emb-blackwork-msg - 7/21/99
Medieval Blackwork embroidery.
NOTE: See also the files: embroidery-msg, emb-linen-msg, emb-frames-msg, 8-P-Stitches-art, cross-stitch-msg, embroidery-SW-msg, p-x-stitch-art.
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NOTICE -
This file is a collection of various messages having a common theme that I have collected from my reading of the various computer networks. Some messages date back to 1989, some may be as recent as yesterday.
This file is part of a collection of files called Stefan's Florilegium. These files are available on the Internet at: http://www.florilegium.org
I have done a limited amount of editing. Messages having to do with separate topics were sometimes split into different files and sometimes extraneous information was removed. For instance, the message IDs were removed to save space and remove clutter.
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Thank you,
Mark S. Harris AKA: THLord Stefan li Rous
Stefan at florilegium.org
************************************************************************
[Submitted by From: Donna Hrynkiw <donna at Kwantlen.BC.CA>]
From stuander at chinook.halcyon.comMon Dec 18 14:16:35 1995
Date: 2 Dec 1995 18:50:56 GMT
From: "Stuart L. Anderson" <stuander at chinook.halcyon.com>
To: sca at mc.lcs.mit.edu
Subject: Blackwork question
daniel fox (foxd at silver.ucs.indiana.edu) wrote:
: I have a question about reversible blackwork--What do you do with the ends?
The Blackwork finishing technique I like best is the "sneaky
finish" which I learned from Marion Scoular. In this
technique you end your threads under previously worked
stitches.
|| || || || || || ||
|| || || || || || ||
-----------||-----------||------------||------------
-----------||-----------||------------||------------
|| || || || || || ||
|| || X || || X || || ||
----||------------||-----------||------------||-----
----||------------||-----------||------------||-----
|| || || || || || ||
|| || || || || || ||
If your stitch runs from x to x on the diagram above, you
pull the stitch back with your fingernail and, using a sharp
needle, run your ending thread through the fabric threads
making sure you pierce the fabric threads. After you have
pulled your thread through let the stitch go back over your
ending thread. Do this for at least 3 stitches. Even if,
like me, you do not do this technique very well it is still
difficult to find where you began and ended a new thread.
It also holds very well as I found out once when I tried to
take it out because I had miscounted on the pattern. Now I
finish the pattern first and then finish the ends.
Marion Scoular gives much better instructions and diagrams
in her book, "Why Call it Blackwork." I bought my copy at
Threadneedle Street, 485 Front Street North, Suite B,
Issaquah, WA 98105, tel. 206-391-0528 (she does mail
order). Also try your local needlework shop. You can
probably also get it from Marion Scoular, Sherwood Studio,
2840 Skye Terrace, Duluth, GA 30136, tel. 404-497-0648.
Besides the "sneaky finish" this book gives good basic
instructions on blackwork techniques and has a good
bibliography at the end.
Karen Anderson
From: Louise Willey <lwilley at dpie.gov.au>
Newsgroups: rec.crafts.textiles.needlework,rec.org.sca
Subject: Re: Blackwork question
Date: 11 Dec 1995 01:29:27 GMT
Organization: Department of Primary Industries & Energy
the questions was: how to keep reversible blackwork reversible by
disguising the ends of threads.
the only way i know is to have a sufficient length (about 8 cm) to whip
over the stitches as if it were part of the embroidery - no 2 cm ends
tucked away with the eye end of the needle for this work. i whip the
new thread over the existing stitches when i start it (but of course -
excuse the oxymoron please) and i whip the old thread over the stitches
done with the new thread - don't double whip the same bit.
the very last few millimetres can have an annoying habit of sticking out
after the end has been cut off. i've discovered that if i whip one way
this happens more that if i do it the other way. by this i mean, for
ezample, if the stitches were a single horizontal line, one way would
be whipping from top down, the other way would be whipping from bottom
to the top. i'm sorry i can't draw a diagram for this - i hope you
understand what i mean. when i discover that the end is behaving
itself, i try to remember to keep whipping that way - if a tiny
"whisker" appears, i undo the tail and whip it the other way. there is
quite a bit of thread in this whipped tail, so it is possible to whip it
properly without resorting to eye of the needle juggling.
when it is all said and done, the back is the back (ahh! more oxymorons
- or is that a straight out tautology?) so neatness is the best you can
strive for. i agree that knots are a no-no. competition judges will
disregard anything they see with knots in it.
cheers! louise
From: theducks at greenduck.com (Steve Urbach)
Newsgroups: rec.org.sca
Subject: Re: Spanish Blackwork
Date: Fri, 25 Oct 1996 02:20:32 GMT
Organization: Green Duck Designs
Marian.C.Pereira at bender.com wrote:
>I am interested in learning about Spanish blackwork. If anyone out there
>shares this interest I would appreciate your help. Many thanks.
Green Duck Designs carries a book by Katherine Epstein - New Model
Book for Spanish Stitch $9.95
>At your service,
>Do~na Petenera
>-----------------------------------------------------------------------
>This article was posted to Usenet via the Posting Service at Deja News:
>http://www.dejanews.com/ [Search, Post, and Read Usenet News!]
Derek Dragonsclaw
From: salazar at sprynet.com (Kim Salazar)
Newsgroups: rec.org.sca
Subject: Re: Spanish Blackwork
Date: Tue, 29 Oct 1996 18:45:22 GMT
Marian.C.Pereira at bender.com wrote:
>M'lords and M'ladies,
>I am interested in learning about Spanish blackwork. If anyone out there
>shares this interest I would appreciate your help. Many thanks.
>At your service,
>Do~na Petenera
Unto Dona Petenera from Countess Ianthe, fair greetings.
If I may be so immodest, my book is an excellent source of patterns
using double running stitch (Spanish Stitch). It's got more than 150
specifically for that technique ranging from good choices for the
beginner through huge repeats for more advanced stitchers. I am
uncomfortable discussing it here, but feel free to drop by my Web site
or eMail me for more details.
