May 31 2023

1430’s Challenge For Baronial Birthday A&S Display

The Challenge

For our Baronial Birthday this past April 29th, we were to Research a ten-minute topic for A&S night and possibly make the item(s) to display at Baronial Birthday (Tir y Don, Atlantia). Documentation to be in EZ Doc format. Which can be found Here If you don’t know what that is:

chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/http://www.larsdatter.com/ezdoc/basic.pdf

My Declaration

We had a challenge issued, and Challenge Accepted! While the clothing looks fun, making a proper houppelande would take yards and yards of fabric that I just don’t have the money for. I decided to make a book, using as many of the tools as could be cobbled together for a bookbinding project within a zero-dollar budget. With what I already had in the house, I only needed to dig through my supplies and I could start.

Leather. Check

Tool kit. Check

Paper, and Papers; Check! I said it twice. No regrets! There’re two different types of paper for this project. There’s the parchment look and the marbled endpapers.

Let’s Go!

Creating and Binding a Medieval Book

Tools:

The tools for creating and binding a book can often be costly for the best of the best, but can also be gotten for far less by purchasing the very basics needed. My tools represent the very basics, many of which are hand-made to fit my needs and space. The basic tools for creating a book are: mallet, chisel, clamps, glue, x-acto blade/handle, sewing needles, thread, thread snips, bone folder, ruler, pen or pencil, stitching awl, and scissors. When it comes to sewing the pages into the book block you will need a sewing frame.

Stitching the Book Block

The pages of a book when sewn together are called a book block, and can be the very expensive hide parchment called vellum used in medieval books, or the inexpensive version from pressed paper. I chose 24 lb. Ivory Parchment pressed paper from southworth, due to the affordability, also it’s very pretty. Without a punching cradle for punching the stitching holes in the signatures, it is recommended to use a thick piece of foam or a well packed pillow, if only to protect a table’s surface. Not something really needed for a raw workbench, however, it is on the list of things to eventually acquire.

I already own a sewing stand that I made myself. It’s not pretty, but it works really well.

The Steps in making a book block

Decided which images to use in the pages.
Copied the images to paint and cleaned them of all original text.
Opened a word file and started adding images in landscape with ¼ inch center border for stitching.
Printed the pages, front and back.
Folded the signatures 4 sheets to a signature. 15 signatures in all.
Created a punching template.
Punched the stitching holes.
Set up the sewing frame with 3 thongs.
Measured and cut the thread and put in on a needle.
Sewed each signature to the thongs from front to back ending with the first signature on the top of the pile. Tied off the thread and cut off the excess.

The Steps in putting the book together.

Put the book spine up into a clamped press and glue on the spine support. Allow to dry.
Carefully cut slits close to the thongs and pull them through above the spine support.
Cut your book boards to size using the template and mark the holes for the thongs and head bands.
Cut the holes for the thongs and headbands.
Put the front and back boards on the book, pull the thongs from outside to the inside and the same for the thongs for the headbands.
Carefully glue in place on the inside of the bookboards. and allow to dry with wax paper to keep excess glue from sticking to the actual pages.
Pull the spine support down inside and glue to the inside of the bookboard, covering thongs and headbands.
Cut the leather cover to size and thin the edges, spine and especially the corners to keep bulk down when folding inside the book.
Glue the cover along the spine and cut a slit closely on either side of each headband, fold in the excess under the cover but above the endbands for extra support.
Glue front and back making sure to smooth any accidental folds, air bubbles or wrinkles, allow to dry.
Fold in each corner and make a mark to remove the excess, making sure that you have enough to cover the corner.
Glue the corners in place.
Glue and fold in all outer edges and put wax paper inside the covers to protect the pages. allow to dry.
Glue in End papers.

Now, I know this is not professional, I am not a professional bookbinder. The closest one can get to what I am is a feral book geek with a digital book hoard on bookbinding. I just wanted to make a pretty book.

Bibliography

Adam, P. (1903). Practical Bookbinding. London: Scott, Greenwood & co.; New York, D. Van Nostrand co.

Cockerell, D. (1904). Notes on Bookbinding. London: Royal Society of Arts/ W.H. Smith & Sons.

Cockerell, D. (1920). Bookbinding, and the care of books; a text-book for bookbinders and librarians. London, New York [etc.] : Sir I. Pitman & sons, ltd.

Department, S. C. (2015). Medieval & Early Modern Manuscripts. New Haven: Yale University Library.

Prideaux, S. T., & Duff, E. G.-1. (1893). A Historical Sketch of Bookbinding. London: Lawrence & Bullen.

Smith, F. R. (1937). Bookbinding. London: Pitman Publishing Corporation.

Uncle, B. (n.d.). Preparing the bookblock for stitching. Retrieved from Lost in the paper Shop: https://lost-im-papierladen.blogspot.com/2013/03/anleitung-zur-herstellung-eines.html

Vaughn, S. J. (1914). Printing and Bookbinding for Schools. Bloomington: Public school pub. co.

Wood, E., Strange, E. F.-1., Uzanne, O. 1.-1., Frykholm, S., Brochner, G., Khnopff, F. 1.-1., & Mourey, G. 1.-1. (1900). Modern book-bindings & their designers. New York and London: John Lane.

Zaehnsdorf, J. W.-1., CU-BANC, Z. (., & Allsopp, F. W. (1880). The Art of Bookbinding. London: G. Bell & sons.

Dec 5 2022

A Hunters Horn 30 day challenge

Several years ago, I entered this Hunt Horn into an A&S challenge.

WHAT I USED: 1 COW HORN: CLEANED AND BOILED. 1 ROTARY GRINDING TOOL WITH BITS. 1 FINE BLADED HACKSAW. 1 SHARP KNIFE FOR SCRAPING. SAND PAPERS VARYING GRITS. EYE PROTECTION, FACE MASKS. ZIPLOC BAG AND WESSON OIL. BEESWAX FOR POLISHING

WHAT WAS USED HISTORICALLY: FOR ROYALTY: OLIPHANT (ELEPHANT IVORY). FOR NON-NOBILITY: COW, GOAT, SHEEP HORN. KNIVES, SAWS, AND CHISELS OF VARYING SIZES AND SHAPES

Staging a hunt in during the Middle Ages was quite often an elaborate and costly affair. For those Nobles who were serious about their hunting, having access to the game meant the continual maintenance of the resources needed. This never-ending process included a laundry list of chores. Fences had to be maintained and repaired to keep deer from straying and unwanted animals and people out of the hunting reserve. The Animals that assisted in the hunt had to be captured, raised and trained, housed, fed and kept in prime condition. Huntsmen and forest wardens employed year-round to ensure that the hunting grounds and the game animals were protected. Specialized equipment had to be procured. (Newman, 2001)

For my purposes, one particular piece of equipment stands alone in its importance. The Hunters Horn.

This Iconic piece of equipment is not just for making noise, it’s used for training the hounds, signaling the other hunters the whereabouts of the pack of dogs, the Hart, and the direction the Hart is going. Other signals were blown for the Kill, the Reward of the dogs, and the Return Home.

Before a hunt is scheduled, the Master of the hunt would send out his huntsmen and foresters to track the herd of deer in the Lord’s reserve. Each huntsman is awarded the esteem of carrying a hunter’s horn. This status symbol was worn to show his rank amongst the men employed within the Lord’s household or his lands.

While tracking the herd, the hunters would each track a hart and collect the fumets (pellets of poop) and pack them into the horn in layers of grass. When all of the huntsmen had gathered with the Master of the hunt, the health and condition of the Harts would then be garnered from the fumets (pellets of poop). When the healthiest specimen was chosen the hunt would then occur.

The Horn is mentioned and pictured in manuscripts teaching the art of the hunt (Gaston Phoebus),

The Macclesfield Psalter

Arthurian Romances (Gawain and the Green Knight)

Gawain and the Green Knight FIT III

XLVI

“There were a hundred choice huntsmen there, whose fame resounds, To their stations keepers strode; Huntsmen unleashed hounds; the forest overflowed with the strident bugle sounds”

and carved into Ivory Reliquaries (St Eustace Casket).

First I will say this, most of the extant horns are made of Ivory, called Oliphants and were gifts to High Nobility and Kings. The carving process for Ivory is different from carving horn in one aspect: you have to peel the hard outer layer in order to carve the ivory easily. Ivory grows from an inner pulp to form layers upon layers of hard outer Dentin. All Ivory bearing animals grow their tusks or teeth in this manner. This hard outer layer of dentin is the beaten, weathered and sharpened part, often scarred from battle or use as a tool by the animal. To carve the ivory you must first remove the harder outer layers of ivory to expose the newer cleaner layers underneath. Horn is softer and somewhat easier to carve, even though it grows the same way but of the same material as hair and nails rather than teeth.

This project started with a “Norse Drinking Horn” so all the cleaning the inside had been done by some other worthy artist long before the horn fell fortuitously into my hands.

The Tools for carving did not change until about 1900 with the creation of power -driven rotary tools. Those same rotary tools that I employed with my Dremel and carving bits. While doing a project the “period” way would be great, the time and effort and expense of buying tools and materials would be cost prohibitive, and in the case of attaining Elephant Ivory, ILLEGAL.

“Until about 1900 all ivory carvers used much the same tools; and ax, adz, or chisel for removing the outer bark, or rind from the tusk; a bucksaw or bow saw for cutting the trunk of the tusk into sections; a special tool called a float for paring the surface; and hand chisels, fretsaws, and gauges for actually carving the piece. The great change came with power driven rotary saws for cutting and peeling the ivory and with dental drills for carving it easily and quickly. These machine tools spread from Europe to Asia in the mid-20^th century and are now in universal use for carving Ivory: Encyclopedia Britannica.”

Steps I used in making a signal horn.

These are steps that took the better part of a month to get done. This is Horn, made of the same stuff that are Grizzly’s claws, Eagles Talons, and beaks. When dry is hard and strong, and when sharpened deadly. The tools I used had to be used gently, because when friction is applied to the horn at high speed, it causes the horn to burn and in some instances of not paying attention, MELT. That particular smell is awful and takes days to air out of a space.

While working with the horn, I put on a facemask meant to prevent breathing in horn dust. Not once did I remove that horn during the process, I like being able to breathe. Eye protection is also something REQUIRED while working horn. Sanding the horn sends up a cloud of horn dust which can get into the eyes and do permanent damage. Just wear the stuff!

