Date: Wed, 25 Feb 1998 08:05:28 -1000
From: Donna Hrynkiw
Subject: HNW - Historic knitted stockings
On Tue, 24 Feb 1998 [email protected] wrote:
> Any chance of getting the pattern for the stockings? What period are we
> talking here? Also, any help concerning the use of knitted articles in High
> Renaissance/early Tudor times (circa 1490-1525) would be appreciated!
> Morgaine
I have a copy of:
17th CENTURY KNITTING PATTERNS FROM PLIMOTH PLANTATION Second edition.
Photographs and patterns for hats, gloves, socks, purses; 38 pages. $11.95 postpaid
(MA residents add $.60 sales tax) Purchase information at: http://nwiinc.com/wgb/html/publications.html
Which contains, among sever other items, patterns for both a flat cap and gauntlet
gloves. I'm not a costume-buff, so the subtlties escape me, but they both look Tudor
to me.
There is also an examination of the techniques of making an historic stocking at http://www.dabbler.com/ndlwrk/stocking.html.
And another at http://www.dnaco.net/~aleed/corsets/stockpat.html
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Date: Tue, 3 Mar 1998 06:54:49 -1000
From: Donna Kenton
Subject: Re: HNW - Counted Cross-stitch
Cross stitch is most definitely period for SCA purposes.
The Syon Cope, circa 1300-1320, has a band of cross stitch around the edge. And
it is definitely "ordinary" cross stitch, counted thread on linen. Also, Mary Queen
of Scots did cross stitch, in addition to all that needlepoint. I was fortunate
enough to see these pieces a couple of weeks ago at the V&A.
Another thing I saw, which absolutely amazed me, was net darning, circa 14th or 15th
century German, with heraldic devices. Some pieces were fairly open, but one had
all the holes in the net fully darned, creating a thicker fabric rather than just
a few decorative pieces.
Donna
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From: "Linn Skinner"
Subject: Re: HNW - Counted Cross-stitch
Date: Tue, 3 Mar 1998 06:35:16 -1000
There are examples of medieval counted cross stitch at the V&A museum. Particularly
a little book cushion with the Angus Dei. This point is choosing a design that is
period. The technique was used.
Linn
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Date: Tue, 3 Mar 1998 14:37:52 -1000
Subject: Re: HNW - Counted Cross-stitch
Cross stitch is period to the sixth or seventh centuries AD (a fragment of cloth
found in a Coptic cemetery in upper Egypt, featuring a roundel with an outer floral
border encircling a depiction of the Visitation). Anyone telling you that cross
stitch isn't SCA-period just doesn't know better. ;)
_Counted_ cross stitch dates back to some of the earliest printed patterns; we know
that the first broadsheets probably predated the first published pattern-book (Johannes
Sch=F6nsperger's Ein New Modelbuch, 1524), but many of the pattern-books of the sixteenth and seventeenth centuries include patterns either specifically or implicitly
for cross stitch embroidery.
(Are we trying to prove the origins of cross stitch, or of *counted* cross stitch?
While the two are similar, they have different histories ...)
I can go into further detail if this interests anyone ...
Karen
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Date: Sun, 1 Mar 1998 17:26:46 -1000
From: Cherie Daniel
Subject: H-COST: Smocking
I don't know if it will be of assistance from a historical standpoint,
but there are two books I've found that include smocking information:
1. The Art of Manipulating Fabric, by Colette Wolff
(published by Chilton Books - $29.95)
If you are interested in any kind of fabric manipulation, this is
a wonderful book!!
Includes detailed instructions of the manipulations and sample
pictures done in muslin.
2. Creative Smocking (Contemporary Design Traditional Techniques)
(published by Lark Books - $24.95)
Has alot of color pictures showing contemporary uses of smocking
in garments.
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Date: Thu, 5 Mar 1998 15:20:08 -1000
From: [email protected] (Lee Carter)
Subject: Re: : HNW - Counted Cross-stitch
My Lady, The book THE VICTORIA & ALBERT MUSEUM'S TEXTILE COLLECTION:
Embroidery In Britain From 1200 to 1750 has a plate that shows blackwork
"filler" to give dimension Page 53, plate 37, a Pillow cover. The flowers
are filled with blackwork to give dimension. Additionally, George Wingfield
Digby's ELIZABETHAN EMBROIDERY has several examples of this use of blackwork
as a "filler"
Lady Gwenythe of Mousehold Heath
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From: [email protected] (Larsdatter, Karen )
Date: Thu, 5 Mar 1998 12:46:39 -1000
Subject: Re: : HNW - Counted Cross-stitch
Of course, pictures in blackwork (using the filling stitches to show color gradation,
and to give a sense of light and dark colors) are period; I have also yet to see
a pattern where the filling stitches are shifted within the outlines of the design
to give a sense of contour, as I suspect that the NEW STITCHES patterns were (I subscribe,
but haven't seen those issues).
