As I am really pushing to meet a deadline, here are some quick shoutouts you might be interested in. Firstly, the Society for Embroidered Works has an Open Call for membership from the 24th of February till the 2nd of March. Although membership is free, entries are peer-reviewed. The Society tries hard to put embroidered art firmly onto the map. The more we are, the stronger our voice!
Secondly, a fresh batch of Klass & Gessmann embroidery hoops with seat frame or table clamp have found their way into my webshop. Secure yours quickly as they have been selling fast; one flew out before I could give you all the heads up that they are available again :). Not sure why you should probably invest in these hoops? Read my review here.
And last, but not least: I have found a new supplier for the silver coloured Japanese thread! Both sizes, #8 & #12, are available again from my webshop.
This is all for now. I am back to my slate frame, needles, fine silks and metal threads :).
Let's check in with my goldwork project to see what progress I made. First I put the string padding in for the goldwork that sits at the top of the tapestry behind Pope Francis. I used yellow cotton yarn and a matching yellow stranded cotton. I waxed the cotton yarn with pure beeswax to make it firm. I then couched the waxed yarn into the desired position. For the little dots, I made a double cross (at angles) with a full strand of stranded cotton. In the picture below, you also see my favourite embroidery scissors made by Dovo, a German company. Whilst I don't use them to cut my goldwork threads, I do use them for all the silks I am working with. They are super sharp and cut very clean and precise.
Next up were the windows. I started by satin stitching the glass using a light blue Chinese flat silk. The grey lintels are stitched in long-and-short stitch using a grey Chinese flat silk. The red lentils are made of rows of stem stitches using stranded silk (#3093 Campari Soda) by the Silk Mill.
Next, I put in the "lead" for the leaded windows. I used silver plated smooth passing #5. The first layer I couched in place with a grey (LT1322) superfine silk made by Langley Threads. The second layer was then couched in place at the intersections using the same grey Chinese flat silk as was used in the grey lentils. Since you just cut off the passing thread at the border between lentil and glass (i.e. no threads are plunged), you need to hide the ends under a layer of chain stitch using Silk Mill stranded silk. I used the same (near) black silk thread to stitch the dividers between the window panes.
I really loved putting in the red bricks! I just happened to have the ideal colour of Chinese flat silk to do the counted satin stitch with. The white grout is made with stem and straight stitches using a white Chinese flat silk. The lentils were finished by couching Gilt Twist #3 and Gilt Rococo in place. Note how I left a tiny gap between the window/bricks at the bottom and my yellow string padding. I will need this gap later when putting in the passing thread to form the top decorative border of the tapestry hanging behind the pope. You can also see that the gold threads are just cut off and not plunged as we tend to do in modern goldwork.
One of the challenges of recreating these Late-Medieval orphreys is finding out what threads were used. In the original piece, the fringe of the ceremonial tapestry hanging behind the figure has wavy streaks of very fine gold thread. No idea what it is! However, I have noticed that when the ends of Gilt Twist unwind, they look wavy. What would happen when you intentionally unwind a length of twist? Yup, you end up with three strands of very fine wavy gold thread :). So, over my base layer of green and red satin stitches made with Chinese flat silk, I carefully stitched with my "home-made" gold thread. The trick is to use a big needle and not pull to hard as otherwise the waves come out. And yes, I did stitch through the fabric with my gold thread using the same motion as with laid stitch.
Next up was the tapestry itself. For the St. Laurence project I used Japanese thread for this part. However, this would not work well with the intricate padding of the decorative top border. I decided to use Gilt passing thread #6/Stech vergoldet 140/150 CS instead. It is a stiffer and thicker thread than what was used originally. However, I am trying to finish this piece quickly so that I can start the next one for my upcoming exhibition in August. Using a finer thread would mean hours of extra work! And this already took 20 hours... The good news is, it works much better for the red diaper pattern than the original thinner thread works in the original piece. There is a lot of gaping in the original piece. The downside? It doesn't flow well over my padding; here I have gaping. Especially over the little dots.