1. Creating the mouthpiece: To do this without cutting too much and ruining the horn for making a bugle I had to find the innermost spot in the horn, as I could not afford the modern tool, I used a length of clothes hanger looped into a caliper and marked the outside with an awl. With a sharpie pen, I then used two fingers to mark the spot to cut the tip off. I used a cutting disk to get as deep into the tip of the horn as I could, then finished with a fine blade in my hacksaw handle. Let me remind you that when not paying attention to how fast your rotary tools is going and pushing the cutting disk to hard through the material will cause it to overheat and melt, that smells really bad, for days.

2. Roughed in the middle section and negative space for straps and cross-hatching, using a sanding barrel for my rotary tool, going with the grain to keep the surface cleaner and easier

3. Roughed in the shape of the mouthpiece using a sanding barrel tip on the rotary tool. yes, following the grain of the horn.

4. Roughed in the shapes of the scalloped edge.

5. Created a decorative element using a round grinding tip on the rotary tool to create circles on scalloped edge, and down three sections of the horn.

6. Cut in the grooves for cross-hatching with a cutting disk on the rotary tool. This is when Eye protection is not a suggestion but REQUIRED. The cutting disk caused burning and melted bits of horn to fly as I slowly cut the lines. Facemask and eye protection saved me from a painful injury.

7. Deepened the strap sections and used a sharp knife to clean up the inside edges. I did not follow the grain and it took longer to clean up the sections, days even and I still did not get all of the cross-grain marks sanded out. Inspect the horn up close and you will see them all over it. Some are just too deep to get out without causing unsightly holes in the body of the horn.

8. Sanded and neatened the scalloped edges. Much simpler using a sanding block than just folded sandpaper.

9. Deepened the hole in the mouthpiece and shaped the inside of the mouthpiece. I had to switch between bits for this, the round ball bit was too big, so moved to an elongated and pointed bit.

10. Sanded the horn following the grain (Yes, there is a grain to horn just like wood) to take the rough patches and snag-worthy bits off. started with a coarse grit and worked my way to a fine grit.

11. Soak the horn in a Ziploc bag with Wesson oil for a few days. Why? It makes the horn softer and easier to scrape smooth, less dust goes flying as when you are using sandpaper. Sandpaper caused a thick layer of dust to settle on every surface of my workshop while scraping it after soaking in oil makes long dainty curls easier to clean up. scraping along the grain allows a better surface for polishing.

12. Burnished the horn with a nylon bone folder to add final polish to the horn and made beeswax paste to rub a matte finish to the horn. Shiny is nice, but finished is better.

Books:

1. The Ties that Bound; Hanawalt, Barbara A., 1986 Oxford University Press

2. Daily Life in the Middle Ages; Newman, Paul B., 2001McFarland & Company

3. Gawain and the Green Knight; Stone, Brian, 1959 revised 1974 https://archive.org/details/sirgawaingreen00ston

Articles:

1. Hunting in the Middle Ages, Henry L. Savage: Speculum; University of Chicago Press, Vol 8 n1 January 1933

WEBSITES:

HISTORY, USE AND MAKING THE HUNTERS HORN

1. https://themedievalhunt.com/2014/09/18/the-hunters-horn-ii/

2. http://www.personal.utulsa.edu/~marc-carlson/horn/horn2.html

3. http://german210.blogspot.com/2008/05/medieval-hunting-by-tyson-hass.html

4. https://themedievalhunt.com/2014/09/18/the-hunters-horn-i/

5. https://themedievalhunt.com/tag/huter-horn/

6. https://www.fieldandstream.com/photos/gallery/gear/hunting-gear/2011/08/getting-medieval-serious-hunting-gear-middle-ages

7. http://www.larsdatter.com/hunting.htm

8. https://www.wulflund.com/horn-products/signal-horns/?vp-page=1

9.http://www.horseandhound.co.uk/forums/showthread.php?580616-Difficulty-in-blowing-the-hunting-horn

10. http://www.housebarra.com/EP/ep02/17vinstr.html

11. http://lochcairn.freeservers.com/classes/signalhorn.html

12. http://annswinfen.com/2017/02/medieval-hunting/

13. https://www.metmuseum.org/toah/hd/goiv/hd_goiv.htm

14. https://www.britannica.com/art/ivory-carving

Dec 4 2022

An Overview of Indian Whitework Embroidery

First Published in part in Needle Arts June 2022

MvRY/Mevanou verch Reys Yriskynit-Tina M Comroe

The importance of decolonizing my viewpoint

As a white woman of northern European genetics, it is Very important that I go forward in this project with Respect, granting the indigenous peoples of India the dignity and voice so deserved in regards to their historical and modern arts. I definitely wanted to do some research into the whitework of India before just jumping in feet first.

Truth be told, there’s not much “out there” that isn’t thoroughly whitewashed, most books printed for the European market have Chikankari listed under the “shadow work” technique as if the closed herringbone stitch is the only stitch used. Knowing that there’s more to the technique, I found myself obsessed with the subject. Firstly, I had to purchase books from the UK online markets as many of the titles were not to be found in the US at any price, nor inter library loan. A few of those titles were written by a single author: who had the worst stitch diagrams, in the history of stitch diagrams! Then there was teaching the Google Algorithm how to find Indian Whitework Embroidery, Chikan Work, and Chikankari so that it would stop asking me “Are you sure you aren’t looking for Chicken Curry?” I went ahead and added Hindi in the language search so that Google would also stop asking me if I wanted English Whitework. I read college dissertations translated to English so that I could see for myself some of the history being rediscovered and decolonized.

For several months, there was much watching YouTube videos with the sound off because they don’t have subtitles, which was worth it just to get a sense of the stitches themselves. I watched the hands of the embroiderers many times for hours on end. Those with western equivalents were diagrammed by easily drawing them by hand. Am I a bit obsessive? Yes, but I am a visual learner, so I learn by seeing it done and if those hands drawing the stitch diagrams are my own, so much the better.

Let’s begin with some earlier references, shall we?

The indigenous peoples of India have been producing whitework embroidery, centuries before a succession of colonizing invaders left their marks and took credit for what was already there. Historians from those colonizing invaders has it that Indian whitework was introduced by the First Mughal Empire or taught by English women wanting cheaper Ayrshire work. You can’t have it both ways. So, after searching for months I found snippets here and there that when added together gave me a better picture of a more probable history. Embroidery has been a craft in India for far longer than modern history gives credit to.

Contained within the1500-1000 BCE Sanskrit Book of Hymns called the Rig-Veda is a hymn Raka, the Goddess of the Moon; A supplication that the needles of gold, copper or bronze not break, so that the work when finished may give the wearer reason for praise.

“With eulogy I call on Raka swift to hear may she, auspicious, hear us, and herself observe. With never-breaking needle may she sew her work, and give a hero son most wealthy, meet for praise.[1]

Inside caves carved and painted starting in the 5th- 3rd century BCE located in Ajanta are murals showing whitework embroidery on textiles worn by religious and secular figures.[2]. These caves were rediscovered by a British soldier, who was out hunting tigers in 1819. [3] Unlike Mohenjo Daro, these caves were not looted by the British Museum and so the paintings and statuary halls are intact in situ.

A Greek diplomat of 3rd century BCE by the name of Megasthenes mentions the use of flowered muslins by Indians. He visited India sometime between circa 302BCE and 288BCE. As well as being an ambassador of Seleucus Nicator I, He was a self-styled Historian and Indian Ethnographer. While in the court of Chandragupta Maurya, Megasthenes compiled information about India in a book Indika, which is now a lost work and only survives in Fragmentary quotes used by contemporary writers in their books.

Megasthenes Quote:

“In contrast to the general simplicity of their style, they love finery and ornament. Their robes are worked in gold, and ornamented with precious stones, and they wear also flowered garments made of the finest muslin. Some have attendants walking behind hold up umbrellas over them: for they have a high regard for beauty, and avail them of every device to improve their looks.[4]

More Ajanta Cave Art

Ajanta Cave 1, hall, left wall. Kalyanakarin, EPISODES 9, 10, 12. Episode 9 (centre): ‘In the palace, the king is hearing from the princess with utter amazement of the restoration of Klyanakarin’s eyesight.’ Episode 10 (left of centre): In the queen’s palace, the princess is telling her mother of the happening.’ Episode 12 (right): ‘Kalyanakarin is leaving his father-in-law’s palace in a splendid procession, to return to his father’s kingdom.’ (#41, Schlingloff 2013, vol. I, 191-92)

Chandraketugarh

Archologists have uncovered hundreds of 2nd Century BCE Plaques from Chandraketugarh, which show the fashions in superbly fashioned Terracotta. Many of which show clear evidence of fine woven garments wrapped, draped and seamed as well as embroidered in floral motives. Many molds have been found for the production of such plaques.[5]

Embroidery Described in Poetry

The 6th century CE poet Banabhatta in the court of Harshavardhana wrote and autobiographic and biographic poem in Sanskrit in which whitework embroidery is mentioned. Translated in 1895 the romantic autobiography tells the tale of the King, himself and the daily life of the people and goddesses he met. When Harshavardhana met the goddess Lakshmi, the poet Bana wrote this:

“Out of a dazzling white silken robe, embroidered with hundreds of diverse flowers and birds, and gently rippled by the motion of the breeze, her form rose up as from an ocean’s waters”.[6]

Folk Stories that show the Heart of the matter

In Indian folk stories, there is a story of a traveler who taught Chikan to a peasant in return for drinking water. The traveler was so impressed with the generosity, humility and kindness as well as the peasant’s hospitality that they taught them Chikan so that they might never be poor again.

Noor Jahan

The most popular and somewhat factually checkable story is that of Noor Jahan, the twentieth and last wife of Mughal Emperor Jahangir, who introduced Persian art in India, specifically in Oudh in the 17th century.[7] Although the Mughal Empire did influence the artists and embroiderers of India during their time (1526-1857), giving Indian Whitework Embroidery it’s modern name Chikankari, which gained it’s GI (geographical indicator )registration in 2008,[8] , they did not teach whitework embroidery to the indigenous peoples of India, nor, did the husband hunting Victorian Englishwomen who traveled to India.

