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MODERN EGYPTIAN PATCHWORK
Panels for wall decoration
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DOUBLE NINE PATCH
Made in Ohio in 1808. Colours: blue and white, and beautifully quilted
The artistic needlework of the Christian eraconsists almost entirely of embroidery; no positive reference to patchwork or quilting being found in western Europe prior to the time of the Crusades. But with this great movement, thousands of the most intelligent men in Europe, urged by religious enthusiasm combined with love of adventure, forced their way into eastern countries whose culture and refinements of living far surpassed their own. The luxuries which they found in Syria were eagerly seized and carried home to all the western lands. Returning Crusaders exhibited fine stuffs of every description that roused the envy of all who obtained a glimpse of them. A vigorous commerce with the east was immediately stimulated. From Syria merchants brought into Italy, Spain, and France silks and cottons to supplement the native linen and wool, and also many kinds of embroidered work of a quality much finer than ever known before. As a result dyeing, weaving, and needlework entered on an era of great development.
Previous to the eleventh century so memorable in the history of the Crusaders, references to quilting and patchwork are few and uncertain, but from that time on these twin arts became more and more conspicuous in the needlecraft of nearly everycountry in western Europe. This is explained by the stimulus which was given to these arts by the specimens of appliqué hangings and garments brought from Syria, where the natives wrought for centuries the identical applied work carried into Palestine from Egypt in Biblical times by the Hebrews and the Phœnicians.
About the earliest applied work of which we have record were the armorial bearings of the Crusaders. A little later came rather elaborate designs applied to their cloaks and banners. Among other specimens of Old English needlework is a piece of applied work at Stonyhurst College depicting a knight on horseback. That this knight represents a Crusader is beyond question since the cross, the insignia of the cause, is a prominent figure in the ornamentation of the knight’s helmet and shield, and is also prominent on the blanket on the horse.
Noticeable progress in the arts of both quilting and appliqué was made during the Middle Ages in Spain. Spanish women have always been noted for their cleverness with the needle, and quite a few of the stitches now in use are credited to them. At the time of King Ferdinand and Queen Isabella, applied work had long been known. Whetherit developed from imitating garments brought home by the returning Crusaders, or was adopted from the Moors, who gave the best of their arts to Spain during the thirteenth and fourteenth centuries, cannot be positively stated. However, it is worthy of notice that whenever the Christian came in contact with the Moor, a great advance in the textile arts of the former could generally be observed. This holds true even down to this day, our eagerness to possess the rugs of Turkey and Afghanistan, and the imitation of these designs in the manufacture of domestic carpets, being a case in point.
During the reign of King Philip II, 1527-1598, the grandees of the Spanish court wore beautifully wrought garments, rich with applied work and embroidery. A sixteenth-century hanging of silk and velvet appliqué, now preserved in Madrid, is typical of the best Spanish work. It is described as having a gray-green silk foundation, on which are applied small white silk designs outlined with yellow cord; alternating with the green silk are bands of dark red velvet with ornamented designs cut from the green silk, and upon which are small pieces of white silk representing berries. Also,another handsome specimen of Spanish applied work of the seventeenth century is a linen curtain richly embellished with heraldic emblems couched with gold thread. Horse trappings and reposters, loaded with appliqué flowers cut from gold and silver cloth, were much in evidence among the Spanish nobility of this period.
Of particular interest, as showing how oriental quilting designs filtered into Europe through the intercourse of the early Portuguese traders and missionaries with the East Indies, is the brief mention by Margaret S. Burton of a very elaborate old quilt now in a New York collection: “My next find was a tremendous bed quilt which is used as a portière for double folding doors. It formed part of a collection of hangings owned by the late Stanford White. He claimed there were only four of its kind in existence, and this the only one in America. It is valued at $1,000. It is a Portuguese bed quilt and was embroidered centuries ago by the Portuguese missionary monks sent to India. They were commissioned by their queen to embroider them for her to present as wedding gifts to her favourite ladies-in-waiting.” On account of intricacy and originality of design thisquilt represents years of patient work. It is hand embroidered in golden coloured floss upon a loosely woven linen which had been previously quilted very closely. The work is in chain stitch, and there are at least fifty different stitch patterns. In the centre panel is the sacred cat of India. Doves bearing olive branches, pomegranates, daisies, and passion flowers are intermingled in the beautiful design.