And I learned something else: framing up both the figure and the background on one frame, make stitching difficult. My arms are too short sometimes. I noticed that I was able to stick to the counted diaper pattern best when turning my frame in such a way that I worked horizontally (as you see in the picture). I couldn't do this for the other half of the background. Instead, I worked vertically. The diaper pattern is not nearly as crisp. However, the couching over the padding is much nicer when I am working vertically. Lesson learned. Next time I will make sure that I can reach my embroidery equally well from all FOUR sides of my slate frame. For the moment, the blank that will eventually be filled with the figure of Pope Francis looks more like a zombie...
P.S. You can find the first two blog posts on this project by clicking the "Pope Francis" category on the right.
Before we dive into more exquisite embroidery from China, just a little shout-out to the Fiber Talk podcasts. On Sunday, I had my second lovely conversation with Gary discussing my ongoing journey from craftsperson to textile artist, my trip to China, the reality of turning your skill into your business and so on. We laughed a lot and hope that you`ll enjoy the conversation too! You can listen via the player on the Fiber Talk website (were you'll find hundreds of other engaging podcasts with fellow embroidery people!) or you can watch the episode on FlossTube.
In previous blog posts I have shown you the oldest pieces of embroidery I saw in China as well as beautifully embroidered rank badges. Today we will examine the court robes worn by the Qing emperor (AD 1644-1911) and his closest relatives. These lavish robes are decorated with the symbol of the emperor: the dragon. Hence their name: dragon robes. But there is more than just gorgeously embroidered dragons on these robes. After all, we are in China :). These robes are packed with meaning. Luckily, there was a very helpful picture in the National Silk Museum, Hangzhou pointing out the different motives and their meaning:
The different symbols are arranged in three distinct circles. Around the neck you'll find the sun (life force) and the moon on the shoulders and constellation of three stars (the handle of the sign Ursa Major; illumination) and the rock (stability) on the front and the back. The next circle runs over the chest and features the axe (distinction between right and wrong) and double bow (dispensing of justice) on the front, as well as a pair of dragons and a pheasant (light and colour). The third circle at knee-level sports a pair of bronze sacrificial cups (courage and wisdom), waterweed (purity), grain (nourishment and sustenance) and fire (warmth and light).
When the emperor conducted certain important ceremonies he would sit facing south. The major symbols on his dragon robe would then allign with the wider architecture of the Forbidden City: the sun on his left shoulder with the Altar of the Sun in the East, the constillation of the three stars on his chest with the Altar of Heaven in the South, the moon on his right shoulder with the Altar of the Moon in the West and the Rock at the nape with the Altar of Earth in the North.
And this is the real thing: a dragon robe featuring nine dragons. This particular robe would have been worn by an imperial prince during the summer. The background cloth is imperial yellow silk only to be used by the emperor and very close relatives.
Above is a picture of one of the dragons featuring in the third circle just above the seam. The dragon mainly consists of couched gold threads (Japanese thread) and accents in silk embroidery. The small motives surrounding the dragon are stitched with silk in satin stitch. Among these small motives are bats (left of the right hind-leg of the dragon), pairs of peaches (at the top of the picture, right above the head of the dragon) and flaming pearls (the couched roundel with red silk embroidery, left of the head of the dragon) and many clouds. The hem is decorated with ocean waves, mountains, coral and rocks.
Here you'll see the tiny bats, peaches and clouds in more detail. I particularly love the bats. Aren't they geniusly stitched? They are tiny, but there is so much characteristic detail. Just look at the ears and the whiskers!
The Chinese word for bat and for happiness are the same. Red coloured bats are even better as the colour red and the word for majestic/subleme are also the same. Bats depicted together with peaches confer the wish `May you live long and happy`.
And here is a detail of the seam of the prince`s dragon robe. I particularly like the way the circular wave in the middle is embroidered. Very effective shaded split stitch for the spiral, surrounded by satin stitched `white heads`. The design lines of the `white heads` are further defined by couching down a single gold thread. The vertical stripes at the bottom represent deep water. Stylished multi-coloured rocks rise from the waters. The ancient Chinese preceived the world as being surrounded by four oceans.
