Instructions
You have been appointed as the official designer and textile expert for a noble Welsh court, much like those described in the ancient tales of the Mabinogion. Your task is to prove your knowledge of fabrics, fashion, and folklore. Complete the following activities to secure your esteemed position.
Activity 1: A Lexicon for the Court
A true artisan must command the language of their craft. Match the term on the left with its proper definition on the right by writing the correct letter in the blank space.
- 1. Embroidery _____
- 2. Gauntlet _____
- 3. Mabinogion _____
- 4. Falconry _____
- 5. Textile _____
- A. A collection of the earliest Welsh prose stories, filled with mythology, folklore, and heroic tales.
- B. The art of hunting wild quarry in its natural state by means of a trained bird of prey.
- C. Any type of cloth or woven fabric, considered by its structure and material.
- D. A sturdy glove, typically made of leather, extending over the wrist to protect the hand.
- E. The craft of decorating fabric or other materials using a needle to apply thread or yarn.
Activity 2: A Vision from a Welsh Romance
Read the following passage, inspired by the Mabinogion, and answer the questions that follow.
"Upon a pale horse sat the Lady Rhiannon, her mantle the colour of the deepest forest moss, woven from fine Welsh wool. Along its hem, a flight of enchanted birds was picked out in shimmering silver thread, each tiny stitch a perfect feather. Her riding gloves, crafted from supple doe-skin, were not plain; upon the back of each hand was embroidered a single, intricate Celtic knot in gold, a symbol of eternity and the interconnectedness of all paths. Her attire was not merely for show; it was a story told in textile, a testament to her noble and otherworldly nature."
- What material was used for the main body of Rhiannon's mantle?
- What two colours of thread are mentioned for the embroidery?
- What was embroidered on her mantle, and what was embroidered on her gloves?
- Beyond just being decorative, what purpose did the designs on her clothing serve?
Activity 3: The Designer's Commission
Your first commission is from Lord Pryderi. He is an avid falconer and requires a new riding gauntlet for his left hand. He desires a design that is both practical for horse riding and falconry, and whimsical, reflecting his love for the tales of the Mabinogion.
Your Task:
- In the space below, sketch a design for the embroidery that will go on the back and cuff of the gauntlet.
- Beneath your sketch, describe your design. Mention the following:
- Which story or symbol from the Mabinogion inspired you (e.g., the white boar, the mystical owls of Blodeuwedd, the salmon of wisdom)?
- What materials you would use (type of leather for the glove, type of thread for the embroidery - like silk, wool, or metallic).
- What kind of embroidery stitches you might use to create different textures (e.g., satin stitch for smooth areas, chain stitch for outlines).
[ Sketch your design for the gauntlet here ]
Description of My Design:
Activity 4: Home Economics & The Matter of Upkeep
A beautiful garment is a treasure that requires care. Considering the materials you chose for Lord Pryderi's gauntlet (leather, silk/wool thread), how would you advise the castle servants to clean and preserve it? Compare a suitable method from the medieval period with how you might care for a similar item today.
Care Instructions:
Answer Key
Activity 1: A Lexicon for the Court
1. E 2. D 3. A 4. B 5. C
Activity 2: A Vision from a Welsh Romance
- The mantle was made from fine Welsh wool.
- The colours mentioned are silver and gold thread.
- A flight of enchanted birds was on her mantle, and a single Celtic knot was on each of her gloves.
- The designs served to tell a story and show her noble and otherworldly (magical) nature.
Activity 3: The Designer's Commission
Answers will vary. A high-quality answer will demonstrate the following:
- Sketch: A clear, detailed sketch showing a design on a gauntlet shape. The design should visibly relate to a Welsh or Mabinogion theme.
- Inspiration: A specific story or symbol is named (e.g., "My design is inspired by the story of Blodeuwedd, who was made from flowers and turned into an owl. The main motif is an owl's face surrounded by oak leaves and broom flowers.").
