The Faience Necklace – still thinking…

Necklace Photo (Copyright The Egypt Exploration Society)
Faience Necklace (Copyright The Egypt Exploration Society)

After her discovery of the piece of tile that started it all, the first find that Mary Chubb describes is a faience necklace, discovered by the team then in Egypt, and written up in the Director’s Report which she has to disentangle and re-type legibly (remember, in the 1920s, typing wasn’t a skill that everyone had had to develop). It sounds completely enchanting, and yet I’m struggling to bring it to life.

In fact I last wrote about it in 2015, and I’m still wrestling with ways to represent it! I’ve already abandoned any idea of working a portrait of it (as it were). As you can see from the black and white photo, it’s crammed with faience beads, and it’s hard to imagine making a good stitchable design of it. So I’ve cut out some watercoloured beads, and pushed them around, taking photos as I go. Back to primary school!

Then another suggestion came in (thank you @IndiaGraceDsgns ), to think about mandalas…

And now I’m thinking about “samplers” of beads which still recall the way these broad collars and necklaces are sometimes displayed in museums.

I’m planning on using flat silks, when I finally pick one (comments, anyone?), and of course, the next question will be: what colour fabric I will be stitching it on?

Finally, a way forward

Where I had Got To..
Where I had Got To..

The Nefertiti Shawl started with great enthusiasm, but I ran into a few hitches. I’m not at all confident of the blue panels, and my first couple of efforts on the green ones took me nowhere at all.

Chain Stitch outlines, green section
Chain Stitch outlines, green section

Finally, I came up with a possible way forward. The scale pattern is taken from one of the Tutankhamen coffin panels, among other places, and each scale is outlined in gold, but the coloured fill is in progressively darker colours, not edged.

I’ve edged the scales with a very pale shade, and outlined the colour progressions in darker shades. The fabric is very mobile, so a little more definition may help..

Dark and mid shades, green section
Dark and mid shades, green section

I’ve picked several filling stitches, and I’m working them in various orientations, and several different combinations of solid and overdyed colours in stranded silk and silk floss.

That paragraph glosses over some considerable confusion and head scratching. Being so closely involved, I lost track of the sequence of patterns, and had to call for the assistance of The Australian’s mathematical and analytical eye!

Lost Momentum…

Where I had Got To..
Where I had Got To..

I’ve run into a bit of a problem here. I still love the idea, and I still want to finish the Nefertiti Shawl, but I’ve lost all momentum, and all sense of structure.

Red and Blue Sections
Red and Blue Sections

I’m happy with all the red circles. I like the colour variation and the unevenness – in real life, in a half-decent light, which winter in Britain rarely provides, there’s a vibrant, lively feel, and the use of the line stitches reflects the original pattern I used for the filling. Good.

Blue Section
Blue Section

The blue section is where the trouble started. I’ve done two of them already in spite of my doubts because I’ve come across all too many instances where a piece only worked when I’d kept on through the doubts.

I’m not sure whether it is the yarns, the colours, or the stitches that are the problem, or even whether there is a problem at all.

The pashmina is in a lovely twill weave which flows beautifully, but it’s quite fine, and a lot of the threads are thicker.

Green Section
Green Section

But the problems of the blue section fade into nothing when I get to the green. I love the overlapping scale pattern, and I was really looking forward to stitching it. But I can’t find a pattern of stitching that works, and again, I’m not sure whether this is the colour, the thread, or the stitch.

I have no idea how to sort this one out. Unless inspiration strikes, it will be some time before you see it again.

Finishing the Head of Nefertiti

Unless I decide otherwise, the head of Nefertiti is now finished.

Signature Cartouche
Signature Cartouche

I’ve worked my Morse Code cartouche slightly differently this time, using cross stitch for the dots, long armed cross stitch for the dashes, and counted running stitch for the frame. This works rather well, so it’s a possibility for any eventual canvaswork projects in the future.

However, in this instance it is almost completely invisible, so I may yet unpick it and rework it twice the size, with four threads in each direction instead of two.

Finished Head Of Nefertiti
Finished Head Of Nefertiti

In the end, if you recall, I decided to work Nefertiti’s cartouche, both the hieroglyphs and the frame, in reverse chain stitch using untwisted silk.

The rays of the Aten are worked in reverse chain stitch, but using hand twisted silk.

I am a little concerned about balance and the strength of the design, but when I was playing with my photos of of the finished panel, I noticed that when I cropped the picture closely, rather than including all of the length I have stitched of the rays of the Aten, it was much improved.

That happened with the Camberwell Panel, and with Loading the Felucca, as well, so I shouldn’t be surprised.

And I really should remember to play with that sort of detail when I am mounting and finishing my embroideries!

The Cartouche for the Head of Nefertiti

Trials For Cartouche
Trials For Cartouche

There were many false starts when I came to work on the cartouche. The fabric is under such tension, in order to work the metal and silk stitches, that it’s hard not to create something that looks very fragile and wispy.

Here you see stem stitches, back stitches, straight stitches, chain stitches of different lengths, some worked using the same twisted thread I used for the rays of the Aten, and some in untwisted thread of the same thickness.

And I didn’t like any of them.

In fact, I ended up doubling the thickness of the thread, but not actually twisting it. This creates a more definite line, and using reverse chain stitch throughout maintains the sense of continuity with the rays of the Aten.

Trial Hungarian Braided
Trial Hungarian Braided

Once I had finished the hieroglyphs, I had to work the frame of the cartouche, and guess what – false starts here as well.

I was rather saddened that among the stitches tried was one of my favourites, Hungarian Braided Chain Stitch, and that, like several others, ended up being sliced out with a penknife. A rather nice penknife with a mother of pearl handle, from a vintage sewing set, but it’s frustrating to dismiss a favourite stitch, even when it’s because you don’t think it works in the context.