If you are interested in the style of blackwork characterized by heavy
outlines filled in by geometric stitches, there are several excellent
books on the subject. Some of them are probably out of print, but
they are relatively easy to find. Look for:
Geddes, Elizabeth and McNeill, Moyra. Blackwork Embroidery: New
York: Dover Publications, 1976 (recently reissued and still
available)
Gostelow, Mary. Blackwork. London: BT Batsford, Ltd. 1976.
Pascoe, Margaret. Blackwork Embrodiery: Design and Technique.
London: BT Batsford, Ltd. 1986.
Also there is an excellent small booklet that was recently issued by
a noted British expert in and scholar of blackwork. It's difficult to
find, but worth the search:
Robinson, Jack. Blackwork Embroidery: My Methods and Techniques.
Langcastershire: Threadbare Press, 1995.
I think the only place Robinson's book is sold in the U.S. is The Yarn
Barn of san Antonio, 4300 Mccullough, san antonio TX 78212 phone (210
826-3679).
The only affiliation I claim with any of these sources is authorship
of my own. :-)
Ianthe d'Averoigne
"The New Carolingian Modelbook: Counted Embroidery Patterns from
Before 1600."
salazar at sprynet.com
http://home.sprynet.com/sprynet/salazar
Date: Fri, 22 Nov 1996 08:10:42 -0600
To: ansteorra at eden.com
From: gunnora at bga.com (Gunnora Hallakarva)
Subject: Blackwork Information
Heilsa, All.
This is my last few minutes on the keyboard before the surgeon gets
me later this AM. Meanwhile, I found this nifty list of information sources
for Blackwork Embroidery on the Historical Costuming List, and thought I'd
share it with you.
As always, I did not compile this info, the original author's name is listed
at the bottom of the text below.
========================================================
Blackwork Embroidery
--------------------
http://www16.crl.com/~kdyer/documents/mag_book_vid.html
Needlework FAQ: Magazines, Books, Videotapes
http://www.ambook.org/bookstore/needlework/
Hard-to-Find Needlework Books
http://www.pacificnet.net/~pmarmor/bwarch.html
Elizabethan Blackwork: The Blackwork Embroidery
Archives [patterns and everything!!! yaay!]
http://www.cis.ohio-state.edu/hypertext.faq/usenet/crafts/textiles/faq/part1
/faq.html
Textiles FAQ from rec.crafts.textiles and alt.sewing
http://www.greenduck.com/newrtpl/charts.htm
Green Duck Designs Charts Category Price List
http://bull.got.kth.se/~annat/
Anna's LARP Crafts Links Page [a lot of this is
in Swedish, but the links are great; there's a whole
section on embroidery, and for the fellas, a bunch
of links on making your own armor, weapons, chainmail, and
even a link called "Much ado about bondage..." I'll
let you go there yourselves... plus, there's quite a
few costuming sites]
http://www.ftech.net/~regia/embroid.htm
Embroidery Techniques
http://www.crl.com/~kdyer/xstitch.html
Counted Cross Stitch, Needlework, and Stitchery
Page
Told in a Garden [stitchery resources and designs]
Black Swan Designs [counted cross stitch designs]
http://www.scsn.net/users/pegasus/
Pegasus Originals Inc. [more counted cross stitch]
and my personal favorite, the granddaddy of them all
(well, not really, but I'm mighty impressed by the contents
of this page-it's emphasis is on info., not flash):
http://www.staff.uiuc.edu/~jscole/medembro.html
The Medieval/Renaissance Embroidery Home Page
Milieux:The Costume Site
http://ddi.digital.net/~milieux/costume.html
The best costume site I've seen, with links to everything you can imagine.
-----------------------------
NEEDLEWORK:
Medieval/Renaissance Embroidery Homepage
http://www.uiuc.edu/ph/www/jscole/medembro.html
Donna's Needlework Page
http://www.dabbler.com/ndlwrk.html
Valuable not so much for itself as for its many good links.
Counted Cross Stitch, Needlework, and Stitchery Page
http://www.crl.com/~kdyer/xstitch.html
The Lacemaker's Home Page
Blackwork Embroidery Archives
http://www.pacificnet.net/~pmarmor/bw_sesns.html
A little disappointing -- only six designs.
The Medieval/Renaissance Embroidery Home Page
http://www.uiuc.edu/ph/www/jscole/medembro.html
===============================================
Original poster for the info above is:
Elizabeth Pruyn iteach at slip.net Oakland, CA
Date: Wed, 25 Jun 1997 10:27:44 -0400
From: "lwperkins" <lwperkins at snip.net>
To: <sca-arts at raven.cc.ukans.edu>
Subject: Re: Book Review Succeeds
I wish to thank everyone who wrote to me regarding Queen Elizabeth's
Wardrobe Unlock'd; the book came a few days ago and it is an astonishing
book---I learned more reading this book about noblewomen's garb in England
from 1560 to 1600 than from all my previous books combined. For anyone who
is interested in this period's embroidery , find a copy of this book--it
has close-ups of the most intricate blackwork, fabulous beasts, allegorical
symbols and just amazing needlework that I've ever seen. There's a complete
chapter on how the garb was made, close-ups of stitching and fastenings,
pictures of underwear(!). I learned that light colors were fashionable,
not just dark ones, that Tudor garb was hot to wear even in period, found a
picture of a period "Barbie" doll (an 11-inch fashion doll), and read a ton
of juicy gossip. Since I probable wouldn't have ponied up the 130.00
without some outside advice, I'm very grateful to all of you.
Yours in service,
Ester du Bois
lwperkins at snip.net
Date: Sun, 09 Nov 1997 17:33:50 -0700
From: bombarde at mindspring.com
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>I'm enjoying 'Queen Elizabeth's Wardrobe Unlock'd' by Janet Arnold - found
>a copy at the Canberra public library on Saturday - yippee!
>
>And I'm having fun trying out blackwork embroidery based upon some of these
>designs. Why didn't anyone tell me how easy and quick it is? I'd have tried
>it much much earlier!
>
>Please, does anyone have any relevant web addresses concerning this type of
>embroidery? Or any tales of successful works?
