by Mistress Adair of Maykswell
Mistress Adair of Makyswell, OP, is an avid historical beader. She says she is “passionate about [Bead Embroidery and Bead Weaving as well as Gold Work Embroidery] and in the current world I am known as a competitive Bead Embroidery specialist and am one of 200 participants world-wide that compete annually by invitation only.” You can sample her current world items by visiting:
https://sites.google.com/view/adairofmakyswell/home.
Mistress Adair was the 2025 Kingdom of Atlantia A&S Champion of the Winter Reign and Gulf Wars. She was generous enough to share her work with The Oak, and we have followed her suggestions for breaking her thorough documentation into multiple articles for readers to enjoy!
The first article is “The Pelican Cap of a Lady, Maria Woeltzerin”. This piece was originally presented for Twelfth Night as its first presentation and then subsequently at Gulf Wars.
The second article is “Aumônières – The Alms Purse”. This piece was also originally presented at Twelfth Night and then presented at Spring Crown Tournament for Tempore Atlantia and was awarded Best use of the York Rose.
The third article is “The Historic Evolution of Beaded Netting”. This piece was also presented at Twelfth Night and Gulf Wars as part of the complete display of bead embroidery.
Inspiration
While reviewing historical portraits for a class I was composing for Beaded and pearled coif’s and fillets I happened upon the portrait of Maria Woeltzerin by Hans Krell (1468- 1588). After spending a few days in a Project X approach like I had used for the Coronet of the Plaque (which is included in the main binder), I started sketching the construction design. Why was I intrigued with this portrait? I was one of the founding members of the Beaded Art Doll group with members from Florida, Alabama, Tennessee, North Carolina and a few members overseas, and was extremely skilled in working in 3-dimensional beaded structure and mastered the use of the curved beading needle for 3-dimensional work. To design a 3D sculpture from a 1D dimensional portrait, you need to carefully analyze the lines, shapes, shadows, and values in the portrait. I used this same process with the Laurel Leaf headdress for Mistress Eleanor of Gray, to be included in the main binder. After working with pearls over the past two years, it was easy to determine their sizes to be used and I determined to use ecru pearls instead of white based on the portrait.
My original display at Kingdom of Atlantia 12th Night on January 11, 2025 included (3) Categories for display. (1) Bead Embroidery “The Pelican Hat”, (2) Bead Embroidery and Goldwork in aumônière (alms bags) from France. My adventures in Goldwork began over two years ago and follows the definition of Bead Embroidery as “adding crystals, beads and pearls(goldwork) to a fabric back round which stabilizes the added adornment” and has been included in my skillset, and (3) Spiral netted beading which is prominent in Tudor and Elizabethan portraiture. I was extremely confident in the Bead and Pearl sizes selected based on size visualization at the Victoria and Albert Museum.
Exemplars and Sources
1. Portrait of Maria Wezer nee’TGanzel by Hans Maler, 1524 Tempura on Wood
Akademie der Bildenden Kunste, Collection with husband, Vienna Husbands portrait: Moritz Welzer Von Eberstein, 1524
2. Hut – Erzherzog Ferdinand II. Sohn des Ferdinand I. von Habsburg Osterreich, Landesherr von Tirol (1529 – 1595)
Customer: Papst Gregory XIII
Artist: Francesco de Santa Croce, papal artisan
Kunsthistoriesches Museum Wein-Hofjagd und Rustkammer Hofjagd- und Rüstkammer, A 989
3. Portrait of a Lady in a Green Velvet and Orange. Pearl Embroidered Black Hat Lucas Cranach the Younger (1515-1586). Painted in 1541.
Oil on Panel 15.5 Wide by 24.2” H
Currently in private collection after’s Christie’s Auction, Lot #48
5 July 2007
Materials of Construction
Materials of Construction for the Pelican Cap – Bead Embroidery at its finest
Pelican Body Template: Felted wool (English) starched in white
Wings: Gloved leather from re-purposed opera gloves
Pearls: 2mm, 3mm, 4mm, 6mm, 8mm glass pearls The use of real pearls which have been cost prohibitive and not feasible. The uniformity would have been a hinderance.
