The real art weave of the old Vasa period : Use and traditions of double weaves in 16th century Sweden

The aim of this essay has been to investigate the use and traditios of double weaves during the old Vasa period in Sweden, the so called Ryssväv (Russian Weave). Questions focused are: what was the magnitude of the double weaves produced in Sweden, was there a considerable import from Finland, how were the double weaves used, did it differ between bigger and smaller royal estates, was the building type of importance for the furnishing? Ryssväv has been categorized both as an "everyday article", and as art weave, but what was its status, and what status did the craftsmen have compared to other craftsmen? The preserved double weaves from the late medieval period in Sweden-Finland has served as a direct source for my examination and as such the theory and method of my work has been Material culture. Most likely the double weaves of the Vasa period were similar, in both quality and esthetics. My primary sources have been fatbursräkenskaper (household accounts) from two royal estates, Rävsnäs and Gripsholm. In these accounts I have tried to find documentation telling something about the use ad status of ryssväv, and about the craftsmen who made them. The examination demonstrates that the use and production differed between Gripsholm and Rävsnäs; it is likely that this has to do with the building type, stone or wood. About the status of the craftsmen, one example is that of a female weaver recieving more money, for her ryssväv, than a male painter, for his paintings in the king's chamber. What has been claimed by some scientists, that most of the double weaves from the Vasa period, were imported from Finland, can be incorrect, according to my investigation. This hypothesis is left for future research to investigate.