America that I hadn’t known about which I can tie back to historical records of the region and can help with understanding working techniques, direction, etc. Very much fascinating. I’ve lost more sleep again. Bit frustrated at one of the museums because a number of great photos pop up in searches, but they don’t have an organized online search their collection function. Those photos are just from photos they’ve used in illustrating their exhibition announcements etc. A blog post has been drafted, though I don’t know when I’ll finish it. More information has been added to the corpus in my head with very interesting ties across the world.
Sometimes I get the opportunity to see the object in person which leads to object reports for the museums with my aggregated analysis of the object, what’s previously published, and how it fits into the broader corpus, and further potential publications.
I’ve had people comment on how I seem to find so many interesting artifacts. They wonder and ask how do I keep finding so much nalbinding when it is hidden, mislabeled, or in areas one just doesn’t think of nalbinding existing. The answer is quite simple. I keep looking.**
* The Nalbinding Get Togethers are currently still occurring each weekend on Zoom at 8pm Eastern Saturdays and 10am Eastern on Sundays. Sessions generally run for two hours, sometimes more. Drop me a note via the contact page for the link or find us on social media (Facebook is easiest).
** If you’d like to help support my continued search, a link to my Patreon is on the side bar menu.
The other weekend we had the opportunity to head up to New York city to see, amongst other things, an old painting of a Lady with Red Socks! I was soo excited to finally see her in person!
Now some of you will immediately know which Lady I’m referring to, but for those that have not yet been introduced, she is the “Woman wearing a Fringed Tunic” painted on a Roman Era, c. 170-200 AD, Egyptian linen shroud, perhaps from Antinoopolis, that now hangs in the Metropolitan Museum of Art.
Anne Marie Decker standing in front of the Shroud of a Woman wearing a Fringed Tunic in the MET: Rogers Fund, 1909 (09.181.8). Photo credit: Anne Marie Decker
Her socks give us an idea of how the split toed nalbound socks may have been worn. It is important to note, however, that the painting is not so detailed as to reveal the technique used to make her red socks and we do have extant socks with split toes from a similar time frame in Egypt that are made of cut and sewn woven cloth and a different pair of felt. All three kinds, woven, felt, and nalbound, appear to have very similar characteristics with slits at the ankles (necessary in the less flexible techniques, optional in nalbinding) and ties at the top.
Close up of the Shroud of a Woman Wearing a Fringed Tunic showing her red socks.
If you look closely you can see that the artist has drawn lines at the back of her ankles that appear to indicate that the laces were tied at the back. One on each side of her right foot (showing on the left) and also at the back of her left foot.
One of Anne Marie Decker’s nalbound socks based on the pair in the V&A held at a distance away from the Shroud of the Woman Wearing a Fringed Tunic in the MET.
You can also see that the socks are relatively thin as the artist did paint some definition of her toes, besides the slit for her sandals.
I did have to bring my own pair of red socks, just because I could not pass up the opportunity. The reason that my ties are as long as they are is because I had seen pictures of this Lady before I made them.
My thanks to Matthew Pius for letting me know that she was out on display and sending my first close-ups.
Ruth Decker standing next to one of the Late Republican Era, c. 50-40 BC, Roman wall paintings from the Reception hall of the villa of P. Fannius Synistor at Boscoreale now in the MET: Rogers Fund, 1903 (03.14.5) This painting is of a woman playing a kithara.
While I was there, I also got to get a close look at some Roman wall paintings (and lots and lots of Roman/Greek statuary feet). One of which became very interesting… a detail I had not noticed in photographs before. Her foot is not painted in the same color as her skin. I cannot say definitively that it is a sock, more research into Republican Era painting styles and clothing/footwear is necessary, but it is an intriguing detail. Please let me know if you run across any other potential depictions of socks.
Close up of the foot of the woman playing a kithara. The yellow is not the color used to paint her skin. It is also showing the same yellow above and below the line for some form of strap.
While we spend much of our time in the Roman and Greek areas of the MET, we did take a quick look at the Medieval, Egyptian, and passed through areas of paintings on our way to the Medici exhibit that was on temporary display. I could not pass up the opportunity to see Eleanore of Toledo’s red velvet dress in person as who knows when I will get to return to Florence.
Mom and I enjoying our dinner outside on a perfect day for outdoor dining. Looking forward to getting a bit more “big city” time again soon.
After a very exciting, but very very long day, mom and I had a wonderfully relaxing and restorative dinner at an amazing restaurant just two doors down from the hotel. Which was absolutely necessary given that I have not walked over 14,000 steps in a long, long time.
Our trip ended after a tour of the Garment District and St Pauls on one day and Coney Island and the Aquarium on the next. I was so glad to have to be back to work on Monday after nearly 40,000 steps in three days. But, we are very much looking forward to being able to travel again. We learn so much.
While at the MET, I picked up several books on art and textiles of Central Africa. I’ve been really enjoying getting a glimpse into an area with which I have been unfortunately less familiar. It’s fascinating to see the very strong traditional usage of nalbinding in the region. There are a variety of stitches, ranging from simple variants to lacework in compound variants, in a variety of garments and other usages.