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PIECED BASKETS
A design much used by the old-time quilt makers. This quilt, which is about 85 years old, is unusual, in that the baskets are so small
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INTERIOR OF BEDROOM
Cochran residence, Deerfield, Mass., showing colonial bedstead with quilt and canopy
While the uses of patchwork were known over Europe long before the Renaissance, some credit its introduction, into Italy at least, to the Florentine painter, Botticelli (1446-1510). The applied work, or “thought work,” of the Armenians so appealed to him that he used it on hangings for church decoration. Under his influence the use of the applied work,opus conservetum, for chapel curtains and draperies was greatly extended. In time these simple patchwork hangings were supplanted by the mural paintings and tapestries now so famous. There are still in existence some rare pieces of Italian needlework of the sixteenth century having designs of fine lace interspersed among the embroidered appliqué of silk.
A homely cousin of the gorgeousopusconservetum, which has filled its useful though humble office down to the present day, is the heavy quilted and padded leather curtain used in many Italian churches in lieu of a door. Many of the church doors are too massive and cumbersome to be opened readily by the entering worshippers, so they are left constantly open. Leather hangings often several inches thick and quilted with rows of horizontal stitches rather widely spaced, are hung before the open doorways. Even these curtains are often quite stiff and unyielding, so that holding back corners for the passage of both worshipper and tourist forms a favourite occupation for numerous beggars.
Appliqué, described asopus consutum, or cut work, was made in Florence and Venice, chiefly for ecclesiastical purposes, during the height of their glory in the fifteenth century. One such piece of Florentine cut work is remarkable for its great beauty and the skill shown in bringing together both weaving and embroidery. “Much of the architectural accessories is loom wrought, while the extremities of the evangelists are all done by the needle; but the head, neck, and long beard are worked by themselves upon very fine linen, andafterward put together in such a way that the full white beard overlaps the tunics.... For the sake of expedition, all the figures were sometimes at once shaped out of woven silk, satin, velvet, linen, or woollen cloth, and sewed upon the grounding of the article.... Sometimes the cut work done in this way is framed, as it were, with an edging either in plain or gilt leather, hempen or silken cord, like the leadings of a stained-glass window.” Gold and silver starlike flowers, sewn on appliqué embroideries, were common to Venice and also southern Germany in the fifteenth century.
Belonging to the Italian Renaissance period are some marvellous panels, once part of a curtain, which are now preserved in the South Kensington Museum in London. The foundation of these panels is of beautiful blue damask having applied designs cut from yellow satin. These hangings are described as being very rich in effect and unusually handsome, and nothing in the annals of needlework of their period was more glorious.
A very ingenious patchwork, originating in Italy during the sixteenth century and peculiar to that country and Spain, consisted of patternsdesigned so as to be counter hanging. For example, if one section of a length of such patchwork consisted of a blue satin pattern on a yellow velvet ground, the adjoining section would, through the interchange of materials, consist of a yellow velvet pattern on a blue satin ground. The joints of the patching were overlaid with cord or gimp, stitched down so as to conceal them entirely and give definition to the forms constituting the pattern.
Italian needleworkers were very fond of this “transposed appliqué upon two fabrics,” especially when composed of designs of foliage conventionally treated, or of arabesques and scrolls. On a piece of old Milanese damask, figured with violet on violet, appear designs in appliqué cut from two shades of yellow satin. These are remarkable for their powerful relief, suggesting sculpture rather than embroidery, and have been pronounced worthy of the best masters of their time—namely, that period so rich in suggestions of ornament—the seventeenth century.
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THE BEDTIME QUILT
With its procession of night-clad children will be excellent “company” for a tot, to whom a story may be told of the birds that sleep in the little trees while the friendly stars keep watch
Closely related to patchwork, but not as commonly used, is “inlay.” In the making of this style of decoration one material is not laid on to another, but into it. It is the fitting together of smallsections of any desired fabric in a prearranged design. For convenience, all the pieces are placed upon a foundation of sufficient firmness, but which does not appear when the work is finished. Ornamental stitches conceal the seams where the edges meet, and it is especially adapted for making heraldic devices. During the Renaissance it was much used by both Spaniards and Italians, who learned the art from the Moors.