>
>Rakhel
>Lochac
Greetings! I am a fan of blackwork embroidery myself, and have found a
marvelous website called Blackwork Embroidery Archives at:
www.pacificnet.net/~pmarmor/bwarch.html
She has some lovely designs that are available to download, and a good
listing of available resources. Some of the designes are more modern, but
some are quite traditional and all are lovely. Enjoy!
Sally
known in these current middle ages as Lady Sarah Douglass Corccair
Date: Sun, 9 Nov 1997 19:26:16 -0700
From: "Karine" <alphafem at safelink.net>
To: <sca-arts at raven.cc.ukans.edu>
Subject: Re: Blackwork Embroidery
TI had an article, many years ago, that detailed the patterning on Queen
Jane's cuffs, as they are affectionately called. The pattern was correct,
with the exception of the part concerning the small crosses, which the
author admitted that she couldn't figure out. Still, many thanks to this
lady for publishing it anyway.
The New Carolingian Sourcebook is inspirational, but should always be cross
checked with something else before going to work, as I have found a few
errors in the patterns.
Here are two wonderful books -- Magaret Pascoe's _Blackwork Embroidery:
Design and Technique_ and Geddes and MacNeil's _Blackwork Embroidery_.
For the money, both are excellent and have pictures of existing period
pieces.
Ilse Altherr has two books out on _Reversible Blackwork_ Vol I and II which
are extremely helpful.
Epstein's _An Anonymous Woman: Her work wrought in the 17th Century_
is another good bet. Lots of patterns taken directly from an existing
sampler.
There is also a Compleat Anachronist on blackwork that is a good starting
point.
Hope this helps.
Lady Tireachan MacPherson
Date: Sun, 9 Nov 1997 21:41:27 -0500 (EST)
From: Carol Thomas <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>Please, does anyone have any relevant web addresses concerning this type of
>embroidery? Or any tales of successful works?
Some (but not all) of the blackwork seen in Holbein's portraits can be
charted. It can be addictive...
Lady Carllein
Date: Sun, 9 Nov 1997 21:45:43 -0500 (EST)
From: Carol Thomas <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>Epstein's _An Anonymous Woman: Her work wrought in the 17th Century_
>is another good bet. Lots of patterns taken directly from an existing
>sampler.
There are also patterns in her "German Renaissance Embroidery" and "New
Modelbook".
Lady Carllein
Date: Sun, 9 Nov 1997 21:49:06 -0500 (EST)
From: Carol Thomas <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>Ilse Altherr has two books out on _Reversible Blackwork_ Vol I and II which
>are extremely helpful.
Reversible is fun if I use 2 needles: a long thread and a needle on each
end. Do a few stitches with one, follow up and fill in with the other....
Trying to go all the way accross with one needle leads me, to errors,
frustration, and not-safe-to-be around.
Am working on a banner saying Small Churl Books with the letters filled in
with reversible blackwork. At the present rate, it should be done by the
millenium!
Lady Carllein
Date: Sun, 09 Nov 1997 19:55:29 -0800
From: Brett and Karen Williams <brettwi at ix.netcom.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
Karine wrote:
> TI had an article, many years ago, that detailed the patterning on Queen
> Jane's cuffs, as they are affectionately called. The pattern was correct,
> with the exception of the part concerning the small crosses, which the
> author admitted that she couldn't figure out. Still, many thanks to this
> lady for publishing it anyway.
Thank you for the compliment! If memory serves, I could not figure out
how to get true double-running stitch pattern for the annoying little
ends of those crosses. I'm the lady, incidentally-- and I did the
illustrations and calligraphy for that article, too. It was inspired by
seeing Norris' badly done copy redrawn in Katrine du Baillie Chat's
early book on SCA clothes-making. Since I happened to have a book with a
large color plate of that portrait that showed the cuffs quite
clearly...
My purse project, y'know, the one you carry around in your mundane purse
for those idle moments while waiting, is yet another set of that pattern
for collar and cuffs for my husband. It's been living there for about
two years now. ;) At least this time it's not being done on eenie-weenie
little 18-count, merely 16.
However, of your courtesy-- my contributor's copy of that issue seems to
have disappeared. Which issue of Tournaments Illuminated is it in? I
know it's before issue number 87.
ciorstan
Date: Sun, 09 Nov 1997 23:15:42 +0000
From: Karen at agent.infodata.com (Harris, Karen)
To: SCA-ARTS at UKANS.EDU
Subject: Re: Blackwork Embroidery
Unto the artisans and craftspeople of the Known World -- greetings!
Karine wrote:
> TI had an article, many years ago, that detailed the patterning on Queen
> Jane's cuffs, as they are affectionately called. The pattern was correct,
> with the exception of the part concerning the small crosses, which the
> author admitted that she couldn't figure out. Still, many thanks to this
> lady for publishing it anyway.
Then Ciorstan wrote:
> Thank you for the compliment! If memory serves, I could not figure out
> how to get true double-running stitch pattern for the annoying little
> ends of those crosses. I'm the lady, incidentally-- and I did the
> illustrations and calligraphy for that article, too. It was inspired by
> seeing Norris' badly done copy redrawn in Katrine du Baillie Chat's
> early book on SCA clothes-making. Since I happened to have a book with a
> large color plate of that portrait that showed the cuffs quite
> clearly...
Actually, a version of the pattern for Queen Jane's cuffs appears in
Rosemary Drysdale's "The Art of Blackwork Embroidery" (I bought a
first edition copy, autographed by the author, from a local used book
store for five dollars).
I haven't seen Ciorstan's pattern, but the pattern in Drysdale's book
(page 105, for those of you kiddies who can play along at home) again
has everything but the little crosses along the edges, as well as the
winding pattern nearest to it. The little crosses (to me) look like
two horizontal stitches bisected by a vertical stitch, but I haven't
really done enough work with this pattern to say for sure ...
Yours in Service to the Dream,
Karen Larsdatter
Barony of Ponte Alto, Atlantia
Date: Sun, 9 Nov 1997 21:30:24 -0700
From: "Karine" <alphafem at safelink.net>
To: <sca-arts at raven.cc.ukans.edu>
Subject: Re: Blackwork Embroidery
Karen wrote:
> I haven't seen Ciorstan's pattern, but the pattern in Drysdale's book
> (page 105, for those of you kiddies who can play along at home) again
> has everything but the little crosses along the edges, as well as the
> winding pattern nearest to it. The little crosses (to me) look like
> two horizontal stitches bisected by a vertical stitch, but I haven't
> really done enough work with this pattern to say for sure ...
