I am beavering away on writing the texts for my upcoming ebook on the linen vestments from Tyrol. The good news is: my sampler is finally finished! And that's where I need your help. I am planning on releasing kits to go with the ebook. After all, you might want to try your hand at one of these gorgeous flowers too. So for today's giveaway, I'd like to know which of the flowers on my sampler you like best. Leave your answer in a comment on this blog post (comments left on other blog posts or via email or any other way, do not count). The winner will get the new ebook and the kit of her/his choice upon release. I will randomly pick one winner on Monday the 11th of June 2018. You must leave your comment before Sunday the 10th of June 24:00h CET.

And here are the flowers you can choose from: Carnation, Viola, Tudor Rose, Tulip, Wild Rose, Tiger Lily, Campanula and Peony.

Thanks for your help! And I'll keep writing :).

For the past couple of months, I have been investigating a particular silk embroidery technique from Tyrol. In lieu of a better name, I called it 'Italian couching'. Since this name is already taken in the embroidery universe for not one, but two very different embroidery techniques, I have dropped it. The sparse German literature on the matter refers to it as 'linen vestments from Tyrol'. Perfect! Taken.

What is so special about this particular silk on linen embroidery? Several things. But my most recent discovery involved the embroidery technique itself. Upon closely studying my pictures I had taken in the Diözesanmuseum in Brixen, I discovered that there were no short stitches in the laid-work. Not even when a shape narrowed. Hmmm. Not a 'normal' Bayeux stitch in silk after all. So what did the stitchers from Tyrol do different?

Basically, to achieve a curving petal or leaf, they sculpt their laid-work when placing the long couching stitches on top. As this is a little hard to explain in writing, I made my first ever instruction video. You'll see me work a simple leaf. Whilst stitching the laid-work, I sometimes push previous stitches out of the way. When adding the long couching stitches, I really 'work' my laid-work to form a nicely curved leaf with really nice tips. And I think this is the reason why the Tyrolian stitchers 'sculpted' some of the embroidery elements: really, really nice tips! And I think this sculpting is what makes this style of embroidery differ from, for instance, the Castelo Branco embroidery from Portugal. But please correct me if I am wrong.

By the way, you can help me a lot in promoting my YouTube channel! Please take the time to not only like my video, but please also subscribe to my channel. The more views, but especially subscribers, and my videos will get noticed by many more stitchers. I will try to add to my channel regularly. And I also have an ebook in the pipeline on these linen vestments from Tyrol. So far, I have written up instructions for two of the eight flower designs seen on the chasuble from Brixen.

But first: I am going on my first official holiday in about six years! I am not teaching embroidery at my destination, nor am I attending a conference on archaeology. And neither is my husband :). To make sure that I will relax as much as possible, I won't read my email, nor will I do any Social Media. And no blog either, sorry. This means that any orders placed before Friday the 30th of March 24:00h CET, will ship before I head to Crete. Later orders will not ship before Monday the 16th of April. In the meantime, have fun watching my video!

When I visited the Diözesanmuseum Brixen in Italy last year, I was captivated by one chasuble particularly. It wasn't particularly old or made with extraordinary skill. But to me it just screamed: FUN to embroider. And I had seen this particular technique before on an unfinished sampler in the collection of the Wemyss School of Needlework in Scotland. The particular pieces were made with fibrant coloured silks in a simple couching technique (Bayeux Stitch) and seem to originally date to the 17th century. Then my internet search began.

I proved not to be the first to write about 'Italian couching'. In 2007, Mary Corbet wrote an article about 'Italian Stitching' on her blog Needle 'n Thread. Through the related articles, I found the book Mary had originally consulted: Church Embroidery and Church Vestments by Lucy MacKrille written in 1939. You can download it for free here. If you like goldwork embroidery and embroiderying with silk, you'll love it! And what does it say on 'Italian Stitch'?:

Italian stitch in which stout floss is used for a foundation is the most beautiful of stitches. The floss is stretched across the surface from end to end of the design, care being taken not to twist a fibre, so that when the surface is covered it will be as smooth as satin. The finest gold thread is then lais across the silk in lines one-eight of an inch apart and couched evenly. The beauty of this stitch depends on the glossy smoothness of the floss, the straightness of the lines of gold, and the evenness of the bricking or couching stitches (MacKrille, 1939 p. 27-28).

Hmm, not my 'Italian Couching' after all. The examples I saw in the Museums in Norther Italy were al couched with matching silks, not with gold thread. Could it be that 'Italian Stitch' was actually an Anglo-American invention and not of true Italian origin? Let's check with Pauline Johnstone writing on Italian Embroidery in 'Needlework: an illustrated history' edited by Harriet Bridgeman and Elizabeth Drury from 1978. There it says:

An alternative technique was laid and couched work in colored silks, crossed and held down by spaced lines of gold thread. ... Many vestments of this type are attributed to Napels, where the Kings of Napels and the Two Sicilies held a wealthy and lucurious court (Plate 45). (Johnstone, 1978, p. 143).

So, what does Plate 45 show? Not much in a book from 1978. It is in colour, but a whole chasuble at only 10,2x9,3 cm, doesn't tell a whole lot. Luckily, this particular chasuble is held at the Victoria & Albert Museum in London. And they have a digital archive! You can find the entry for the chasuble featured in the 1978 book here.

Lo and behold! This is indeed the needlework technique I have seen in a few pieces in Northern Italy and the unfinished sampler in Scotland. And as you can see, the laid silk is couched with a matching silk thread. Not with a gold thread.

So, can you see what happened here? An authority on 'modern-day' church embroidery from America, but who studied embroidery in England, wrote on a couching technique with silks and gold thread she had learned and used in 1939. Later researchers on Italian needlework presumed this was a historical technique used in 17th century Italy. They had a bad photograph from the V&A collection and a brief description naming floss silks and silver-gilt thread. Combining the two into a Bayeux stitch with silks and gold thread.

Now don't get me wrong. The Itialian Stitch embroidery executed by both Lucy MacKrille and Mary Corbet looks absolutely stunning. But it does not seem to have been a historical needlework technique in use in 17th century Italy. However, if you have come across a historical piece made in Italy which does use gold thread as the couching, please do let me know! In the mean time, I'll keep my eyes peeled for more pieces in this fascinating technique.