An example of quilting, attributed to the Island of Sicily about the year 1400, is described as being a ground of buff-coloured linen. The raised effect is obtained by an interpadding of wool, and the designs are outlined in brown thread. This entire coverlet is embroidered with scenes from the life of Tristan, who frequently engaged in battle against King Langair, the oppressor of his country. This bit of quilting hangs in the Victoria and Albert Museum in London. Another hanging of the fourteenth century, belonging to the same collection, shows a spirited naval battle between galleys. A striking peculiarity of this hanging is that floral designs are scattered in great profusion among the boats of the combatants.
A patchwork made by the application of bits ofleather to velvet was extensively used in some European countries during the Middle Ages. As leather did not fray and needed no sewing over at the edge, but only sewing down, stitching well within the edge gave the effect of a double outline. This combination of leather and velvet was introduced from Morocco. A wonderful tent of this leather patchwork, belonging to the French king, François I, was taken by the Spanish at the battle of Pavia (1525), and is still preserved in the armoury at Madrid.
Some of the very finest specimens of the quilting of the Middle Ages have been preserved for us in Persia. Here the art, borrowed at a very early period from the Arabs, was developed in an unusual and typically oriental manner. Prayer rugs, carpets, and draperies of linen, silk, and satin were among the products of the Persian quilters.
We are indebted to Mr. Alan S. Cole for the following description of a seventeenth-century Persian quilted bath carpet, now preserved at the South Kensington Museum in London. “This typical Persian embroidery is a linen prayer or bath carpet, the bordering or outer design of which partly takes the shape of the favourite Persianarchitectural niche filled in with such delicate scrolling stem ornament as is so lavishly used in that monument of sixteenth-century Mohammedan art, the Taj Mahal at Agra. In the centre of the carpet beneath the niche form is a thickly blossoming shrub, laid out on a strictly geometric or formal plan, but nevertheless depicted with a fairly close approach to the actual appearance of bunches of blossoms and of leaves in nature. But the regular and corresponding curves of the stems, and the ordered recurrence of the blossom bunches, give greater importance to ornamental character than to any intention of giving a picture of a tree. Similar stems, blossoms, and leaves are still more formally and ornamentally adapted in the border of the carpet, and to fill in the space between the border and the niche shape. The embroidery is of chain stitch with white, yellow, green, and red silks. But before this embroidery was taken in hand the whole of the linen was minutely stitched.”
Worthy of mention is a patchwork panel made in Resht, Persia, in the eighteenth century: “The foundation ground is of ivory coloured cloth, and applied to it, almost entirely covering the ivory background, are designs cut from crimson, cinnamon,pink, black, turquoise, and sapphire coloured cloths, all richly embroidered in marigold and green silk.”
The following is a quilt anecdote, typically oriental, which contains a bit of true philosophy. It seems that the hero, Nass-ed-Din Hodja, was a Turkish person who became chief jester to the terrible Tamerlane during his invasion of Asia Minor. He was also the hero, real or imaginary, of many other stories which originated during the close of the fourteenth and the beginning of the fifteenth centuries. His tomb is still shown at Akshekir. The story is given entire as it appeared in “Turkey of the Ottoman” by L. M. Garnett:
“One winter’s night, when the Hodja and his wife were snugly asleep, two men began to quarrel and fight under the window. Both drew knives and the dispute threatened to become serious. Hearing the noise, the Hodja’s wife got up, looked out of the window and, seeing the state of affairs, woke her husband, saying: ‘Great heavens, get up and separate them or they will kill each other.’ But the Hodja only answered sleepily: ‘Wife,dear, come to bed again; on my faith there are no men in the world; I wish to be quiet; it is a winter’s night. I am an old man, and perhaps if I went out they might beat me.’ The Hodja’s wife was a wise woman. She kissed his hands and his feet. The Hodja was cross and scolded her, but he threw the quilt about him, went downstairs and out to where the disputants were, and said to them: ‘For the sake of my white beard cease, my sons, your strife.’ The men, in reply, pulled the quilt from the Hodja’s shoulders and made off with it. ‘Very well,’ observed the old man. He reëntered, locked the door, and went upstairs. Said his wife: ‘You did very well to go out to those men. Have they left off quarrelling?’ ‘They have,’ replied the Hodja. ‘What were they quarrelling about, Hodja?’ ‘Fool,’ replied the Hodja, ‘they were quarrelling for my quilt. Henceforward my motto shall be, “Beware of serpents.”’”