What it is and Where it is going

Indian Whitework started as a white-on-white embroidery form, just like all whitework embroidery around the world. The favored fabrics were muslin or Mulmul (the modern muslin used in quilting would be correctly called Calico and is too thick for this technique) as it was suited to the warm, slightly humid climate. The influence of Mughal architecture gave the embroiderers the iconic Floral Bhuti and open latticework for inspiration. After the downfall of the Mughal Empire, Chikankari artisans spread all over India, but Lucknow remained the main center, with Awadh a close second. The Other two places named in the manufacture of Chikankari are Delhi and Mumbai.

Chikankari has survived the loss of Royal Patronage, suffered deeply at the hands of colonial commercialization, lost its way sometimes in mediocrity, and yet stayed alive. Chikankari is a tribute to the skill and will of craftspeople who have handed down this technique from one generation to another. Today, the 300+-year-old art form has a firm presence in the Indian and global fashion arena. Stitches: Due to the variety of stitching styles involved in Chikankari, it is claimed to be one of its kind hand embroidery which is impossible to imitate in any other part of the world. Chikan embroidery is said to have forty stitches, to which they have given delightfully fanciful names: double-star earring, cowrie shell, peacock feather eye.[9] I have only delved deep enough to find twenty-two. The rest of the stitches when taken into perspective are in fact combinations of the other twenty-two, named for the different flowers, bangle bracelets, earrings and other shapes found in nature.

Modern Chikan embroidery has several steps from starting and completion.

A. 1. Cutting the cloth. Done by men.

B. 2. Sewing the garment. If sewn by women it’s destined for Chikan work.

C. 3. Stamping the cloth. Done by men.

D. 4. Embroidering. Done by many women, each proficient in either a single stitch or decorative element often passed from hand to hand in the same workshop. Most embroiderers of Chikan know only one form of work that employs, typically, no more than five stitches, and commonly only one sketchily executed. The main forms of work are Bakhia work, Murri work, Jaali work, Phanda work, and Tepchi work. [10]

E. 5. Washing and Starching.

And once finished it goes to the shop or patron who ordered the work.

Stitch Encyclopedia

Ulti Bakhia- Shadow work done on the backside utilizing closed herringbone stitch.

Sidha Bakhia- Shadow work done from the Front side, utilizing the double back stitch. Note: The difference between the closed herringbone and the double back stitch is not technical, but visual; depending entirely on the side of the cloth that is visible.

Tepchi- Running stitch. Tepchi work is often done in such a fine running stitch as to look part of the woven fabric it’s embroidered on.

Pechni- wrapped running stitch.

Siddaur-Jaali- Use a rather coarse needle and quite fine thread to emphasize the tiny holes that are characteristic of this stitch.

It is used to make the openwork filigree trellis that is so iconic to Chikan work, with one exception. The Embroiderer starts stitching the bottom row and does not repeat the steps, but continues stitching right to left until the end of the row. Then turn the work and continue to fill the shape from right to left, making sure to tug the thread to create evenly spaced holes, using an awl if needed.

Hathkati Jaali: a single line of openwork similar to insertion used inside leaves stems and flowers. Its western equivalent is the so-called Belgian Stitch, which is worked in curved or straight lines similar to insertion stitch. It consists of a series of back stitches drawn very tight over a certain number of threads of the material.[11]

Phanda – Seed stitches utilized to create millet seeds of varied sizes. Can use just the seed stitch or vary the layering of the seed stitch to imitate the different sizes of the millet. Often used as a filling in large flowers or paisleys. The Phanda is often mistaken for the French-knot.

Dhariya Phanda: Oval shaped seed stitches along stems in thick thread to form Coriander Seeds.

Chikna Phanda: See Tuppa: 6-layer seed stitch worked in padded satin stitch for a really raised effect, used as the center of combination Kharan Phool and Keel.

Kacha Phanda/ Dhari Phanda: seed stitch of 2 stitches also used in combination of Meharki.

Ghas Patti- Leaves worked in two different fishbone stitches.

Maang Patti-Leaves worked in fly stitch.

Dhoom Patti- Leaves worked with twice layered open herringbone stitched on the front side of the fabric. Start at one end and work the open herringbone stitch then return to the starting point and fill in the open areas with another layer of open herringbone stitch to close it in.

Balda- A very fine and narrow satin stitch worked over running stitches.

Murri- Rice shaped seed stitches utilizing tiny detached chain stitch covered with short whip stitches covering the first stitches, starting at the thick end.

Sada Murri- Knotted back stitch/knotted running stitch. Created by working the coral stitch tightly packed over a running stitch.

Mundi Murri- larger murri stitch performed with a tightly packed satin stitch over a thick running stitch to produce thicker flower pistils or petals.

Hool- Fine detached eyelets; often surrounded by other stitches making it the hub of a wheel.

Kaaj- Buttonhole/Blanket stitch mainly used to create larger circular patterns.

Gitti- Buttonhole eyelet. Used at the centers of flowers, or as the hub of a wheel decoration.

Joda- Buttonhole Stitched leaves. It is worked with the points on the inside of the leaves giving the leaves a smooth outside line.

Rahet/Banarsi- Stem stitch performed either with fine thread from the front of the fabric or in 6 strands of thick thread from the back forming a solid line on the front, giving a thicker shadow from underneath.

Janjira/Zanjeera- Narrow chain stitch used as an outline often combined with pechni or thick lines of Tepchi. Janjira is often worked with silver or gilt threads to give sparkle.

Khatau- White on white needle turned appliqué. It is used to provide different layers of opacity.

Tuppa- Straight parallel often padded satin stitch filling for the center of Keel.

Turpai- Hand Stitched Seams using a fine thread.

Embroidery stitches without Western Equivalents.

Kangan-

Stitched using 3 strands of thread, it creates a slice of pie around the chikna phanda.

Combinations

I feel I must apologize for the crudeness of my drawings, they will eventually be replaced by pictures of the embroidered samples.

Chameli Phool: Jasmine Flower

Stitches: variation 1: Keel and Dhari phanda.

Variation 2: Keel and Mundi Murri

Keel:

Stitches: Chikna Phanda with Kangan The keel is often combined with several other stitches to create different forms or by itself as an overall ornament.

Bara Kangan: Bangle Bracelet.

Stitches: Center Keel, then Hathkati Jaali and another layer of Kangan, finally large Dhari phanda with stems.

Kaori: Conch

Stitches:

A. Flat: Side sepals in fishbone stitch, center of Hathkati Jaali.

B. Embossed: Side sepals in padded satin stitch, center of Hathkati Jaali.

Bijli: Earring:

Stitches: Hool, padded satin stitch, mundi murri: Kangan stitch or Dhari phanda can also be used.

Meharki:

Stitches: Center Chikna Phanda with Sada Murri and Dhari Phanda on outer ring.

Bulbul Chashm: Nightingale’s Eye

Stitches: small Hool at the center surrounded by large Phanda with stems.

Peepal Patta: Holy Pepal Leaf.

Ficus Religiosa: Sacred Fig or Ashvattha tree in India and Nepal. The sacred fig is considered to have a religious significance in three major religions that originated on the Indian subcontinent, Hinduism, Buddhism, and Jainism. Hindu and Jain ascetics consider the species to be sacred and often meditate under it. This is the tree under which Gautama Buddha is believed to attained enlightenment. The leaf is usually filled in with other floral motifs. (Wikipedia, n.d.)

Stitches: Jaali work, Phanda work, Janjira stitch, Rahet stitch, Bakhia work.

Traditional Layouts and Motifs

Materials Used

These fantastic designs and stitches were embroidered upon a translucent cotton fabric with a weave so fine that it was described as “Woven Air” by Roman author Petronius in the First century CE, the soft and delicate muslin was revered, gifted and worn by Indian royalty since the time of the Indus valley civilization. Among the few places that produced fine muslin in undivided India, Machlipatnam (Andhra Pradesh), Jagatsingpur (Odisha) and Dhaka (Undivided Bengal) were renowned for the gossamer, feather-light and translucent cotton weave. The Arni muslin for the city of Machlipatnam (earlier called Masulipatname, hence perhaps the name “Muslin” although many accord the name to the city of Mosul in Iraq.) The scholar Pliny (CE 23-79) Lamented over the emptying of the treasure (over 500 million sesterces of gold bullion each year) for ‘venti’ or ‘nebula’ from the Indian Gangetic plains.

The closest equivalent is the mulmul sold to Europe and America as cotton voile.

Bibliography

Ajanta Caves. (n.d.). Retrieved from https://en.wikipedia.org/wiki/Ajanta_Caves

Amina Okada, A. B. (1996). Ajanta. In A. B. Amina Okada, Ajanta.

The Absolute Best channel to learn Chican Work: Antrang Creations DIY. (n.d.). Retrieved from https://www.youtube.com/c/AntrangCreationsDIY

Bana. (n.d.). harshacharita of Bana. Retrieved from Archive.org: https://archive.org/details/harsacaritaofban00banaiala/page/n11/mode/2up

Conservation Journal. (n.d.). Retrieved from http://www.vam.ac.uk/content/journals/conservation-journal/issue-52/conserving-the-copies-of-the-ajanta-cave-paintings-at-the-v-and-a/

Dillmont, T. d. (1884). The Complete Encyclopedia of Needlework. Dolfus-Meig Company.

Gochberg, D. S. (1997). World Literature and Though: VolumeI: The Ancient Worlds. In D. S. Gochberg. Fort Worth Texas: Harcourt Brace.

Oudh State. (n.d.). Retrieved from https://en.wikipedia.org/wiki/Oudh_State

Paine, S. (n.d.). Chikan Embroidery: The Floral Whitework of India.

Rigveda Mandala 2 Hymn to Raka. (1500-1000 BCE). Retrieved from Wikipedia: https://en.wikisource.org/wiki/The_Rig_Veda/Mandala_2/Hymn_32

Sharma, N. (2013-2015). Chikankari: Beauty on White. Chikankari: Beauty on White. National Institute of Fashion Technoloty-Mumbai.

Wikipedia. (n.d.). Ficus Religiosa. Retrieved from https://en.wikipedia.org/wiki/Ficus_religiosa

Wilkinson-Weber, C. M. (1999). Womens work and skill in the Lucknow Embroidery Industry. In C. M. Wilkinson-Weber. State University of New York Press.