This wasn`t the only dragon robe on display at the magnificent National Silk Museum in Hangzhou. However, as this blog post is already rather heavy with pictures, I`ve uploaded the other robes onto my Pinterest board: Embroideries from China.
You can find more information on dragon robes and embroidered symbols in: Bertin-Guest, J. 2003. Chinese Embroidery traditional techniques, Krause Publications, ISBN 087349718-X. This book also explains the embroidery techniques in detail and comes with 16 (increasingly difficult!) designs to work yourself.
I originally made the drawings for this new goldwork project at the end of September last year. But with the China teaching trip and the holiday season, I hadn't really started in earnest. As I want to include this piece in my first solo-exhibition in August, it became about time to seriously make a start. My first attempt was so 'enthusiastically', that I decided to pull it all out, flip my slate frame and start again. What had happened? My design transfer was just rubbish. As I have only a small light-box, transferring larger designs demands attention. The kind of attention to detail you don't have when you really, really want to start :). The good thing about starting again: the flipped slate frame! Most people probably don't know that you can use a slate frame upside-down; just like the Chinese embroiderers do. It comes with two big advantages. First: your arm rests on the horizontal bar of your slate frame rather than on your embroidery. Secondly: the horizontal bars of your slate frame prevent spools of thread from rolling off your frame. But beware: the second point might tempt you into putting much more onto the frame than is beneficial for the tension of your embroidered piece...
This is what Pope Francis currently looks like. As we have had so much snow with the accompanying dark skies, couching silver coloured Japanese threads with two shades of white and two shades of grey is very hard on your eyes. That's why I decided to work the figure of Pope Francis and the background simultaneously.
What materials and techniques have I used so far? The figure of Pope Francis is created with or nue. This means that I am using pairs of silver coloured Japanese Thread #8 and couch them down with a single thread of DeVere Yarns six-fold (120 denier) silk. I am using Crystal, Lily, Cloud and Foil. His shoes were stitched with satin stitch using a single strand of a stranded silk by the Silk Mill colour Black Alder. I embroidered the fringes on the fascia with Turkey rug stitch using DeVere Yarns 18-fold (360 denier) tightly twisted silk colour Hessian. After all the or nue has been done, I will add pearls for the buttons and I will define some folds by couching a separate metal thread on top. Much as I did with St. Laurence.
As mentioned in my first blog post on this new goldwork project, I am modelling the background on an existing late-Medieval orphrey from the Netherlands. I started by putting in the tiled floor. For the tiles I used four colours of Chinese flat silk: two greens and two reds. Using the darker shades in the back creates a sense of depth. The tiles are stitched with a simple satin stitch following the grain of the fabric. Then I couched a single strand of Gilt smooth passing #5 on top using the matching colour of silk. Last but not least, I embroidered the grout with small chain stitches using two strands of the Silk Mill Black Alder. I had learned from St. Laurence to don't leave too big a space for the figure, that's why bits of the tiling will be covered by the figure.
The small areas of blue sky at the top of the orphrey were embroidered using light-blue Chinese flat silk and long-and-short stitch. Evenly spaced single threads of Gilt smooth passing #5 were couched down on top using the same silk. Since late-Medieval embroiderers mainly worked in commercial workrooms, efficiency was important. Plunging threads? Far too time consuming! Just add a few more anchoring stitches at the end and just snip off the metal thread. In addition, metal threads would frequently continue to run underneath silk embroidery. Securing and snipping off takes more time than just stitch over them. I wondered how far you can take this approach :). The small bright-green turrets were just perfect candidates to try this out. I satin stitched the turrets with Soie Ovale by Au ver a Soie #0199. Then I added an outline of chain stitches using the Silk Mill Black Alder. You wouldn't know that there is passing thread running beneath them!
As this blog post is getting rather long, we will talk about the windows and the padding for the screen behind the figure in a future blog post. I will group all blog posts concerning this goldwork project under the category 'Pope Francis' for quick future reference.
Last week I ran my last five-day embroidery workshop of the year. No worries, I'll run five more next year and you can find the dates here. Due to my trip to China, I had to move some students to this new date. I thus ended up with one person doing crewel embroidery, one person doing canvas and one person doing goldwork. And that was actually really nice and varied! Let's have a look at what the ladies worked on. Unfortunately, my good camera gave up the ghost in China, so I had to take these pictures with my phone. Today my good camera was returned to me all cleaned and with a brand new diaphragm. Can't wait to shoot with it again!