That works, but the pattern won't be reversible, which is the real trick ;)
I'll try to figure out a way to describe it via internet and post it
tomorrow.
Tireachan
Date: Sun, 09 Nov 1997 23:44:15 -0600
From: SOC STUDIES <camlewis at swbell.net>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
rachel_mcgrath at nfsa.gov.au wrote:
> Rakhel again ...
>
> If I were going to use blackwork for a nice pair of cuffs, then would I use
Cuffs or Ruffs?
if you would like a nice pair of ruffs to wear I would suggest
linen...you can do the blackwork on them, hand wash them and dip them in
liquid starch to keep them stiff. You should only wash them once a year
or so (don't eat in them). If you mean cuffs on a shirt use whatever the
shirt is made out of.
> linen, then starch it? Or not starch? Or not linen? Thinking of an
> Elizabethan shirt here.
>
> And (oh how I'm confused!) is it absolutely necessary to follow a grid and
> make nice straight lines? I like the more freehand stuff I saw in
> portraits in London. (curvy lines, no evidence of having followed a grid,
> round petals, curvy animals, etc).
You can use the grid where you need to and do freehand work on your
petals and animals too...there are no rules
Hope it might help
Sir ALREK KANIN
Ansteorra
Date: Sun, 09 Nov 1997 23:35:13 -0700
From: bombarde at mindspring.com
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>Rakhel again ...
>
>Phew! Worked out that I'm on the right path re blackwork but have *yet
>another* question! Actually, two of them ...
>
>If I were going to use blackwork for a nice pair of cuffs, then would I use
>linen, then starch it? Or not starch? Or not linen? Thinking of an
>Elizabethan shirt here.
>
>And (oh how I'm confused!) is it absolutely necessary to follow a grid and
>make nice straight lines? I like the more freehand stuff I saw in
>portraits in London. (curvy lines, no evidence of having followed a grid,
>round petals, curvy animals, etc).
>
>Am I barking up the wrong tree? (OK, that's three questions :-)
>
>Rakhel
I would not be the one to advise you about the linen. In regards to the
blackwork, no you are not barking up the wrong tree, you are looking at two
different types of blackwork. As I understand it, from what research I have
done, the angular, more geometric designs are the older moorish work that
was originally brought to England. In the Elizabethan era blackwork became
very popular, but evolved into the larger, overall designs - the more ornate
florals and such, that are actually embroidered outlines with filler in the
geometric designs. They are two very distinct styles, and both are period
although the Elizabethan work is later. That is my only small complaint
with the web site I referred you to, what she shows there is not actually
Elizabethan Blackwork. At any rate, you can see it in many of the paintings
where entire sleeves are worked in floral/animal designs with a gauze
overlay, or other pieces of garb entirely covered with the work. The plain
geometric designs were often used for borders or ruffles. It depends on
what you are doing with it.
Hope this helps, it is all off the top of my head from memory, I can look up
some sources if you would like. I should still have the handouts from my
blackwork class, if you would like them, respond to my personal email
address and I will be glad to mail a set to you.
Happy stitching!
Sally
known in these current middle ages as Lady Sarah Douglass Corccair
Date: Mon, 10 Nov 1997 06:52:27 -0500 (EST)
From: STASYAD at aol.com
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
I am answering your question about blackwork that appears more free form in
style.
In my reseach that style was done almost entirely on England during the later
Tudor period. While not done in a true free form style, it was also not done
counted thread either. Instead what they did was stamp patterns on the
fabric and and then follow the lines in many cases. There are sleeves in the
V & A museum that are between panes of glass and the stitching has not been
completed and the stamped pattern is still visible. English Blackwork was
almost always done with black thread on a white fabric, although the sometimes
accented with gold thread.
The more geometric style is done counted thread. This style can be dated
back to 1300 egyptian digs. This style was more popular on the continent.
Another thing is although it was mostly done monochromic(one color) it
wasn't done in just black thread. The used blue, green, brown and in the
slovic countries red to the point it is referred to as redwork in that
region. My researchleads me to believe this style is what was generally
called "Spanishwork".
Another myth to debonk is that all blackwork is reversible. In the entire
blackwork collection at the V & A museum. There is only one piece of
reverible blackwork and it is a handkerchief. The items that tended to be
reversible were the areas the the back could be readily seen. This would
normally be the cuff and collar area and things like handkerchiefs. The
idea of everything being reversible is actually a victoria concept.
BTW an interesting note the linen that they worked on was very different that
what is avalible today. According to one book I read the linen used in the V
& A museum was from 32 count (coarsest) to 120 count. Having worked with up
to 40 count myself and I have a piece of 80 count for my next project I
really can't imagine the 120 count. Their linen was also more even and
uniform. Todays linen even the so called "even weave" is not truely even
weave, if you are doing a counted thread pattern and it uses diagonal
stitches to get a round shape the linen will distort that shape. I have used
32 count Moorocan cotton to achieve the look of linen without distorting my
pattern.
I hope this has answered some of you questions. I can get entirely to long
winded on this subject, it's my passion.
Mistress Anastassia
Kingdom of Ansteorra
Date: Mon, 10 Nov 1997 09:32:12 -0500 (EST)
From: Carol at Small Churl Books <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>who saith: Jeepers, after I designed the Acorn
>sampler (http://ww.georesearch.com/ktemp/graf/acorn.jpg), I worked it
>just about completely reversable -- only places where it's not is at
>the long-armed cross stitch, cross stitch, and rice stitch ...
Am typing at work, where there is e-mail but not internet access. So I
can't go refresh my memory on the acorns.
As far as I know, there is no way to make long-armed cross reversible.
Any single cross stitches which are free standing (have white linen all
around them) cannot be made reversible. Unless you were to start a new
piece of thread, do the one stitch on both sides, and somehow hide the ends
- seems to be a practical impossibility.