Footnotes

[1] (Rigveda Mandala 2 Hymn to Raka, 1500-1000 BCE)

[2] (Amina Okada, 1996)

[3] (Ajanta Caves)

[4] (Gochberg, 1997)

[5] http://jameelcentre.ashmolean.org/object/EA1993.35

[6] Harsha Charita of Bana

Pages 95-96

Translated by E.B. Cowell and F.W. Thomas

Published by the Royal Asiatic Society 1897

[7] (Oudh State)

[8] (Sharma, 2013-2015)

[9] Paine, Sheila: Chikan Embroidery: The Floral Whitework of India 1989, pp35.

[10] (Wilkinson-Weber, 1999)

[11] (Dillmont, 1884)

Dec 3 2022

A Pair of Cordiform Manuscripts in the style of Netherlandish Portraits

A jumbled Mess of Pictures from my creative Process

I finally finished a pair of cordiform manuscripts. I had not meant to take upwards to tens of years to get them done, or to write up my documentation, which is an ever evolving mess. But both books are finally bound, even if never finished. There is plenty of precedence to manuscripts being bound but never actually finished through history or becoming property after the death of the original patron commission, La Belle Heures of le Duke de Berry comes to mind, so my not finishing the books but binding them anyways is just fine. The first group of pictures is of my unfinished bestiary, just the shiniest.

The second group here is the larger of the two manuscripts.

What is Cordiform?

(cor·di·form adjective heart-shaped.) Why heart shaped? Well, in the Middle Ages, the heart was seen as the seat of the soul. When it was first envisioned it was usually a scroll pictured within the heart. On this scroll was written the whole of the person’s identity and history. All the good, all the bad was no longer hidden from view. It has been painted as an actual heart in the hands of a hopeful lover offering himself up to his lady, or a lady to her lover, and more recently as a heart shaped book held in hand. Really, it’s supposed to be a romantic thing, symbolizing true love, devotion.

Cordiform or Heart shaped books have been around since the 15^th century, although finding actual books from that period is rare, but not so rare as to be impossible:

Extant Examples

Heart Shaped Book BNF Latin 10536 (BNF, n.d.)

ca 1401-1500

Volume in the shape of a heart. – 151 ff. – 175×100mm. – Red Morocco(goatskin) binding with the arms and cipher of Philippe de Bethune

Description : Hours for the use of Amiens (Hours of the Virgin

The little book of hours of Amiens Nicolas Blairie, carefully written on a thin Ruling rose, but modestly decorated with some original illuminations in ink (folio 29), has the curious shape of an almond when it is closed. When it opens, the two halves of the almond bloom to fit the contours of a heart, concrete evocation of the heart of the person praying the prayer that opens.

Created sometime between 1401 and 1500 CE, the manuscript was collected and re-bound into its current Red Morocco binding with its arms and cipher of Philippe de Bethune, a diplomat to Rome and an Art Collector.[1]

The scan at the BNF website is not in color, but black and white from a microfiche. Color image from http://classes.bnf.fr/dossisup/grands/ec060a.htm

[1] https://gallica.bnf.fr/ark:/12148/btv1b9066070g/f2.item.r=10536#

Chansonnier de Jean de Montchenu

ca1475 CE

This heart-shaped songbook – the Chansonnier Cordiform, also known as the Chansonnier de Jean de Montchenu, consists of seventy-two parchment folios, in a heart shaped leather binding that opens to a double heart shape. (Bibliotech Nationale France, n.d.) [1]

[1] https://gallica.bnf.fr/ark:/12148/btv1b525044884.r=Chansonnier%20de%20Jean%20de%20Montchenu?rk=42918;4

Oldest Ballad Collection

The Heart Book, Denmark 1550’s, regarded as the oldest Danish ballad manuscript. It is a collection of 83 love ballads compiled in the beginning of the 1550’s in the circle of the Court of King Christian III. (Heart Book Denmark 1550, n.d.) [1]

[1] https://en.wikipedia.org/wiki/Heart_Book

Small Prayer Book for All Occasions.

Caspar Meuser (1550-1593). Photo of binding, Caspar Meuser made of leather with gold ornaments. The Book of Princess Anne, 1580 (htt)[1]

[1] https://www.loc.gov/exhibits/dres/dres1.html#obj74

The Portraits

In the Middle Ages, the heart was seen as the seat of the soul. When it was first envisioned it was usually a scroll pictured within the heart. On this scroll was written the whole of the person’s identity and history. All the good, all the bad was no longer hidden from view. It has been painted as an actual heart in the hands of a hopeful lover offering himself up to his lady, or a lady to her lover, and more recently (the 15th century) as a heart shaped book held in hand.

Young man with a Heart shaped book

The heart-shaped book this sitter holds is probably a prayer book; he is depicted before a view of the church of Sainte Gudule in Brussels, where a mass is performed by a priest in the background. The man’s identity is unknown, but he may have been a member of a confraternity or guild with a particular devotion to Saint Augustine, whose symbolic attribute was a heart surmounted by a flame. It is possible this formed the right wing of a devotional diptych; as such, the shape of the book would echo the open form of two joined, arch-shaped panels. (MET, n.d.)[1]

[1] https://www.metmuseum.org/art/collection/search/437030?sortBy=Relevance&ft=Master+of+the+View+of+Sainte+Gudule&offset=0&rpp=40&pos=1

St Gerome and Saint Catherine of Alexandria

The hl. Hieronymus and the hl. Catharina sit on a sod bank that is shielded from the landscape behind by a rose hedge. Jerome is accompanied by his symbol animal, the lion, from whose paw he has pulled a thorn. At Catherine’s feet lies a smoldering, broken wooden wheel, and beside her leans a long sword, both symbols of her martyrdom. The king’s daughter Catharina was a role model for rich, courtly women, and as such she is also depicted here. She has a high-shaven forehead, in the fashion of the time, and is presented in an equally fashionable fur-lined silk surcoat. The entire scene is framed by a gilded arcade with tracery. In the background is a wide landscape with some late Gothic buildings. (Saints Gerome and Catherina, n.d.)

Works Cited

(n.d.). Retrieved from BNF: https://gallica.bnf.fr/ark:/12148/btv1b9066070g/f2.item.r=10536#

(n.d.). Retrieved from Bibliotech Nationale France: https://gallica.bnf.fr/ark:/12148/btv1b525044884.r=Chansonnier%20de%20Jean%20de%20Montchenu?rk=42918;4

(n.d.). Retrieved from https://www.loc.gov/exhibits/dres/dres1.html#obj74

Heart Book Denmark 1550. (n.d.). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Heart_Book

MET. (n.d.). Retrieved from Young Man with a book: https://www.metmuseum.org/art/collection/search/437030?sortBy=Relevance&ft=Master+of+the+View+of+Sainte+Gudule&offset=0&rpp=40&pos=1

Saints Gerome and Catherina. (n.d.). Retrieved from rijksmuseum: https://www.rijksmuseum.nl/en/collection/SK-C-1787

A Pynnepillow as an Etymological Place-marker

Abstract

The only thing that doesn’t bleed when pricked with a pin is a pincushion. However, in the context of the early English Language it is not the storage device of pins we are most concerned with in this documentation, but the word to describe it. Most of us today call it a pincushion, and the word brings to mind a small scrap of fabric folded sewn and stuffed, that then gets pricked with more needles and pins than it can hold. Often to be found at the bottom of the sewing basket and found when one of the pins pricks the finger.

Words change, but thankfully we leave behind traces of that change in inventories, judgments and wills.

The Etymological Place-marker is an item used in a time period with its original name still being in use. This little cushion decorated with haphazard Or Nue embroidery and plastic pearls is such a place-marker.

The word used in the 150 years between 1480 and 1630 as found in inventories and judgments: Pinnepillow.

The British History Traded Goods dictionary says this:

Pinpillow

[pynpillowe; pinpilow; pinpillowe; pinne pillowe]

¶A rather earlier term for a PINCUSHION, often coupled with a PURSE as in ‘2 purses 1 pinpilow and sheath’ [Inventories (1612)], or actually combined with one to combine the two functions as in ‘1 pin pilow purse’ [Inventories (1612)]. This may be because these were two items that most women carried around with them. (British History Traded goods dictionairy)

1480-1481

165. 16 July. From the ship of Cornelius Nese called Christofer of Middelburg

William Standfast, A, 1 last train oil in narrow brls., £8

Lambert Jacobson, A, 1 dry brl. with 3 pcs. Brabant linen cloth cont. 72 ells, 1 pc. Holland cont. 24 ells, 46s.8d.

Said master, A, 4½ pokes flax, 46s.8d.

John Clays, A, 1 small corf with 1 doz. [S dagger] sheaths, 3 doz. 3 wooden combs, 2 doz. 3 girdles, 17 pairs wooden beads, 4 [S 3] latten girdles, 14 [S 13] small mirrors, 11 doz. leather and thread laces, 18 [S 17] doz. leather and thread points, 5 doz. long laces, 1 lb. brooches, 10 pinpillows, 2 purses, 6 coverings for distaffs, 2 doz. small knives, 6 small pouches, 6 spoons, 1 small chest, 13s.4d.

Said master, A, 1½ ton weight iron, 1 narrow brl. train oil, ½ last cork, 50 wainscots, 2 pokes hops, £8 10s. [S iron and train oil val. £3 10s., the rest £5]

¶William Bocher, A, 3 sacks 4 pokes hops, 1 brl. with 36 doz. pins, 1 doz. lbs. blue thread, 4 lbs. packthread, £12 3s.4d. (British History-London Records, 1480-1481)

1613

5 July, 11 James I.—True Bill that, at Aldersgate Streete in St. Botolph’s near Aldersgate London co. Midd., Jane Bay lie late of Goldinglane co. Midd. spinster stole a towell worth eight pence, a handkerchief worth twelve pence, “duas quadras vocatas squares” worth twelve pence, two yards of bone-lace worth two shillings, one girdle and pinpillow worth ten pence, “unum capitale anglice one blacke wroughte quoife” worth eighteen pence, one napkin worth twelve pence, five ruffe-bands worth ten shillings and eight-pence, one ell and a quarter of flaxen cloth worth four shillings, two pieces of linen cloth called ‘tyffenye and lawne’ worth ten pence, a pair of needle-work cuffes worth twelve pence, one pearle and gold button worth six shillings, ‘one sylver handle for a fanne’ worth eight shillings and six-pence, of the goods and chattels of Sir William Welch knt. On her trial by jury, Jane Baylie was found ‘Guilty’ of stealing to the value of fourpence halfpenny, and was sentenced to be whipt. G. D. R., . . . ., 11 James I. (British History Online, 1603-1625)

After 1630 we find the word Pincushion in use.

