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Medieval Renaissance Embroidery Homepage

Counted Thread Work

Before getting into the newsgroup threads, I want to post links to some graphics provided by Master Richard Wymarc on Compuserve.

closeup of stitches-Blackwork: Blackwork Coif (Color, > 400K)

The following five links relate to a 15th century German long-armed cross stitch piece, uploaded by Master Richard.

Color Photo of a portion of the piece
Chart, Part 1
Chart, Part 2
Chart, Part 3
Description and Stitch Diagrams

For information about Blackwork, I recommend a visit to Blackwork Embroidery Archives - a marvelous site.
From The Gilded Pearl: Embroidering a Blackwork Coif

For information about Assisi Work, visit Lady Clare de Estepa's Assisi Work: Noah’s Arc site, documenting an Assisi work project, and her
Handout for a class on Assisi Work

bar

Blackwork, Assisi Work, and some answers to that perennial question: "Is Cross Stitch Period?"

[Hildegarde's marginalia: I finally decided to lump all of these topics together, as they were typically presented in the same newsgroup threads. When they were collected, there had been discussions in multiple fora...]

From: P_SHERYL@kcpl.lib.mo.us
Date: Thu, 25 May 1995 9:23:24 -0500 (CDT)
To: h-costume@andrew.cmu.edu

I have a question that I hope someone on this list can help me with. I want to do some decorative needlwork on my Renaissance Festival costume and I was wondering when cross-stitch first came into use. I am not particularly worried about strict authenticity of my costume since the festival that I attend leans more toward the theatrical side of things rather than the strictly authentic. However, I do like to KNOW when I am being out-of-period if possible. Does anyone know if cross-stitch or anything similar was done in England around 1550?
Thanks for the help.
Sheryl J. Nance
p_sheryl@kcpl.lib.mo.us

From: DENISE@harv-ehs.mhs.harvard.edu
Date: Thu, 25 May 1995 17:00:34 -0500 (EST)
To: h-costume@andrew.cmu.edu

Cross-stitch as it is done in the modern world did not exist in the Renaissance. However, many of the precursors to modern cross-stitch DID exist.
One of the most commonly seen (and easy-to-do) forms of counted needlework in 16th C. England was BLACKWORK. Blackwork came in two forms. The first, and most commonly seen on historic costumes, was bands worked in double-running stitch (also called Holbein stitch, after the painter who depicted it in clothing so well) done on evenweave linen for shirt/chemise collars, cuffs, and (occasionally) vertical bands. These were worked monochrome (all one color), almost always in black (though a few examples of red and one of a dark blue have survived), sometimes done reversibly (so both sides of a ruffled cuff could be seen -- see the portraits of Jane Seymour and Catherine Howard).
The second form of blackwork was an all-over design which covered a large amount of fabric. This was done for under-sleeves and under-skirts (though both usually later than 1550 -- more like 1580-1590), and occasionally for household ornament (there is a famous pillow cover of grapeleaves and grapes). It is done with a heavier or darker outline (sometimes done in long-armed cross stitch or, if in metallic threads, in plaited braid stitch), and utilized blackwork filling stitches to fill the outlines and shade the patterns. The patterns used to fill are all variations on geometric forms, quite simple in-and-of themselves, but extremely time-consuming when doing enough to make a pair of sleeves!
In Italy at about this time, ASSISI WORK was done. There are several examples of napkin/handkerchief borders and shirt collars/cuffs done in Assisi work, all of it monochrome. Red seems to have been the most popular color, though dark blue, black, and one piece of dark green (which may, in fact, be a fugitive black) have survived.
Embroidery which modern folk see and THINK is cross-stich is usually LONG-ARMED CROSS STITCH. Again, it was usually monochrone, and frequently used in conjunction with holbein stitch and other counted stitches.
If you want to work in polychrome, your best bet is some of the late (1590-1620) polychrome crewel jackets, hats, etc. that are often refered to as "Jacobean". These were worked in silk, and occasionally wool, using split, chain, scroll, stem, plaited braid and other crewel stitches.
I have a TON of reference material on this subject, and would be more than happy to share patterns and reference materials. Drop me a message saying what you're interested in, and I'll let you know what I have.
Just my $.07 worth!
Denise Zaccagnino
known as Lady Deonora Ridenow in the SCA

Date: Thu, 25 May 95 19:38:18 EDT
To: P_SHERYL@kcpl.lib.mo.us, h-costume@andrew.cmu.edu
From: deirdre@cybernetics.net (Charlene S- Noto)