Cap Fabric: Cotton Velvet and light weight canvas Cotton velvet was selected for stability and weight of the Pelican.
Thread: Combination of silk thread and nymo (poly blend) to eliminate fraying with pearl use.
Leg: 20 gauge non tarnish wire
Materials of Construction for the aumônière (alms bags). There are three different versions of the aumônière’s presented. I will present the piece that was entered and won the Kingdom of Atlantia Tempore for the Spring Coronation of Adelhait and Christoph. “The York Rose”. The others will be included in the display.
Body Fabrics: Duponi Silk in white and green (all hand sewn) in construction Top Braiding: Gold woven braid
Gold Work: 1.5mm gold purl-purl
Pearls: 2mm, 3mm, 4mm and 6mm glass pearls
Beads: 15mm green, white and permanent gold beads Miscellaneous: spangles, cotton thread for tassels, (3) green Kundan stones, Chainmaille rings
Materials of Construction for Beaded Netted Ropes- two styles
Structure: 1- (3mm) pearl structure
Structure: 1-(4mm) pearl structure
Beads: size 15 permanent finish gold rounds Size 11 permanent finish gold rounds
Clasp: 1 pc gold clasp. The other one is woven in to join the two ends
Summary of Brief
Would I do this again? Would I do anything differently?
Yes, I would do this again. I actually have already selected a new project based on the Portrait by Lucas Cranach the Younger (1515-1586). Portrait of a Lady in Green Velvet and Orange with Pearl Embroidered Black hat has been slated as the next project displaying head ware and garments.
As a member of the Society of Bead Researchers and the Society of Creative Anachronism, I am covering two areas of research in my endeavors. Historical as applicable to the Arts and Sciences between the 13th to the 16th Centuries and historical research to publish. I have learned quite a bit about the possible construction methods of the late 15th and 16th Century and look at building a set of historical sewing implements as a visual guide.
The cornerstone of this research has been the establishment by verification of bead sizes from the 15th and 16th century through extant samples as compared to the bead sizes we have today. This has become a Project X adventure.
The Rainbow Portrait, c. 1600–02, attributed to Marcus Gheeraerts the Younger currently housed at the Hatfield House, Hertfordshire, UK
Research
(In depth explanation, footnotes and images as needed)
Inspiration #1:
History and context of item:
First, I shall include the three Exemplars and Resources used as these were the Ah-ha references and both pieces verify the use of Pearls (Süßwasserperlen. Sub water beads (pearls)
Portrait of a Maria Welzer, nee Tanzel
Hans Maler @ 1524 companion portrait to Moritz Welzer von Eberstein
Tempura on Wood
Akademie der Bildenden Kunsten – Vienna
Inspiration #2:
Geweihter Hut Erzherzog Ferdinand II (1529-1595)
1567- Italian Ordained Hat
Owner: Archduke Ferdinand II Son of Ferdinand I Prince of Habsburg Austria, Lord of Tyrol (1529-1595) Manufacturer:
Material/Technique:
Hat: black velvet, gold-plated border, real pearls, sword: silver, gold-plating, wood, gold
www. khm.at/ de/ object/ ab02a26967
Inspiration #3:
Portrait of a Lady – Three Quarter Length in a Green Velvet and Orange Dress and a Pearl Embroidery Black Hat
Lucas Cranach the Younger. (1515-1586)
Painting on Wood – 61.6 x 39.4
Private Collection
** this portrait is the first one I reviewed when I was writing my Carcanet syllabus
Process
Decorative hats have been documented through the ages in Europe during the 14th to the 16th Century. The Age of the Hennin’s to include the Horned Hennins, the Butterfly Hennins, the Chaparral, all to the introduction of the Tudor period and the French, English Hoods and Tudor Caps. A well-dressed head cover was a way to show your wealth and status.