Date: Mon, 10 Nov 1997 09:39:22 -0500 (EST)
From: Carol at Small Churl Books <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
>Their linen was also more even and
>uniform. Todays linen even the so called "even weave" is not truely even
>weave, if you are doing a counted thread pattern and it uses diagonal
>stitches to get a round shape the linen will distort that shape.
While I haven't taken the time to check out the V&A blackwork pieces for
eveness, there are many cross stitch and pattern darning pieces from England
& Germany that show this distortion. My favorite is a boy's shirt with
columbines done in cross stitch, 15th c., at the V&A. It is quite
distorted. This made it a pill to count out and chart, until I caught on...
Date: Mon, 10 Nov 1997 10:10:14
From: cmccraw at comp.uark.edu
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
I found the instructions in the following cross stitch leaflet very helpful
in explaining reversible counted thread work (double running stitch):
__Basic Guide to Band Samplers__ by Deanna Hall West, published by American
School of Needlework (#3683)
instructions for the Holbein sampler
I got my copy at Hobby Lobby. The holbein sampler works up quickly and is
about 6" by 4" (very approximate) so it was fun to make. I did a nun's
stitch around the edges and keep it with my teaching supplies. (I stitched
it in less time than I could chart my own design!)
Fionna, Calontir
Cassandra McCraw, Special Collections Division, University of Arkanas
Libraries, Fayetteville AR 72701 ph (501)575-8444
CMCCRAW at COMP.UARK.EDU
Date: Mon, 10 Nov 1997 08:25:53 +0000
From: "BSJ" <imperial at earthlink.net>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
I have found that blackwork is also called Holbein stitch. I don't
know if I have the spelling correct but he's the fellow that did the
portraits of Henry Tudor. The American publication " Cross Stitch and
Country Crafts" often has pieces for the beginner to intermediate
stitcher that show how to do work the stitch although the patterns
themselves are modern. The Anchor Manual of Needlework talks a little
more about it. In Tuscany it's called "Volterrano" and in Assisi "
St.Chiarra". I like this book since it recommends fabric weaves and
thread. As far as finding sights on the web.. Try some different
languages. I'll see what i can find.
Lord Vladimir Uskovich
- V Liaison
- Paramonia V
Date: Tue, 11 Nov 1997 06:15:27 -0500 (EST)
From: STASYAD at aol.com
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Embroidery
1300 AD. I would love to be able to date the geometric style to earlier, but
haven't come across anything in my research. There was a piece of embroidery
that is technically blackwork dated to 1190AD. It is black silk thread
embroidered on white linen. It's an outline type design of two people. the
embroidery is from an altar cloth. Unfortunatley the museum that housed this
piece was razed during WW II. We do have surviving pictures though. That i
have been able to trace this is one of the earliest examples of blackwork
Mistress Anastassia
Kingdom of Ansteorra
Date: Tue, 11 Nov 1997 10:27:56 +0000
From: Karen at agent.infodata.com (Harris, Karen)
To: tarja at juno.com (Gayle A Bitker), sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Question
Tarja Rahikkanen wrote:
> I have a wonderful blackwork pattern of one of King Henry VIII's wives
> that I would like to do up for an A&S competition. My idea is to make it
> up into pillow form. But, my questions is: Would this be proper? I
> know that, in the one competition I entered in last spring, the judges
> wanted to see the backside of the fabric. If I do this piece up into a
> pillow, they wouldn't be able to see the back. Also, should I do the
> pillow up with something on both sides, or just one? Does the thread
> NEED to be black and the fabric white, or could I use a natural linen
> color and black thread or possibly even white thread? (Yes, I'm still
> fairly new at this and not sure how things need to be done up for a
> competition. I have entered numerous things in non-SCA events, but the
> judging styles are completely different.)
I can only assume you mean the "New Stitches" blackwork series? :)
(I have "New Stitches" too, and am just slavering at the mouth for
next month's issue ... that stained glass in cross stitch sounds
absolutely keen!)
Blackwork was often done up into pillow form -- an example of a
blackworked pillow can be seen on the 1610 portrait of Elizabeth
Drury. You may want to think about doing the pillow in that style.
(I can send you a scanned image of the portrait if you'd like.)
Locally, I haven't encountered any judges at competitions who give me
lower scores because they can't see the back. But then and again, I
don't do a lot of competitive blackwork, and it's not like I'm
taking home first place, either. As the thread on blackwork has
indicated, there are a lot of folks out there absolutely FIXATED on
reversable blackwork, which really isn't appropriate for the style of
blackwork on the pieces you're working on.
I'd say: Go ahead and finish it as a cushion, if that's what YOU
want to do. I know blackwork was also done in red thread, but IMHO
it looks its spiffest in black thread on white cloth.
Also -- this is a big thing with me. When (or if) you submit your
documentation, can you *please* note that you have worked it from the
"New Stitches" patterns? I have too often seen pieces from
magazines, charts, or kits that the embroiderer says is original,
or where the originality of the design is implied by the fact that
the embroiderer simply neglects to mention the source, and the judges
just don't know any better. It really makes me upset when I see that
happen.
Karen Larsdatter
Barony of Ponte Alto, Atlantia
Date: Tue, 11 Nov 1997 11:11:01 -0500
From: Caitlin Cheannlaidir <caitlin at phosphor-ink.com>
To: "'sca-arts at raven.cc.ukans.edu'" <sca-arts at raven.cc.ukans.edu>
Subject: RE: Blackwork Question
Tarja Rahikkanen wrote:
>>My idea is to make it
> up into pillow form. But, my questions is: Would this be proper? I
> know that, in the one competition I entered in last spring, the judges
> wanted to see the backside of the fabric. If I do this piece up into a
> pillow, they wouldn't be able to see the back
And Karen Larsdatter answered:
>>Blackwork was often done up into pillow form -- an example of a
blackworked pillow can be seen on the 1610 portrait of Elizabeth
Drury. You may want to think about doing the pillow in that style.
(I can send you a scanned image of the portrait if you'd like.)
Why not make the front, then photograph or photocopy the back, and then
finish it as a pillow? You can include the image of the back in your
submission, so those who are interested can see it.