At 09:23 AM 5/25/95 -0500, P_SHERYL@KCPL.LIB.MO.US wrote:
>Does anyone know if cross-stitch or anything similar was done in England around 1550?
>Thanks for the help.
>Sheryl J. Nance
>p_sheryl@kcpl.lib.mo.us
Sheryl,
Cross-stitch was done during that period in England, what we know as Long-arm cross-stitch. There are several pattern books that use a combination of or alternate patterns of Spanish-stitch and cross-stitch. Have you ever considered Spanish-stitch? It is also known as True-stitch, the Holbein stitch or a double running stitch. It is very easy for people who know cross-stitch to pick up, it is VERY authentic, simply beautiful and I find it easier than cross-stitch. If you would like more information on this, please email me. I wrote an article that you might be interested in.
-Charlene
Charlene Noto Internet:deirdre@cybernetics.net CIS: 75374,3154
SCA: Deirdre of Boolteens, Barony of Sacred Stone
Vert, On a Chevron Or, Three Butterflies Sable, In Chief Erminois

[Hildegarde's marginalia: I am here inserting the article mentioned by the author above. It can also be retrieved from Compuserve as BLKWRK.TXT]

What is Blackwork?
Blackwork has it's roots in Moorish embroidery. It was very popular in Spain, and although there is evidence of Blackwork prior to Katherine of Aragon, she is said to have popularized it when she came to England after her marriage to King Henry VIII.
What is Blackwork, is a difficult question to give a specific answer to. The standard response is "monochromatic embroidery" but there are Blackwork examples in blue/brown or red/black combinations. Blackwork was sometimes called "Spanish Work" which used red/gold, red/black or black/gold. But, primarily, you will see Blackwork as a one color piece with the most common being black silk on white linen. Blackwork is also sometimes thought of as a counted thread type of embroidery and while this can be true, looking at the elaborate free-style designs on Elizabethan sleeves, it is obviously not always the case. I think that the idea of Blackwork as a counted thread embroidery comes primarily from what is currently known as the "Holbein" stitch. The stitch was eventually named after Hans Holbein the Younger because of the many detailed and extensive views shown in his painting. This is also the easiest stitch to learn and is especially appealing those interested in cross-stitch embroidery.
Is Blackwork difficult?
Blackwork is not a difficult embroidery to do and can produce strikingly beautiful pieces. the beauty seen in the contrast of thread and ground fabric provide wonderful trim for collars and cuffs, purses, etc. In the Holbein stitch, Blackwork is actually less time-consuming and easier than cross-stitch. The work is in the counting, which cross-stitches are used to.
What is the Holbein stitch?
The Holbein stitch is a reversible, double-running stitch, worked over the threads in the ground to form lines. Since the stitch is reversible, it is a very nice stitch for cuffs, or anywhere both sides of the fabric will be seen. To create this stitch, working from left to right, you do a simple running-stitch, skipping every other stitch. Then. on the second pass, working from right to left, you do the same stitch in the spaces you previously skipped. The trick to beautiful Blackwork is in consistency and neatness in tying off your threads and moving from design to design. The geometric patterns formed by this stitch are wonderful and look like line drawings on the fabric.
pass one	||-->||   ||-->||   ||-->||   ||-->||
pass two	||---||<--||---||<--||---||<--||---||
You have now made what appears to be one solid line of 7 stitches
What do I need to do the Holbein Stitch?
Even-weave fabric, a tapestry or counted cross-stitch needle and embroidery thread, in a contrasting color from your fabric. Documented pieces were usually on a light colored, usually white linen with a contrasting silk thread, usually black or brown. Working with a hoop or frame keeps your tension even and makes the "holes" easier to see. you also will need a pattern, for example, the book _Esemplario 1530_, by Niccolo Zoppino or graph your own from the many paintings in the 1500-1600's. Look for geometric patterns as these are the easiest to adapt to the Holbein stitch.
Where can I read and see more about Blackwork?
_Blackwork Embroidery_, Elizabeth Geddes and Moyra mcNeill, Dover Publications, ISBN 0-486-23245-X, Library of Congress 75-31285
_Hans Holbein the Younger_, Chamberlain, Geo. Allen & Company, 1913
_The Paintings of Hans Holbein_, Paul Ganz, Phaidon Press
_English Domestic Needlework_, Hughes, Lutterworth Press, 1961
_Esemplario 1530_, Niccolo Zoppino (Graphed by Susan J. Evans), Falconwood Press
_Renaissance Patterns for Lace, Embroidery and Needlepoint 1587_, Federico Vinciolo, Dover Pulications, ISBN 0-486-22438-4
_Complete Guide to Needlework_, Mary Gostelow, Chartwell Books 1982, ISBN 0-89009-597-3
_Readers's Digest Complete Guide to Needlework_, The Readers' Digest Assocication, Inc., ISBN 0-895-77059-8

From: MarieD0108@aol.com
Date: Fri, 26 May 1995 18:18:37 -0400
To: h-costume@andrew.cmu.edu

'kay. Here goes. The book 'Blackwork Embroider' by Elisabeth Geddes and Moyra McNeill from Dover Publications is the book for you guys. It has the history of blackwork, instructions for doing it, more instructions for designing it, and portraits.
Even better, this is a softcover book which retails for $4.95. Your local bookstore should be able to get this for you - I got mine through a Hallmark store.
Marie