The Project X approach was in reference to initial ideas/how those ideas met, to practicality. There are many that are not familiar with the sizes of pearls and beads would be available for the construction of these pieces of art in the 14th to the 16th Century and I realized this would need to be presented before the physical materials could be reviewed.
Reference #1:
Various beadwork pieces and paintings from the period of the 14th Century to 16th century show beads of approximate 11/0 size, there was further evidence that beads were even smaller. In Janet Arnold’s wonderful book, Patterns of Fashion: The Cut and Construction of clothes for men and women, c 1560-1620. Arnold shows photographic evidence of beaded embroidery (plate 351-2, page 49). Furthermore, when elaborating about the garment on pages 116-117, she specifies that beads are 0.08mm (1/32 of an inch) wide. This translates to size 24/0 which is significantly smaller than 11/0, about the size of a large grain of sand.12
Reference #2:
Victoria and Albert Visit Notes: Textiles Storage Appointment, 19 December 2002 by Jen Funk Segrest – aka THL Elspeth Grizel of Dunfort, Midrealm – www.medievalbeads.com
One thing that struck me was how ungarish the colors in fact were. The picture I have of it in color from a 1985 German exhibition catalog are much more vibrant than it was in real life – where it appeared almost pastel minus the bold cobalt beads. Certainly not the blinding orange the picture showed.
Overall, the beads are about a modern size 10/11/12, the gold crimp beads being larger more or less, but in no way uniform (as they each appear to be hand rolled and seamed – the open cracks of the rolling can be seen clearly, as are beads used to designate eye centers being larger cobalt beads (modern size 8/0 size). Foil bezants were probably twisted or clipped off as you can see the stitches used to hold them on are still in place.
The glass beads: cobalt transparent (looking just like the ones I have in my collection now) and greasy (semitransparent and fairly variegated) teal. The teal reminded me of transparent teal matte finish AB beads I have seen, but without the matte finish.3
Reference #3: Glass Seed (Micro) Beads
Manufactured in northern Italy since the late 1400’s. Venetian made drawn glass seed beads that were coveted throughout the world. Graded in size from approximately .120 (size 5) to .040” (size 22), the tiny beads have been used by artisans for nearly five hundred years to decorate clothing, weave into necklaces, and assemble into wearable sculpture.4
Perhaps the first name to be associated with beadmaking in Venice is that of Martin de Canale, who is said to have made glass beads and vessels. A record of 1296 says that beads were then being used in embroidery work and the colours in which they came were red, white and green. (Kidd, 1979)5
Reference #4: Confirming Bead Sizes by an Auction Purchase
By Jen Funk Segrest – HL Elspeth Grizel of the Kingdom of Midrealm6
The story is a wonderful story of Jen purchasing the above bag by auction in September in England and all of her wonderful friends awaiting the arrival on 11/7/2024. She was aware I had a bag such as this, “Hit or Miss” on the draft table and the link below shows her personal collection stamp and our dialog on the structure. Bead sizes for the RAW stitch is confirmed at our size 11 beads that are in use in today’s times. The silk, the glove leather, the silk and linen threads were in Ecru and aged. She determined the lacing had been replaced with the linen cording instead of leather which would have been used. The squeal moment was confirming the silk and linen thread which had been my only concern in reproducing. I had been able to order the beads in the colors referenced from a lovely shop in London.
Reference 5: The Discover, History and appreciation of the Pearl
Pearls were undoubtedly first discovered and appreciated in the Persian Gulf region, and the knowledge of their value and appreciation subsequently spread to the west, through Greece and Rome.
