Category: General Embroidery


Medieval Movers and Shakers

While I was working on William, my Mam passed to me her copy of Current Archaelogy, which included an article about the church founded by Rahere, jester to Henry I, then pilgrim and monk, founder of of St Bartholomew’s Hospital. Now, Rahere is a major character in one of the tales in Kipling’s “Rewards and Fairies”, which as a child I loved, and suddenly I found myself with an idea for some companions for William Marshall.

One of my early gouache designs for the embroidery of William Marshal

William Marshall, 1st Earl of Pembroke, jouster, statesman, guardian of kings, re-issuer of Magna Carta, subject of the first biography in English not concerning royalty or sainthood.

Early medival image depicting Athelflaed, Lady of the Mercians.
Image from Wikipedia
Image from Wikipedia

Athelflaed, daugther of Wessex, Lady of the Mercians, war leader and peaceweaver, guardian of Athelstan, she refortified Chester, and refounded the Minster which became, in due course, Chester Cathedral.

A very nineteenth-century looking depiction of Rahere as a jester, in cap, bells, and particoloured garments.
Image from Wikipedia
Image from Wikipedia

Rahere, jester, minstrel, courtier, pilgrim and monk, founder of St Bartholomew’s Hospital, which exists to this day.

David Holgate's statue of Julian of Norwich, outside Norwich Cathedral, completed in 2000
David Holgate’s statue of Julian of Norwich, outside Norwich Cathedral, completed in 2000

Dame Julian Of Norwich, anchoress, mystic, author of the the first book in English known to be written by a woman.

In all these cases, some vestige of their activities still echoes down the ages, and between them they cover both the political and religious life of medieval period. Their activities are scattered across the country, providing some excuse for some visits and much reading.

I wonder what images I could put in their borders?

I think this could be interesting!

Still another idea from a book

Quick gouache sketches, inspired by medieval images, of the birds described in the text. They aren't in scale with each other.

January’s Book of the Month for the Elizabeth Goudge Bookclub on Instagram was “Gentian Hill”, and that reminded me of an episode in that book that I’ve long wanted to depict in some way. In the book, the heroine, Stella, and the Abbé visit a local church where Stella has been entranced by some carved panels and asks the Abbé to explain their significance. The carving show birds, one eating a grape, one killing a caterpiller, one with beak open in song. The Abbé explains:

Another attempt at the bird feeding on a grape, with something below that even I can't recognise!

The bird with the grape in its beak is the penitent soul of man feeding on the true vine. The bird attacking the caterpillar is the strengthened soul of man fighting evil. The singing bird is the soul that has overcome praising God. You take them in that order, Stella.

Elizabeth Goudge, Gentian Hill
More attempts at birds. These have more energy, but they still look the wrong sort of awkward.

(And, for those twitching at the non-inclusive language, Gentian Hill was written in the 1940s and set during the Napoleonic War. One of the themes of many of Elizabeth Goudge’s books is that there are many forms of struggle and many forms of service, none less than another, even if some may be less spectacular!)

Vine leaves and sketches of the birds, trying to surround the birds with bunches of grapes.

Now, as I’ve been adding final details to the Excavation, I’ve been reminded of how much I enjoy working in the hand, and I would like to devise a way to depict the images, singly or as one panel, in a way that is strongly textured, surface embroidery, that I can work in the hand as a rest from underside couching or attaching spots to border panels with invisible stitches.

A branch with vine leaves and bunches of grapes, and the three birds in different aspects. Still not balanced or successful, but it shows how I have been thinking.

So I’ve been thinking of basing the ideas and stitch choices on Mountmellick work, which is not entirely unsuitable when you consider that one of the other main characters, Zachary, is of Irish parentage, and the shapes of the birds on medieval images, because the church, of course, is a very old one.

Alas, thus far my playing with pens, paints and ideas hasn’t got me very far. It’s hard to balance three creatures that aren’t all looking the same way, and it doesn’t feel right to me to make them face the same way!

