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Aimee Kratts copyright 2015 Lady Amie Sparrow [email protected] Page 1 of 13 Kingdom of Atlantia 1 German Pouch, 1500-1550 Lady Amie Sparrow, Barony of Stierbach, Kingdom of Atlantia Kingdom Arts & Sciences Festival 2015 Barony of Raven’s Cove, Wallace, NC Category: Costume and Needle Arts - Costume: AD 1451-1600 Figure 1: Detail from The Visitation, 1503 Figure 2: Author’s Purse with pouches on the inside based on archaeological evidence Introduction There are not many extant purses remaining from the early 16th century in Germany for working-class women. Purses were used by the working class, not created and put aside for safekeeping, and thus most did not survive. We do have a lot of pictorial evidence in examples from the four-volume set Single- Leaf German Woodcutsas shown below.

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Page 1: German Pouch, 1500-1550 - WordPress.com · In Olaf Goubitz’s seminal work, “Purses in Pieces: Archaeological Finds of late medieval and 16th Century Leather Purses, Pouches, Bags

Aimee Kratts copyright 2015 Lady Amie Sparrow [email protected] Page 1 of 13 Kingdom of Atlantia

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German Pouch, 1500-1550 Lady Amie Sparrow, Barony of Stierbach, Kingdom of Atlantia

Kingdom Arts & Sciences Festival 2015

Barony of Raven’s Cove, Wallace, NC

Category: Costume and Needle Arts - Costume: AD 1451-1600

Figure 1: Detail from The Visitation, 1503

Figure 2: Author’s Purse with pouches on the inside based on archaeological evidence

Introduction

There are not many extant purses remaining from the early 16th century in Germany for working-class

women. Purses were used by the working class, not created and put aside for safekeeping, and thus most

did not survive. We do have a lot of pictorial evidence in examples from the four-volume set “Single-

Leaf German Woodcuts” as shown below.

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Figure 3: 1509 - Berlin

Figure 4: 1521 – Gotha

Figure 5: 1530 – Stuttgart

Figure 6: 1531 - Dresden

Figure 7: 1531 Dresden

Figure 8: 1532 - Gotha

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Figure 9: Purse Vendor - 1539 Berlin

In Olaf Goubitz’s seminal work, “Purses in

Pieces: Archaeological Finds of late

medieval and 16th Century Leather Purses,

Pouches, Bags and Cases in The

Netherlands,” Goubitz presents evidence of

a wild variety of purse shapes and sizes. He

suggests that it is due to the clients’

personal tastes and wealth. A wealthy client

would ask for a fancier purse, while a

working-class person would require a sturdy

purse with less decoration.

This woodcut shows young girls in a footrace at a country fair. Two of the prizes are purses.

Figure 10: Race for Purses

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Aimee Kratts copyright 2015 Lady Amie Sparrow [email protected] Page 4 of 13 Kingdom of Atlantia

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Extant Purses

Figure 11: Purses from the Bavarian National Museum in Munich

The odd thing about

researching German

purses is that the

artwork shows one

type of purse. The

surviving purses in

museums show

different-looking

purses, most

noticeably ring

purses as shown by

the two on the far left

and the purse below.

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Aimee Kratts copyright 2015 Lady Amie Sparrow [email protected] Page 5 of 13 Kingdom of Atlantia

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Figure 12: Nuremberg woman in house dress

Frameless Pouch Though most of the extant purses we have contain metal

frames, I have chosen to go with the archaeological evidence

instead. Purses in Pieces documents a purse made with a simple

leather loop that would had from a belt. This purse was found in

The Hague (Netherlands) where the wet soil is conducive to

keeping leather finds intact.

In the past, I have created leather pouches that I liked, but the

stitches seemed too large and the waxed linen was too thick. For

this purse, I made the stitches smaller and used waxed thread

instead of waxed linen. The results were much more

aesthetically pleasing.

Tools

Glover’s needle

Scissors

Needle-threader

Materials

Poly/cotton sewing thread

Wax

Lightweight leather (animal unknown, probably not cow, deer or pig)

Cotton embroidery floss for fingerloop braiding

The reason I used poly/cotton sewing thread is that my waxed linen was too heavy. I made an entire

purse with the waxed linen and it looked clunky. The leather I used for this pouch is nearly equivalent to

glove leather.

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Patterns

I created my purse patterns based on the drawings of archaeological finds in The Hague. One purse was

18x18 cm, the other was 19x23 cm. Neither of these finds had the suspension loop still attached.

Figure 13: Archaeological drawing of the pouch back on

the left (Figure 58b, page 41, Purses in Pieces). My purse

pattern on the right with flap extension added. Cut 1.