Several lines of evidence, both historical and archaeological were presented that consolidated this view, the most significant among which was the fact that historically the most ancient sources of pearls in the world, such as the Persian Gulf, the Red Sea and the Gulf of Mannar, were the same regions where some of the earliest human civilizations began, such as the ancient Sumerian civilization of Mesopotamia, “the cradle of human civilization” and the ancient Egyptian civilization. It appears that the discovery and appreciation of pearls went hand-in-hand with the development of ancient human civilizations. The oldest pearls identified in the Persian Gulf region, a single pierced-pearl and mother-of-pearl artifacts comes from As-Sabiyah, Kuwait, dating back to the late stone age, 6,000-5,000 B.C.E. (7,000-8,000 B.P.). Another solitary pearl belonging to the same period was found among human remains at a site in Umm al-Quwain. A third single pierced-pearl near a female chin and mother-of-pearl pendants dating back to 5,200-4,200 B.C.E. (7,200-6,200 B.P.) was recovered from a site in Jebel al-Buhais, in Sharjah. Other ancient pearls ranging in age from 4,000-1,000 B.C.E. (6,000-3,000 B.P.) were also discovered from sites in Oman, Iraq, Bahrain, Iran, Kuwait and Palestine. These areas where the discoveries were made were part of the ancient Sumerian (5,900-2,350 B.C.), Akkadian (2,350-2,193 B.C.), Babylonian (2,100-1,600 B.C.) or Assyrian empires (2,000-1,800 B.C.). and the age of the pearl or pearl jewelry discovered roughly coincide with the period of these ancient civilizations. Burial of people with a pierced pearl in their right hands appear to be a common custom prevalent during these ancient periods. (Kunz, 1908)
The history and archeological evidence of the pearl covers the history of the European continent and beyond from the Greeks to the Romans and continues in its glory to the Royal Families of Europe.
“The Book of the Pearl – The History, Art, Science and Industry of the Queen of Gems was written in 1905 and is now a part of “Project Guttenberg” as a e-book” (Kunz, 1908).
Cover and sizes from The Book of the Pearl – Chapter Two: Medieval and Modern History of Pearls
Now that the baseline has been set on determining that the bead sizes, I chose were available in period and the glass pearling sizes were manufactured, I will continue with the construction process
Materials of Construction
Materials of Construction for the Pelican Cap – Bead Embroidery at its finest
Pelican Body Template: Felted wool (English) starched in white
Wings: Gloved leather from re-purposed opera gloves
Reinforced Wire for Structure
Pearls: 2mm, 3mm, 4mm, 6mm, 8mm glass pearls
The use of real pearls would have been in period but during today’s times, this would have been cost prohibitive for the different sizes. The uniformity would have been a hinderance in structuring the pelican 3d form.
Beads: Size 15 Permanent finish Gold
Period use would have been gold wire, cut and then rolled into the correct bead size.
Size 11 Permanent Black
Size 11 (3) clear red drop beads
Cap Fabric: Cotton Velvet and light weight canvas
Cotton velvet was selected for stability and weight of the Pelican form though wool velvet would have been used in period
Thread: Combination of silk thread and Nymo size O and B (poly blend) to eliminate fraying with pearl use.
Leg: 16 gauge non tarnish gold tone wire
Period use would have been gold wire.
Process of Creating
Step One: Initial design was drafted on linen and cut from the worsted wool developing a pleasing design.
Step Two: The two cuts of worsted wool were cut, keeping in mind the size I believe it should be, were then sewn together and stuffed with poly-fiber fill (instead of strip linen) a guide wire was inserted to have a hand hold while beading and sewn together.
Step Three: Added leg values for adding one section of the foot – the other would be used to cushion underneath when the wings were added and added a flared worsted wool base and added pencil markings where the feather aspects would be sewn.
Step Four: The wings were cut from glove leather and then reinforced with wire to keep the shape for the original design during beading while maintaining the dimensions to the overall design. Whip stitch with nymo B was used for strength.
Step Five: The following photographs will detail the beading and its technique for construction on a three-dimensional form. In regards to the tools from the period and tools that I used in the creation for a Bead Embroiderer – it would be Needles, needle threaders, Scissors and thumb ring thimbles which were period tools.
Historical details are included in Appendix A.
Bead Embroidery continues to include couching to keep the lines secure to include the placement of the eyes.
Started the feathering on the tail feathers with two different sizes of glass Pearls (3mm and 4mm) with a small addition of 3 Blood Red drops in glass drops
The beginning of the wing details with the use of mm3 and mm4 size glass pearls.