From: P_SHERYL@kcpl.lib.mo.us
Date: Wed, 31 May 1995 8:57:13 -0500 (CDT)
To: h-costume@andrew.cmu.edu
I just wanted to say thanks to everyone who answered my question about needle-work & cross-stitch on English Renaissance costume. I even looked up some of the books that were mentioned - some had very instructive illustrations! :) I think that I've decided to try some blackwork on my sleeves to start with. Thanks again!
Sheryl Nance

Date: Wed, 31 May 1995 15:41:47 -0700 (PDT)
From: Carol Cannon
To: Historic Costume List
I believe the lady who asked the question regarding blackwork was on this list. Here is one more person's 2 pence worth...not mine...I am but the messenger.--Carol
---------- Forwarded message ----------
Date: Wed, 31 May 95 13:31:56 +0100
From: Phyllis Gilmore
Does anyone know if cross-stitch or anything similar was done
>in England around 1550?
>
Blackwork, because of its emphasis on geometrical designs and counted stitches, is generally treated as a form of counted cross stitch. Very, very Elizabethan stuff here. This type of embroidery was generally done on edges of collars and sleeves, for example, and sometimes much larger areas, such as entire sleeves. There are some related forms (such as Assisi work) that may be period (I've heard arguments).
Also, I have noticed the use of cross stitches in period or near-period needlepoint (specifically, some of Mary Queen of Scots' work and in some unrelated chair seats at a nearby museum)--so far, mostly used (apparently) as a quick way to fill in backgrounds. Lots of other kinds of embroidery were done, and cross stitches are really just another embroidery stitch.
Because of the context in question, I'd suggest she look for books on blackwork and concentrate, for now, on collars and cuffs. You might even also want to repost the message to rec.arts.textiles.needlework because there are a number of highly knowledgeable folks there, too.
SCA: Philippa de Ecosse, Lyondemere, Caid
mka: Phyllis Gilmore, Santa Monica and Torrance, CA
My opinions are my own, unless donated. All contributions welcome.

Date: Wed, 31 May 1995 15:45:56 -0700 (PDT)
From: Carol Cannon
To: Historic Costume List
Date: Wed, 31 May 1995 15:47:36 -0400

From: Fred and Dee Wolke
: Could one of you good gentles, perhaps Lady Deonara Ridenow, help
: P_Sheryl@kcpl.lib.mo.us with your knowledge/expertise? Thanks.--Grannia
: ---------- Forwarded message ----------
: Date: Thu, 25 May 1995 9:23:24 -0500 (CDT)
: From: P_SHERYL@KCPL.LIB.MO.US
: I have a question that I hope someone on this list can help me with.
: I want to do some decorative needlwork on my Renaissance Festival
: costume and I was wondering when cross-stitch first came into use.
: I am not particularly worried about strict authenticity of my costume
: since the festival that I attend leans more toward the theatrical side
: of things rather than the strictly authentic. However, I do like to
: KNOW when I am being out-of-period if possible. Does anyone know if
: cross-stitch or anything similar was done in England around 1550?
: Thanks for the help.
: Sheryl J. Nance
: p_sheryl@kcpl.lib.mo.us
Milady,
You will be pleased to know that, to the best of my knowledge, cross stitch, blackwork, and pattern darning were common on clothing -- especially underclothing -- after the twelfth century. It was very common to decorate one's shift or chemise (or have it done for you) in this manner, especially around the collar, cuffs, and hem. Many folks in the SCA are more knowledgeable than I, so if their counsel differs, believe them and not me.
Good luck and enjoy the Faire,
Lady Dierdre Kyle

Date: Wed, 31 May 1995 15:47:02 -0700 (PDT)
From: Carol Cannon
To: Historic Costume List
---------- Forwarded message ----------
Date: Wed, 31 May 1995 18:07:11 -0400
From: keikos@aol.com
Cross-stitch was only one of many stitches used in the Renaissance. There are so many,and some of the others - satin stitch, outline stitch, and Holbein stitch, especially, are easier, and cover ground, in some cases, more quickly, why not use a combination? Laid metallics were also used -metallic threads or yarns couched on with small stitches in matching metallic or ground color threads. I find that a flat metallic yarn can be couched smoothly into curves and looks terrific for less effort than cross stitch, and with less distortion of the ground fabric. Holbein, which is an even running stitch which you then double back and re-stitch in the spaces was a very popular stitch - it looks approximately the same on both sides, is not very hard, and goes fast. Satin stitch is tedious to do, but it looks wonderful as a contrasting texture for filling in small spaces. Applique is also possible as a quick decoration when you need to fill in large areas. Also, beading (sewing on beads and pearls) was very much in vogue. Just about any embroidery stitch now in use was used back then, with a few others added on, somewhere in the world. Just go easy on using lace - real Renaissance lace is hard to find, and takes time to hunt for, and much, much too long to make, unless it is a passion of yours.
Keiko S

Date: Wed, 31 May 1995 19:44:32 -0700
From: s.nemeth@ix.netcom.com (Stella Nemeth)
To: h-costume@andrew.cmu.edu

