15th Century Tablet Weaving: Brocade and Pearl Placement

Continuing my research on the Cod. Pal. germ 551 I have a theory about the pearl placement as described in the first section of the book.

The first several patterns are described as roses, rosebuds, or little roses along with a “wecklein” for each which looks like a leaf or stem.  I don’t have a good translation for that word yet.

Most of these roses have lines describing where the pearls are to be inserted in the band, and these come in two very distinct fashions.

Type 1 reads like this:   Raise 9 tablets, take the 10th and place one pearl therein.

Very simple right?  The one note is that “raise above” means the warp thread on top, not the brocade thread.  Otherwise this is an incredibly simple description of where exactly to place the pearl on that line.

Type 2 reads like this:  Raise 3 tablets, and take 2 under and over 3 tablets and take 2 tablets and place a pearl therein.

This is a much more complex explanation and is what is the basis of my theory.  

The pearl-holding thread could also be a decorative element in the band.

In which case, I would take my brocade thread inside the warp for 3 tablets, over the warp for 2, back under for 3, and then place my pearl.  This would create an additional brocade thread on top of the warp.

Evidence:  While there are no actual extant bands from this book (to the best of my knowledge) there are bands from the same time period that use multiple colors of brocade thread to create and accent patterns.  One example is the 15th century band on the chausible at the Ösmo church, Stockholm, Sweden.  (http://historiska.se/upptack-historien/object/95622-masshake-av-textil/).

Additionally, we see a very common standard of balanced patterns in embroidery, weaving, and trim throughout this period.  The patterns themselves are evenly balanced from side to side.  Ignoring the extra over and under steps results in a band with pearls lumped on one side and the other left blank.  While it can be erroneous to apply modern sensibilities to period taste, 180 pages of patterns in this exact manuscript show a preference for evenly balanced designs.

Current Steps:  I’ve been working to create a Rosetta Stone of sorts.  Many of the words and phrases are repeated throughout the manuscript and I’ve been slowly transcribing the handwriting, typed words, and translation as provided by Mistress Drea of Atlantia.  I’ve also begun drafting patterns keeping these revised thoughts about pearl placement in mind.