Date: Tue, 11 Nov 1997 17:58:25 -0500 (EST)
From: Carol Thomas <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Blackwork Question
>I know that, in the one competition I entered in last spring, the judges
>wanted to see the backside of the fabric. If I do this piece up into a
>pillow, they wouldn't be able to see the back. Also, should I do the
>pillow up with something on both sides, or just one?
I'd suggest making it up a pillow (a well-documented period use of
blackwork), then finish 3 sides and baste the fourth side closed.
Then just pull the basting thread for the day of the competition, so the
back can be seen. The final sewing can be done after that.
When things are "paneled" (a helpful and friendly sort of judging) in the
East Kingdom Embroiderer's Guild, they generally want to see the back. This
is true even when no one is looking for the blackwork to be reversible. A
neat and organized back (without, say, a lot of long stitches needed to go
back & fix missed parts of the pattern) tells that you really know what
you're doing it. As compared to faking it on the front when the back looks
like a rat's nest....
> Does the thread
>NEED to be black and the fabric white, or could I use a natural linen
>color and black thread or possibly even white thread? (Yes, I'm still
>fairly new at this and not sure how things need to be done up for a
>competition. I have entered numerous things in non-SCA events, but the
>judging styles are completely different.)
While in some times & places blue, red, or green thread was used instead of
black, the most common was black. If you want to deviate from that, you'll
need to do extra research.
What I've read, and portraits of royalty wearing blackwork, indicate that
you really want very white linen. This was high class work. They wouldn't
use less expensive materials like unbleached linen. (The unbleached linen,
by the way, probably would just seem dirty to them.) The high contrast
between the linen and the black thread was much of the beauty.
Chaucer's Miller's Wife wore linen "as white as morne mylk" - so it was very
white, and embroidered with coal-black silk (circa 1390).
There was white-work embroidery, but what I have seen is very different in
style from blackwork, and is a "whole 'nother" topic.
Lady Carllein
Date: Wed, 12 Nov 1997 16:43:02 -0600 (CST)
From: "Donna Holsten" <holsten at nature.Berkeley.EDU>
To: sca-arts at raven.cc.ukans.edu
Subject: RE: Blackwork Question
> I have a wonderful blackwork pattern of one of King Henry VIII's wives...
> My idea is to make it up into pillow form...
> in the one competition I entered in last spring, the judges
> wanted to see the backside of the fabric.
If they asked me to judge the contest (which doesn't happen very often...),
I would personally be more impressed with some sort of documentation that
portraits were done in blackwork, that blackwork was made into pillows, and
that backs weren't always neat and tidy, than I would be by simply looking
at a tidy back. Lots of people can follow patterns and come up with a very
nice looking piece, but, IMHO, the part that makes it special is knowing
(and showing) that what you've done is Pretty Darned Close to something that
might have actually been done in a particular period.
Were it me that entered the contest, and if I received a comment that I
should have left the back open, I would show the judge the lovely
documentation of *closed* pillows and *messy* backs, and ask why it was
important to see the back. But, that's just my opinion, which isn't always
mainstream when it comes to things like A&S competitions...
Joanna
Date: Thu, 13 Nov 1997 08:40:26 +0000
From: <anderliz at maryvillecollege.edu>
To: sca-arts at raven.cc.ukans.edu
Subject: RE: Blackwork Question
> I have a wonderful blackwork pattern of one of King Henry VIII's wives...
> My idea is to make it up into pillow form...
> in the one competition I entered in last spring, the judges
> wanted to see the backside of the fabric.
<snip>
Were it me that entered the contest, and if I received a comment that I
should have left the back open, I would show the judge the lovely
documentation of *closed* pillows and *messy* backs, and ask why it was
important to see the back. But, that's just my opinion, which isn't always
mainstream when it comes to things like A&S competitions...
<snip>
I think that if I were worried that the judges would want to see the
back of a piece in order to get a better idea of my skill level, I
would finish the pillow and documentation and bring along another
pillow / work in progress which they could look at the front and back.
It seems like leaving the pillow open would make the entry seem
messy or unfinished. Just a thought.
Elizabet de Ross
Date: Wed, 12 Nov 1997 17:21:36 -0500 (EST)
From: <Seton1355 at aol.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: SCA-ARTS digest 252blackwork cufs
May I make so bold as to offer my two cents worth on blackwork cuffs?
Linen is a GREAT fabric for blackwork anything (cuffs, sampler, chemise...)
Starch the linen for ease in working if you are going to work the cuffs in
your hand.
Starch is not a MUST if you are going to work the cuffs in a hoop.
If you don't use linen, any even-weave fabric will do nicely.
The best of luck!
Phillipa
Date: Sat, 15 Nov 1997 08:46:41 -0500 (EST)
From: <Seton1355 at aol.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: blackwork linen count
Don't use the linen sold in stitching shops. (cross stitch places) _
too scratchy and it won't hold up as well as a regular piece of linen to
repeated wearing & washing. Instead use regular linen from a fabric shop.
For a shirt or chemise try buying a soft linen that has a fairly close
weave, not linen suitable for a dress or skirt. (That would be too heavy and
won't drape as nicely as thinner linen would for your shirt/chemise.) Ask
the sales person to show you linen suitable for blouses and shirts.
To count it: do you mean number of threads per inch? Hold a ruler
along one of the cross threads. Starting at #1 on the ruler, count the
number of threads thre are untill you get to #2 on the ruler. That will give
you threads per inch. (basicly, don't worry about getting a spacific number
of threads per inch, just pick up even weave linen you like.)
A good idea for your project would be to look for some soft (to the
touch) linen that pleases you and that you can basicly make out the weave.
Buy extra yardage as the fabric needs to be pre-washed before stitching and
it WILL shrink! Machine stitch the ends of the linen, not together, just to
keep them from unraveling in the wash. Wash on delacate with a mild soap.
Dry until just damp and then iron. Cut out your pattern pieces, taking care
to place the pattern pieces CAREFULLY along grain (or thread) lines and
finish the edges so they will not ravel during the hand work or the wearing
of the garment.
