Flaxen Stripes’n’Reedy Crowns

After 2 disappointing attempts at making the Nemes crown out of fabric, I had to review my methods and question whether I was able to pull it off. Was there another way? To determine this I had to go over the problems I faced. I could list them:

 

  • The colours – gold and blue – how were they achieved supposedly before gold thread and applique were used in making fabrics and clothing?

I had to look at the way flax is processed into linen. The peasant  girl was rumoured to have spun flax into gold. Why flax, Rumpelstiltskin? Treated with care, flax can be golden and must be dyed/bleached white once woven into fabric. What if the purest strands of flax were selected and only they were spun into strips of gold?

Could the blue stripes have been painted on like the linen designs in the following video on linen production? Would the blue ink/dye used bleed into the gold sections? We know that the ancient Egyptians used blue ink on their papyrus scrolls, could they have made the fabric of the crown out of alternating strips of linen and papyrus? Both linen and papyrus are made from organic, reeds were they compatible enough to be sewn together into a single cloth?

Video on the processes used to turn flax into linen. This shows the more hands on process used by the Irish in the 1940s.

  • How was the stiffness of the lappets achieved?

To keep the lappets stiff metal rods could have been sewn onto them. But this would add a drag towards the back of the head because of the weight and position of the rods. Doubling the thickness of the fabric made the crown cumbersome and backside heavy. An extra layer of fabric wouldn’t necessarily give the effect of stiff and flush-flat lappets as can be seen in my second attempt where I didn’t employ the rods. If the gold rods were used then the lappets wouldn’t have needed golden linen to make up the gold stripes.

To get around the problem of the crown creeping back under its weight I wanted to fit it in place with a tight metal tiara over the fabric and around the forehead. This would squash the lappets down but change the look – the flaying would begin from around the ears. It was out of the question.

  • Could they have made the crown in two separate pieces – a skull-cap/ helmet/ milliner’s form – beneath that was then fitted with the lappets and ponytail?

Would this have kept the back of the crown lightweight enough not to drag the whole crown back? Perhaps not? But what if the skull-cap were made of metal and the linen and rod or doubled-over linen Nemes crown were fitted over it and secured in place – by rivets along the tiara’s front? A solid uraeus and vulture could be then riveted or screwed into place through the fabric into the metal cap achieving the look of the floating totems above the tiara? Possible. Themetal form would replace my plastic collander.

  • Could the milliner’s form have been made of metal that sat beneath the crown?

Would this solve the creeping back problem? Would attaching the beard from the tiara to the chin add enough weight combined with the weight of the uraeus to steady the whole crown and sit it properly on the head? How would they have attached the chin from the tiara without the relevant cords being seen? Was the glint of the gold so strong that the cords were camouflaged in the light?

I can’t help thinking that the easiest – least fiddly way of achieving the look would have been to make it out of gold.

Coming up  – my lapidary jeweller’s perspective on the making of the golden Nemes Crown and how the way it was made may shed light on whose mask Tutankhamen wore and whether the crown he was buried with was made for his burial.

king tut

Death Mask

Photo Credit, King Tut’s Mask, Photo credit: Mark Fischer via Foter.com / CC BY-SA

Photo credit: https://www.flickr.com/photos/fischerfotos/23785641449/  Mark Fischer http://creativecommons.org/licenses/by-sa/2.0/  CC BY-SA

 

 

Advertisements

Palimpsests, Papyrus, Performers … the Point?

Looking over my previous blog posts regarding the Greek shadow puppet theatre and its connection to Ancient New Comedy and a possible Byzantine Shadow stage I realise that I have waffled on, alluding to my point but its meaning eluding my page. So here it is. My point, “.”.

I believe that the existence of the popular shadow puppet characters, Hadjiavatis and Karagiozis are not entirely dependent on the Ottoman shadow puppet tradition.Yes, their names are derived from their Turkish counterparts (see my previous post on Building the Sultan’s Palacebut their appearances are very different (See When Hadjiavatis Pulls His Beard Will Menander Reappear – Part One). I believe that there is a strong possibility that these comic characters existed before the Ottomen arrived in the Balkan peninsula.

I don’t believe that the only Byzantine theatrical performances were the comic and dance mimes at the Circuses. I suspect that dramatic and satyric, narrative performances existed regardless of the cultural suppression exercised on the people by the Byzantine Regime and the Ottoman after them (See my previous post Shadows in the Library of Alexandria).I suspect that these characters were part of a tradition that was perhaps hidden, perhaps not pious enough to inspire conservation and probably improvised so difficult to document. 

I believe the evidence can be found beneath the surface of Byzantine and medieval palimpsest – papyri washed clean and overwritten. These papyri are found in monasteries, museums and in private collections. If technology allows the hidden layer to be revealed without damaging the current face of these palimpsests then we will be able to understand Byzantine theatrical practices better. We may even have a glimpse into cultural resistance under two totalitarian regimes. The characters of Karagiozis and Hadjiavatis may be remnants of such a theatre. Perhaps even throwbacks to the ancient theatre of Menander.

Time and Technology will tell.