Marie wrote:
>'kay. Here goes. The book 'Blackwork Embroider' by Elisabeth Geddes
>and Moyra McNeill from Dover Publications is the book for you guys. It
>has the history of blackwork, instructions for doing it, more
>instructions for designing it, and portraits.
>Even better, this is a softcover book which retails for $4.95. Your
>local bookstore should be able to get this for you - I got mine through
>a Hallmark store.
This wonderful book was originally published in England 30 years ago, which is when I convinced the Boston Public Library to "buy me" a copy. It is a classic, and it ought to be one.
Stella Nemeth

From: cole joan
To: h-costume@andrew.cmu.edu
Date: Thu, 1 Jun 1995 06:12:16 -0500 (CDT)

Another possibility on counted thread embroidery for the period:
On Compuserve, in the LIVHIST forum, there are about a dozen GIF files of charts done by Timothy J. Mitchell of German 14th and 15th century pieces in the Victoria & Albert museum. These are counted brick/satin stitch, mostly lozenges and hexagons. I say brick/satin stitch...what is going on in these pieces is that the ground fabric is entirely covered by embroidery silks, in vertical stitches that each cover four threads of an evenweave ground. The ground fabrics are as coarse as 28 threads and get as fine as 54 threads or so. Apparently, Mr. Mitchell has also written up one of the pieces, a German bag, in a Tournaments Illustrated article (summer 1993, I believe).
[Hildegarde's marginalia: This post was the straw that broke the camel's back, as far as the origination of this web page goes. Email responses asking for the web site led me to put one up. For that reason, I am retaining the designs mentioned here in a separate subpage from this topic thread.]

Article: 114945 of rec.org.sca
From: PJLR92A@prodigy.com (Shawn Cahoon)
Date: 3 Jun 1995 06:27:29 GMT

There is modern style cross stitch on several of the samplers in the Victoria and Albert museum that were done in period. The one that I recall most clearly is a sampler done by Jane Bostocke in 1598, although there are some with earlier dates. The museum has a book out that you can get fairly easily for about $15. It is called the Victoria and Albert Museum Textile Collection and is published by Castle Publishing. It's an oversize softback with some splendid color photographs of the pieces that they have. - Winalee

Article: 115037 of rec.org.sca
From: habura@vccnw14.its.rpi.edu (Andrea Marie Habura)
Date: 5 Jun 1995 14:04:21 GMT

For Sheryl: Well, actually, there's two ways of answering this question.
Was there cross stitch being done in England in 1550? I would be astonished if it was not. I have in my files one (secular) example of cross stitch from the 13th century, another from the 14th or 15th c. (depends on which expert you believe), and a few from the 17th. I have inventory records, as opposed to actual photos, of a few more. So, I'd be awfully hard pressed to claim that there could be no 16th c. examples. :)
Was cross-stitch used *on clothing* in 16th c. England? I don't know. I will say that I have not seen it used in any of the portraits I've studied from that era. The favored embroidered ornament for outer clothing (gowns, doublets, etc.) seems to have been laid gold cord and other forms of goldwork, with a generous helping of pearls and gems. I seem to recall some embroidered silk and gold posies in Janet Arnold's book, too. The favored ornament for things like shirts seems to have been blackwork, gold embroidered or woven bands, and some smocking.
If it were me, I'd probably go for laid gold cord, because it's a fast, simple technique that works up prettily.
Of course, it is possible that cross stitch *was* used on clothing in this era. My area of specialization is about 200 years earlier, and there was a large change in English embroidery technique between the two eras; I don't consider myself expert in 16th c. embroidery. At any rate, I hope this was helpful.
Alison MacDermot
*Ex Ungue Leonem*

Article: 120360 of rec.org.sca
From: donna@kwantlen.bc.CA (Donna Hrynkiw)
Date: 21 Jul 1995 20:07:18 -0400

Avid Cross Stitchers -- BEWARE!
Cross-stitchery as we know it today (ie. a mosaic of different-coloured stitches) is very modern. Excruciatingly modern as a matter of fact. LIKE LATE 1900's MODERN.
(Do you think I got my point across? I think so...)
On the other hand, if you still want to do the cross stitch, it was known in period and sometimes used in a similar manner. There are quite a few -period- graphed patterns suitable for cross-stitching. The great majority are meant to be worked in a single colour.
Why I have in my hands this very moment (well, on the desk beside me) a brand new facsimile of a medieval pattern book. It's called "German Renaissance Patterns for Embroidery -- A Facsimile Copy of Nicolas Bassee's New Modelbuch of 1568". (ISBN 0-9633331-4-3, 1994, Curious Works Press, 107 RR 620 South, #11-E, Austin Texas 78734). A lovely little book; tons of period patterns to delight and entice: spanish work, lacis, counted satin stitch, and couched cordwork.
Please, please! Leave the cross-stitch dragons and castles at home and try out some REAL medieval patterns. It's extremely satisfying.
A pattern to entice you (from plate 89):