“One winter’s night, when the Hodja and his wife were snugly asleep, two men began to quarrel and fight under the window. Both drew knives and the dispute threatened to become serious. Hearing the noise, the Hodja’s wife got up, looked out of the window and, seeing the state of affairs, woke her husband, saying: ‘Great heavens, get up and separate them or they will kill each other.’ But the Hodja only answered sleepily: ‘Wife,dear, come to bed again; on my faith there are no men in the world; I wish to be quiet; it is a winter’s night. I am an old man, and perhaps if I went out they might beat me.’ The Hodja’s wife was a wise woman. She kissed his hands and his feet. The Hodja was cross and scolded her, but he threw the quilt about him, went downstairs and out to where the disputants were, and said to them: ‘For the sake of my white beard cease, my sons, your strife.’ The men, in reply, pulled the quilt from the Hodja’s shoulders and made off with it. ‘Very well,’ observed the old man. He reëntered, locked the door, and went upstairs. Said his wife: ‘You did very well to go out to those men. Have they left off quarrelling?’ ‘They have,’ replied the Hodja. ‘What were they quarrelling about, Hodja?’ ‘Fool,’ replied the Hodja, ‘they were quarrelling for my quilt. Henceforward my motto shall be, “Beware of serpents.”’”
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JACOB’S LADDER
One of the most striking of the quilts having Biblical names. Colours: blue and white
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CONVENTIONAL TULIP
Made in Ohio about 1840. Beautifully quilted in medallions and pineapples of original design. Colors: red, pink, and green
Appliqué, or applied work, has never been used in France to the same extent as in England, even though the French name “appliqué” is more frequently used than any other. However, there is one striking example of appliqué work, of Rhenish or French origin, now hanging in the Victoriaand Albert Museum in London. This realistic patchwork represents a fight between an armoured knight mounted on a high-stepping white horse and a ferocious dragon. The designs are arranged in a fashion similar to the blocks in a modern quilt, and depict several scenes showing the progress of the combat. There is also a border covered closely with figures of monks, knights, and ladies.
An extract from “First Steps in Collecting,” by Grace M. Vallois, gives an interesting glimpse of an old French attic. An object of great interest to us is the old, unfinished quilt she discovered there: “A rummaging expedition in a Frenchgrenieryields more treasures than one taken in an English lumber room. The French are more conservative; they dislike change and never throw away anything. Among valuable antiques found in thegrenierof a Louis XV house in the Pyrenees were some rare curtains of white linen ornamented with designs cut from beautiful old chintz; the edges of the applied designs were covered with tightly twisted cotton cord. Also, in the same room, in a drawer of an old chestnut-wood bureau, was found an unfinished bed quilt very curiously worked. It was of linen with a filling of rathersoft cotton cord about an eighth of an inch wide. These cords were held in place by rows of minute stitching of white silk, making the bedcover almost solid needlework. Besides the quilting there were at rather wide intervals conventional flowers in peacock shades of blue and green silk executed in chain stitch. When found, the needle was still sticking in one of the flowers, and many were traced ready for work. The traced lines appear to have been made with India ink and were very clear and delicate. What caused the abrupt interruption of the old quilt no one can tell. It is possible that the great terror of 1793 caused the patient maker to flee from her unfinished task.”
In the countries of northern Europe there is scarcely any record concerning the art of quilting and patchwork, and little can be said beyond the fact that both existed in some form or other. In Germany the quilt so familiar to us is practically unknown. In the past appliqué was very little used, except as cut work, oropus consutum, in blazonments and heraldic devices. The thick feather beds of medieval Germany were covered with various kinds of thick comforts filled with either wool or feathers, and sometimes sparselyquilted. The only decoration of the comfort consisted of a band of ornamental work, ten to twenty inches wide, usually worked in cross-stitch design with brightly coloured yarns. These bands were generally loose upon the comfort, one edge being held down by the pillow, but occasionally they were sewed to the edge of the bedcover.
