Capt. Sterling

The madison airport is only 15 -20 minutes away from the Rock!! Oi Rats, do us a favor, before Kitty and Obediah start packing their gear and gum, run dates past me... as the Crewe just won that little summer long gig in that place called Chicago... seems we are wanted for that event, not once but numerous times this summer... I will be posting more info in private crewe emails... Oh and the Blackbeard Festival sounds like it is going to be VERY BUSY for us so plan to roll a lot of cartridges and expect to do a lot of "hands on!" Thanks Bosun....

And how would they know this particular odor??

That's a dog? ROTDLMAO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Aye we do have to roll Mr. O'Keeffe in something don't we?

Oh dang....blew it...timing was off

I'm sure he was... we're all just jealous he got to be first... damnation that sounds rather ..um .. questionable...

William Booth, Draper is very good with his fabrics...for those looking for more period examples. Very knowledgeable about the stuff he sells. He mostly deals with Am.Rev War but he has things we can use as well... http://wmboothdraper.com/

ACK!! Ye mean ye actually let him step inside the door?!? We always talk to Edward OUTSIDE!!!

did the mystery guest finally get there?

better not be lost...

YAAAAAAR! One post from 8000 and you LEAVE?! Well then I shall use that 8000th post on you Sir...snigger... um... cat's got me tongue... and my fingers... Actually been posting and running back to bed... back to 102 and now strep on top of the damned flu... geeze working with kids ye gotta love it...sigh... 8000 posts...damnation I spend far too much time here... just have to put a stop to all this micro-managing...

Free virtual food that is...

I know... or at least I think I do! Wish it were me but not yet...

Woolen: cloth made of carded short-stapled wool fibers. After weaving, the cloth was fulled or shrunk to make it denser and heavier. Broadcloth was England's traditional fine woolen manufacture. The soft fluffy fibers of carded wool were also suitable for knitting. Worsted: Lightweight cloth made of long-stapled combed wool yarn. The name was derived from the village of Worstead near Norwich, a center for worsted weaving. The smooth, shiny fibers were suitable for embroidery and indeed were synonymous with the word crewel, or crewel yarn. Witney: A heavy, loose woolen cloth, or coating with a nap made at Witney in Oxfordshire. In 1677, Robert Plot wrote that blankets were made at Witney of "ordinary and middle" wool. When mixed with "the courser Locks of Fleece-wool, a sort of Stuff they call Duffields" is made. "Of their best Tailwool they make the Blankets of 6 Quarters broad, commonly called Cuts, which serve Seamen for their Hammocks; and of their worst they make Wednell [wadmol] for Collar-makers, Wrappers to pack their Blankets in, and Tilt-cloths for Bargemen." Welsh Cotton: A loosely woven woolen cloth resembling flannel. Macpherson referred to a 1566 statute which states that "the trade in Welsh woollen cloth and lining, commonly called Welsh cottons, frises, and plains had for a long time been considerable" in Shrewsbury, a town near the Welsh border. The Aspinwall Records show the importation of Welsh cotton into Boston as early as 1650. Broadcloth: Made of carded wool in plain weave and fulled after weaving. The finest broadcloths were made in the West of England where they were known by a variety of names. Broad scarlet cloths called strouds were a specialty of a town of that name where the river water was thought to account for a particularly fine color; medleys, dyed in the wool and with colors mixed before spinning, were made in Gloucester. Cotton: a term used to designate certain woolen cloths from at least the fifteenth century, so one must be cautious in reading the term. At the end of the sixteenth century, Manchester was "eminent for its woollen cloth or Manchester cottons." Flannel: Made of woolen yarn "slightly twisted in the spinning, and of open texture, the objects in view being to have the cloth soft and spongy, without regard to strength... All the sorts are occasionally dyed, though more usually sold white. Flannels are bleached by the steam of burning sulphur, in order to improve their whiteness." Swatches of Silesian, English and printed flannel dating from 1690, among the municipal papers of Cracow, are illustrated by Endrei. Kersey: A cheap, coarse woolen cloth of twill weave classed among Old Draperies. The word originally from the East Anglian town of that name. An act of 1552 enumerated various kinds of kerseys, such as ordinary, sorting, Devonshire (called washers or wash-whites), checks, dozens and straits. Kersery possessed admirable qualities for keeping out wet and cold and was, therefore, in great demand throughout many parts of Europe, especially among the poorer classes. It was used for overcoats, and large quantities were turned into garments for the armies of Europe. from Textiles in America 1650-1870, Florence M. Montgomery I could go on as there are more types of woolens listed in the book... I did not see Melton at all I'm afraid... so the problem being that many times names have changed over the years..