There was a lot of this!
There was a lot of this!

After much to-ing and fro-ing, and a good few “ouches” from my recalcitrant sub-scapularis muscle, I finally got the cartouche finished.

I’m not entirely sure I like the finished result, so it is sitting in the living room, being stared at.

More Progress – at long last

Gold Stitching Done
Gold Stitching Done

Those of you who follow me on Twitter or Instagram will have seen some rejoicings over the weekend. I have been working on the gold stitched background for the polychrome tent stitch for what seems like forever, but in fact it is less than a year – I began the Elizabethan Ground Stitch in October of last year. A serious shoulder problem interfered with my work at my floor frame at one stage, and then I was all taken with with my ideas for the Head of Nefertiti, so it was only recently that I got back to it. And now I have finished that laborious stage, and I can move on to the more complex and intriguing techniques which were the whole reason for taking the course.

Starting The Hillocks
Starting The Hillocks

For instance, this one. Tricia describes this as a variation on Velvet Stitch, worked in silk thread over what I presume is a fine double ended knitting needle. It makes a perfect spacer for the pile of the stitch, anyway, and arrived with all the other bits and pieces.

Better Worked From The Back
Better Worked From The Back

Tricia tells us to come up through the already occupied hole, to avoid pulling the thread through to the back and reducing the pile. I went a step further and worked it from the back, ensuring that I kept the stitch neat and the stitching going up through the right holes!

I must admit I enjoyed this, simple, and straightforward, but with just enough challenge to keep me awake and alert.

A Sideways View
A Sideways View

And here is the first hillock, finished and fluffy. It looks as though it would be beautifully soft underfoot, doesn’t it!

The Head of Nefertiti – further details

Additions For Nefertiti
Additions For Nefertiti

I suddenly realised that I haven’t got any representations of the Aten in the panels. Considering that Akhenaten’s new, monotheistic devotion to the Aten actually created Amarna (Aketaten in his day), that is more than a little remiss of me. So the extra details I am planning for Nefertiti – shown here, drafted on tracing paper laid over the the print I didn’t use for stitching – begin to right that wrong.

I’ve drawn the rays of the Aten ending in little hands outstretched in blessing, as seen in many wall-carvings and paintings at Amarna. For some reason (research to be done…!) the hands nearest the noses of Nefertiti and Akhenaten often hold an ankh, so that is also included.

I’ve added in Nefertiti’s cartouche, although I think I may have drawn it too large for the design as a whole, and my own, which will include my initials in Morse Code, as this is a standalone companion piece.

Barely There
Barely There

I want the lines to be there, and yet not there, so I found some filament silk that I bought at Texere Yarns before they closed their store, and had a go with it, using reverse herringbone stitch, as I did for the contours of The Map of Amarna.

And it completely disappeared.

Oh dear!

Much Better
Much Better

So this is the next version, reverse chain stitch using a 2-into-1 twist. I’m much happier with that, although twisting the thread before I stitch with it does rather slow down the stitching part of it!

But still, here I am, stitching with hand-twisted thread, twisted by me. Never would fifteen-year-old me have believed I would be doing that!

If my Grandmama could see me now….

The Head of Nefertiti – continuing progress

Necklace and Polychrome Bands
Necklace and Polychrome Bands

So this is where we left the Head of Nefertiti. the polychrome bands and the gold edges of the headdress are done, and I have worked a section of necklace.

I keep flip-flopping between feeling that that section of necklace is just right, and feeling that it really isn’t enough at all. I like the sense of a delicate flash of colour barely surviving the years, but at the same time, there’s an inner glitter-girl that wants to see a bit more than that..

Gold Browband
Gold Browband

So, while I think a little more about the necklace question, I thought I’d make another attempt at the browband. This time it is simply straight stitches, in a slightly finer thread than the rest of the gold stitching. It’s not perfectly regular, but, again, the slight unevenness evokes the damage of the years.

And besides, by now, you must know that regularity of stitching is not my forte!

Is it done yet?
Is it done yet?

So, again, I find myself at a pause.

I’m happy with the browband, I think, definitely happy with the polychrome bands, and the gold trim.

However, I’m still not sure whether I’m happy with the necklace.

Since my thought is to quilt a pattern into the background, I had best be certain that I’m happy before I start attaching padding and picking patterns!

 

More progress on The Head of Nefertiti

The polychrome band is finished
The polychrome band is finished

Once I had finished the polychrome bands, I sat back and looked at them. Using the darker shades of the colours in the darker part of the print helps to tie it all together and wrap the bands around the headdress.

I had a moment or two of concern, then decided that I would not, after all, ruin everything if I continued to add the other elements of the design that I had planned. There is always a moment or two of fear, especially when an early section has gone well!

Trialling Leather
Trialling Leather

The original bust shows something that looks like a browband of gold, fairly plain and flat. I fished out a piece of gold kid, but although the photograph doesn’t show it very well, the kid is the wrong colour (too pale, and not yellow enough) for the gold thread, so I have to think of something else.

*Thinks hard*.

Necklace Trial
Necklace Trial

Meanwhile, I thought I would experiment with the necklace, or collar. My thought was that, rather than do the whole thing, I would do a small section of it, to make sure that I maintain the feeling of an embroidery, and not a portrait of a portrait.

What I have done here is to make radiating stitches of the gold thread, and then use the same whipped filling stitch I used on the polychrome bands, but alternating them so there is a hint of a gold net underlying the collar.

I like this, but maybe I do need to do an entire collar’s worth.

*Thinks hard*. Again.