With the sketched designed followed:
The feathers are prominent with the outline of size mm 4 and filled with size mm 3 glass pearls
The wings progress and the beginning of layering the red cotton velvet to the light weight canvas for stability begins and the pearling of the outer ring starts. Stitching used included the bead embroidery stitch and a lot of couching begins.7
The Comparing of Exemplar to finished project: In comparison of the high-resolution Exemplar too soon to be finished project is close to the exemplar with the exception of a left-handed bead embroiderer, the portrait is left and the project is right which was easier to complete.
Appendix A
In regards to the tools from the period and tools that I used in the creation for a Bead Embroiderer – it would be Needles, needle threaders, Scissors, and thumb ring thimbles which were period tools.
I have spent the most of the time to research the specific tools used by Embroiderers, Gold workers, and Bead Embroiderers during the 14th to the 16th Century as follows:
Shears ( “scissors”):
I have two different styled Shears for your review:
Folio 15
Manuscript: Morgan M.638 Maciejowski Bible, 1244-1254
Location: Paris, France
Institution: Morgan Library
From the British Museum:
Museum number: 1844,0222.2
Description: Shears; Bronze; with long narrow blades, triangular shaped points, the recess of the blades elaborate; loop shaped junction of cross section of the two arms.
Production date: 15thC
Found/Acquired: London (England)
Europe: British Isles: England: London (England)
Found/Acquired: Thames, River
Bibliography
Arnold, Janet (1985). Patterns of Fashion. The Cut and construction of clothes for Men and Women c 1580-1620. Pages 49,117. McMillian Publishers, LTD, London, England (personally owned).
Dubin, Lois Sherr (1995). The History of Beads. From 30,000 bc to Present (Concise Edition) Pages 40-44.
Harry N. Abrams, Inc., Publishers, New York, NY (personally owned).
Kidd, K. E. (1979). Glass Bead-Making from the Middle Ages to the Early 19th Century History and Archeology 30 page 28. Parks Canada: National Historic Parks and Sites Branch (personally owned).
Kunz, G. F. (1908). The Book of the Pearl – The History, Art, Science and Industry of the Queen of the Gems. New York, NY: New York Century Co. – now E published by www.gutenberg.org.
References:
- http://www.medievalbeads.com/docs/items/12th-germie-parchement.html
- VA Visit Notes – Textile Storage Appointment, 19th December 2002 Jen Fun Segrest. Entire document included in binder as a reference.
- https://medievalbeads.com/17th-century-an-killam-1627-beaded-purse/
In conclusion
This concludes Part One of three parts, which are linked at the beginning of this article.
One of the foundations of being a member of the Society of Creative Anachronism is for artisans to share and teach those that show interest in our chosen art. We always do so with pride. Therefore, I ask that the above documents are presented as personal teaching and research documents. Please do not share or consider sharing with asking for permission as these are used for class reference materials and are my personal property.
- Pinked black satin petticoat, or skirt, lined with bright pint silk (page 117). It is embroidered with bright pink silk and black beads. C1615-1620. Nationalmuseet, Copenhagen ↩︎
- Page 116 – the cord used for both narrow and wide bands 8mm with 1/32 diameter beads. Patterns of Fashion ↩︎
- http://www.medievalbeads.com/docs/items/12th-germie-parchement.html ↩︎
- The History of Beads, concise Edition by Lois Sherr Dubin 1987 , page #43 (personal copy) ↩︎
- Guiseppe Morrazoni and Michelangelo Posquato, op. cite pp 20-21. This statement is confusing as it is not clear whether no beads were made in any other colours at that time, or simply that only these colours were used in embroidery. ↩︎
- https://medievalbeads.com/17th-century-an-killam-1627-beaded-purse/ ↩︎
- Bead Embroidery stitch was designed in Powerpoint and has been a staple of my teaching syllabus in different processes. The only bead attachment stitch that is not referenced is the single bead/pearl attachment with couching for those deep curves in design. ↩︎