1686

Entry Book: March 1686

March 15; Same to the Customs Commissioners to deliver to Sir Henry Bond 12 little pincushions and two muffs which belong to him, on payment of their appraised value of 3.., same having been seized near Chichester by Rober Tayer. (Customs Commissioners Entry Book March 1686)

Why Use This Word

These entries give me an insight as to the proper word to use in historical context. I can now use “Pynnepillow” for my pre 17th century attempts in the SCA, and pincushion for my 17th century onward item. Why does this matter? It matters because proper language in the correct historical context is a good practice while conducting historical research of any kind. Words Matter.

Works Cited

(1480-1481). Retrieved from British History-London Records: British History Online, accessed June 13, 2022, http://www.british-history.ac.uk/london-record-soc/vol27/pp52-70.

British History Online. (1603-1625, 5 July). Retrieved from Middlesex Sessions Rolls: 1613: http://www.british-history.ac.uk/middx-county-records/vol2/pp84-94

British History Traded goods dictionairy. (n.d.). Retrieved from https://www.british-history.ac.uk/no-series/traded-goods-dictionary/1550-1820/pine-pitchfork

Customs Commissioners Entry Book March 1686. (n.d.). Retrieved from http://www.british-history.ac.uk/cal-treasury-books/vol8/pp642-664.

Mar 13 2022

Tina is Building something New

Hi all! Tina here. This Blog is usually mostly about All things Medieval and Mevanou would like to keep it that way. So to post all of my EGA blogginess here would block the cogs in her watermill so to speak. So I have created a new wordpress blog. Tina’s Adventures in EGA-Land. Coming soon. But before that happens I will be copying all of my posts and rewriting them for the new blog, and then deleting them from Mevanou’s Musings. Hope to see you all there!

Oct 13 2021

A Class I taught at University of Atlantia. or Stumpwork Embroidery : Raised Figural Embroidery through the Ages.

Yes, I taught a class at University of Atlantia’s Session 108-9 This past September 18-19th. Yet another box I jumped out of, another comfort zone stepped away from..ad nauseum. I worked really hard on collecting the pictures and the information to create a slideshow. I am not too nice when it comes to describing the Catholic Church, just a heads up. It was recorded. and because it was almost 50 minutes long I had to remember to get my Mevanou’s Musings channel verified. But verified it is and my class is now published for all to see and comment on. My channel is not for children and most of my videos are for those 18+. No, there’s no “adult” content, but I am not a digital babysitter. Please remember to be kind!

https://www.youtube.com/channel/UCNx4fBRL2fjTxzljD-yPfAQ

Jun 22 2020

A Mother and Child Raised Figural Embroidery Part Three: Where to learn the Techniques

These Following books will help you on your path to doing this wondrous type of embroidery. It is not a beginners craft, and I often think I have gotten myself way over my head and out of my league. (Snort) I cannot think of any other type of embroidery that will kick my ass, and pick me up by the scruff of the neck and tell me to do better next time. As I learn more about the techniques and read more books, I will be adding them to the list, but for now, these will do. Oh yes, they will.

Where to learn the Techniques

Raised Figures

Mastering the Art of Embroidery by Sophie Long

Sophie’s book contains a dozen techniques for the embellishment of textiles ranging from Crewel to Smocking. Each technique has samples in full-color glossy photographs and well-done drawings in a step by step sequence to give you a good start. The relevant section of the book for this documentation is the chapter on Stumpwork. I found the usual needle lace, detached and raised surface stitches, but the really important part is the Figures primer. In the Figures primer, you find step by step instructions on how to do the raised figures that are the underpinnings of raised figure embroideries. She covers the body, face, hair, and hands.

Raised Embroidery: A practical guide to decorative stumpwork by Barbara and Roy Hirst

In this book, Barbara and Roy Hirst guide you along the path of stumpwork embroidery with some history of the craft, pictorial examples and step by step instructions on the various techniques that make stumpwork such an art-form.

The Complete Book of Stumpwork Embroidery by Jane Nicholas

Jane Nicholas is touted to be the best in her work and you can clearly see it in the examples she created to teach this technique. The title of her book is rather misleading, however as her book only covers the plants, animals, and insects but not the human figures that are often the central technique that people have come to know as stumpwork. The beautiful Elizabethan Figures that are central to her original piece are not covered in this book. It will, however, teach you the varied techniques needed to create the natural world in the background of your figures. She also helps you use those techniques in a variety of craft projects to beautify your home and needlework basket.

Stumpwork Seasons by Kay & Michael Dennis

Kay and Michael Dennis give you a really good start to finish guide to stumpwork through the seasons. They start you off with all tools, materials, and threads needed to do the lovely projects pictured in the pages. Besides the stitches and techniques for the surface embroidery, they guide you to staining or painting the backgrounds to give a more natural and realistic look to your work. A good book for those that need color pictures to guide step by step.

Goldwork for the background

Erica Wilson’s Embroidery Book by Erica Wilson

In this book, Erica Wilson brings together all of the techniques earlier published in smaller books. She is best known for the revival and popularity of crewel embroidery in the early 1970s. The most relevant is Chapter three, Silk and Gold threads. This chapter brings the history of silk and goldwork together with full directions, list of tools and supplies as well as stitch diagrams.

The Historical Aspects of Stumpwork

Stumpwork: Historical and Contemporary Raised Embroidery by Muriel Best

Muriel gives a good read into the origins and history of Stumpwork or Raised Embroidery from its beginnings to modern craftsmanship.

Tools and Techniques

Making a hand jig

While bending wire is fun all by itself, making hands for raised figures hand be a chore. You will need the following: 1 large hunk of corrugated cardboard saved from an Amazon box, Glue, box cutter, steel ruler, heavy weight. Cut 5 squares of thick corrugated cardboard or 8 from regular and glue them in a stack. Put a heavy weight on them and let the glue dry overnight. On a clean side trace out the small hands needed for your figures.

To use your hand jig, you will need steel pins (Not the ball topped pins), strong needle nosed pliers, and 28 gauge wire or finer. Place a pin in your jig pushing the pins in deep, but not too deep. starting at fingertips, then between fingers, and at wrist points. You can see the dark shadows showing the missing pins.

Now its time to wire up your hands. The wire wraps in and out around a pin to form the thumb, fingers and finally the full hand.. Remove each pin carefully so that the wire doesn’t lose its shape. Put them back in and do the other hand. Until the hands are wrapped in silk or cotton floss it’s nothing to worry about, Right and left are the same form.

When you are ready to wrap the fingers and thumb, use the needle nose pliers to pinch the tips of the fingers and also the insides between the fingers, but not the space of thumb in the larger hands, that will form the webbing important to showing the difference between thumb and pinky.

After removal and before pinching tips. — Tools Needed.

Jun 22 2020

A Mother and Child Raised Figural Embroidery Part Two: The pieces of the past to lead me forward. by MvRY

Herein I show you what I found from the past that will lead me forward to finishing this piece of embroidery. The Raised Figures in Extant Pieces from the 14th, 15th and 16th centuries. My success or failures for this project come only from my lack of expertise in executing the techniques required to create a raised figural embroidery, not in the lack of existing pieces. Those pieces have existed, hidden away from sight in safe places until they could be photographed and published on the internet or in books to bring in tourists to far off museums. I myself would love to visit those far off museums, but I will gladly enjoy the pictures posted online in museums or in scholarly papers shared on the internet. Sometimes the places give you the name of the photographer on the museum sites, but some don’t. When it comes to scholarly papers, often the name of the photographer is not listed and you need to contact the author and ask politely for the name of the photographer who took the pictures used in their papers. In my case, the author very nicely gave me the name of the photographer, which made me so happy. I could cite not only the author’s name but the name of the photographer and it really makes your papers shine when that happens.

So, Welcome to Part two of my Article “A Mother and child Raised Figural Embroidery”, where I get to share the lovely pictures of extant embroideries from the 14th, 15th and 16th centuries.

The Fourteenth Century

1414 Coronation Robe

1414 Coronation robe (Cappa Leonis) Aachen Cathedral Treasury

The Cappa Leonis: Legend has it that this cloak was used by Pope Leo III: It is more likely that the cloak was used for the coronation and enthronement of King Charles IV in 1349 (14th century), Sigismund’s in 1414 (15th century) and Charles V in 1520 (16th century). With each successive use, it was given more decoration to bring it up to date with current embroidery and decorative techniques. The reddish-brown velvet is covered with small white blossoms that are embroidered with French Knots in squares which are framed by what looks like woven gold trim, but turns out to be rows and rows of underside couched gold thread. The front part of the hem shows an embroidered border with quatrefoil alternately adorned with three dimensional little birds and heraldic shields. Along the lower hem of the robe, there is a broad, embroidered border with flowers, stars, and the figures of prophets, together with a band carrying 100 hammerless silver bells that produce sounds by knocking each other. I placed this piece first because it straddles several centuries with it’s seemingly continuous use.

Recycling was “In” before Climate change was a manmade disaster.

An Embroidered Aumoniere

A beautiful extant item from the 14th century is this Aumoniere which I call the Lady on the Griffin. On the flap of the alms purse, sits an angel raining feathers down upon the Lady on the Griffin. Under the Griffon is a tiny bunny which gives a good idea of how large griffins were supposed to be. The Figures are raised with padding and slips were embroidered and appliqued upon the silk of the bag, then further embellished with embroidery. Although worn from the age we can see the glorious beginnings of Raised Figure Embroidery in this bag, which is housed in the Cluny Museum of the Middle Ages. (Berizzi, 14th century)

Ornate Orphrey

This Ornate Orphrey is housed in the LACMA, it is on the back of a Chasuble, which is an ecclesiastical vestment worn during the offices of the Catholic Church. This particular Orphrey has the figure of Christ on the cross with an attendant at its base. It was recycled from one chasuble and put onto its current textile sometime in the late 14th century. You can see this evidence in the lighter velvet near the base. The velvet textile is thought to be Venetian, but the Orphrey is considered to be Bohemian. (LACMA) The goldwork is couched down over a latticework of yarn. It is directional in that it all goes the same direction, up and down rather than a hodgepodge of side to side. Christ himself is a raised figure made separately then attached to the background and is amazingly lifelike. Unlike his attendant whose only raised pieces are his head, hands, feet. Christ’s loincloth is a very detailed bit of silk and gold embroidered and wrapped around the figure before it was attached. His hair is astonishing in detail.