To more easily see the weave to work on it, a magnifier would be very,
very useful. I have one on a stand that sits next to my chair. There is
also a kind that clamps onto the edge of a table. Or there is the kind that
comes on a string that you wear around your neck, resting the magnifier on
your chest. Check with your local stitchery shop. Work under bright light!
You count your stitching the same way as you would a sampler: Stitch
over two threads, under two threads....Just take your time with this project!
I know you can do it. Take one step at a time. I always say that my
stitching/sewing projects are done when when I get finished and not
before...it's not a race! :)
I hope I have been helpful. Please feel free to Email me directly if I
can be of other help.
Your cousin, Phillipa
Date: Sat, 15 Nov 1997 10:24:45 +0000
From: Karen at agent.infodata.com (Harris, Karen)
To: sca-arts at raven.cc.ukans.edu
Subject: Re: blackwork linen count
Philippa had many suggestions for counted blackwork on regular linen:
> To more easily see the weave to work on it, a magnifier would be very,
> very useful. I have one on a stand that sits next to my chair. There is
> also a kind that clamps onto the edge of a table. Or there is the kind that
> comes on a string that you wear around your neck, resting the magnifier on
> your chest. Check with your local stitchery shop. Work under bright light!
> You count your stitching the same way as you would a sampler: Stitch
> over two threads, under two threads....Just take your time with this project!
> I know you can do it. Take one step at a time. I always say that my
> stitching/sewing projects are done when when I get finished and not
> before...it's not a race! :)
My eyes are just hurting THINKING about that method ;) mostly the
kind of linen I have bought for costuming is made for reenactors, and
is far from an even count.
I'm currently working on a set of "silverwork" (double running stitch
in silver) napkins for the high table at Twelfth Night, and they're
on a relatively uneven linen. I did try Philippa's method but the
design (a seahorse unicornate, as is on the kingdom badge) came out
to about a half inch high. You can almost tell that it's a seahorse
... but you can't tell that the vague, sloppy fish thing took more
than three days to work. (I'm a quick embroiderer, and spending that
long on something that tiny was REALLY difficult.)
One of the period methods for applying an embroidery-pattern to the
surface of the cloth is known as "punch-and-pounce" -- essentially
placing the pattern over the cloth, punching holes with a needle
through the paper and onto the cloth, and "pouncing" powder
(sometimes a charcoal powder) through the holes and onto the cloth.
In some cases, the pattern was simply "punched." (If you look at the
Bostocke sampler of 1598, you can see an elephant, a rabbit, and a
bird that were "punched" but never actually embroidered.)
So how do I simulate the effect of a punched pattern? I use waste
canvas, baste it over the area where I want to do the work, and do
the embroidery over that. (I don't use interfacing, as I have on
other waste canvas embroidered projects.) It keeps everything
wonderfully even, and as long as I am careful about pulling the
thread TIGHTLY, it looks incredibly keen when it's done. When the
waste canvas is removed, it's hard to tell which side had it and
which side didn't (the pattern is done in completely reversable
double running stitch) and you can't see where the threads begin and
end (but that's also because I cheat another way.) ;)
Karen Larsdatter
Barony of Ponte Alto, Atlantia
Date: Sat, 15 Nov 1997 11:57:22 -0500 (EST)
From: Carol Thomas <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: blackwork linen count
>My eyes are just hurting THINKING about that method ;) mostly the
>kind of linen I have bought for costuming is made for reenactors, and
>is far from an even count.
On the eyesight topic, I know that real sunlight allows a huge increase in
what I can see clearly. I've wondered whether full-spectrum light bulbs
would be helpful, given that my very mundane house does not have a solar.
Does anyone have experience with these?
>So how do I simulate the effect of a punched pattern? I use waste
>canvas, baste it over the area where I want to do the work, and do
>the embroidery over that.
I sometimes use this dodge myself, as it can be very useful. However, if
the embroidery is very fine and the thread tends to fray (expecially silk),
it can be impossible to remove the waste canvas without damaging the
stitching. This happened to a friend, who had much conversation with her
local diety about the result.
Lady Carllein
Date: Thu, 8 Jan 1998 08:14:45 -0500 (EST)
From: Carol at Small Churl Books <scbooks at neca.com>
To: sca-arts at raven.cc.ukans.edu
Subject: blackwork
Some good news for embroiderers:
In May, Dover is going to reprint Gostelow's blackwork book. I consider it
the best book ever written on the topic (and I just recently spent $45 to
get a used hardbound copy - oh well). Am hoping that it is complete,
unabridged edition, because Gostelow shows more examples of original pieces
and portraits with blackwork, than anyone else.
Subject: BG - tidbit from the Needlework group
Date: Wed, 05 Aug 98 16:22:39 MST
From: Aceia at aol.com
To: bryn-gwlad at Ansteorra.ORG
This interesting tidbit is from the Historical Needlework group here on our
own SCA listserve. Knowing how careful the needleworkers in Bryn Gwlad (myself
included) are to keep everything neat, I thought it an interesting note that
period work does not HAVE to be neat. Not that that is an excuse for sloppy
work, but for beginners, they don't have to worry too much!
-Robin
<snip>
Joan Edwards (former Keeper of Textiles at the Museum of Costume, Bath) in
her little book on blackwork says that the backsides of items done in
blackwork were often rather sloppy. What a relief! <g>
--Kathryn
SCA: Kathryn Goodwyn
"too many centuries...too little time"
From: Jamie and Bridget Wilde <wildeman at psn.net>
Newsgroups: rec.org.sca
Subject: Re: Blackwork sources
Date: Mon, 24 Aug 1998 19:09:11 -0700
Organization: Fission Park
Ladynoire wrote:
> I am looking for some good references for blackwork, especially modern books
> on the subject. I have Elisabeth Geddes book, and the Carolingian Modelbook.
> I have seen references to other books on the subject, but I cannot remember
> the titles or authors' names. Any suggestions ?