- Materials: Sensible choices are made (e.g., "The gauntlet would be made of sturdy but flexible deer leather. The embroidery would be done in fine wool thread for the leaves and shimmering silk thread for the owl's eyes to make them stand out.").
- Stitches: The student shows some knowledge of embroidery techniques (e.g., "I would use a long and short stitch to fill in the owl's feathers to give them a realistic texture and a stem stitch for the branches.").
Activity 4: Home Economics & The Matter of Upkeep
Answers will vary. Look for an understanding of material properties.
- Medieval Method: The student should suggest methods that do not involve modern chemicals. For example: "The leather should not be soaked. Dirt could be brushed off when dry. To keep the leather supple, a natural wax or fat like dubbin could be rubbed in. The embroidery should be blotted carefully if wet and kept from snagging."
- Modern Method: The student should mention modern products or techniques. For example: "Today, you would use a specialised leather cleaner to gently wipe the surface. You should never put it in a washing machine. The embroidery might be spot-cleaned with a gentle textile cleaner, and the whole gauntlet would be stored in a dry place, perhaps with a leather conditioner applied periodically to prevent cracking."
A Guide for the Tutor:
On the Judgement of a Scholar’s Endeavours in the Noble Arts of Design
It is a truth universally acknowledged, that a young mind in possession of a good task must be in want of a fair assessment. The following rubric, therefore, is offered as a means of forming a just and impartial opinion upon the merit of the student’s work, which one hopes will be found to be an exhibition of sense and taste, rather than folly and whim.
(Aligned to the Australian Curriculum v9 for Years 8-12, primarily focusing on Design and Technologies: ACTDEP036, ACTDEP038; and The Arts - Visual Arts: AC9AVAM01, AC9AVAR01)
| Criterion of Judgement | Of the First Distinction (Exemplary) | A Creditable Accomplishment (Proficient) | Tolerable, but Lacking Polish (Developing) |
|---|---|---|---|
| Fidelity to the Commission (Understanding & Application) |
The student has attended to every particular of the design brief with a most pleasing exactitude. The purpose of the gauntlet—for both riding and falconry—is addressed with admirable sense and forethought. | A very respectable performance. The principal requirements of the commission have been met with good understanding, though a minor detail or two may have escaped the artist's full attention. | One observes a tolerable effort, to be sure, but there appears a certain want of deep consideration for the brief. The general idea is present, yet its execution is somewhat flighty and imprecise. |
| Whimsy & Imagination (Creativity & Ideation) |
The design exhibits a most delightful fancy! The chosen Mabinogion theme is not merely copied, but ingeniously interpreted, resulting in a composition of true originality and spirit. | The design possesses merit and shows a happy connection to the source material. It is a pleasing and well-conceived notion, if not one of breathtaking genius. | The creative faculties have been applied, but the result is more commonplace than one might wish. The connection to the source material is literal and lacks a certain imaginative spark. |
| Knowledge of the Weaver's Art (Textiles & Materials) |
A most judicious selection of materials and stitches is described. The student displays a commendable knowledge of textiles, demonstrating how their properties contribute to a harmonious and practical whole. | The student writes of materials and techniques with sufficient knowledge. The choices are suitable and sensible, though perhaps not as nuanced or ambitious as they might have been. | Some consideration has been given to materials, but the descriptions are wanting in specificity, and the choices betray a limited acquaintance with the finer points of the textile arts. |
| Clarity of Expression (Communication) |
The written defence of the design is composed with an elegance and clarity that would not displease a person of letters. Every idea is conveyed with precision, leaving no room for doubt as to the artist's intention. | The student communicates their intentions in a clear and orderly fashion. The writing is perfectly intelligible and serves its purpose well, if without particular stylistic flourish. | The meaning may be discerned, but only with some effort on the part of the reader. The expression is rather confused, and the arguments for the design choices are not presented with persuasive force. |