Yet another idea!

Long time readers of my blog know that I use it, not just to talk about the embroidery I’m doing at the moment, but also as a place to put some of my ideas, in the hope that the Search facility will help me find them again, rather than having to paw (I use the word advisedly!) through stacks of paper and notebooks. This is one of those posts!

A box full of a tumble of cone-shaped paper angels.

Some of you may recall that the Association of Mouth and Foot Painting Artists used to send out, not just cards, but little sheets that had angels printed on them. You could press them out and curve them into a cone shape, making a charming little Christmas decoration. I was reminded of them when we got the decorations out of the loft, and found a whole boxful!

It occurred to me that I could use a variation on that little pattern to create a needlelace Nativity scene.

A single paper cone angel. The patterns looks as though they are textile based, because the wings have bobbin lace printed on them, and the necklace is from a piece of tatting.

That idea became a bit clearer when I looked at a few of them. If you look at this one, the angel’s wings have clearly been made to represent fabric with a bobbin lace edging laid over it, and if that necklace isn’t based on a piece of tatting, I have never seen tatting before!

Clearly, I would want to tweak the shape a little. Only the angel, of the characters in the Nativity, needs wings, and besides, I think a bit of variation in height would be advisable!

Paper angel taped flat so you can see the shape.

The basic shape can be seen when you open one of them out. The wings wouldn’t be hard to remove, for those that don’t need them. But the shape is fairly simple, and it would mean that I could use really gorgeous thread and stitch, allowing the thread and the stitch to do all the work.

I doubt I will be tackling the idea any time soon – I still have to work out how to create the Baby Jesus in the manger in much the same style! – but I think it would be fun to do.

A tree for the trinkets..

Parlour Dome with a wooden base, containing the small Tudor Nightcap I worked following a course from Thistle Threads. It's spangled and gold laced, and what my grandmother would have called a dust catcher, so if I want to show it off it wants protecting!

When I had the idea about using a parlour dome for the Violets and for the necklace, I realised that I would need to play with how I displayed them, trialled the Tudor Nightcap in the dome and realised that I could now put it on display.

So what about all the other Thistle Threads pieces?

Well, it turns out you can get parlour domes that aren’t round, so I got the largest I could bring myself to buy and then stopped to think…

The Floral Glove, Tudor Rose panel, and three little cushions in Tudor goldwork, displayed under a parlour dome. They don't really fill it, so it looks a little half-hearted.

I started by playing around with propping the various pieces I’ve been planning for that Winter Decoration Corner against one another within the dome. It’s a flattened oval, and quite high, but anything I could improvise seemed not to have the height I wanted without taking up all the display space.

I think this shows the idea will work, but it doesn’t really have the presence that the pieces deserve.

This time the Floral Glove, one of the little cushions, and a hanging ornament are all hanging from the branches of a wire tree. I think this looks better.

This is better. I’ve used offcuts of the foamcore that I bought to help me with Nefertiti and Akhenaten to create the base that will sit inside the glass, sandwiching the beginnings of the wires forming the tree between two layers. I’ve built up a support for the green and orange cushion at the back using smaller bits of foamcore, and wrapped pipe cleaners around the wires.

It’s not perfect, but I’ve set it up in the hall where I will pass it every day, to work out whether I like it. Then the idea is that I will have a lovely messy hour or so covering the wire with papier mache, allow it to dry, and paint the whole thing gold.

The Tudors were as fond of bling as the ancient Egyptians, after all!

Another Decision To Make

Close up of the top left corner of the border. The background is trellis couching in several shades of blue, the edges are yellow, red and green, and the corner motif shows sprigs of broom intertwined with dog roses. The rose stem used a fawn and a brown thread twisted together.

I can’t imagine how people can have a design planned down to the smallest detail before they begin. Even when I’m more organised than usual – William is a prime example – there are always details that either escape me, or that I hadn’t even considered at the start.