First up is Elena from Switzerland. She worked a design from an older RSN book. As she is originally from Russia, the copy of the book is in Russian too. Luckily for me, the names and sizes of the gold threads were not being translated. In the original design, the petals and leaves are coloured in with aquarelle pencils. We opted for silk appliques instead. Unfortunately, the picture does not really do justice to the very elegant feel of this design. I can't wait to see it when it is finished!
Anja L. worked a crewel embroidery design from a book by Hazel Blomkamp 'Crewel Twists'. It was her first encounter with embroidery since primary school. Getting to grips with the fact that this type of embroidery is not very productive, took some time. But she persisted and I think we have our latest convert! It will be lovely to see Anja develop her own style when she gains confidence in her own stitching abilities.
And then there was Anja D. from the Netherlands. She worked on her first canvas piece and really loved it. And so did we all! Once completely stitched, the beech trees will form a stark contrast with the beautiful autumn background. Instead of blending each colour shade in the needle, we opted for the variegated threads by House of Embroidery. This brand just happened to have such beautiful autumny colour combinations that it would have been a waste of time not to use them. Knowing Anja, we will soon see the finished piece appear in the student gallery (hint: her lovely blackwork woodpeckers are already up there!).
And last but not least, you can watch my talk on historical embroideries I held at the National Silk Museum last month. As the whole talk is being translated into Chinese, I really needed to stick to my text so as not to throw off my lovely translator Clover. Pretty quickly we established a good rhythm and the whole presentation went rather smoothly. Enjoy!
For those of you who didn't scroll to the bottom of last week's blog post or who missed the post altogether, I am going to talk a bit more about my new online embroidery classes. What will you get for your money and how do they work? But first things first. Currently, there are four online classes you can choose from: Goldwork, Crewel, Appenzell fine whitework and Schwalm embroidery (also a whitework technique, but this time counted). Below is a short video with a clip from each online class so you can really get a sense of what it is all about.
Apart from eight or nine instruction videos (depending on the technique you have chosen) you also receive a material pack with fabric, threads and needles. The shipping cost is already included in the class fee :). Don't forget to provide shipping details when booking a class!
Once you have placed your order and paid for a class, I will start assembling your material pack. I will also transfer the design for you onto the fabric. I will either use an aqua trick marker (Appenzell, Crewel & Schwalm) or a pencil (Goldwork). I will usually ship it the same day. Delivery times depend on where you are in the world, but as the kits are small and can be 'disguised' as a letter, it will be quick.
Immediately after checkout, you will also receive a download link for a PDF hand-out. The hand-out contains the access information for the instructional videos. But that's not all! You will also find useful background information and free online resources, a material list, the pattern and a stitch plan. So even if it takes a little while for your material to arrive, you have plenty to explore!
Once the material pack arrives, you can work through the videos at your own pace. Presently, I can guarantee access until 15-09-2019. That's when my Vimeo plan is up for renewal. Depending on how well these online classes are received, you might have access for much, much longer (fingers crossed!).
If you have questions or you get stuck during stitching the project, you can always contact me through email. And once you have finished the piece, I would love to receive a picture!
I hope this blog post has answered the questions you might have had regarding my online classes. If things are still unclear, please do leave a comment and I'll answer as soon as I can. You can book your online class here.
Jetlagged and with a nasty cold, but full of wonderful stories about my recent teaching trip to China, I sluggishly slump behind my laptop. To add insult to injury, my dearest coffee machine died on me when we got home from Beijing on Saturday night. I nearly killed someone this morning who carelessly suggested that I could easily survive on instant coffee until my beloved machine gets repaired... Let's talk of happier things, shall we!?
