During my second trip to Northern Italy, I visited the Benedictine Abbey of Marienberg in Mals. Their museum is also part of the exhibition 'Samt und Seide 1000-1914: Eine Reise durch das historische Tirol' curated by the European Textile Academy (you can read about my first trip here). This museum houses one of the crown jewels of medieval embroidery in Europe: the Uta chasuble stitched around 1160 AD. To give you an idea of its importance, the oldest pieces in the famous 'Opus Anglicanum' exhibition in the Victoria & Albert museum were a seal bag from 1100-40 AD and several embroidered fragments from 1150-1200 AD. The oldest embroidered complete chasuble in the exhibition was the Clare Chasuble from 1272-94 AD! Similarly, the oldest embroidered chasubles in the exhibition 'Middeleeuwse borduurkunst uit de Nederlanden' in the Catharijneconvent in Utrecht, the Netherlands dated to the late 15th century. High time I introduced you to the Uta-Chasuble!
The above pictures show you the Uta-Chasuble from the front and the back. In the right picture you also see the matching stola. The embroidery shows a tree of life spread all over the chasuble. Inside the top part of the forked cross you see Jesus inside the mandorla flanked by two angels and several stars and crowns. Jesus is seated on a throne, holding a book in his left hand and raises his right hand in a blessing. This is the so-called Christ Pantocrator. On the back of the chasuble, we see the Holy Lamb flanked by the symbols of the evangelists. The evangelists are portrayed as winged figures on which only the heads differ.
Here you see a detail of the back of the chasuble, just inside the forked cross, showing two of the winged evangelists. You can see every single split stitch and the faint lines of the original drawing. There is also some underside couching with metal thread left on the winged evangelists. These parts of the embroidery are so well preserved because a forked cross of patterned purple silk from Persia was appliqued onto the embroidery.
Here you see one of the angels flanking Jesus inside the mandorla. Underside couching is present on Jesus' clothing. The colour palette for the silk embroidery on the fine linen background is quite restricted: red, yellow, blue and brown. The whole chasuble is filled with tiny split stitches, high-lights in underside couching of metal threads and an outline stitch (probably back stitch).
Accompanying the chasuble is a matching stola showing saints. In the picture on the left you see St. Panafreta, one of the 11.000 virgins following St. Ursula to her martyrdom in Cologne. On the right you see St. Datheus. He was archbishop of Milan and opened the first home for abandoned children in 787 AD.
Oral history claims that the chasuble was stitched by Uta von Tarasp and her ladies. Uta and her husband Ulrich were the beneficiaries of Marienberg Abbey. But who draw the pattern? Was it the same person who painted the frescoes in the Abbey Crypt? And where were the precious embroidery threads coming from? A large quantity of consistently spun and dyed silk thread as well as metal threads. Apparently the silk threads came from Sicily. Did Uta and her ladies work the chasuble on large embroidery frames in a room in Tarasp castle? How was the work divided amongst the women? How fine were their needles? Did they have artificial lighting or could they only work in daylight? Would there be music played or a book read aloud when they were working?
Apart from the Uta-Chasuble, there are many more pieces in this museum well worth a visit! The monks run a modern guest house in the same restored building as the museum is housed in. I will certainly return to study this extraordinary piece of European embroidery history some more. But first, I will hopefully visit an equally important piece housed in Austria this week. Stay tuned for that story!
Those of you who follow me along on Instagram @maerchenhaftesstickengrimm were treated to some pretty embroidery pieces last week. As part of the 'Samt und Seide 1000-1914. Eine Reise durch das Historische Tirol' (Velvet and Silk 1000-1914. A trip through historical Tyrol) exhibitions organised by the European Textile Academy, me and my husband visited Brixen/Bressanone and Klausen/Chiusa. We were completely blown away with the high quality embroidered textiles we saw and are already planning two more trips. Unfortunately, for most of you, Northern Italy is a bit further away than our three-hour drive. However, if you are ever in the neighbourhood, do visit the two museums I am going to introduce you to further below! They are absolutely worth it. And do take a print-out of this blog with you if you are not proficient in either German or Italian, as English is not the lingua franca in Northern Italy...