One rarely sees non-utilitarian pieces in this style of blackwork; one sees it on
sleeves, cushions, even ecclesiastical paraphernalia, but not on wall hangings ...
but then and again, I don't know everything. ;)
Karen
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From: [email protected] (Betty Pillsbury)
Date: Thu, 5 Mar 1998 18:49:07 -1000
Subject: HNW - Blackwork in SCA period
Lady Libbet,
You were or rather wondering if someone could show that blackwork was used as shading
in SCA period. If I may draw your attention to a few sources:
The Victoria and Albert Museum's Textile Collection: Embroidery in Britain from 1200
to 1750. Page 53, plate 38. Shows a most interesting pillow cover done in red,
gold and black blackwork. The figures have been "filled in" with blackwork patterns
to show depth of dress. Leaves are filled in with alternating patterns. A half-timbered
house is shown to good advantage with blackwork patterning.
Elizabethan Embroidery by George Wingfield Digby, Keeper of Textiles, Victoria & Albert
Museum. Plate 5. Coif, blackwork. Shows intertwining and scrolling vies with flowers
and leaves. The patterns are arranged as to show depth in petals. Quite similar to the cover on Elisabeth Geddes and Moyra McNeill's Blackwork Embroidery. Plate
15 shows the famous chalice veil done in red silk in blackwork style. Most definitely
shading has been used to achieve the angel's wings. Plate 20 shows a hood where,
again, scrolling tendrils and assorted foliage has been worked in shaded blackwork.
Plate 38 shows a sleeve panel done in stunning blackwork. Most exceptional is the
Tudor rose. Each petal is of a different pattern and the calyx are done in a denser
pattern to
give the illusion of a darker color.
Other excellent blackwork sources include the Embroiderers' Guild of America study
box in blackwork and Janet Arnold's "Queen Elizabeth's Wardrobe Unlock'd."
Hope this helps with your blackwork research.
Lady Bronwynn O'Loughlin
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From: EowynA
Date: Thu, 5 Mar 1998 22:24:26 -1000
Subject: Re: HNW - Blackwork in SCA period
Hmmm -- I interpreted her comment differently. :-)
I understood her to take as given that
- fillings are used in 16th century blackwork,
- different subunits on a single motif might have different patterns,
- and thus different subunits (a petal, for instance), show a different gray-scale
value. Because the topic was blackwork filling patterns, I also understood that
shewas specifically _not_ referring to the "flecked" or "speckled" or "wrapped thread"
versions of blackwork, which are shaded, but does not use regular filling patterns.
Mind you, this is what I understood -- it may or may not have been what she intended.
I understand your excellent examples to show that the above statements are
true, and to illustrate them beautifully.
What I understood the original poster to say (and nodded sagely in agreement with,
as I read it), was that the practice of shading within a subunit, which
is discussed in most/all modern blackwork books does not appear to be any
older than the 1960s.
By shading within a subunit, I specifically mean one or more of the following
techniques:
- using progressively thicker threads as one fills a subunit that lies
"under" or "behind" another. For instance, within a petal that is partially
obscured by aother petal. I use quotations, because the 16th century blackwork
design style appears, at least to my eye, to be flat, with everything pretty much
on one plane. I have observed that modern blackwork designs often
incorporate perspective, and objects lying atop one another, partially
obscuring them, and thus providing a sense of depth. And also providing
opportunities for shadows.
- adding lines in the "shadowed" part of a subunit, or subtracting lines in a "highlighted'
portion. Those terms are in quotes because I have not seen any historic blackwork
that has a "virtual sun" (in paintings, it is often chosen to be off the page in
the upper left or right corner) to cast shadows or cause highlights on the motifs.
- changing the color of the thread within a pattern to show darker shades in the "shadow"
and lighter hues on the "highlight." Changing the color of thread within a pattern
occurs on the Bostoke sampler (1598), for instance. Though that example is of a
band-style of blackwork, the pattern itself could easily be used as a filling. It
uses two colors, but not in a manner to suggest shading.
Actually, I don't think the "New Stitches" patterns use any of the above shading techniques,
but such techniques are discussed at length in Marion
Scoular's _Why Call it Blackwork?_ and Margaret Pascoe's _Blackwork_, to name
but two contemporary examples.
I, too, would be very, very interested in any information on instances of the
above kinds of shading used in blackwork (patterned fillings used in a gray-
scale manner, only, Not flecked, speckled, wrapped thread, spot motifs, band
styles, etc. ) before 1650, or even before 1950.
Yours in stitches,
Mistress Eowyn Amberdrake, Caid
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From: "Linn Skinner"
Subject: Re: HNW - Blackwork in SCA period
Date: Fri, 6 Mar 1998 06:02:09 -1000
Hi fellow Californian!