I should say, this isn’t a complaint. I don’t think I would find it remotely interesting to have planned everything out and have nothing to discover. These days, when I follow someone else’s design, it is to learn what they can teach me, so even though the design is planned, there is nothing sterile about the experience.

Close up of the top right corner of the border. The background is trellis couching in several shades of blue, the edges are yellow, red and green, and the corner motif shows sprigs of broom intertwined with dog roses. The rose stem used a fawn thread.

However, the fact remains that I am, yet again, wondering what to choose.

When I twisted together the fawn and the brown silk to stitch the stem of the dog rose, it was partly because I wasn’t happy with the colour and wanted to modify it slightly. When it was done, however, I felt that maybe I hadn’t, in fact, modified it enough. It seemed too close in tone to the background, so I worked the stem in the top right in just the light fawn.

And all the time I was working it, I felt twitchy. It seemed too bright, too bald, too obvious.

William with the top two corners done. I am trying to decide whether I prefer the two colour stem  (top left) or the fawn stem (top right.

Now I have the top two corners done, and I have a decision to make – two colour stem, or single colour stem?

It doesn’t seem quite as glaring from a respectable distance. Note to self: for goodness sake, never decide anything from ten inches away, that’s not how anyone else is likely to see it, and if they do, you’ve already won them over anyway!

There is, of course, a middle ground. I could do the two colour stem on one diagonal and the fawn the another, echoing the angle of the castle walls and the trajectory of William’s career.

However, one decision has already been made – remember I wasn’t sure whether to fill in the crosses or not? I am now, and they will be filled.

A Happy Christmas to you all!

Christus Natus Est, a semi-abstract Nativity in Or Nue in the modern spiral style. Two curved triangles, blue for the Virgin and red for St Joseph, intersect in an irregular purple shape suggesting the Christ Child with arms outstretched.
Christus Natus Est

Beginning The Border

Split stitch outlining over the laid and couched border. There are bits of the tissue paper still tangled in the stitches

Once I took the tissue paper away, I discovered that in fact my running stitch transfer wasn’t very clear. So I’m going to start by split stitch outlining each element before I fill it in.

You can see in this photo that I still hadn’t quite got all the tissue paper that had the design on it out from under the stitches, and I’m only part of the way through outlining this corner.

I did think I might try to outline everything first, and then I thought about what happens when I have something like that to do, and decided that each corner would be worked to a finish separately!

Partially stitched corner sprigs showing the rose leaves partly stitched on the vertical sprig and the broom partially stitched on the horizontal one.

It is probably at this point that I start to wander from the path of classical Opus Anglicanum. I’m using fishbone stitch for the rose leaves and satin stitch for the broom. But after all, this is a modern work, by a modern embroiderer, not a reconstruction of an existing, or imagined, medieval work.

Dog rose, rose leaves, and some of the broom completed

The wanderings continue with the dog roses – long and short stitch in the petals, over two rows of split stitch outline to help define the edges, and a tiny French knot for the dark centre.

I’m using two differnt dark greens for the rose leaves and the broom, to help the design make sense, and I worked the rose stem in split stitch using two shades of brown. I am not entirely sure about that, so I think the next corner around I will use one, maybe the darker one, and see whether that is an improvement. If it is, bringing this one into line might be a bit hair raising, considering how small all of this is!

Border Transfer

It may not be very obvious in the line drawing, but although the two sides of the corner sprig are very similar, they aren’t quite identical. I wanted to keep a sense of movement and flow, without the chaos of having every little bit different, so in the end I chose to create my corner sprigs based on two slightly different straight sprigs. In this photo you can see that the rose leaves are pointing in different directions, and the broom flowers are arranged differently.