In a work on arts and crafts relating to their presence in Sweden, it is written that “woven hangings were used to decorate the timbered walls of the halls of the vikings. They were hung over the temples, and they decorated the timber sepulchres of the dead. When the timbered grave of the Danish queen, Fyra Danabode, who died about 950, was opened, remains of woven woollen cloth were found.” As far back as Swedish records go it can be shown that Swedish women wove and sewed figured material.
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FINE EXAMPLE OF OLD GERMAN APPLIQUÉ
Now in the Metropolitan Museum, New York
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DOUBLE X
A modern quilt. Colours: blue and white
On account of the cold there is urgent need of wall hangings, and they are used extensively throughout Scandinavia. On festive occasions the stiff, cold appearance of Swedish peasants’ homes is transformed by the gay wall coverings to one of hospitality and warmth. The hangings used are made of linen, either painted or embroideredin bright colours. The painted ones are especially interesting as they depict many historical scenes. Allegorical and religious subjects are also used to decorate many of these linen hangings. The Swedes are very patriotic, and on their wall hangings show all the saints clad in typical Swedish costumes. The apostles wear Swedish jack boots, loose collars, and pea jackets; and Joseph, as governor of Egypt, is shown wearing a three-cornered hat and smoking a pipe.
There is a valuable collection of Swedish needlework in the Northern Museum of Stockholm, dating from 1639 to the nineteenth century. Among this collection there are a few small pieces of applied work: some cushions, glove gauntlets, and a woman’s handbag. It is possible that patchwork was used more extensively than the museum’s display would indicate, but since large pieces are very rarely found, patchwork was evidently not held in the same esteem as embroidery and painting.
IN SEARCHING for the beginning of needlework in England, the first authentic date revealed relating directly to this subject is 709, when the Bishop of Sherborne writes of the skill Englishwomen had attained at that time in the use of the needle. Preserved in various museums are some examples of Anglo-Saxon embroidery of uncertain date, that are known to have been made before the Bishop of Sherborne’s time. Mention should also be made of the wonderful Bayeux Tapestry. This ancient piece is 227 feet long and twenty inches wide, and is of great historical interest, in that it illustrates events of English history from the accession of Edward the Confessor to the English defeat at Hastings by the Normans in 1066. There is some doubt as to whether this tapestry, which has the characteristic of typical appliqué—namely, the absence of shading—is actually of English workmanship, but it is unquestionablyof Anglo-Saxon origin. It was first hung in Bayeux Cathedral in 1476.
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PUSS-IN-THE-CORNER
A beautifully quilted design made about 1855. Colours: a dull green calico having small red flowers and white
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TEA LEAVES
A quaint old design combining a pieced block with an applied leaf stem. Colours: green and white
It is a generally accepted fact that appliqué and embroidery are closely related and of about equal age, although relatively few examples of the former are preserved in collections of needlework. One of the oldest authentic bits of appliqué is at Stonyhurst College. It represents a knight clad in full armour, mounted on a spirited galloping horse. The horse is covered with an elaborately wrought blanket and has an imposing ornament on his head. The knight wears a headdress of design similar to that of the horse and, with arm uplifted and sword drawn, appears about to attack a foe. This work is well done, and the pose of both man and horse shows spirit. It is said to have been made during the thirteenth century. Preserved to us from this same period is the tattered fragment of a coat worn by Edward, the Black Prince, and which now hangs over his tomb in Canterbury Cathedral. With it are the helmet and gauntlets he wore and the shield he carried. The coat is of a red and blue velvet, now sadly faded, applied to a calico background and closely quilted. It is too elaborate to have been made towear under his armour, and was probably worn during state functions where armour was not required, although it was then customary to wear thickly padded and quilted coats and hoods in order to ease the weight of the heavy and unyielding coats of mail.
Much of the best needlework in England at this early period was for the church. Neither labour nor expense was spared to make the magnificent decorations used in the old cathedrals. Aside from the linens, silks, and velvets used in this construction, much gold and silver bullion was wrought into the elaborate altar hangings, altar fronts, and ecclesiastical vestments. In their ornamentation applied work was freely used, especially on the large hangings draped over the altar.