I'm not SCA but quite interested in blackwork, have personally worked with
the originals of most of the pieces mentioned here and charted many of them,
and have found that:
1. Blackwork is very difficult to define - at best
2. Three sorts of design aesthetic existed during what I assume to be a
proper SCA period
a. pictorial designs created by printing the design on silk,
outlining with minute stem/outline stitch and filling with
speckling/seed/stippling stitch
b. Curvilinear forms (usually tendrils in braid/knot stitches
using black or black and white twist or metals) filled or not filled with
filling patterns (true diaper or others)
c. Motifs or borders in double-running, half back or back stitch
which may be found on costume or furnishing pieces (in black) or in early
samplers (in colors).
The geometric outlined, diaper/repeat filled designs belong to our century
as does the common term "blackwork" as we often use it today. The sort of
contoured effect shading (by varying weight of fibers and adding or subtracting elements
of a repeat or diaper design) began as "art needlework" at the Royal School of Needlework
where this techique is still taught to apprentices and is a required skill to complete apprenticeship or a certificated program. Ms. Scoular is a graduate of
the apprentice program there and brought her skills to us in America. Hence the
popluarity of depicting fruit, flowers, people, teacups and other subjects "in the
round"..
The only early sort of blackwork that shows perspective or contour is the
first sort mentioned above and to date (after years and hundreds of hours of
research) I have found only one small motif that appears on both costume items (two
coifs) and a sampler. I find the filling patterns crossing over quite easily and
have charted hundreds of them, although I refuse to put out another book of them
(200 charts is more than plenty!)
Nice to see lots of good discussion on one of my favorite subjects. Keep up
the good work.
Linn Skinner
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From: EowynA
Date: Fri, 6 Mar 1998 07:19:23 -1000
Subject: Re: HNW - Blackwork in SCA period
>1. Blackwork is very difficult to define - at best
Ah, yes, most assuredly. I, too, have been examining the pieces (when I can)
and their photos (much more frequently). I came up with 13 different categories (with
some overlap), though the broad outlines of mine and yours
are (not surprisingly) the same. I included black construction stitches on
white garb of the 16th century , too, as blackwork (e.g., holding the seams of
a shirt together, finishing the edges of a ruffle in black [probably blanket
stitch]).
ABy the way, another style of blackwork that shows an elementary form of
shading, and which has not been mentioned yet, is the use of a blanket stitch on either
side of a stem, or around a circle to represent a grape. That style is used in a
few pieces as the only style, but normally appears in conjunction with one of the
other styles.
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From: EowynA
Date: Sat, 7 Mar 1998 16:17:26 -1000
>"blackwork" didn't necessarily
>mean that the work was executed in black or nearly black threads on a lighter
>ground, but rather that "blackwork" as a term came to mean certain stitches
>which were worked in a certain type of pattern, but the actual color of the
>thread for executing the stitches and patterns could be of any obtainable
>color for the era including metalics, or a combination thereof?
That's about right, but it really depends on whose definition you are using.
I sat in on a lecture last month by Jane Zimmerman, who is a well-respected
(esp. in EGA and ANG) blackwork researcher. Her definition was strictly
"black thread on a white ground."
However, there are lots of kinds of embroidery that is today identified as
"blackwork." For instance, bands of embroidery done in the 16th century that
in modern times is called "blackwork" and which may be what was called
"Spanish work" or "Spanish stitch" in that period, are generally seen in black
thread on white fabric. But sometimes it was done in red thread, and
sometimes in a couple colors (at least, on samplers). If the pattern done in
black on white is "blackwork" does it suddenly mutate to a different name when
done in red thread?
Some people say yes, others say no. I'm of the latter camp, in which
blackwork is a set of styles with strong contrast and mostly linear stitches.
And the stitches used for the black (or red or green...) thread are generally
not the same stitches that were used in the metallic threads used in the same
design. There was some overlap of stitch type, but not much. Metallic threads, for
instance, were often employed in a plaited braid stitch, or a
Ceylon stitch, or woven spiders webs. The black thread would be used for
double-running or plain running stitch , or backstitch, or stem stitch, or
closed herringbone.
My point being that it is hard to pin down what "is" or "is not" blackwork, because
there is not one commonly agreed upon terminology. It's close, but
not universal. And it doesn't help that figures filled with diaper patterns are called
blackwork, and double-running patterns are called blackwork, and speckled stuff is
called blackwork ... you see the dilemma :-)
Me, I read the books, looked at the pictures, examined what artifacts i could,
and drew my own conclusions.
Have fun in your own journey down that road! :-}
Melinda Sherbring, Los Angeles (a.k.a. Eowyn Amberdrake in the SCA)
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Date: Wed, 4 Mar 1998 14:57:32 -1000
From: [email protected] (Lee Carter)
Subject: Re: HNW - Counted Cross-stitch
The Oxburgh Hangings was cross stitch on linen by Queen Mary of Scots and
Bessy Hardwick was done about 1570... tent stitching which is half a cross stitch
(kinda sorta) can be found earlier.. My source is THE VICTORIA AND
ALBERT MUSEUM TEXTILE COLLECTION authored by Donald King and Santina Levey
published by Danby Press. Book a must....
Mouse
back