Tag: Tudor Rose
At long last I got a chance to finish up and turn the Tudor Rose into a little mounted panel. I got a local framing shop to cut me two pieces of acid free mount board, and mounted it over one of them, with a little padding to bring it to life. Then I covered the other (also with wadding) with some upholstery fabric that happened to be to hand, and overstitched the two boards together.
I covered the overstitching with a ribbon trim left over from when I finally mounted Christus Natus Est (whoo-hoo, some stash busting achieved!) and then, at some length and not without difficulty, attached a fine kumihimo cord around the front edge of the panel to frame it nicely.
It will go in that famed (and so far, still mythological) Winter Decoration Corner that I keep on talking about – when I finally create it.
The work on the Tudor Rose continues.. The stitches used for the leaves are what I really wanted from this course, as I am hoping that they will help me to create elements in the Dreams of Amarna – the ancient Egyptians were as keen on bling as the Tudors!
Zoom in on the picture to the right and you will see that there are four different combinations of metal and silk threads.
- The stem – whipped back stitch
- Alternating silk and metal chain stitches
- Ceylon stitch with silk thread woven through it
- Up and down buttonhole stitch with silk threads overcast through it
It was very hard to weave through the Ceylon Stitch – I didn’t pack the threads as tightly as Tricia’s instructions show, even after four leaves (two on each side). I think it would be easier in some of the applications I intend, though, because I am expecting at least some of them to have straight edges!
The overcasting through the Up and Down Buttonhole stitch was tricky to start, but once I’d got it started it was fairly straightforward – and a lot of fun.
The final element of the piece was the pearl purl and check purl in the centre. That was quite fiddly, and I am not sure that I worked the initial layer of bullion knots in silk in such a way as to make the layer using metal threads easy to do. I have much more practice to do to get my metal thread work to the level I saw at the Eye of the Needle Exhibition in the Ashmolean Museum a few weeks ago.
What with one thing and another – largely to do with the Hittite Amulet and the consequent overdose on metal threads – the Tudor Rose has been snoozing quietly in a boxfile for months, not drawing attention to itself.
I’ve decided, however, that it’s time it got finished, so that I can move on to other things, and the first step was to complete the white and silver petals of the rose. I was puzzled and confused when I did my first petal after the break, because it didn’t present the same appearance as the other ones. Can you see why?
I’m going to leave it like this, to remind me to pay attention next time…
The next stage was to work the bullion knots in the centre. I’ve decided (again, not quite following the order of stitching in the instructions) that I’m going to leave the cut pieces of purl until everything else is done, so having done the bullions – with varying degrees of success, I admit! – I moved back to the leaves.
So, onward and forward, as my Grandad used to say…
Some of the leaves are worked in Ceylon Stitch which is then woven through using the silk thread. Those of you who were reading my blog when I was working on the Tudor and Stuart Goldwork Masterclass may recall that I found Ceylon Stitch something of a trial. Working it in leaf shapes really doesn’t make it any easier!
There are three more of these, two each to be woven into with different colours of green Soie Perlée. Tricia says to pack the weavings in as tightly as possible.
We’ll just have to see how that turns out, won’t we…
At this point, the challenges abruptly increased… The petals are to be filled with Up and Down Buttonhole Stitch With Return (which is one of the stitches from the Tudor and Stuart Goldwork Masterclass), but in a combination of metal and silk threads. The outer petals will be red and gold and the inner petals white and silver, and we are explicitly instructed to finish the back stitching (both white and red) before tackling the filling.
The red silk is used for the return – the straight bar stitch – and the gold for the up and down buttonhole stitch. This means, of course, that there are long stitches on the back of the fabric, but it also creates a rather lovely chequerboard effect of gold and red. Up and down buttonhole stitch is one of my favourites, but as a detached stitch it offers a few challenges, especially in the gold thread. I was very glad to be working this in a frame resting on a stand, as there were times when both hands, and one of my bone stilettos, were needed to bring the gold thread under control.
I’ve noticed that in the metal thread, the stitch is squarer than in the silk, which compressed itself into a much denser fabric. I suppose this adds to the contrast in textures, but it will be interesting to see whether it becomes more even as I become more experienced with it!
I’m rather pleased with it so far. In a couple of the petals, the rows somehow are not as straight as they should be – I’m not quite sure how that happened – but, if you click on the image you will see the larger version, and I think it shows evidence of improvement in technique. Which, after all, is the whole point of my following these courses…!
Having finished the embroidery on the Glittering Nightcap – even if I haven’t assembled it yet – I decided that I would allow myself to begin on the Tudor Rose. The goal of this course is to introduce stitches and effects that combine silk and metal thread – in the same stitch, not in the same thread – and I am hoping that it will give me ideas for tackling representations of ancient Egyptian jewellery for the Dreams of Amarna.
The first element is a fairly simple one, in effect a version of Pekinese Stitch, but with three rows of back stitch for the base, and a metal thread used for the interlacing. The challenge here is in making sure that the silk thread is sufficiently loosely stitched to make the interlacing possible, without being so loosely stitched that nothing stays in its’ place. Since the metal thread structure is of a core wrapped around with a fine film, when the thread is bent, the film sometimes stands away from the core, catching on the silk. Another key for Tricia in this course – as in fact in all her courses – is learning to be aware of the use to which a particular thread was intended to be put. We need not restrict ourselves to that use, but we do need to be aware of it!
I rather suspect Tricia of letting us in gently, here, because the next element she describes is also fairly simple. The leaves are outlined in reverse chain stitch, in silk, and then filled using alternating rows of reverse chain in gold and in silk.
I hasten to add I have no objection to being let in gently – I’ve looked at the instructions for some of the later elements and rather expect a deal of unpicking to happen, so I’ve been able to enjoy handling the silk threads, which are quite heavy, but soft and “lofty” so they don’t punish the fabric unduly. If you look closely at this photo you will see that the olive green used for the stem is slightly thinner than the more emerald green thread used for the leaves. The weight matches nicely with the gold thread, so the more complicated elements that are coming up should look well balanced.
There was another clatter of the letterbox and a gentle thunk on the carpet recently. It was soon followed by some excited squeaks and a dash upstairs to print out Month 1 of the History and Instructions.
This time, instead of a clear distinction between metal thread stitching and silkwork, as in the Floral Glove Needlecase, the Tudor and Stuart Goldwork Masterclass, or the Glittering Gentleman’s Nightcap, the aim of the course is to show how the metal and silk threads were combined within stitches and motifs.
I’m hoping that this will give me some new ideas and techniques to apply to my Dreams of Amarna panels. However, I intend to be a good girl. I won’t actually start this until I’ve done the Glittering Gentleman’s Nightcap, which is still “going slow” owing to a combination of end-of-year exhaustion and fugitive winter light. With a bit of luck, I may be able to get started in the spring.