Erica Wilson's Embroidery Book has a good section on blackwork, with
several plates of period examples, decent historical commentary, modern
examples of blackwork, a recipe for dying the black silk (!), and
several pages of filling patterns. Not sure if it's still in print
(copyright 1973, pub. Charles Scribner's Sons/New York) but I'd
recommend it as a source for anybody in the SCA - lots of authentic
pieces (most from the Victoria and Albert Museum) and very clear
diagrams for reference. Also has some interesting historical and
literary tidbits in the text. My only complaint would be that the
historical pieces are all in black and white (with the color plates
being modern works) but then, it doesn't matter very much for blackwork,
now does it?
Isabelle
From: seton1355 at aol.com (Seton1355)
Newsgroups: rec.org.sca
Subject: blackwork site
Date: 19 Sep 1998 18:17:09 GMT
http://www.cheshcat.com/crafts/needle/info/blkwork.htm
http://www.pacificnet.net/~pmarmor/bw_cost.html
From: "Ronald Osborn" <wizard at kenton.com>
Newsgroups: rec.org.sca
Subject: Blackwork patterns
Date: Wed, 14 Oct 1998 16:48:04 -0400
I recently came across a website that contains patterns for blackwork, but
am confused as to which designs would be appropriate for a linen chemise
made 1547-1558. All of the designs are pretty, but I would appreciate
knowing which ones to use for cuffs, bodice trim, etc. Any one who can
help, I'd love to hear from you!
http://www.pacificnet.net/~pmarmor/bw_cost.html
Thanks to all who respond!
Date: Thu, 31 Dec 1998 17:48:28 EST
From: <Seton1355 at aol.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Cross stitch and other stitches....
> I'm also interested in trying blackwork but I need a
> little help. Any advice would be deeply appreciated.
>
> Joia Hereweald
BlackWork Explained http://www.cheshcat.com/crafts/needle/info/blkwork.htm
Blackwork Embroidery Archives http://www.pacificnet.net/~pmarmor/bw_cost.html
Try these two sites.
Phillipa Seton
Date: Thu, 31 Dec 1998 17:20:21 -0600
From: froggestow at juno.com (Roberta R Comstock)
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Medieval Knitting Web Page
<sandilee at cyberhighway.net> writes:
>Roberta R Comstock wrote:
>> (The guage problem is also common in blackwork and knitting - but
>> that;s a whole other soap box.)
>
>I'd like to hear this "soapbox", as well, please. What do we need to
>adapt (in our gage, and elsewhere) to make it more period?
>
>Sandi
Well, I don't have the time or energy for the long rant (and wouldn't
want to subject all you people to it in any event), but here are the
things I think are important in abbreviated form:
The most valuable and irreplaceable thing you invest in any handwork
project is your time!
It behooves you to use the best materials and tools you can get your
hands on. You're worth it. The value of the finished project will be
many times greater than if you work with bad tools and cheap, shoddy
components. A small kit may be okay for testing to see if you want to
do a 'real' project, but don't get hung up on them.
Blackwork - The example I always remember was a pair of gathered cuffs
on a later period chemise. The maker had charted the design from a
period portrait - AVery Good Move!. However, rather than considering
that what she could see was only half the cuff and doubling the length of
her chart (or repeating it), she worked the chart only once per cuff,
using oversized stitches (apparently based on the size of her graph
paper) and then put them on her chemise. It threw the scale all out of
whack and reduced the gathering to a bare minimum. The result was sadly
chintzy-looking and entirely lacking the opulent look of conspicuous
consumption by a wealthy lady of leisure. My memory (which may be faulty
on this point) says there was also an edging of modern nylon lingerie
lace applied to the edge of the cuff.
The comment I find myself making far too often when evaluating needlework
entries is:
Stay away from Modern even weave counted stitch fabrics, and especially
stay away from anything that contains even a hint of polyester!
Try working on plain muslin or linen. Even though linen is expensive, a
yard of plain linen (or even linen/cotton blend) purchased at a fabric
store will be much less costly than the same amount of 'needlework'
fabric from a needlework or craft store where they sell it in little
pieces or 18-inch squares. If you watch the sales and the remnant tables
in the good fabric stores, you can often find excellent pieces of linen
suitable for chemises, veils, caps, almoner's pouches, and favors. My
personal favorite source for linen is thrift stores. Look for
tablecloths and napkins. If you start with a somewhat coarse weave, you
will rapidly learn the joy of getting away from the mechanical look of
aida cloth and the like. You can work up (or down) to the finer linens
pretty quickly. For some projects, you may find it satisfactory to
work on a plain weave wool fabric.
Practice learning to identify linen fabric. Look at linens in museums
and antique shops. Fondle the fabrics as you walk down the aisles of a
fabric store. When you come to a bolt of linen, pick up the cut edge and
crumple the corner to see how it wrinkles. You will eventually be able
to tell the real thing without reading the labels. (Many modern fabric
stores, though, carry only linen-look poly blends - look at them, too and
you;ll learn what to avoid. They have a plastic-looking sheen and don't
stay crushed; they are also scratchy if you touch a corner to your cheek.
Ugh!)
Carry a magnifier with you when you shop. (I have a wonderful little
folding linen tester with a built in counting grid that I bought years
ago at The Textile Museum in DC. They may still carry them in their
gift/book shop.) A botanist's magnifier would also work. (I use mine
for both fabrics and plants in the field.) The important thing is to get
one that's small and not too heavy that you can (and will) always carry
in your purse, pouch or pocket.
Work with good cotton floss or silk or wool crewell yarns. Stay away
from synthetic threads and rayon. Select subtle colors that equate to
those that can be achieved with natural dyes. Avoid garish modern
synthetic colors and colored metallic threads.
<snip of knitting recommendations - see knitting-msg file>
Hertha
Date: Tue, 5 Jan 1999 15:40:55 -0700 (MST)
From: starsinger at webtv.net (theresa sorrell)
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Cross stitch and other stitches....
Blackwork
Mary Gostelow
ISBN 0-486-40178-2
$10.95
The book is excellant. They even show pictures of embroidered
nightcaps, including an unfinished on that shows the placement of the
work. There is a finished one that shows spangles (sequins). I picked
up mine along with a book on miniature bobbin lace. So much for
watching Zorro. The books were better :).
Starsinger
<the end>
){kind=link}