It was during the earliest period that the Latin nameopus consutumwas commonly used to designate patchwork. Chain stitch also was much used on early English embroidery; to such an extent that it is now of great service as an identification mark to fix the dates of medieval needlework. Chain stitch was dignified by the Latin nameopus anglicanum. Only the most elaborate and richest of embroideries have been preserved; the reasonbeing that much of the work was done with silver and gold threads which were in reality fine wires of these precious metals. Being exceedingly costly, they were given unusual care, many being kept with the royal plate and jewels. One specimen made in 905 by Aelfled, the queen of Edward, the Elder, is now treasured in Durham Cathedral. It is described as being “of almost solid gold thread, so exquisitely embroidered that it resembles a fine illuminated manuscript,” and is indescribably beautiful. In many instances the fabrics of these old embroideries have partly fallen away, leaving only frail fragments of the original material held together by the lasting threads of gold and silver.
The great amount of precious metals used in making the richest garments and hangings sometimes made them objects to be desired by avaricious invaders. In an inventory of the contents of Cardinal Wolsey’s great palace at Hampton Court there are mentioned, among many other rare specimens of needlework of that period, “230 bed hangings of English embroidery.” None of them is now in existence, and it is supposed that they were torn apart in order to fill the coffers ofsome vandal who preferred the metal in them to their beauty as hangings.
Among the sumptuous furnishings belonging to the Tudor period, applied work held a prominent place. Vast spaces of cold palace walls were covered by great wall hangings, archways were screened, and every bed was enclosed with curtains made of stoutly woven material, usually more or less ornamented. This was before the advent of French tapestry, which later supplanted the English appliqué wall draperies. The Tudor period was also the time when great rivalry in dress existed. “The esquire endeavoured to outshine the knight, the knight the baron, the baron the earl, the earl the king himself, in the richness of his apparel.”
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FEATHER STAR
Made about 1850. Colours: blue and white
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DRUNKARD’S PATH
A modern quilt after an old pattern. Colours: light blue and white
In direct contrast to the long inventories of beautiful and valuable clothing, bedcovers, and hangings of the rich, are the meagre details relating to the life and household effects of the landless English peasant. In all probability he copied as far as he was able some of the utilities and comforts used by his superiors. If he possessed a cover for his bed, it was doubtless made of the cheapest woven material obtainable. No doubt the piecedor patched quilt contributed materially to his comfort. In “Arts and Crafts in the Middle Ages,” Julia de Wolf Addison describes a child’s bed quilt included in an inventory of furniture at the Priory in Durham in 1446, “which was embroidered in the four corners with the Evangelistic symbols.” In the “Squier of Lowe Degree,” a fifteenth-century romance, there is allusion to a bed of which the head sheet is described as embroidered “with diamonds and rubies bright.”
It was during the gorgeous reign of Henry VIII that the finest specimens of combined embroidery and patchwork, now preserved in various museums, were made. It was really patch upon patch, for before the motives were applied to the foundation they were elaborately embroidered in intricate designs; and after being applied, they had their edges couched with gold and silver cord and ornate embroidery stitches. Mrs. Lowes relates in “Old Lace and Needlework” that, during the time of Henry VIII, embroidery, as distinct from garment making, appeared; and every article of wearing apparel became an object worthy of decoration. “Much fine stitching was put into the fine white undergarments of that time, and the overdressesof both men and women became stiff with gold thread and jewels. Much use was made of slashing and quilting, the point of junction being dotted with pearls and precious stones. Noble ladies wore dresses heavily and richly embroidered with gold, and the train was so weighty that train bearers were pressed into service. In the old paintings the horses belonging to kings and nobles wear trappings of heavily embroidered gold. Even the hounds, which are frequently represented with their masters, have collars massively decorated with gold bullion.”