Line drawing of the border for William Marshall

When I did the line drawing, I took my guiding sprig and turned it through ninety degrees for each corner. By doing that, there’s a sense of continuity, whereas I think if I had reflected the design in a mirror line through either the vertical or horizontal crosses, it would have created a rather stop-start effect. I was much impressed, years ago, by a programme about the carver and sculptor Grinling Gibbons, which said that he always aimed for balance rather than symmetry. I like that, it feels more human somehow, so that’s what I try to do too.

Begining to transfer the design by stitching through a drawing on tissue paper.

Now, however, I have to transfer the design to the border. Clearly that’s not going to be possible using prick and pounce or a drawing method, so I have chosen to create a drawing on tissue paper of the main elements, and running stitch along the design lines. I am hoping that this will be sufficient!

In any case, it allows time for the extra thread I had to order from Devere Yarns to arrive..


Finally, two Announcements:

  1. The eagle eyed among you may have noticed that the Ko-fi link went away and is now back (plug-ins not playing nicely!). I’m still hoping to put together an exhibition and a book about Dreams of Amarna, and any support, whether financial, moral, or material (suggesting venues, publishers, copy-editors) would be gratefully received!
  2. You may also noticed the lack of a link to Twitter. I’m mostly on Mastodon now, as @virtuosew@mathstodon.xyz, for reasons that anyone else who’s been on Twitter lately will probably understand very well!

Border Design Finally Nailed!

William Marshall in Opus Anglicanum, Blue border in couched trellis stitch now has both internal and external borders in place

Once I had the border trim in place, I felt I really had to get the details sorted out – but having that trim in place seemed to help. The dark green, red, and yellow on the inside, mirrored by the yellow, red, and dark green on the outside seem to bracket the blue just exactly as I planned, and I began to feel that all that painting and puzzling might have been worthwhile.

So I tried photocopying the full piece to see whether playing with my cut out sprigs on a flat surface I wasn’t worried about snagging might be useful.

Photocopy of the William Marshall design overlaid with an acetate that has blobs of coloured paint in the main areas of the design

In actual fact, the photocopying wasn’t a great success, but it was close enough that when I overlaid an old acetate and experimented with the border sprig I’d finally, tentatively, settled on, I suddenly became a lot happier. The paint is gouache, and it really doesn’t get along well with the acetate, but I felt that it gave me just enough of the sense of the design that I could be confident it would evoke an illuminated manuscript – which is what I was hoping it would do.

It’s always so pleasing when a plan comes together!

Line drawing of the combined dog rose and broom sprigs for William Marshall.

The next stage was to produce a line drawing of the planned design, and use that to transfer the final design to the piece itself.

And this was the point at which all that painting and drawing and redrawing began to show real benefits, because even though the photocopied sprig design I was using as a guide was distinctly muddy, I found myself drawing the lines I needed with a freedom from care I rarely experience with pencil in hand.

Well now, who’d ha’ thunk – more practice does produce better effects!

Still working on that border!

I continue to wrestle with the arrangement of broom and dog roses – my goodness, am I ever glad I’ve been working on planning with paint over the last two years or so! I do some exploration with digital images, but as it often results in a sore arm from mouse and trackpad manipulation, painting is a much better option. This selection of straight sprigs could be assembled into corner decorations, and potentially tweaked in size to fill a side or leave space for the Templar crosses.

Indeed, I have painted so many straight sprigs and corner designs – so large, to make it easier to paint – that I’ve become quite blind and jaded with them, and can’t decide which I like. I did realise that I needed to put them against William and the chateau de Tancaville, so I photographed them and printed them out. And then told the printer to try something smaller and go again.

The embroidery of William Marshall, with paper cutouts of various sprig designs. Decisions are not proving easy!

And that showed that those sprigs would have to be, if anything, even smaller than I had anticipated.

This tells me that I will have to be very much more careful about the colours I use, and the number of strands. I can’t afford to produce a border that looks muddy or confused, but equally, it mustn’t fight with William or his underside couched golden sky.

Tricky. Very tricky.

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