I calculated the suspension loop by experimenting

with different lengths of loops and comparing the

images of my mockups to the images of suspension

loops in period sources. I drafted a pattern that was

19 cm wide x 51 cm high. Once the loop was

folded into place and sewn down, the purse

becomes 19 cm wide x 32.5 cm high.

Figure 14: Archaeological drawing of the inner pouch divider

on the left (Figure 58b, page 41, Purses in Pieces). My

pattern on the right. Cut 1.

Figure 15: Pouchlet pattern – cut 2. I

determined the shape of this pattern by

looking at Figure 33a on page 29 of Purses in

Pieces. Though it was not associated with the

finds in figure 58b on page 41, the shape

applied itself nicely, though it wasn’t a

conclusion that Goubitz came to himself.

Figure 16: Outer pouch – cut 1

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Construction

I decided to make the purse in the reconstruction that shows two inner pouchlets with the inner purse

divider as shown in the archeological reconstruction drawing below. For the sewing method, instead of

using a waxed linen in a saddle stitch as I had in the past, I use a waxed thread in a straight sewing

stitch. When I did my test sewing, I discovered that using that making small stitches with this delicate

leather actually perforated the leather in such a way that it fell apart. The stitching line was too fine and

acted as if I was cutting the leather apart instead of stitching it. Therefore, I had to use stitches that were

farther apart and were not doubled up, as one would double a stitch using the saddle stitch method.

Figure 17: Purse pattern, side view showing

inner purse divider and inner pouchlet. From

Figure 58b, page 41, Purses in Pieces.

Figure 18: Pouchlet pattern. X-Acto knife used to cut holes for lacing

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Figure 19: Cut holes before stitching in body of outer pouch and both inner pouchlets

Figure 20: Glue pouchlets before stitching

Figure 21: Stitch pouchlets

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Figure 22: Glue inner divider for stitching

Figure 23: Glue outer purse right side to right side and

stitch

Figure 24: Turn right sides out and add fingerloop braiding

Figure 25: Add leather button at purse front for purse

lid closure

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Figure 26: Finished purse suspended from belt

Figure 27: Finished purse back

Summary

There is still much to learn by recreating German pouches. Experimentation is key. The first thing I

learned from this completed pouch is that the leather button is not necessary. When photographing the

purse, I popped the wooden toggle attached to the fingerloop braided cord through the buttonhole by

mistake and realized that’s what we’re probably seeing in the woodcuts. An extra button is redundant.

If I make this particular purse style again, I’ll make it out of cowhide for a sturdier purse.

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Appendix A: Other Purses I’ve Made

Simple Leather Purses with One, Two and Three Pouchlets

The purses below are all sewn using two needles with a single piece of waxed linen saddle-stitched on

the leather.

Figure 25: Single pouchlet purse in progress

Figure 26: Single pouchlet purse

Figure 27: Two Pouchlet Purse

Figure 28: Three Pouchlet Purse

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Round Velvet Purse with Buttonholes

The round purse is of simple construction, but the amount of buttonholes is somewhat time-consuming.

Figure 29: Round velvet purse with multiple pouchlets

Figure 30: 1521 - Gotha

Velvet Bag on a Frame

The fabric bags are sometimes shown with smocking, just as you would see in the collars and cuffs of

German shirts.

Figure 31: Finish smocked velvet purse

Figure 32: 1531 Dresden

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Bibliography

1. Anonymous. Augsburger Monatsbilder paintings. 1530.

2. Bettinas Pages. http://www.bettinas-pages.de/accessories/a_pouch_purse.php

3. Clarkson, Laurie. Personal conversations, 2013.

4. Geisbert, Max. The German Single-Leaf Woodcut, 1500-1550 (4 Volume Set). Hacker Art

Books; Revised Ed edition, June 1974.

5. Goubitz, Olaf. Purses in Pieces: Archaeological Finds of late medieval and 16th Century Leather

Purses, Pouches, Bags and Cases in The Netherlands. Spa Uitgevers, 2009.

6. Kurth, William, Albrecht Durer, Campbell Dodgson. The Complete Woodcuts of Albrecht

Durer. Dover Publications, June 1, 1963.

7. Larsdatter, Karen. www.larsdatter.com.

8. Rublack, Ulinka. Dressing Up: Cultural Identity in Renaissance Europe. Oxford University

Press, 2010.

9. Wymarc, Richard. Personal conversations, 2013.

Sources

1. Purse Frames. http://www.umx.info/purse-frame-s.htm

2. Cow Hide. Thurmont Discount Fabrics. 108 North Carroll Street, Thurmont, MD 21788. (301)

271-2266. http://www.discountfabricsusacorp.com/

3. Deer Leather. Kentucky Leather & Hides. 9210 Sonora Road, Sonora, Kentucky 42776. (270)

369-8474. www.kyleatherandhide.com

4. Tools. http://www.tandyleatherfactory.com/