XX   XX   XX   XX    XXXX  XXXXX  XXXX    XX   XX   XX   XX    XXXX  XXXXX  X
XXX XXX   XXX XXX   XXXXXX  XXX  XXXXXX   XXX XXX   XXX XXX   XXXXXX  XXX  XX
 XX XX  X  XX XX   XX    XX  X  XX    XX   XX XX  X  XX XX   XX    XX  X  XX
   X   XXX   X    XX      XX X XX      XX    X   XXX   X    XX      XX X XX
 XX XX  X  XX XX  XX XX    XXXXX    XX XX  XX XX  X  XX XX  XX XX    XXXXX
XXX  XX X XX  XXX XX XXX  XX X XX  XXX XX XXX  XX X XX  XXX XX XXX  XX X XX
XX    XXXXX    XX XX  XX XX  X  XX XX  XX XX    XXXXX    XX XX  XX XX  X  XX
     XX X XX      XX    X   XXX   X    XX      XX X XX      XX    X   XXX   X
    XX  X  XX    XX   XX XX  X  XX XX   XX    XX  X  XX    XX   XX XX  X  XX
XXXXX  XXX  XXXXXX   XXX XXX   XXX XXX   XXXXXX  XXX  XXXXXX   XXX XXX   XXX
XXXX  XXXXX  XXXX    XX   XX   XX   XX    XXXX  XXXXX  XXXX    XX   XX   XX  

(Stand back from your terminal a ways and take a look. It's actually very pretty.)
Elizabeth "E.B." Braidwood
Mistress Elizabeth Braidwood
donna@kwantlen.bc.ca

Article: 120422 of rec.org.sca
From: priest@vaxsar.vassar.edu
Date: 22 Jul 95 12:06:14 +1000

Greeting from Thora Sharptooth!
It's not directly relevant to medieval embroidery, I know, but I thought I should contribute to this discussion. Elizabeth Braidwood (donna@kwantlen.bc.CA) wrote:
> Cross-stitchery as we know it today (ie. a mosaic of different-coloured
> stitches) is very modern. Excruciatingly modern as a matter of fact.
> LIKE LATE 1900's MODERN.
While it may not be period, it is not "excruciatingly modern." It's at least eighteenth century.
This week, as part of a summer volunteer project, I have been examining Vassar College's collection of historic needlework samplers. There are 134 of them, and so far I have handled 30. They come from 10 different countries, predominantly England, Holland, America, and Italy. Almost all of them are counted cross-stitch work, the earliest of which was dated 1744. (I haven't closely examined the 17th century ones yet, but the ones from the second half of that century seem substantially the same as the early 18th century ones.)
The pieces I have examined do not differ much from many modern cross-stitch patterns that I have seen. They vary in their excellence--some are quite coarse, while others rival the most minute modern pieces I've seen. They are colorful (although the wool pieces have retained more color than the silk ones, overall) and for the most part emblematic rather than naturalistic. I did see one that had an incredibly minute and naturalistic motif of a bird on a flowering branch, though. One Dutch piece dating to about 1770 even uses backstitched accenting.
My favorite motifs so far have been the ones that "feel" medieval to me, even though I haven't seen any medieval analogues for them: depictions of women sitting in high-backed armchairs drop-spinning from a distaff, and various animals (hares, swans, stags) lodged in floral or leafy bowers. But that's just my personal bias talking.
Oh, and if you've read this far, you're probably wondering what the backs of them look like. Most of them are quite "messy." ;>
Carolyn Priest-Dorman Thora Sharptooth
priest@vassar.edu Frostahlid, Austrrik
Gules, three square weaver's tablets in bend Or

Article: 120441 of rec.org.sca
From: habura@rebecca.its.rpi.edu (Andrea Marie Habura)
Date: 22 Jul 1995 20:46:23 GMT

For Brianne: I recently did an article, with graphs, on a 13th c. cross-stitched heraldic pouch. It's yours if you send me an SASE. I'm at:
Andrea Habura
25 Seneca St.
Troy, NY 12180
Alison MacDermot
*Ex Ungue Leonem*

Article: 120442 of rec.org.sca
From: habura@rebecca.its.rpi.edu (Andrea Marie Habura)
Date: 22 Jul 1995 20:51:15 GMT

For Elizabeth: I'm afraid it just isn't true that non-monochrome cross stitch isn't Period. I have two pieces so far in my collection that are polychrome; one is a 13th c. embroidered pouch, and the other is the border of the Syon Cope, which may be 14th or 15th c. depending on who you believe. Both are heraldic in theme, and use a number of colors. However, the modern uses of backstitching and elaborate shading to make more complex designs do seem to be absent from the surviving pieces I've found.
Alison MacDermot
*Ex Ungue Leonem*

Article: 120583 of rec.org.sca
From: donna@kwantlen.bc.CA (Donna Hrynkiw)
Date: 24 Jul 1995 12:47:41 -0400