First up is the Diözesanmuseum in Brixen. It houses the cathedral treasure of the former Diocese of Brixen. A large part of their permanent exhibition is devoted to textiles. The oldest being from around 1000 AD! However, this museum follows the modern concept of presenting historical art as art. Descriptions of the individual objects are very meagre and only available in German and Italian. There is nothing wrong with appreciating pieces as they are and enjoying the display in front of you. However, I would have liked to have the option of getting more information. Preferably as laminated information available in the display room AND a decent catalogue to take home. After all, I like to go to museums to learn and broaden my knowledge.
That said, the sheer amount of high-quality exhibition pieces gets you into textile heaven in no time.
My favourite pieces were the oldest pieces. Just the idea that the Eagle Chasuble (Adlerkasel) dates to 1000 AD. It was made at the court of the Emperor of Byzantium and given to Bishop Albuin of Brixen. It was probably one of the first silken vestments which arrived in this part of Europe. Due to its great antiquity and pretty good conservational status, it is one of the most important textiles of Europe. Another highlight were these pontifical gloves dating to the 15th century. They feature email medallions from 11th century Byzantium, showing again how important this imperial city once was in medieval Christian Europe. And aren't these tiny beads made of freshwater pearls to die for? I definitely want a pair!
The museum also has several 15th. century orphreys on display. These heavily embroidered gold- and silk pieces were once appliqued onto a chasuble. Look at those couched diaper patterns forming a pretty background for the holy figures. Just unbelievable that someone cut through them to make them fit onto a new vestment...
Then there were 17th. century chasubles with colourful silk and goldwork embroidery. I particularly liked the one with the small and detailed flowers. Look at the iris worked in long-and-short stitch and then further embellished with tiny fly-stitches to give the speckled impression often seen on an iris. The other chasuble shows a particular style of silken laid-work with couching stitches I first encountered on an Italian piece in the Wemyss School of Needlework Archive. I think it is very colourful and pretty. Great sources of inspiration!
The next museum we visited was the Stadtmuseum in Klausen/Chiusa. They have by far the better (=higher quality embroidery) textile collection and it is displayed in such a way that you can get very close to the pieces and the lighting is excellent. Unfortunately, I wasn't allowed to take pictures. I didn't know I wasn't allowed to take any, so I can at least show you an antependium, or altar cover, from the Loreto treasure. And I (and the very friendly museum wardens) hope that it will whet your appetite so that you plan a visit too. And that you will help spread the word that this museum has a textile collection of high importance. As they are a tiny museum with an equally tiny budget, they need our help. So please show them some love.
But first, let me tell you a little bit more about what is called the Loreto Treasure. Maria Anna of Neuburg became queen of Spain, Sicily, Naples and Sardinia when she married king Charles II of Spain in 1690. She brought with her her confessor Pater Gabriel Pontifeser born in Klausen. He was a trusted and loyal advisor and she pledged to build him a monastery in his hometown of Klausen. The house he was born in was turned into a Loreto chapel. Queen Maria Anna, her husband and the Spanish nobility gave beautiful religious objects to the chapel. The Loreto treasure was born.
Permanently on display in the museum are several highly decorated altar covers. Apart from the one displayed above, which was probably stitched in Sicily, there is a further piece stitched in wool on linen and a silk- and goldwork piece in the Ottoman-style. Interestingly with the piece I was able to photograph, the main part with its flowers, birds and butterflies is stitched with long-and-short stitch. However, the border shows the same laidwork technique as seen before on the chasuble in the Diözesanmuseum Brixen. Besides silk and gold threads, the piece is adorned with red coral beads. This piece is truly to die for! It is very seldom that you encounter embroidery of such high quality that has kept so well. Other spectacular pieces were several chasubles with the same high-quality silk and goldwork embroidery. If you are ever near, this is a museum not to be missed! I for my part, will be back to study these pieces in greater detail.
Happy start of the week dear reader! I am back from a week full of wonderful sight-seeing with my family. And one of the sites we visited was the Bauernhofmuseum in Illerbeuren. A pretty open air museum showcasing farm life from the Swabia area of Germany. And of course, there was some lovely embroidery on display as well. Mostly on household linens and mainly involving monogramming and whitework embroidery. How about these gorgeous Richelieu embroidered curtains featured in an inn?
If you would like to explore more of the 19th and 20th century embroidery on display at the museum in Illerbeuren, do have a look at my Flickr account: fairytale771978. I have also bought a brilliant book on buttons and will review that in an upcoming blogpost. Keep your eyes peeled!
