The Icelandic Canadian - 01.12.1946, Page 12

THE ICELANDIC CANADIAN
Winter 194G
10
machines introduced. Up to that time
every stitch was sewn by hand. This
applies to all clothing for men, women
and children. The sheepskin shoes were
sewn by the women too in addition to
their other tasks. It wasn’t until the late
19th and early 20th centuries that im-
ported factory made shoes were in com-
mon use in rural districts.
Only where help was plentiful did
ladies find time to embroider; but it was
a popular pastime among young girls in
well-to-do homes and older ladies of
position.
Note: — It might be well to add
that knitting was introduced into Ice-
land in the late 16th century (about
1570. By 1581 knitted goods were ac-
cepted in the payment of debt. This
was apparently not always satisfac-
tory, for records from 1590 contain a
complaint from one of the bishops, who
deplores the fact that “socks which do
not last” are replacing the vaSmal of old
in the payment of tithes. The defect in
the socks must have been overcome, for
by 1624 knitted goods were being ex-
ported in large quantities.
The 19th century ushered in a new
era of progress. In 1854 free trade was
established and brought with it increas-
ing prosperity.
It was in the latter part of the 19th
century that SigurSur GuSmundsson, a
noted artist of Iceland, redesigned the
festival costume with its high white
headdress, the occasion being the cele-
bration held in 1874, which marked the
thousandth anniversary of the settle-
ment of Iceland.
The festival dress might be said to be
■symbolic of Iceland. The high white
headdress with its flowing veil suggests
the snowy mountain peaks. The metallic
embroidery on the bodice, has the glint
of silvery streams. The flowers are seen
in the border of the skirt, the verdant
fields and valleys are reflected in the
green velvet mantle.
Not only does the costume suggest the
land itself, it is also representative of
its arts and crafts. The border of the
skirt is embroidered in either the old
Icelandic blomstursaum or the technique
known as skattering (which actually
means shading). The former, as the
name implies, was used in flower pat-
terns and pictures where many colors
were delicately blended. It is done with
a soft loosely twisted thread and is rath-
er suggestive of crewel work. The latter
has the appearance of surface satin
stitch. It is usually worked in a single
color, the shading being produced by
altering the angle of the stitch.
The metal crafts are represented in
the belt of the costume and other orna-
ments which are usually of silver or
silver-gilt in the Icelandic filigree, for
although some of the table silver and
church or communion silver is of excel-
lent design and workmanship, it is in
filigree that the art of the silversmiths
of Iceland is seen at its best.
While most of the modern varieties of
crochet and embroidery are found in
Iceland, along with the ever popular
Norwegian Hardanger and Danish Hede-
bo, the type of embroidery most closely
associated with the country is the
Baldyring or metallic embroidery. This
is the embroidery used on the bodice of
the National dress. It is done with either
gold or silver wire, sewn over parchment.
The effect is lovely when it is well done,
but it requires much skill and patience.
The narrow bands ornamenting the back
seams of the bodice are a type of bobbin
lace called kniplingar. Elaborate -pat-
terns were produced in bobbin-lace by
the older lace makers of Iceland. This
art appears, unfortunately to have been
dropped. It is a pity, for lace made with
a crochet hook however fine, can never
take the place of woven lace. Of course
there is always the possibility that the
art may be revived. Iceland has become
very craft conscious and old patterns and
techniques are being revived. The pat-
terns are simple and dignified with
strong firm lines characteristic of the
landscape with its clearly defined moun-
tains and waterfalls. Flower and animal
motifs are usually conventionalized but
whatever the pattern may be, there is