Packing my 24 days in China into one blog post might be a little too much :). Instead, I will write several posts in the coming weeks on my adventures in the far East. We'll start today with the actual teaching. I arrived a few days early in Shanghai and was picked up by Edith, a textile enthusiast from Hong Kong, who had organised the workshop. We immediately got on really well! We decided to take the bus to Hangzhou; my first taste of the excellent public transport services in China. After being dropped off in the centre of Hangzhou, we took a taxi to the hotel situated near the famous West Lake. As Bad Bayersoien - Hangzhou takes nearly 24 hours, I was ready to slip between the covers in my lovely hotel room.
After a delicious breakfast the next morning, we crossed the street to visit the National Silk Museum. The museum is quite large with several buildings housing different exhibitions related to silk. The buildings sit in a beautifully landscaped park. Exploring the ground floor of the silk road exhibition alone took me about two hours! In the afternoon, I decided to take a walk and explore the famous West Lake. As it was the weekend, many Chinese holiday makers had the same idea. The place is famous for getting your wedding pictures taken and the whole area is an important inland holiday destination. I ended up visiting a Buddhist temple, the tombs of some revolutionaries and ended with Jasmin tea overlooking the lake. As there where not many other Westerners, the Chinese looked upon me with great curiosity :).
On Sunday, we prepped the classroom for the workshop starting on Monday. I met my assistant and translator Clover who has studied weaving in London. She did a great job translating my English into Chinese during the workshop! And in between, we ate :). Not only breakfast was a treat, the local eateries were fabulous too! Me using chopsticks for the first time was hilarious and I must confess that I don't miss them...
On Monday, the teaching started. The group of students was very divers. I had museum staff, art teachers, fashion designers and even two craftsmen from Tibet. They were all very eager to start!
Although the official classroom was in the basement, we decided to use the lovely weather and stitched outside a lot. Sitting in front of an old sericulture farm was a favourite with all of us until the mosquitos found out about it too... We strung a line and hung up the result of the previous day to talk about the experience. I was very impressed with my students as most of them had finished their projects overnight! However, getting them to critique their work publicly or express their experiences with the particular embroidery technique, wasn't easy.
Other favourite stitching spots were the cafe...
...and the gallery of the fashion building. Those large windows were fantastic.
When teaching the goldwork leaf on Thursday, I discovered a mistake with the scale of the leaf. Oopsy! Time for a last-minute change: add some chipping to the original design and all was well again. It shows that no matter how well you prepare, mistakes can always happen. Adapt and carry on! We ended the day with a Chinese high-tea organised by the students. They had brought all sorts of delicacies for me to try. Yummy!
The schedule on Friday and Saturday changed a little. We had the opportunity to pair my talk on medieval embroidery with that of a local master embroiderer on Friday. We had all hoped that she would talk on the techniques she used in her embroideries or the thought process that went into them. Unfortunately, she didn't. It was more a sales talk. However, some of her work was really nice and unusual. It showed that she also experienced difficulties with branding her work as art.
My talk went really well. The museum did record it on video and as soon as I know where it is available, I will let you know. If it does not become available, I will put up the original presentation and let you know where to find that. However, it is much more fun to hear a Dutch person talk in English and have that translated into Chinese by Clover :).
As one afternoon of the original five-day workshop was high jacked by the presentations, we decided to meet again on Saturday morning (in the original plan I would have given my presentation on Saturday). I was completely blown away by the fact that quite a few students had completed all four projects! That's the best praise a teacher can get. It shows that they really enjoyed themselves and loved the tasks I had set them. Those six days were immensely gratifying and I really had a blast! Seeing people figuring things out and going on helping others is such a great experience. I really hope they can implement the things they have learned in one way or the other.
If you would like to work one or several of the projects I taught in China, all four are now available as online classes. Each project comes with a PDF download detailing how to get access to the instruction video. Furthermore, you'll receive a materials pack with everything needed to complete the project (fabric, threads and needles). Shipping costs are already included in the cost of the class. Choose from crewel embroidery, Schwalm embroidery, Appenzell fine whitework or goldwork embroidery. I truly hope that this format answers the prayers of those who have reminded me over the past years that they would love to do a class with me, but simply live too far away. If the new format proves to be popular, I will definitely come up with further classes! But for now, I am going to make myself a litre of bedtime tea in the hope that my jetlag can be persuaded to not wake me up at 3:00 am...