Sometimes one just needs to share one’s notes. After January’s post on Nalbound Camel Muzzles, people were asking to see more of the brightly colored nose caps. I had gathered many more images of camels in muzzles while doing the research than I could possibly use in the post. And truthfully more since, as I too enjoy seeing them and am still curious as to the breadth of their usage. However, the aggregated volume of all those camel muzzles is just too large for another blog post.
Thus, this post is to direct you to my new site page, More Camel Muzzles, where you will find images and video clips, both embedded and linked depending permissions. Each link includes a brief description, including colors and location if known. So far, the images predominantly come from the United Arab Emirates (UAE), Qatar and Oman, but some appear in images from Saudi Arabia, Jordan, and Syria. Unfortunately, many of the stock photos do not contain information as to where they were taken. Additionally, we have relatively few photos in general from certain regions, so their lack of inclusion may be due to a lack of access versus a lack of use.
The photos are broken out by category depending on how closely they could be identified. Starting with the nalbound muzzles where the images are close enough and clear enough to identify as worked in Mammen stitch (UOO/UUOO F2), both on and off a camel. Then those that can be identified as a Loop & Twist stitch (more often found across North Africa than Arabia), those identifiable as some form of Simple Looping follow. This section ends with a large collection of muzzles of the same style and appearance as the Mammen stitch muzzles (predominately), but the images are either too far away or insufficiently clear (or I was too tired at the time I added them) to be certain of the stitch determination.
Also included, because they are both interesting and to show how identifiable the nalbound muzzles are, is a selection of Not Nalbound Muzzles. Starting with the Ply-Split muzzles, a technique I first ran into with Peter Collingwood’s publications, this section also contains Crochet muzzles, which all appear to be from Turkey, and a brief selection of other styles of muzzles for comparison.
This last year’s examinations included several examples of nalbound Omani sand socks in addition to the Romano-Coptic Egyptian socks I’ve been concentrating on of late. I spent some time searching for comparables and stumbled across a rare image of sand socks being worn. Searching for more I realized that there is a reluctance to take images of people’s feet (not that surprising given the cultural issues). However, in my searches I was reminded that sand socks are not the only traditional nalbound objects in the Empty Quarter of Arabia. Anti-spitting muzzles for camels are another traditional craft that uses nalbinding quite frequently (amongst other interesting techniques such as ply-spliting, etc.) and it turns out that people are much less reluctant, eager even, to take pictures of camel muzzles than they are of people’s feet.
These camel muzzles are almost always identified as knitting; though I’ve yet to see a knitted one. And while I did see one source that called them crochet (a technique that has some minor representation in modern camel muzzles though not commonly amongst those photographed), none of that particular article’s accompanying photos were representative of anything but nalbinding. This misidentification of technique obscures the living tradition of this ancient craft.
Based on the imagery online, current trends in camel muzzles involve the use of brightly colored acrylic yarn. A more traditional one now in the Pitt Rivers Museum, 2003.9.132, was collected in 1994 and is made of hand-spun yarn. This is similar to the majority of the sand socks I have examined. Those in the Pitt Rivers that were collected between 1985 and 1986 are also primarily hand spun (2003.9.134 .1, 2003.9.135, 2003.9.136, 2003.9.137, as well as the recent pair at TRC, Leiden TRC 2018.2807a-b). Although, the Pitt Rivers also has the brilliant red/green striped pair, 2003.9.138, which are entirely acrylic and the pair acquired in 2011 and now in the British Museum, 2012,6004.5.a-b, incorporates some black acrylic at the cuff of otherwise hand-spun socks.
Our knowledge of historical nalbound artifacts from the Arabian penninsula is so negligible as to be non-existent at this time. However, nalbinding’s general obscurity also means I believe it’s less likely to have been something picked up from travelers or invaders. Nalbinding has a known history in Egypt & Sudan, and current traditions not just in the Empty Quarter, but also further into the Middle East in Iran (I’ll be writing about traditional Iranian giveh in the future).
The search for as many examples of camel muzzles as I could find took me places I never expected. It’s not often that my nalbinding research turns up celebrities. But this search found me glancing through Paris Hilton and Martha Stewart’s vacation photos amongst others.
The nalbound camel muzzles all appeared to be worked at rather large row heights. Between that and the acrylic yarn, in the closer photos it was easy to see the stitch used. I was a bit surprised to find that in each and every case where it was clear enough to see, the stitch used was UOO/UUOO F2, more commonly known at the Mammen stitch (after a single find of the same stitch in Mammen, Denmark).
However, that finding is consistent with the socks I examined as well. I did come across one image, that while it was not clear enough to make a determination from, did appear to potentially be of a simpler compound version than the predominant Mammen. As of yet, it appears the socks examined by Peter Collingwood are of a stitch atypical of current use.
So on this day of Epiphany, the Feast of the Three Kings, I bring you the gift of brilliantly colored nalbound camel muzzles. If you’d like to see more, a simple search for “camel muzzle” will bring up a beautiful bouquet.