see www.vandashop.com then click on book of the month Baroque: Magnificence & Style (Book of the Month) (Published April 2009 - available to pre-order) Michael Snodin & Nigel Llewellyn, eds code: 094340 Price: £37.00 AVAILABILITY NOT YET PUBLISHED - available from April 2009 DESCRIPTION Please note: This book is available to pre-order and is due in April 2009. The complexity and sophistication of Baroque art, developed through the seventeenth and early eighteenth centuries, could be understood as an attempt to move, arrest and overwhelm the viewer with beauty. Taking examples from all media and genres, this book is a comprehensive exploration of this emotionally powerful and geographically pervasive style, tracing its development from Rome, centre of Papal and princely power. Carefully selected and rarely seen objects from public and private collections illustrate traditions of ornament, performance and visual art, while stunning spreads examine how churches and palaces became showcases for the pomp and splendour of Baroque art. Michael Snodin is Senior Research Fellow in the Research Department at the V&A. His V&A publications include Design and the Decorative Arts: Britain 1500-1900 (with John Styles, V&A 2001) and Exploring Architecture (with Eleanor Gawne, V&A 2004). Nigel Llewellyn is Head of Research at Tate. His publications include Funeral Monuments in Post-Reformation England (2000 and his current research focuses on art and identity in eighteenth-century Italy. Normal Price: £40.00 You Save: £3.00 % Saved: 7.50%

good to hear she has been making the corrections, was a bone of contention when I worked with her on testing patterns... I have the original patterns so hopefully my complaints are a thing of the past, although I have not seen that on the stays, gowns and breeches yet, but I have always found it much easier to make something a slight bit larger and take it in, than to add fabric to it later when you find out, gee its just too small.. especially when certain patterns have a history of not fitting correctly in numerous time periods... I certainly have not invested in more of them, nor do I recommend them due to the fact that for that price, it should fit closer than they do... I also know what the problem is but some folks just won't listen... so for all the work redrafting a purchased pattern I would rather just enlarge directly from an original from Waugh or Arnold. Now I have said most of RH men's coats and waistcoat patterns, at least for GAoP are a pretty decent pattern... I still don't use them as the originals have fuller skirts etc...

Having sewn 18th century coats for over a period of 30 years, the sleeves from the pattern should be bigger than the armholes. There should be no pleats or gathers or tiny tucks, as the sleeve head/cap should be arranged to fit... remember there is no tailoring in sleeves at this time period... my reason for stating in another thread that one really does need to know the difference in sewing techniques from the different time periods... the sleeve head once arranged correctly in the armhole must be trimmed away after sewing because there should be at least 1/2 " or more in access. One does not see sleeve cap/heads formed and set until the 19th century... so do not think that the sleeve will or should naturally line up perfectly with the armhole. Problem I have found with RH coat patterns, although a whole lot better than the gowns and breeches/trouser patterns is that in some of them the actual sleeve does not fit the armhole being too small... for instance the Riding habit, was almost an 1 inch too small for the armhole leaving a gap. Now if she has corrected this since I tested her patterns then all the better... The main thing to remember when setting sleeves is that the seams do not fall with the shoulder and side seam. The sleeve seams fall toward the front and back of the coat, then fit the underarm and save all the adjusting for the cap by arranging it until it does fit the armhole.... do not opt for a smaller sleeve because then the sleeve itself my not fit the gent's arm. I would not go over board in using too much of a larger sleeve either.... just the next size up, which should only be adding 1/2" at best.

Good to hear as the Archangel Crewe is playing "table inspectors" this year at PiP instead of pyrate hunters...

Graydog make sure ye say ahoy!

Rats you want to be there Wednesday afternoon, no later than early Thursday morning and fly out on Monday

Lovely work as always Poppa... even the sod in Diosa's picture...

Perhaps from the Unhallowed Metropolis genre... steampunk with a real twist

I have years of experience spiking guns.... point away...

damn wrong thread...

Bull ognay... sit down and rest....