Before I am going to tell you what the above entails, I want to say a huge thank-you to all who responded to last week's blog post! There were some great suggestions and I was able to implement one straight away: I became a member of the Society for Embroidered Work by invitation. How cool is that? Do visit their website and follow the links to all the amazing embroidery artists on there! And one more laugh about the craft-tradition-art debate: I picked up the embroideries I had displayed at the Pilatushaus in Oberammergau. It is end of season and I didn't want them locked up until the spring. I was told by a fellow member of this organisation that nothing had sold. The reason given? I needed to understand that embroidery had no great tradition here... Strange! Only a few villages down the main road, I had just been told the previous week that I couldn't join the artist society BECAUSE embroidery had a strong craft tradition here!
Once a year, there is a textile fair not far from where I live. The buildings of the monastery of Benediktbeuern are filled with 140 textile related businesses. Always fun to have a walk around. Most is sooooo exclusive that it is way out of my budget, though. Each year me and my husband catch up with Thomas und Marianne Held who sell books on textiles. We met them one year in Osnabrück at Nadel & Faden where we were neighbours. They are such fun and generous people! This year I bought two books on textile collections held in Germany. Do visit their website as they really do have a great selection on hard to find second-hand books on textiles.
Apart from this happy re-union, I stumbled upon Christine Asböck of 77°Nord. She makes beautiful bracelets with something which looks like very fine pearl purl. I immediately fell in love with the pretty braid patterns and bought a bracelet. The combination of reindeer leather and silver thread is so classical. I watched Christine work on a new bracelet and was amazed that she braids first and then sews the whole braid down using very fine nylon thread. I also learned that this type of craft is called Tenntrådsbroderier or tin thread embroidery. It has been traditionally practiced by the Sami people of Northern Scandinavia as a winter craft to earn some extra money.
I was especially curious about this Tenntråd, which looks like pearl purl. It was easy to find a Swedish supplier and so I ordered a variety of silver plated, gilt and coloured threads in various thicknesses. Contrary to pearl purl, this thread has a textile core. It cannot be stretched like pearl purl. But it is still great fun! It can of course be used in the traditional way to make a braid and use it in goldwork embroidery. It can also be used as is in goldwork embroidery as a substitute for pearl purl. However, you would need to use the very fine nylon thread to be able to sew it down invisibly. You cannot pull the thread between the coils as the thread does not like to be stretched. As this particular supplier has a wide range of coloured thread, I am sure I will order some more in the future and get creative!
P.S. My teaching trip to China is fast approaching. This means I won't be able to ship any orders between 18th of October and the 11th of November. Anything ordered during this period will ship on the 12th of November.
Wow, where did the summer go? We had a lovely 26 degrees yesterday and only 6 this morning... We will even see the first night frost this week! Time to re-home my lovely flowering tropical plants from the balcony to the windowsill :). The cooler temperatures are also a perfect excuse to stay indoors and start a new embroidery project. As I really want to be recognised as an artist instead of a crafter, I need to start making original artwork again. For the past months, I have been thinking about a theme for my upcoming solo-exhibition in August 2019. I seem to be rather good at getting brilliant ideas in the middle of the night :). Luckily for me, I am pretty good at getting back to sleep after these nightly strokes of genius. My husband has a far harder time. After all, I have to tell someone, right?
I am planning to make a few embroidery pieces in the style of St. Laurence. Using 16th century goldwork embroidery techniques and artistic language. But addressing modern-day issues like immigration, climate change and consumerism. All unmistakably linked, by the way. First up is Pope Francis. Ever since his disarming 'Buona Sera', I have been fascinated by this man. But what probably fascinates me even more, is how we all seem to project our hopes and dreams on this one man. Francis should address climate change, the role of women, homosexuality, world peace etc. And 'pronto', please! The inconvenient truth however is, that one man, even when he is the pope, cannot accomplish this on his own. Are we willing to help him?