Mary, Queen of Scots, was devoted to the needle and was expert in its use. It is said that while in France she learned lace making and embroidery. Many wall hangings, bed draperies, bedcovers, and house linens are the work of her skilful fingers, or were made under her personal direction. A number of examples of her work are now owned by the Duke of Devonshire. It is said also that many of the French costumes and laces of her wardrobe were appropriated by Queen Elizabeth, who had little sympathy for the unfortunate queen. As a solace during long days of loneliness, Queen Mary found consolation in her needle, ashave many women of lower degree before and since her unhappy time. She stands forth as the most expert and indefatigable of royal needleworkers.
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THE IRIS DESIGN
In this design the iris has been conventionalized so as to make it consistent with its natural growth—the flowers stretching up in a stately array beyond their long-pointed leaves
Hardwick Hall is intimately associated with Queen Mary’s life, and is rich in relics of her industry. In one room named for her there are bed curtains and a quilt said to be her own work. Extracts from old letters relating to her conduct during captivity show how devoted she was to her needlework. An attendant, on being asked how the queen passed her time, wrote, “that all day she wrought with her nydil and that the diversity of the colours made the work seem less tedious and that she contynued so long at it that veray payn made hir to give over.” This shows that fatigue alone made her desist from her beloved work.
There is a very interesting fragment of a bed hanging at Hardwick Hall said to have been made by Queen Mary. It is of applied patchwork, with cream-coloured medallions curiously ornamented by means of designs singed with a hot iron upon the light-coloured velvet. The singed birds, flowers, and butterflies are outlined with black silk thread. The worked medallions are applied to a foundation of green velvet, ornamented betweenand around them with yellow silk cord. This is only one of a number of examples of curious and beautiful patchwork still in existence and attributed to the Tudor period.
Queen Elizabeth herself was not devoted to needlework, but judging from the accounts of the gorgeous costumes which she delighted to wear, she was one of its greatest patronesses. It is said that at her death she left one of the most extensive wardrobes of history: in it were more than a thousand dresses, which were most voluminous in style and elaborately trimmed with bullion, pearls, and jewels. Before the precious stones were applied, her garments were solidly covered with gold and silver quilting and embroidery, which made them so heavy as to be a noticeable burden even for this proud and ambitious queen. In Berkeley Castle, as prized mementoes of Queen Elizabeth, are five white linen cushions beautifully embroidered with silver threads and cherry-coloured silk. Also with them is the quilt, a wonderful piece of needlework, that matches the hangings of the bed wherein she slept.
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STAR OF THE EAST
Elaborate pineapple quilting designs in the corners. Colours: red and white
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WHITE QUILT WITH TUFTED BORDER
Now in Metropolitan Museum, New York
The magnificence of Queen Elizabeth’s reign gave great impetus to all kinds of needlework.France at that time led in the development of fine arts, and furnished many of the skilled workmen employed by the nobility solely as embroiderers. There seemed to be no limit to the ambitions of these workers, and the gorgeous results of their labours were beyond anything attempted after them.
To those who wish to study the work of the Tudor period, Hardwick Hall is recommended as the place where the best specimens have been preserved. To Elizabeth, daughter of John Hardwick, born in 1520, and so poor that her marriage portion as the bride of the Earl of Shrewsbury was only thirty pounds, credit is given for the richness of this collection. She was a woman of great ability in the management of her estates, became very wealthy, and gave employment to many people. Included among her dependents were many needleworkers who plied their trade under rigorous administration. Elizabeth of Shrewsbury was a hard mistress, but not above doing an occasional bit of needlework herself, for some pieces bearing her initials and done with remarkable skill are preserved in the collection. She, as much as any Englishwoman, fostered and developed appliedpatchwork along the ambitious line of pictorial needlework.
In Hardwick Hall are several hangings of pictorial needlework that are very interesting. One of black velvet has a picture of a lady strongly resembling Queen Elizabeth. She carries a book in her hand and at her feet reclines a turbaned Turk. In the background is an ecclesiastical hanging which is embroidered to represent a cathedral window. The realistic effect of the whole picture is gained by the use of coloured silks cut in correct proportions and applied to the velvet foundation; very little embroidery entering into the main composition. Another hanging, also of black velvet, has an even more ambitious design. It is described by M. Jourdain in “The History of English Secular Embroidery” as follows: “The ornamentation on the black velvet is with appliqué in coloured silks consisting of figures under arches. In the centre is ‘Lucrecia,’ on the left ‘Chastite,’ and on the right ‘Liberalitas.’ The oval panel on the right contains a shield bearing the arms of Hardwick.” At each end of the hanging are fluted Ionic columns, and a decorated frieze is carried across the top. The figures have grace and beauty;the drapery of their robes falls in natural folds; and altogether it is a remarkable picture to have been made with patches.