The Fifteenth Century

The Golden Badge of the Order of the Dragon

The order of the Dragon was an order of chivalry founded in the late 15th century by King Sigismund of Hungary to uphold Christianity against the Turks. On gaining admission, new members were given badges of the order which they could bestow on any person they thought worthy of membership. The most famous member of the order was Prince Vlad Dracul. Sigismund founded his personal order of knights, the Order of the Dragon, after the victory at Dobor. The main goal of the order was fighting the Ottoman Empire. Members of the order were mostly his political allies and supporters. The main members of the order were Sigismund’s close allies Nicholas II Garay, Hermann II of Celje, Stibor of Stiboricz, and Pippo Spano. The most important European monarchs became members of the order. He encouraged international trade by abolishing internal duties, regulating tariffs on foreign goods and standardizing weights and measures throughout the country. This particular badge is done in the Oir Nue or Italian shading technique. Colored threads couched down the gold threads that make up the different parts of the dragon.

Yep, it is a figure of a Dragon, but a figural embroidery it is.

Fragments from an early 15th century Chasuble in Slimnic/ Stolzenburg

There are Nine fragments from an early 15th century Chasuble are housed in the Brukenthal National Museum. The entry of these artifacts in the old record inventory of the museum was completed by Michael von Kimacovicz in 1913 who mentioned the date “1409”.

The preserved Figurative fragments reflect appropriate features of four saints, together with some of their attribues, whose shape and size have helped the museum to restore the Iconographic composition of the Dorsal Cross. (Damboiu, 2013)

The features of the fragments are of such detail that is rarely done in the modern age. I chose to stick with just one of the figures closest to what I needed for this project, although the rest of the figural fragments are definitely on the list for further study.

Figure A. The Standing Virgin and Child.

The Virgin is standing with the infant Jesus in her arms, she wears a Burgundian style gown of made of a textile decorated in full in the Or Noue technique also known as Italian Shading. Each part of the garment is draped and couched into place over a padded form of fine wool and textile yarns. Her hands are wire forms wrapped and carefully stitched together with silk as are the legs and arms of the infant Jesus. One arm/hand of the infant Jesus is missing. Her hair is silver wire wrapped in silk, now tarnished. Her lips are outlined in silver and couched down and in the same manner are her ears attached. Her eyes are painted beads or round gold balls painted to look like eyes, held in place by her eyelids with are wire framed with silver wire and embroidered onto the face. I noticed this when looking at the photos with Paint 3d. Their heads are made separately and sewn down to the padded necks and body form with silk thread. The back of the fragment is just as interesting as the front, more so as it shows at least partially how the garments were attached to the figure.

rear view of standing virgin and child — heads up close

Chasuble of the Crucifixion Story

This precious liturgical vestment consists of two medieval parts, which were joined in Baroque times and bears many symbols.

A chasuble is the outer vestment worn by the priest for Mass. This piece in the Vienna Dom Museum consists of two different textile elements: an embroidered cross on a base of red satin. The cross seems originally to have been part of another chasuble and was probably mounted on this one only in the Baroque era. The cross is worked in intricate raised embroidery in gold and silver. It shows the crucified Jesus; above him there is God the Father and below there are Saint Mary and John the Evangelist with the Apostles Peter and Paul to the left and right and, on the bottom edge of the cross, Saint Martin cutting his cloak in half.

Why is this chasuble right after the Fragments from Sibiu? This chasuble was made in the same century, but from a different workshop, allowing us to see the different techniques used to create the figures of the Orphrey. Many of the techniques are indeed the same, but there are subtle differences.

For the men they have magnificent hair and beards of silk wrapped wire. For Mary, her hair is covered with a veil, which was the way that devout women showed their devotion. Covered their hair, wore robes down to the floor and let the men control them even up to the way they lived and died.

Lets start with the faces of the figures. In this piece, all of the faces are slips embroidered then applied to pads of wool and sculpted to shape, before being added to the Orphrey

The saints have pretty bow lips sculpted and lined in red silk while Mary has barely any sculpting and is embroidered in a plain outline. When we look at the work done on the male saints we notice Mary’s depiction seems to be the ecstatic rolled back eyes, which were supposed to be the “It” expression of devotion, but only the women seem to be shown this way. In every single chasuble that was created for the church the men have commanding or compassionate expressions, but the women are practically dying from their devotions or so demure to be incapacitated.

Late Fifteenth Century

VIRGIN AND CHILD
Austria, about 1470 Pilgrimage Church of Mariazell, Styria
Treasury Height: 129 cm.
Height of the detail: 43 cm.

Cross Orphrey with the Virgin, Saints Barbara and Dorothy, and, at the sides, Saints Catherine and Ursula. Relief embroidery with gold brocade, pearls, gold thread, and silk. The Child, and the faces and hands, in silk, in satin and stem stitch. Background of couched gold threads.

Source:

Black and White Photo: Schuette, Marie, and Sigrid Muller-Christensen: Pictorial History of Embroidery; NY: Frederick Praeger, 1964.

Color Photo: Basilika Mariazell, South Treasury.

Chasuble: Relief Embroidered Crucifixion: Moravia 1490-1500

The padded and embroidered figure of Christ constructed of velvet with silk wrapped wire fingers and toes, wearing goldworked loincloth applied to a goldworked cross in the form of raw logs. The layered figure of Mary at the foot of the cross has silk wrapped wire fingers on her hand and raised embroidered face. Her garments are layered embroidered textiles.

Pope Julius II Banner Quarter of Basil. The victorious battles of the Swiss Confederates against Duke Charles the Bold of Burgundy in 1476/77 justified the reputation of the Swiss in wartime. From then on, the Swiss were courted by the European princes. In 1512, the Confederates, with 18,000 men, arrived to help Pope Julius II drive the French out of northern Italy. In gratitude for the overwhelming victory at Pavia, they were bestowed by Pope Julius II, among other things, the flag trimmings, also called corner quarters (top right at the flagpole), to show Papal Favor. The recipients were allowed to choose a theme from the New Testament or from a sacred life. Basel opted for the Annunciation scene. This is a Reproduction. The Julius banners were made in Milan. Hans Heinrich Gebhart brought the banner in 1512 over the Alps. For the arrival one organized a city festival: 900 boys with harnesses and wooden (hobby?) horses and 500 citizens drew Gebhart and the banner into the city.

For an idea of how big the quarter banners were. Here’s One of the Julius Banners depicted with his banner man.

The Ornate Kmita

This ornately embroidered Orphrey pictures the life and death of St. Stanislaus. Created in the late fifteenth century and donated to the church in the early sixteenth century by the man who ordered its creation. Wavel Cathedral’s 500-year-old chasuble ranks with the world’s top masterpieces of Gothic needlework. Its relief-like three-dimensional scenes from the life of St. Stanislav, Krakow’s 11th-century bishop-martyr and Poland’s patron saint, embroidered with unbelievable precision and realism, match the best sculpture of the late 15th c. Naturalistic features of tiny heads and detailed faithfulness of depiction (complete with an open wound on the saint’s skull where sword struck) are truly stunning. It is a masterly, dramatic composition that arrests attention. Now the amazing chasuble, known as “ornat Kmity” (“Kmita’s chasuble”) is the pride of the Cathedral Museum on the Wavel Hill, displayed permanently alongside its other treasures of church art. (McGuinness, 2008) The height of the chasuble: 140 cm, width: 82 cm; the height of the cross: 133 cm, length of the cross beam: 8.5 cm, width of the cross beam 13.5 cm. The chasuble was commissioned by the Cracow Voivode Piotr Kmita, as testified by the inscription on a band running around the shield with the Śreniawa coat of arms, supported by a bearded man (unfortunately, today it is not fully legible). Its characteristic feature is that embroidered decorations give an almost sculptural effect as they are made on a very high raised base (usually from cotton) with numerous appliqué elements which add to the realistic characters of the scenes. (The Virtual Wawel Royal Cathedral)

Chasuble Back LACMA

Embroidery: 1490-1510 embroidered orphrey probably from Germany, Bohemia,

Textile: late 14th century (velvet) Velvet from Italy, Florence or Venice;

Costumes; ecclesiastical

Silk cut and voided velvet, with metallic thread discontinuous supplementary weft patterning (brocade), with linen plain weave applique with silk and metallic-thread embroidery and raised work

Length: 46 in. (116.84 cm)

The Sixteenth Century

St. Marienstern chasuble Orphrey

This very Ornate Chasuble comes from the St. Marienstern Monastery. The Orphrey (cross) was embroidered in a workshop in the Ore Mountains in the 2nd quarter of the 16th century so, about 1550 ish. The Embroidered figures are in the late Gothic Sculptural style. The backing is of the 18th century (1700) from Lyon Silk. (Kollmorgen, 2008)

High German Fireplace Hanging

The Kaminbehang/Fireplace Hanging manufactured in 1571 consists of nine alternating yellow, white and black fields, on each of which a male figure is identifiable. It is 40cm tall and 284 cm long. Made from precious materials, such as silk, velvet, and trim. Silk wrapped metal wires are couched down on the background with gold and silver threads; some real gold wire was used also. The Figures weapons are made of metal wire or wood. The embroidered figures are supposedly stuffed with linen and paper and are semi sculptural in shape, that is, they are applied on the background like bisected puppets. Hanging is housed at the Grassi Museum Fur Angewandte Kunst. It originated in the Town Hall of Leipzig and is the so-called Leipzig Council Treasure. The nine figures of this embroidery each represent a then-known nation in the then typical clothing. Only the German on the right edge wears nothing but a bundle of colorful fabrics over his arm because he cannot decide on a fashion style. In embroidered inscriptions, these figures are mockingly and xenophobically explained. In the 16th century, excessive luxury and the adoption of foreign customs were denounced with figures such as this series. (Arts, 1571)

Magnified pictures of 5 if the 7 figures from the German Fireplace hanging of 1571

Now, these are some absolutely gorgeous bits of Proof that Raise Figural Embroideries existed before the 17th century. All of them made on the continent by embroiderers employed in professional workshops. All of them masterworks lovingly cared for and stored away to keep them from being destroyed. We now have pictures, such detailed photographs to let us see those wonders wrought with the needle. Awed is not a strong enough word to describe how I feel when I look at them closely. Excited comes close. Excited to see how I fare in reproducing the techniques of face, padded body form and hands.