In between family commitments, I sneaked in enough embroidery moments to complete my next #broderibox project. The broderibox is a monthly embroidery threads subscription put together by the lovely people of Nordic Needle. This month's box contained: five embroidery threads, beads and a purse clasp. Since the threads had a lot of browns in them; an ant sprang to my mind. Lucky for me, the amazing Millie Marotta has drawings of ants included in her colouring-in book 'Wild Savannah'.
As many of you probably know, canvaswork or needlepoint embroidery is stitched front to back. Or: object first, background later. Now be good and do not ever do that with your silk shading ;)! So, in this case, I started with my ant. She is called Truus de Mier, by the way. A favourite ant from a children's tv-show in the Netherlands. For Truus' body, I used a variegated perle #8 by Valdani. I really wanted to try this brand of embroidery threads. It worked a treat! No 'typical-low-grade-Eastern-European-Quality' here. As I wanted Truus to have a little 'body' to her body, I used the raised spot to fill it. As this stitch required me to pass 8-times through the same hole, I expected the thread to wear beyond pretty. But it didn't. They surely do know how to produce a fine perle in Romania!
Next up were Truus' legs. I stitched them in tent stitch and used both directions for different legs. This made the whole thing a little less tangled-up when legs crossed. The legs were stitched using Vineyard Silk shimmer. It is a silk thread with a shimmering filament added. It does not have a nice feel and it unfortunately stitched accordingly. A bit disappointing as I really liked the previous 100% silk threads by Vineyard Silk!
Apparently, ants have segmented legs that start with a bit of a bulky part. And ants have a mouth piece with which they cut leaves in handy transportable portions. Since this month's #broderibox had a violet Londonderry linen thread in it, I decided to use it to stitch these parts in cross-stitch. Lovely thread! I do stitch some whitework embroidery with linen threads and really love it.
That's Ms Truus de Mier sorted. On to the background. I decided to stitch the earth on witch Truus walks with Silk Lame Braid by Rainbow Gallery. Despite it being a silk thread mixed with metalized polyester and some rayon, it felt and stitched fantastically. Very well suited for the vertical Parisian stitch.
As the variegated cotton thread Watercolours by Caron had some blue in it, that was going to be turned into the sky. I separated the three plies and stitched the diagonal Cashmere stitch with one ply. I really love these cotton threads by Caron! They are so soft and hold up so well whilst stitching on canvas.
To finish my Truus de Mier, I decided that she needed a bright green stumpwork leaf. I wired a piece of dupion silk backed with calico. The buttonhole edging was stitched using a #12 House of Embroidery perle from my stash. I added the Mill Hill magnifica beads provided in the #broderibox to my leaf. Subsequently, I stitched a few beads onto Truus for an eye. And that's another #broderibox project finished satisfactorily!
P.S.: us dummies did take the camera with us to the Bunter Markt craft fair in Wessobrunn on Sunday, however, we forgot to take a picture of our stand... On the up-side, we did manage to sell two pendants and shed a few flyers and business cards!
A couple of weeks ago, I was approached by one of my blog readers to promote an embroidery exhibition in Belgium. As I knew nothing about this particular embroidery group, I asked for some more information. My questions were kindly answered by Marie-Louise Draelants, chair of 't Vingershoedskruid. This embroidery group from Belgium was established more than 20 years ago and specialises in high-quality hand-embroidery.
This particular exhibition is their 13th! They'll display embroidery pieces in a wide-range of techniques like: Schwalm, pulled thread, silk shading, cross-stitch, stitchery, temari and needle lace. The embroideries are either framed or turned into cushions, boxes, table cloths, clutch bags, pin cushions and the like. There will be more than 100 pieces on display attracting visitors from all parts of Belgium, the Netherlands, France, Great-Britain and Germany.
The above works were stitched by Marie-Louise herself. The first piece is a creative take on the popular Sudoku. The second piece was inspired by a poster featuring a quilt by Calico House in Antwerp. Marie-Louise used DMC stranded cotton, stranded cotton by Threadworx, Weeks Dye Works and art silks. The third picture shows work in progress on a design by Anne Pearson.
Besides being able to admire the many embroidered pieces on display, the members of 't Vingerhoedskruid give embroidery demonstrations during the day. Due to my workload, I won't be able to visit this exhibition myself. However, I do think it is an excellent opportunity to see high-quality contemporary embroidery and to meet up with like-minded people.