That this fine collection of medieval needlework is preserved for the admiration of people to-day is due to the faithful execution of the Countess of Shrewsbury’s will, in which she left all her household furnishings, entailed as heirlooms, to always remain in her House of Hardwick.
In the interesting Hardwick collection are pieces of beautiful needlework known to have been used by Mary, Queen of Scots, during the years she spent as a prisoner at Tutbury. Her rooms there, furnished in regal splendour, are still kept just as she arranged them. The Earl of Shrewsbury was her custodian, and his wife, the countess, often sat and sewed with the unfortunate queen, both making pastime of their needlework.
During the Middle Ages appliqué was in universal use, and not confined merely to wall hangings, quilts, and bed draperies. It was used to ornament all kinds of wearing apparel, including caps, gloves, and shoes. Special designs were made for upholstery, but because of the hard wear imposed upon stools and chairs butfew specimens of this work have been preserved.
Quilting also came into vogue in the making of bedspreads, of which great numbers were required during the winter nights in the poorly heated bedrooms. The quilts intended for service were made of substantial, well-wearing material. None of these strictly utilitarian quilts is left, but they were certainly plentiful. The old chroniclers give us a glimpse of what the women of these days cherished by telling us that in 1540 Katherine Howard, afterward wife of Henry VIII, was presented with twenty-three quilts of Sarsenet, closely quilted, from the Royal Wardrobe.
Tradition says that, during the reign of Henry VIII, the much used and popular “black work” or “Spanish work” was introduced into England by his Spanish wife, Catherine of Aragon. It has been found that this work did not originate in Spain but was taken there probably by the Moors or by the Crusaders, for it is known to have been perfected at a very remote period in both Persia and China. The following interesting description of black work is from Mrs. Lowes’ “Chats on Old Lace and Needlework”:
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SUNBURST AND WHEEL OF FORTUNE
Comparatively modern quilts. Colours: blue and white
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TREE OF PARADISE
Made in Indiana over 75 years ago. Colours: red and green
“The work itself was a marvel of neatness, precision, and elegant design, but the result cannot be said to have been commensurate with the labour of its production. More frequently the design was of scrollwork, worked with a fine black silk back stitching or chain stitch. Round and round the stitches go, following each other closely. Bunches of grapes are frequently worked solidly, and even the popular peascod is worked in outline stitch, and often the petit point period lace stitches are copied, and roses and birds worked separately and afterward stitched to the design.” There are many examples of this famous “Spanish work” in the South Kensington Museum in London. Quilts, hangings, coats, caps, jackets, smocks, are all to be seen, some with a couched thread of gold and silver following the lines of the scrolls. This is said to be the Spanish stitch referred to in the old list of stitches, and very likely may be so, as the style and manner are certainly not English; and we know that Catherine of Aragon brought wonders of Spanish stitchery with her, and she herself was devoted to the use of the needle. The story of how, when called before Cardinal Wolsey and Campeggio, to answer to King Henry’saccusations, she had a skein of embroidery silk round her neck, is well known.
“The black silk outline stitchery on linen lasted well through the late seventeenth and eighteenth centuries. Very little of it is seen outside the museums, as, not being strikingly beautiful or attractive, it has been destroyed. Another phase of the same stitchery was working cotton and linen garments, hangings and quilts in a kind of quilted pattern with yellow silk. The finest materials were used, the padding being placed bit by bit into its place. The quilting work was made in tiny panels, illustrating shields and other heraldic devices, and had a surface as fine as carved ivory. When, as in the case of one sample at South Kensington, the quilt is additionally embroidered with fine floss silk flowers, the effect is very lovely.”
One interesting feature of “black work” and similar flat embroideries was their constant use in decorating furnishings for the bedroom. It was peculiarly well adapted for quilts, as its rather smooth surface admirably resisted wear.