Greetings all.
Has Karma ever popped up and thumped you in the head? It did to me on Saturday.
The day before, I wrote to the Rialto:
> Cross-stitchery as we know it today (ie. a mosaic of different-coloured
> stitches) is very modern. Excruciatingly modern as a matter of fact.
> LIKE LATE 1900's MODERN.
Well, not only did I mis-type (I meant to write "LATE 1800's"), but I was WRONG. On Saturday, while poking through a junk/antique shop, I came up with a cross-stitched sampler dated 1807. It was VERY similar in technique to modern cross-stitchery. I was wrong, I admit it. Cross-stitch is older than I said. I never even considered samplers when I made my original statement.
However, I stick to my original point in that what we know as cross-stitching (making pictures out of a mosaic of identical stitches worked in different colours) is not medieval. Needlepoint (tent, half-cross, whatever stitch) is late medieval. Assisi work is medieval. Pulled thread is medieval. Cross-stitch, used the way it is popularly used today, is not medieval.
Elizabeth Braidwood
Towards the encouragement of medieval needlework
donna@kwantlen.bc.ca

Article: 120634 of rec.org.sca
From: donna@kwantlen.bc.CA (Donna Hrynkiw)
Date: 24 Jul 1995 16:07:13 -0400

Greetings from Elizabeth,
On 22 Jul 1995, Andrea Marie Habura wrote:
> For Elizabeth: I'm afraid it just isn't true that non-monochrome cross stitch isn't Period.
Alison is right. I was/am wrong. I'm sorry I muddied the water with my earlier statements.
> However,
> the modern uses of backstitching and elaborate shading to make more complex
> designs do seem to be absent from the surviving pieces I've found.
HERE! -This- is what I was so clumsily trying to say!
Thanks Alison. I'll go back to my lace now and just listen for a while.
> Alison MacDermot
Elizabeth Braidwood
donna@kwantlen.bc.ca

Article: 120833 of rec.org.sca
From: nutmeg@clubmet.metrobbs.com (Regina Townsend)
Date: 25 Jul 1995 15:04:20 -0500

Hmmm --
I guess it depends on how late you define OOP. I have seen illustrations of polychrome cross stitch samplers that are Dutch and English in origin, dated to 1615-1630ish. I'm sorry that I don't have titles or other documenting data in hand, but that research session was over five years ago, in Nebraska. Hoping that this will spur more scholarship,
Your servant,
Ly. Regina Lisle
Carslby/Calontir
Gina Townsend

Article: 120867 of rec.org.sca
From: shafer@ferhino.dfrc.nasa.gov (Mary Shafer)
Date: Wed, 26 Jul 1995 15:29:59 GMT

On 24 Jul 1995 12:47:41 -0400, donna@kwantlen.bc.CA (Donna Hrynkiw)
Elizabeth Braidwood said:
> Cross-stitchery as we know it today (ie. a mosaic of
> different-coloured stitches) is very modern. Excruciatingly modern
> as a matter of fact.
> LIKE LATE 1900's MODERN.
EB> Well, not only did I mis-type (I meant to write "LATE 1800's"),
EB> but I was WRONG. On Saturday, while poking through a junk/antique
EB> shop, I came up with a cross-stitched sampler dated 1807. It was
EB> VERY similar in technique to modern cross-stitchery. I was wrong,
EB> I admit it. Cross-stitch is older than I said. I never even
EB> considered samplers when I made my original statement.
Much older than 1807. I have a book, "Samplers and Tapestry Embroideries" by Marcus Huish, that says that "[t]he earliest record which we have met with is one by the poet Skelton (1469-1529), who speaks of 'the sampler to sowe on, the laces to embroide'."
The next, according to this book is an inventory of Edward VI (1552) which notes a parchment book containing--"Item: Sampler or set of patterns worked on Normandy canvas, with green and black silks."
How about Shakespearean references to samplers? From "A Midsummer Night's Dream",
"We, Hermia, like two artificial gods,
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both working of one song, both in one key,
As if our hands, our sides, voices, ad minds
Had been incorporate."
And in "Titus Andronicus",
"Fair Philomel, she but lost her tongue,
And in a tedious sampler sewed her mind."
There's also a Sidney quote and Milton, too, plus a description of "The Crown Garland of Golden Roses", 1612, which is "A short and sweet sonnet made by one of the Maides of Honor upon the Death of Queene Elizabeth, which she sowed upon a sampler, in red silk, to a new tune of 'Phyllidia Flouts Me'", beginning
"Gone is Elizabeth whom we have lov'd so dear."
I think your 1807 sampler is a Johnny-come-lately.
EB> However, I stick to my original point in that what we know as
EB> cross-stitching (making pictures out of a mosaic of identical
EB> stitches worked in different colours) is not medieval. Needlepoint
EB> (tent, half-cross, whatever stitch) is late medieval. Assisi work
EB> is medieval. Pulled thread is medieval. Cross-stitch, used the
EB> way it is popularly used today, is not medieval.
There's a picture of an early 17th century sampler in this book that has both cutwork and what looks like cross stitch. There's also a sampler dated 1656 that has the alphabet worked in cross stitch.
This book says that "[t]he stitches used for lettering on samplers are three in number, to with, cross-stitch, bird's-eye-stitch, and satin-stitch. Of the first there are two varieties, the ordinary cross-stitch, known in later years as sampler-stitch, and the much neater kind, in which the crossed stitches form a perfect ittle square on the wrong side. This daintiest of marking stitches is rarely seen on samplers later than the eighteenth century."
I'd have to say that you're wrong about the age of cross-stitch, too, although you've got some of it right, in that the technique of making the stitch changed.
I do agree entirely that the sampler made completely of cross stitch in multiple colors, rather than sampler with the lettering of cross stitch and the figures of other stitches, is nineteenth century.
I've looked at all 101 illustrations in this book and cannot find anything earlier than that that's all cross stitch. There's a 1751 sampler that is entirely cross stitch except for an outline in what looks like back stitch and several cross-stitched motifs (they look like the various coronets--duke, earl, etc--and a pair of crowns).There are no other figures on this and it looks like it's monochromatic. The author says that these motifs were used for marking linen, so it's not surprising that they're in cross stitch, just like the lettering.
You might want to look for this book. It's a Dover book, first published by them in 1970. No ISBN in my copy, but most bookstores seem to manage without it.
Mary Shafer DoD #362 KotFR
SR-71 Chief Engineer NASA Dryden Flight Research Center, Edwards, CA
shafer@ferhino.dfrc.nasa.gov Of course I don't speak for NASA
URL http://www.dfrc.nasa.gov/People/Shafer/mary.html