P.S.: for those of you based nearer to me, my Celtic knot goldwork piece is on display in Oberammergau, Dorfstraße 20!
Me and my husband had a wonderful time visiting London and Salisbury. I bought some lovely silks at the Silk Society and browsed the speciality threads and beads at the London Bead Company. However, we both enjoyed our trip to the Victoria & Albert Museum with the Opus Anglicanum exhibition the most. As not all my readers are in the luxury position to hop over to England to visit this outstanding medieval embroidery exhibition, let's review the excellent exhibition catalogue!
The exhibition catalogue 'English Medieval Embroidery Opus Anglicanum' weighs in at a staggering four pounds, has 310 pages with many (and I really mean MANY) high quality pictures. In my opinion, the pictures are the real gem of this catalogue. Not only are they so detailed that you can see the individual stitches, they are also much better in conveying the detail and the vividness of the embroideries than the originals in the exhibition. Because, as always, ancient textiles need protection form light and thus the levels of lighting in the exhibition are nowhere near to those used when they photographed these objects. In addition, many more objects are illustrated in the 7 chapter's texts than were present in the exhibition! Especially those residing in other parts of the world. So who knows, maybe you are living near to one of these gems and you could easily go for a visit!
The first chapter details the technical part of the Opus Anglicanum embroidery and when it was in use. It describes the silk split stitching of the figures and the underside couching of the gold threads for the background. I was most surprised to read that medieval gold thread makers were able to make a kind of gilt Japanese Thread only 0.25-0.30 mm thick!
The second chapter describes the use of the different embroidered vestments in the Roman Catholic church. It pinpoints Opus Anglicanum embroideries held in museums and churches ranging from Hildesheim in Germany, Vienna in Austria to Chicago in the US. This diaspora has helped the survival of these medieval embroideries after the Reformation.
The lives of London embroiderers and the details of their trade are described in the third chapter. Interestingly, in the older records from the 13th and 14th century, women make up the majority of the work force. Then men start to push them from the documentary record. Maybe this had something to do with the craft becoming better organised and the establishment of a guild? A surviving bill shows that women embroiderers were paid far less than men...
Chapter four shows that English embroideries were very popular with the papal curia in continental Europe. Examples can be found in the Cathedral treasuries and museums of Italy and Spain. However, by the 14th century, Opus Anglicanum starts to become less fashionable and embroideries from Italy take over.
The fifth chapter places the art form of embroidery in a wider artistic context. Many parallels between paintings and embroideries are illuminated. Whereas chapter six looks at the changing embroideries on vestments dating from the second half of the 14th century up to the Reformation. The trade becomes more fragmented with prospective buyers assembling the parts of vestments from different sources. Embroidery is increasingly appliqued onto a background.
I best enjoyed the seventh chapter which placed the English embroideries into a wider mainland European context. This greatly enhances my knowledge of embroidery on medieval vestments; particularly from more central European countries like the Czech Republic. The remaining part of the book is devoted to a thorough catalogue of all the pieces in the exhibition. Beautiful detailed pictures provide a rich banquet of eye candy! The best of the best? The Toledo cope from AD 1320-30 covered all over with saints, scenes of the life of the Virgin and wonderfully detailed birds. This is my absolute favourite; don't you agree?
The catalogue is widely available through online sources like the V&A shop and Amazon and comes at a price of 35 GBP or about $ 75. And then there is another brand new book on the topic, also available from the V&A: The age of Opus Anglicanum. It contains nine scientific papers on the subject, mainly written by the people who also contributed essays aimed at the general public to the exhibition catalogue. I haven't read it yet, but if you are also, like me, interested in a more thorough covering of the subject, this might be worth its 89 GBP or $ 143. However, the quality of the pictures is much better in the catalogue. More interesting however, is its promise written on the inside sleeve: 'This volume, the first to appear in a series on English Medieval Embroidery...'. Yeah, bring them on good people of the V&A!
So, for a number of you, my dear readers, it is now time to prompt Santa to make sure you find a copy of the exhibition catalogue under your Christmas tree :).
On a more personal note: sadly, upon our return from England, my husband was told that the company he works for closes its archaeological department. Not the sort of Christmas' present we wished for, I can assure you. As I now help him in finding a new job, it will undoubtedly impair on the time I can spend on my own embroidery endeavours, but I will try to keep my weekly blog posts upright!