Works Cited

A Brief History of Goldwork. (n.d.). Retrieved from The Goldwork Guild: http://www.thegoldworkguild.com/history/

Arts, G. M. (1571). Retrieved from Grassi Museum of Applied Arts: GRASSI Museum für Angewandte Kunst. (2017-12-12). Kaminbehang, sogenannter Umlaufhttps://nat.museum-digital.de/index.php?t=objekt&oges=201040&done=yes

Berizzi, P. (.-G.-N.-G. (14th century). Cluny Museum – National Museum of the Middle Ages. Retrieved from https://www.photo.rmn.fr/C.aspx?VP3=SearchResult&IID=2C6NU0Y6YSMZ

Cloisters, D. o. (2000-2001). The Cult of the Virgin Mary in the Middle Ages, In Heilbrunn Timeline of Art History. Retrieved from The Metropolitan Museum of Art: http://www.metmuseum.org/toa/hd/virg/hd_virg.htm

Damboiu, D. (2013, January). Fragments of medieval figurative embroidery from a chasuble in Slimnic. Retrieved from Research Gate: https://www.researchgate.net/publication/287891008_Fragments_of_medieval_figurative_embroidery_from_a_chasuble_in_SlimnicStolzenburg

Dictionary, R. H. (2019). Dictionary (dot) Com. Retrieved from Dictionary.com

Hirst, B. a. (1993). Raised Bmbroidery a Practical guide to decorative stumpwork. In B. a. Hirst, Raised Embroidery a Practical guide to decorative stumpwork (pp. 9-10).

Kollmorgen, G. (2008, July 28). St Marienstern Monastery. Retrieved from New Liturgical Movement: http://www.newliturgicalmovement.org/2008/07/st-marienstern-monastery.html#.XJvabphKiUk

LACMA. (n.d.). Chasuble Back. Retrieved from https://collections.lacma.org/node/172019

Lochner, S. (1440-1442). WALLRAF-RICHARTZ-MUSEUM. Retrieved from https://www.wallraf.museum/en/collections/middle-ages/masterpieces/stefan-lochner-madonna-of-the-rose-bower/the-highlight/

McGuinness, C. (2008, June 21). Anglican Wanderings. Retrieved from http://anglicanwanderings.blogspot.com/2008/06/kmita-chasuble.html

Metropolitan Museum of Art. (n.d.). Retrieved from MetMuseum: https://www.metmuseum.org/art/collection/search/435762

Professor Walter J. Veith, P. (2009, MaY 27). Paganism and Catholicism: The Mother-Son Sun Worship System. Retrieved from Amazing Discoveries: https://amazingdiscoveries.org/S-deception_paganism_Catholic_Nimrod_Mary

The Art of Painting and a Visual Journey into the Bible. (n.d.). Retrieved from http://www.theartofpainting.be/AOM-Rose_Garden.htm

The Virtual Wawel Royal Cathedral. (n.d.). Retrieved from http://www.wirtualnakatedra.pl/sw-stanislaw/reliquaries-of-st-stanislaus/chasuble-with-a-cross/

https://www.basilika-mariazell.at/site/en/info

Jun 21 2020

A Mother and Child Raised Figural Embroidery Part One by Mevanou verch Reys Yriskynit. Three parts.

In the Beginning

When we look at the Virgin and Child we are looking at the Mother Goddess and Son archetype as it developed over several thousands of years. I love the imagery of a mother and her child. Iconic in symbolism all around the globe, every country in antiquity had legends and images of a mother goddess with a child. Mother and child worship was the basis of ancient religions. In the various religions of the world, the same system of worship was perpetuated under different names. In Egypt , the mother and child were worshiped as Isis and Osiris or Horus, in India as Isi and Iswara, in China and Japan as the mother goddess Shing-moo with child, in Greece as Ceres or Irene and Plutus, in Rome as Fortuna and Jupiter-puer, or Venus and Aeneas, and in Scandinavia as Frigga and Balder. The mother and child were worshiped in Babylon as Ishtar and Tammuz, and in Phoenicia, as Ashtoreth and Baal. (Professor Walter J. Veith, 2009)

Thousands of years later she is still here, In the Newest Incarnation. Most images of the Virgin stress her role as Christ’s Mother, showing her standing and holding her son. The manner in which the Virgin holds Christ is very particular. Certain poses developed into “types” that became names of sanctuaries or poetic epithets. Hence, an icon of the Virgin was meant to represent her image and, at the same time, the replica of a famous icon original. For example, the Virgin Hodegetria is a popular representation of the Virgin in which she holds Christ on her left arm and gestures toward him with her right hand, showing that he is the way to salvation. The name Hodegetria comes from the Hodegon Monastery in Constantinople, in which the icon showing the Virgin in this particular stance resided from at least the twelfth century onward, acting to protect the city. A later type is that of the Virgin Eleousa, imagined having been derived from the Virgin Hodegetria. This type represents the compassionate side of the Virgin. She is shown bending to touch her cheek to the cheek of her child, who reciprocates this affection by placing his arm around her neck. (Cloisters, 2000-2001)

The Great Quest

For the longest time, there were no examples to show that raised padded embroideries were made before the late 17th and 18th centuries, any examples were hidden away with such care that until found in a church’s treasury or the back closets of musty castles it was assumed that if they were not found, they never existed. Now, there are plenty of items to choose from, mainly because institutions are photographing and digitizing entire collections to their museum websites, more travelers are sharing their photographs to their blogs, and we have magnificent search engines to help us find what we are looking for. France has museums full of purses decorated with raised embroidery, Germany has Badges and wall hangings, Poland has Chasubles by the score with gorgeous raised figure embroideries, yet Until the advent of modern digital tourism, many of these pieces would never have been shared online. There are blogs by the score where people post pictures of their travels and give accounts of those pieces from the museums. I Love the internet.

Why oh Why do they call it Stumpwork?

Every embroidery book that I have in my library lists raised embroidery under one word. That word is “Stumpwork”.

The term “Stumpwork” may have its start in Victoria’s era, but it was first recorded in her son Edwards. (Dictionary, 2019) In the timeline of history, the English fad we call stumpwork lasted from 1650 to 1700. Fifty years is a rather long time for a fad, modernly most fads last for about half that, but stumpwork has returned with the interest of new generations. The detail that puts 17th-century stumpwork apart from earlier raised padded embroideries is the stitches used. Needle laces were used heavily in 17th-century stumpwork over the raised elements of figures, animals, and plants. Needle laces did not seem to be used in England in this manner before that time period. Those stitches were however, used on the Continent earlier in Germany, Austria, Italy and Poland, but not very often to cover raised figures. Needle laces were used to trim and adorn garments both ecclesiastical and eclectic. See Part Two: 1414 Coronation Robe.

For about two centuries before the emergence of domestic stumpwork in England, professional figurative work was being produced in Europe. Many examples of this earlier embroidery, which featured fine softly-sculpted detailing, with applied and padded fabrics and with additional laid threads, can be seen in the collections of churches, and museums from Krakow to Leipzig and Paris. (Hirst, 1993) Raised embroideries were always an integral part of the repertoire utilized in the workshops producing ecclesiastical embroideries of the middle ages, and became more prominent in the 15th and 16th centuries as it traveled north and east in Europe.

Raised figure embroideries were not just the delight of the church, military banners and insignia were also made to stand out from their background and catch the eyes. My favorites of the military banners and insignia are the Golden Dragon of the Order of the Dragon and the Quarter banner of Pope Julius given in victory to the army of Basil. Military banners showed the pride of the country or city they fought for, often embroidered with the victories on the standard.

My two favorite examples of Raised Figural Embroidery

For the most part, embroideries were made to order and took far longer to manufacture then one would expect in our modern age. If it was a large Item such as a Cope, more people had to work on it and be paid for that work. A workshop might employ different teams of men and women to have larger pieces finished faster because as we all know, many hands make short work. Large pieces could include household items; wall hangings, fireplace hangings, bed curtains, etc.

A Mother and Child Raised Figural Embroidery

The Cult of Mary, the mother of Jesus was popular in the middle ages, so popular that many artists painted a portrait of her with her infant son in her lap. As I am not a painter, I created this raised figure embroidery in the classic iconography of the Virgin with Child based on three pieces of Marion iconography; the Portrait of the Virgin with Child in Blue by Dieric Bouts the Elder painted around 1455-1460 AD, Madonna of the Rose Bower (or Virgin in the Rose Bower) is a panel painting by the German artist Stefan Lochner, usually dated c 1440-42, and the Madonna of the Rose Arbour by Martin Schonagaur in 1473. In no way am I re-creating any of these paintings, rather I am using them to guide me in making my own iconic piece of art.

All of the embroidery stitching for this project is stitches that were used in the fourteenth, fifteenth and sixteenth centuries; Stem stitch, back stitch, knot stitches, couching stitches, whip stitch, running stitch.

It was the apples that caught my eye. But, Those EARS... — It was the apples that caught my eye. But, Those EARS…

The Inspirations

Virgin and Child by Dieric Bouts the Elder

Dieric Bouts has based this small, exquisite image on the ancient Byzantine formula for the affectionate Virgin (glykophilousa)—a type popular in the Netherlands. However, he has dispensed with the gold background and halo of Byzantine practice and has endowed the painting with a human tenderness and simplicity not found in icons. With his subtle and tactile modeling of the flesh, the artist heightened the illusion of living, breathing beings. Focusing on the loving relationship of a mother and her son, his portrayal emphasized human emotions and enhanced the intense inner experience of private devotion. (Metropolitan Museum of Art)

Virgin in the Rose Bower

Madonna of the Rose Bower (or Virgin in the Rose Bower) is a panel painting by the German artist Stefan Lochner, usually dated c 1440-42, it is usually seen as one of his finest and most closely detailed works.

The Virgin is presented as “Queen of Heaven”, and is seated under a canopy with red curtains held apart by angels. She sits on a red cut velvet bolster, holding the Christ child in her lap. Her crown and medallion are symbols of her virginity. She wears a minutely detailed brooch, which contains a representation of a seated maiden holding a unicorn (Which the printer cannot seam to capture).

Christ holds an apple while hovering and seated angels offer gifts or play music. Five kneel in the grass before her, with instruments including a portable organ, others bear fruit.