Article: 121050 of rec.org.sca
From: donna@kwantlen.bc.CA (Donna Hrynkiw)
Date: 27 Jul 1995 15:07:13 -0400

Mistress Elaina asked me to post this for her. I am pleased to be able to do so.
Elizabeth
donna@kwantlen.bc.ca
---------- Forwarded message ----------
Date: Thu, 27 Jul 1995 11:09:04 -0600 (MDT)
From: Mary Morman
To: donna@Kwantlen.BC.CA
Subject: colored, patterned cross-stitch
mistress elaina sends greetings unto mistress elizabeth,
my lady,
while visiting in england four years ago i saw a special exhibit of embroidery at hardwick hall. the embroidery was late sixteenth century work done by, or under the direction of, countess bess of hardwick. the usual hardwick hall exhibit has massive amounts of tapestry work and applique on bedhangings, curtains, etc. this special exhibit had bed linen and table linen.
there were edges displayed of what i assume were sheets or even pillow cases (are pillow cases period?) that had lovely edging patterns done in cross-stitch patterns of flowers and leaves. the colors were mainly pastels in pinks and blues and greens. whether they were pastels when worked is another matter entirely - 400 years ago they might have been very bright.
but they were definitely cross-stich, and definitely flower pictures.
at the moment, i have e-mail acapacity, and the ability to read the rialto, but not to post. if you would be willing to post this message for me, i would be very grateful.
yours in service,
ELAINA
elaina de sinistre * * * currently outlandish
mary morman * * * memorman@oldcolo.com

Article: 17744 of rec.crafts.textiles.needlework
From: weilerb@ix.netcom.com (William Weiler)
Date: 24 Jun 1995 01:44:11 GMT

$ed@dsm6.dsmnet.com> Johnston writes:
>>M. Fox wrote:
>>>I cannot find blackwork patterns anywhere. Does anyone know of a good
>>>source for blackwork charts (especially) or kits?
>>I checked out from the local public library a book called "The Art of
>Blackwork Embroidery" by Rosemary Drysdale. Like most of the
> Janet
More good books on Blackwork

Marion E. Scoular
Sherwood Studio
2840 Skye Terrace
Duluth, GA 30136
Why Call It Blackwork?
Folio of Blackwork Patterns

Ann Strite-Kurz
3802 Wrenwood Court
Midland, Michigan 48640-2372
The Heart of Blackwork

Ilse Altherr
P.O. Box 127
Lancaster, NH 03584
Blooming Blackwork
Reversible Blackwork
Blackwork & Holbein Embroidery
Blackwork Make a Joyful Stitch!

I have taken classes from all these ladies. The books are superb!!
Marcie

Article: 18138 of rec.crafts.textiles.needlework
From: dezynz@aol.com (DeZynz)
Date: 28 Jun 1995 01:00:43 -0400

pandersn@silver.sdsmt.edu (Patty Andersen) wrote:
>I took a class on Blackwork from Rosemary at one of the Spirit of Cross Stitch Festivals. She is British, and learned *lots* of needlework in school, in fact that was her specialization. I noticed in the flyer for the Des Moines show that she will be teaching it again, so if anyone is interested this would be the place to start.<
I took the Blackwork class with Rosemary at Valley Forge. Wonderful class, fabulous instructor. If you enjoy blackwork, this is the class to take. (BTW, I had Rosemary in two other workshops, and she is so delightful!) She also mentioned that her blackwork book had been out of print for some time, but they were considering releasing it again. I can hardly wait!
Lo Thomas