Autumn has truly arrived in this part of the world. No more summer dresses or breakfast on the balcony. Alas, the rainy weather is perfect for a little stitching. Or, for coming with me on a virtual trip. Pour yourself a cup of tea, raid the biscuit tin and enjoy!
Since a couple of months, Mindelheim boosts a textile museum housed in the spectacular building of the Jesuit College. Being such a new museum, the whole collection is excellently lit by LED-technology. Not only can you actually see the individual stitches, you can even take decent pictures. And that's exactly what I did as the museum is so new, they don't sell a catalogue.
The textile museum starts with a nice timeline display of fashion. Then there is a room with fashion accessories like fans, bags and gloves. Many of which sport some form of embroidery. For more pictures, please visit my brand new Flickr stream. I've also taken pictures of the museum captions and uploaded them.
Past the fashion displays, you land in a set of small rooms filled with different types of embroidery and (needle)lace. The museum collection is tilted heavily in the direction of whitework and lace. Not a bad thing at all, just something to keep in mind. Visit my Flicker stream for more whitework pictures.
Another display has a number of exquisite samplers. More pictures can be found on Flickr.
And then there is a nice little display filled with silk embroidery and goldwork. Especially the samplers and the unfinished work is really practical if you want to study this particular technique. Intersperced between the displays, are single works of embroidery. Some of really high quality, others more of the leisurely type. There are also a number of Chinese embroideries on display. Go to Flicker to see it all.
After the embroidery displays, you'll enter the lace rooms. There are fantastic (and huge!) examples of needlelace. They even have a large cupboard with drawers where smaller items are stored. Pulling out the different drawers is very rewarding. So many excellent pieces. And some of the pieces even have a royal connection! Find out more on Flickr.
If you are ever in the area, do visit this gem of a museum. You can even bring your menfolk as the archaeology museum and the art museum are housed in the same building. Still afraid that they might bore themselves? Store them at one of the many cake shops lining the streets of this medieval town!
By change I stumbled upon an exhibition in a former convent of the order of the Visitation of Holy Mary: Kloster Beuerberg. As this particular order lives in strict enclosure, it is rare that you can visit one of their houses. Since the last sisters left a couple of years ago, not much has changed. The house now belongs to the diocese and they decided to, for the time being, turn it into a museum. Throughout the exhibition, you will find lovely examples of all sorts of needlework executed by the sisters. Culminating in the display of the 'Angels Ornate'.
Definitely the best part of the whole exhibition were the cope, chasuble and dalmatic of the 'Angels Ornate'. Beautifully executed vestments with silk and goldwork embroidery in the most vivid colours. Although made around 1880, they still look fresh with none of the usual wear and tear. Eye candy in its purest form.
I will probably visit the exhibition again as there was so much to see. They also sell fabric, used linens (monogrammed), yarn, threads, buttons etc. from the former vestment workshop. You can find more about this exhibition on the website of the diocese.
New in my webshop: filament silk and spun silk from House of Embroidery. These lovely threads come in the same colours as the silk ribbons and perle threads from House of Embroidery. You have 115 gorgeous colour combinations to choose from. Go feed your thread addiction now!
A few weeks ago, I visited a most spectacular exhibition at the Catherijne Convent, Utrecht, Netherlands. From their own collection and from the collections of other museums, convents and churches, they had brought together the largest exhibition on medieval paraments I have ever seen. Copes, chasubles and dalmatics were exhibited free standing on a dais so you could have a good look without being hindered by glass. Lighting levels were however still kept modest.
Since only the best was good enough for God, medieval paraments were made of the most expensive fabrics finely embroidered with gold thread and silks. This meant that only the rich could afford to pay for them. One such a lucky bastard (literally: he was the illegitimate son of Philip the Good) was David of Burgundy, bishop of Utrecht from AD 1456-1496. Especially for the exhibition, the golden set of a cope, chasuble and two dalmatics donated by David to the St. Jan church of Utrecht was displayed together again. You couldn't tell that these pieces were more than five centuries old!
And isn't this a delightful example of late mediaval embroidery? The silk embroidery on Christ's face and hair is so expertly done. Unfortunately, the level of lighting was particularly low in this part of the exhibition. This is a detail of a cope shield from AD 1520 depicting the resurrection.