The painting is heavily infused with symbols of innocence and purity, including the red and white roses. Mary sits before a curved stone bench, on a red velvet cushion, around which grow lilies, daisies, and strawberries, with an acanthus flower blooming to her left. Mary herself is presented on a monumental scale (as a larger central figure), underscoring her regal status. (Lochner, 1440-1442)

Madonna in the Rose Garden

Martin Schongauer painted around 1473 a ‘Madonna in the Rose Garden’ for the Saint Martin church of Colmar. Martin Schongauer’s picture is a ‘Throning Madonna’ since two angels hold an enormous crown symbolically over Mary’s head. The painting is unconventional in various ways. The hair of the Madonna is flowing freely over her shoulders, which is unusual as it was a sign of sensuality that was rarely associated with Mary. Jesus and Mary are looking in different directions, whereas Mary usually only has eyes for her son. Mary is painted as a melancholic young lady. She holds her head inclined; she smiles affably, secretly and contentedly. But Jesus already tries to escape from her. We mentioned that the colours of Mary’s robe are not conventional. Martin Schongauer must have been one of the first painters to emphasize the strong pyramidal composition, which is obtained by the red cloaks of Mary. Schongauer certainly was a highly skilled colorist and he knew very well how to paint with realism the smallest detail, as seen in the various tones of the folds of the red cloak of Mary (The Art of Painting and a Visual Journey into the Bible)

The Shine of Gold

The Materials

What did they use?

In the Workshops of the middle ages, embroiderers used passing threads that were surface couched to add glints of light or whole swathes of brilliance to their embroideries. The earliest of extant examples of goldwork embroidery is the fragments of the Cuthbert maniple and stole, excavated from his grave. Embroidered in 902-906 AD it’s goldwork of surface couching made of passing threads of pure gold wrapped around a silk core stitched down to the surface with silk thread. (A Brief History of Goldwork)

The Earliest Shine of Gold in English Embroidery

What I used

The passing threads are of gilded mylar wrapped around a cotton/polyester core. It is sold at Joanne Fabric and Crafts as single strand or as cable cords. As the “real thing” can be costly and I would need several yards to create this piece, I chose to go with the mylar gilt rather than the 24carat gilt passing thread.

The woven ribbon of gold is Lurex ribbon which is also sold as “Christmas Ribbon” Also less expensive than the real cloth of gold ribbon and comes in a 3 yard spool in the craft section of many stores.

Where would I have most likely come in contact with it?

In a historical context, just as with other uses of gold, I would have seen it on display in churches, on the clothing and household furnishings of the Royalty and Nobility, Regalia, and later on in military uniform embellishment.

Where did they start?

They started with the foundation, or background. Usually on an Orphrey, it was the elaborate goldwork that figures would be attached to. That goldwork itself would also be sewn onto a foundation. Much of the time the foundation was of linen because it would not be seen and was widely available.

My foundation is of bonded blue/green silk taffeta and cotton muslin, good and stiff, tacked to a fifteen by seventeen wood embroidery frame.

The technique for laying down the background was usually surface couching:

This simple stitch is used to place down everything embroidered on the background.

To Work Surface Couching – Lay down the thread to be couched, and with another thread catch it down with small stitches worked over the top. When laying down gold ribbon the same stitch is used to catch along the edges in neat well spaced stitches.

The Background

Upper Half

Looking at the background of the Stefan Lochner painting you can see that the upper half is mostly gold with a lovely rose arbor framing the upper body of the Virgin. Closer inspection shows that the figure of *God* is looking down giving the blessings of the Spirit. The texture of the gold is given lines that radiate like the rays of the sun downward to shine on the subjects.

For the upper half of my background I placed a heart, not *God* at the center of the Rays of golden ribbon. The heart is gilded snakeskin. Flanking the heart are two trees, each a contender for the Tree of Knowledge. An Apple with rosy pink silk apples and the Pomegranate with its ruby silk pomegranates. The trunks and branches of both trees are mylar wrapped passing thread, their branches arching out over the Blue silk and antique gold trim that frames the piece in imitation of the arched frame shown framing the Martin Schongauer painting. Their roots are woven into the background of gold ribbons upon which the wooden frames of the arbor are wrapped with gold threads to hold the bramble vines of the roses. I gladly followed the suggestion of a fellow embroiderer Carrie Hulsing who suggested to use of toothpicks for the wooden bower and wrapping them in gold thread.

The Roses rest on brown brambles of silk ribbon braided and bunched along the length of an inner core of more silk ribbon. Silk ribbon roses in pink and yellow fill the brambles with golden twisted knot stitches (french knots) at their centers. Generally in iconography, the roses are red and white. My roses are Pink and Yellow because they are the roses that grew in my mother’s garden. The wide golden trim cuts the background in to upper and lower halves as the garden walls and benches do.

Outlined with running stitches. — Tacked to the frame.

The Lower Half

In Stefan Lockner’s Madonna in the Rose bower, the mother and child are seated on a scarlet pillow surrounded by angels. I swung on a pendulum as to whether or not to have her seated or to depict her as a standing Madonna, and I eventually went with her standing. My ground is stitched in with knot stitches in different thicknesses of cotton floss, wool yarns and craft yarns with different textures. All of the yarns and threads are shades of green so that when I use more knot stitches to show the flowers the bright colors of the strawberries, violets and clover will stand out. Though you cannot see them, I blocked out the lower half with a grid so that I would not get overwhelmed the the volume of knot stitches needed to cover it.

No, I did not bother to count the stitches per inch, sorry. I will, however bring a small clear plastic ruler so that any looking at the piece might try and count the number in a square inch space, if they are brave enough. But only if you wear gloves.

French Knots — Before the green satin is added.

It has taken two years to get to this point, I have embroidered some, researched raise figural embroidery some. But it is slowly coming together. Stay tuned as I post part two of this article with the extant examples of Raised Figural Embroideries of the 14th, 15th and 16th Centuries.

The Mother Figure

The Figures of this Raised Figural Embroidery

The two figures of this raised figural embroidery are a Mother holding her child. As we cannot see the actual sex of the child it remains in that ambiguous area between boy and girl and can therefore be called simply a Child. Therefore no true religious label can be applied. In saying this I allow those that look at the embroidery to make up their own minds as to who this pair are. Earlier in this text I gave examples of the Iconography of the mother and child imagry to show that many different peoples can lay claim to them. Not just one religion raised the mother and child to a pedestal in art. My inspiration comes from christian iconography tis true, but only in the beauty of the artists skill giving me the imagry to imagine in thread instead of paint.

Side view A. — The Underpinnings of the Mother Figure.

Of Course you can see that my figures are NOT dressed in highly ornamented gold shaded embroidery. My mother figure is wearing scraps of very expensive garments found at thrift shops and up-cycled. Her cloak is a lovely silk taffeta that changes from red to orange and trimmed with gold and white holiday yarn to simulate the fur trim in the paintings. You can see that I surged all of the edges to keep the fraying down to a minimum. Her dress is also from a satin blouse from the thrift shop. Her belt a lovely scrap of pink velvet ribbon from the satin blouse. Her long hair is braided up at both sides and a long braided tail hangs off to the side. The Nice thing about this project is that the figures are merely slip stitched to the background and can be removed for repair.

Creating the Raised Figures is done pretty much the same way they were done in the 15th and 16th centuries. The figures of saints were raised with a padding of spun wool and other textile yarns, their fingers highlighted under the delicate silk stitching with twisted wire. (Damboiu, 2013) The saints faces and hands were skillfully stitched in silks of many hues by those whose skill with thread and needle made them as highly valued as those who made pictures with brush and pigment.

Left hand and arm back. — Left hand and arm palm up.

The saints vestments were stitched in a spectacular fashion, usually in the renowned technique of “Or Nue” by gilded threads being couched down in colored silk threads. The saints garments were laid out on a piece of linen and the threads were couched down over the tiny garments pattern. Once finished the garment was then draped over the figure and sewn down. Sleeves would have the hands added before themselves being sewn to the figures separately. Faces were embroidered and then added to the padded form.

Is the lighting right? — really, more pictures?

Upon finishing, the figure was then added to the Liturgical Vestment, in my case the figure has been added to the embroidered background.

Mother Figure Finished and Attached to the background.

The Child Figure!

The child was a bit difficult to create owing to it’s tiny size. The pattern for such a small figure did not exist for purchase online, I had to draft it out on scraps of paper until I got the correct size in relation to the mother. Once that was done I carefully traced the pattern pieces onto a doubled over piece of white cotton and put it into a hoop to keep down the fraying. Once sewn it was a matter only of cutting, turning and stuffing.

Once the body was turned it was a matter of stuffing it. I stuffed it with snips of white yarn using a small bamboo skewer. after closing the feet at the end of the legs I stitched them to the stuffed and closed body that I had done a bit of sculpting for shape, not that anyone was going to see it once the tiny child was dressed, but I did it anyways.

Torso and legs: Stuffed, Sewn and sculpted for shape.

Next came the head and arms of the child. I folded the white cotton back together and traced the head for the underpinnings of the face, unfortunately I did not remember to run upstairs for the camera to get a few pictures. (Don’t worry, I did a second child for a how to, kindly go to Part three.) The head was sewn, cut out and stuffed. and sculpted in a technique similar to soft sculptured dolls. then it was sewn onto the neck of the body. The back of the head was padded with scraps of white linen and felt. The face was a circle of white cotton embroidered with eyes, eyebrows and tiny lips. two little pencil marks for the nostrils were my guide in sewing the face to the head. Once that was done, the excess was gathered to the back of the head and whip-stitched in place. I then added long satin stitches for hair in a matching dmc floss.

Now out of gate 5 we see our artist checking to see if the hands off of the hand jig were the right size. Humans feature hands that fit our face from chin to eyebrow and this tiny figure is no different. Once that check was done I attached the hands to the arms the same way I did for the mother figure. And then I attached the arms to the child. I used a basic romper style dressing for the child using the same scraps of red that had been used earlier for the mother. I was not going to reinvent the wheel.

Attaching the child to the mother was just a matter of bending arms and fingers around the Childs chest and leg. Like any child being picked up during play, this child has a ball of bright blue in their hands. Almost done.

Finished and attached — Waiting to be finished

The stars in the heavens.

You remember earlier that I mentioned my choices of fabric? well not wanting to embroider the dark blue of the vaults of the sky was part of it. the second part was the joyous sprinkling of golden sparkly spangles as the stars.

Now I am done.