Article: 20029 of rec.crafts.textiles.needlework
From: tigger@cyberramp.net (Kim Ann Innes)
Date: 14 Jul 1995 23:12:24 GMT

There is a decent book on blackwork available from Dover books "Blackwork Embroidery" by Elisabeth Geddes and Moyra McNeill; ISBN 0-486-23245-X. I'd also recommend "Blackwork Embroidery, Deisgn & Technique" by Margaret Pascoe, published by B.T. Batsford (a British publisher that specializes in needlework & sewing books); ISBN 0 7134 5145 9. Another good book is "Blackwork" from Batsford; the author is Mary Gostelow.
If you're interested in historical blackwork designs, I have a booklet I've published myself of designs taken from actual historical items I've photographed in museums around Europe. All the designs are documented as to the original source and all are from before 1650. E-mail me if you want more information.
I hope this helps!
Kim (tigger@cyberramp.net)

Article 113779 of rec.org.sca:
From: Kim.Salazar@em.doe.GOV
Date: 23 May 1995 09:14:44 -0400

Lady Chimene [DUNHAM%EUGLIB@mred.lane.EDU (PATSY DUNHAM)] writes:
>Tatiana's wonderful quote on how the ladies passed their time brought me back,
>in stream-of-consciousness fashion, to an embroidery question I have harbored
>for years.
>In Diana Norman's _Fitzempress' Law_ there is a list of embroidery stitches:
> "frilled work, German and Saracen work, scalloping, the perroun, the
> melice and diaper work, the peynet and the gernette, double-samite..."
>on p. 221, in the section describing the way the young women who were Henry II's wards were spending > their days. I've never heard of most of these terms,
>and wonder if anyone out there could point me toward some documentation.
>Thanks,
>Chimene
To Lady Chimene, from Ianthe d'Averoigne, fair greetings.
I am writing this from work, and have no recourse to my full library or notes. Please take anything said here as suggestion - not canon truth. I'll keep digging. If I turn up any more, I'll post it too. I haven't run across a couple of the terms you mention, and I'd love to find out if anyone else has more information on them.
An educated guess as to what was meant, based on some research I've been doing:
Frilled work: I'm not sure.
German and Saracen work: Probably counted thread work. Opus Teutonicum was an elaborate form of pattern darning in which areas of the design were outlined with a heavy stitch, then filled in with different patterns in darning. This was usually embroidered in natural colors or very light colored linen thread on linen ground.
Saracen work (aka Moorish work) sometimes referred to step stitch-style counted thread patterns embroidered in dark colors on a linen background - the ancestor of Jane Seymour's cuffs.
Scalloping: Early pattern books (circa 1524) use "scalloping" to mean a style of applique in which a strip of fabric intended to be applied is cut longitudinally in a manner in which the two halves when separated, were identical (Clever! No waste!). The two halves which (until they were cut apart fit together like puzzle pieces) were appliqued end to end. Some German pattern books published in the late 1520s feature intricate patterns for use in this manner. I've never attempted drafting up a sample to try out.
Perroun: Again, not sure
Melice and diaper work: Diaper work is pattern darned linen - usually though not always worked in the same color as the ground fabric. Such over worked linen was especially absorbent. The modern usage of "diaper" (cover for a baby's bottom) is a descendent of the use of the term to mean a generic (very) absorbent cloth.
Peynet and gernette: And a third time, not sure.
Double samite: Samite was a heavy fabric, presumed to be silk. Could double-samite refer to quilting together two thicknesses of samite, with trapunto style stuffing inserted in the pattern areas? I know this style of quilting was practiced in period, but quilting is not my area of research.
Sources:
Synge, Lanto. Antique Needlework. London: Blandford Press, 1982.
Scalloping, Opus Teutonicum, samite, general reference
Staniland, Kay. Embroiderers. Toronto: University of Toronto Press, 1991.
General reference, Diaper.
Paludan, Charlotte and Lone de Hemmer Engeberg. 98 Monsterboger til Broderi, Knipling og Strikning (98 Pattern Books for Embroidery, Lace, and Knitting). Danske Kunstindustrimuseum, 1991.
Catalog of early pattern books in Danish Folk Art Museum. Partial translation.
Ianthe d'Averoigne, OR, OL kim.salazar@em.doe.gov

[Marginalia: Ianthe d'Averoigne is the author of The New Carolingian Modelbook, published by Outlaw Press. This is more fully described on my design sources page.]

Article: 15509 of rec.crafts.textiles.needlework
From: habura@vccnw01.its.rpi.edu (Andrea Marie Habura)
Date: 31 May 1995 13:54:19 GMT

For Meg: An excellent start is Kay Staniland's _Medieval Craftsmen: The Embroiderers_ (University of Toronto Press, 1991.) It covers a wider geographical range, but I recall some nice German linen work, a very nice wool-embroidered tapestry, and some applique.
If you'd like to get down and really _talk_, I do research on English and French embroidery of the same era; drop me a line.
Andrea

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