From a completely different quality is the above detail of a late 15th century chasuble. The angel is far less detailed and the gold threads are of a lesser quality. Hence they lost their lustre and became oxidized. After all, not everybody was a rich enough bastard like lucky David.
For those of you who missed the exhibition or simply lived too far away, the exhibition catalogue is a gem. More than 270 pages of embroidery goodness with many detailed photographs and a whole chapter on embroidery techniques by master embroideress Ulrike Mülners. Don't be put off by the fact that the book is in Dutch; the pictures will do the talking. Although I do agree that standard works shouldn't be written in such an obscure language like Dutch. You can order your copy with the publisher. Book plus oversees shipping is just shy of €60 or 69 American Dollars. Not bad at all.
In the coming months, I will show you more pictures of this exquisite exhibition. However, with the show at Osnabrück a mere four weeks away, I am up to my neck into writing tutorials, ordering materials and packing kits. See you next week after a short break in Vienna where my path hopefully crosses more gold threads...
Today we'll end our tour of the Regensburger Domschatz with three splendid paraments stitched in the 19th century. Generally speaking, I am not a huge fan of these 'newer' paraments as they tend to become too simple and almost hasty in their stitching techniques. This is especially true of paraments of the second half of the 20th century. However, the three pieces you are about to get acquainted with are still proof of high craftsmanship.
The first piece is an antependium or altar cloth entirely stitched with tiny seed beads! Do have a look at the enlargement of Lucas's head and you'll see what I mean. The piece was stitched in Regensburg around 1890 and designed by Dean Georg Dengler (1839-1896). Dengler designed various pieces and saved many pieces of Christian art for future generations to admire.
The largest piece in the collection is part of a throne baldachin. It was made in Southern Germany at the beginning of the 19th century. It contains, however, older parts. On red velvet, large floral motives in gold and silver threads are appliqued. The exotic flowers are filled with basket weaving patterns, whereas the stems and outlines are stitched with the guimped couching technique. The piece was donated by Archbishop Karl Theodor von Dalberg (1744-1817). A true child of his time, he was not only a church man, but also a Prince-Primate and a Grand Duke.
The last sparkly piece I'll show you is a cope worked in goldwork and silk embroidery. It was made in Southern Germany in 1871/73 and donated by Bishop Ignatius von Senestrey (1818-1906).
That's the end of our tour through the paraments of the Regensburger Domschatz. I hope you liked seeing these ancient splendours of embroidery craftsmanship. Next week I'll show you my embroidered version of Millie Marotta's fox. Fingers crossed I'll finish it on time...
I was never much of a Barbie's girl, however I do now wonder if Mattel ever made a bishop version. I would definitely buy one! And you might one too after you've seen the splendid gold and silk embroideries in this third post on the Regensburger Domschatz.
When you enter the exhibition, you are greeted by this splendid mitra pretiosa, and precious she is indeed. Heavily encrusted with gold and silver embroidery, fresh water pearls and gem stones. The floral motives are worked in the guimped couching technique with a fine passing thread over card. Fillings are worked in various fine basket stitch patterns. Wheat ears are worked with looped purls and sequins are sewn down with fresh water pearls. The piece was made in 1793/94 AD in Regensburg.
The mitre consists of two tapered shields (cornua) sewn together at the sides. The lining of the mitra is essentially still a cap. The two bands on the back are called vittae and symbolise the Old- and the New Testament.
These episcopal gloves date to the mid-18th century and were made in southern Germany. The extended cuffs (anicalia) are embroidered with delicate coloured silk and gold thread embroidery. Today, episcopal gloves are only seldom worn by bishops and other prelates.
Of a completely different style is the cope of the so called Stingelheim set. These liturgical vestments were donated by Dean Georg von Stingelheim (1741-1759). The vestments were made in 1740 AD in southern Germany. Colourful floral silk and gold embroidery on withe silk fabric.
Look at the beautiful shading of the green leaves and the red central flower.
One of my favourite pieces in the exhibition is this chasuble covered in beautiful silk shaded flowers on a satin background. Texture is added by basket weave couching techniques in the cornucopias from which the flowers sprout. The shading is exquisite and the colours are still really strong and vivid. I can clearly see my little bishop doll wearing a miniature version of this!
I hope that these pieces have brightened your day too. And maybe they have even inspired you to a new embroidery piece. Do share your ideas below.
Jessica M. Grimm
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