To show how our projections tend to make Pope Francis larger than life, I've given him a few extra arms. Like many Hindu Gods have. Two arms and hands form what is called the 'Kanzlerraute', the typical 'everything will be all right' posture Angela Merkel often shows. The background will be closely modelled after an orphrey from a chasuble made between AD 1520-1525 in the Northern Netherlands and now held at the Catharijne Convent under inventory number BMH t2911. I am very grateful for this museum to have given me free access to several high-resolution images of this magnificent piece.
That's all for now. I will spend the rest of the afternoon transferring the design onto 40ct natural linen by Zweigart using a normal lead pencil. This is the preferred way of transferring embroidery designs in the Late Medieval period.
P.S. This week's newsletter has a code of 15% off high-quality embroidery scissors by the German-based company DOVO. You can sign up for my newsletter in the right-hand column! You can read a review by Mary Corbet on these lovely scissors here.
Last week I was fortunate enough to visit the exhibition 'The embroidered Heaven' at the Church Heritage Museum in Vilnius, Lithuania. I also met with Lithuanian embroideress Agne Zemkajute. Discussing pieces in the exhibition with a kindred soul is pure bliss! And Agne proved to be a very knowledgeable guide and fellow cake eater :). As we both have a love of church textiles and love to recreate them, this was certainly not the last time we have met. For those of you not living within two hours flying time from Vilnius, I will try to pack this blog post as full as I can with impressions of the exhibition. And at the end of this lengthy post, I will pass on details of the lovely catalogue produced by the museum.
The exhibits were displayed chronologically from the Late Medieval period until the 20th century. Due to the fact that the Lithuanians were the last peoples in Europe to convert to Christianity in AD 1387, there aren't any really old vestments. And Lithuania's turbulent recent history with 100 years of Tsarist rule, two World Wars and the Soviet Occupation, didn't help in the preservation of what once has been there either. Nevertheless, there were two chasubles and a cope hood on display which dated to the Late Medieval period.
One of the Late Medieval chasubles was 'restored' using paint. Its iconography of saints sitting under an architectural arch is well-known from many other embroidered vestments and paintings dating to the same period.
There were many more chasubles and related vestments on display dating to the 17th century. Contrary to earlier vestments who told a biblical story, vestments from the Baroque period feature large floral motives and an excessive use of gold threads. The height of the padding on some of these pieces is mind-boggling! These vestments were meant to dazzle you and to clearly show you who held power.
Although I am not a fan of the Baroque period, I do admire the skill needed to produce these magnificent pieces of highly-padded goldwork embroidery. Today, this style of embroidery is still in use in the embroidery ateliers of Spain. One of the people teaching this type of embroidery and blogging about it, is Cristina Badillo.
Playful 18th century Rococo with its elegant floral motives is much more my cup of tea. Especially the cope displayed above. Does this not remind you of Jacobean crewel work? However, this is made with silk and silver passing thread. I have never come across a piece like this and I would love to hear from my readers if they know of a comparable piece. Agne and I discussed the piece at length as we can't quite discern how the flowers have been stitched.
In fact, we have so many questions about this piece that we will have no choice (how horrible!) than to try and recreate some of it. Just determining if it is best to stitch the silk before the metal threads or the other way around was just not possible from looking at the piece. We even took pictures if the blown-up detail pictures on display to get a grip on the stitching process...
This chasuble from c. 1909 reminds me of the chasubles made by Leo Peters, a Dutch artist, around that time. It has an Art Nouveau feel to it. And the padding underneath the figure of Jesus and the cross is just amazingly thick.
And I really liked this early 20th century piece as well. I don't remember seeing vestments using panels of needlepoint before. There is even some drawn-thread work in this one.
Apart from the many embroidered vestments on display in the exhibition, the museum also has a few vestments on permanent display. And, best of all, they have a large set of drawers on the organ gallery. Each drawer contains a vestment. They allow you to browse through them and have a good look at them without the hindrance of glass!
Please note: the exhibition 'The embroidered Heaven' will end on the 15th of September 2018. However, the Church Heritage Museum sells a wonderful catalogue, hard-bound, and with full-page detailed pictures of all the vestments held by the museum. Although the regular text is in Lithuanian, there is an excellent summary in English in the back. The catalogue has 222 pages and costs only €15. You can contact the museum here.
Jessica M. Grimm
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