As we are entering week six of the lock-down here in Bavaria, we can look forward to some restrictions being lifted a little in the near future. But we are a long way off normality. And I am not sure we will or want to go back exactly to how things were six weeks ago. For my part: I love the clear blue skies, the fresher air and the lower levels of noise. I really enjoy seeing and hearing more wild-life on our daily walks. And I love seeing my fellow church members via zoom several times a week. This is a huge improvement compared to pre-pandemic attending church service once a month in Munich. But as a small business owner, I can't help but be worried. Will my business survive the storm? Will the small family businesses I order my embroidery supplies from, survive? Will my customers still have disposable income to spend on my products? That's why I decided to write a blog post on all the big and small things you can do to help small businesses during this pandemic and beyond!

As we cannot gather, find other ways to stay in touch with your favourite small businesses. Follow their social media channels and make sure to like, comment and share their posts. The algorithms favour posts that have a lot of social interaction. These posts get shown to more people and thus more potential customers! And best of all: this is a completely free way of supporting small businesses. If you don't already do so, please subscribe to my Instagram account and get linking, commenting and sharing. Equally: bought something from my webshop? or working on one of my patterns?: tag me. Thank you very much!

If your favourite small businesses offer digital newsletters: sign up to them! This is a great way to stay up to date with what is going on. And if Social Media is not your thing as you find it too time-consuming and interrupting; these newsletters can be opened and enjoyed when you want to! This is another great way to support small businesses for free. If you are not a subscriber yet, please follow this link to subscribe to my weekly newsletter (and get in the monthly draws for free embroidery threads!).

Many small businesses have used the past few weeks to come up with new-to-them digital ways of staying connected with their community. I've started a FlossTube channel for which I make short videos on my medieval embroidery. This is my latest video on my last finish. Please subscribe to my channel, like my videos and leave comments. The YouTube algorithm loves popular videos/channels and the more social interaction, the wider the reach, the more potential customers I can serve! Thank you very much for your support!

But, and I won't lie, it comes all down to this: buy from us regularly. As international parcel service is severely disrupted, please buy smaller items such as threads, my petite needlepoint kits, most goldwork supplies, fabric, needles and scissors which can easily be put in a padded envelope. Yes, they take longer to reach you, but let's face it: most of us aren't going anywhere soon :). And most small creative businesses have a variety of digital downloads for purchase as well! These don't require any shipping as you can instantly download the PDF. Please browse my collection of embroidery patterns (goldwork, stupwork, crewelwork and Schwalm whitework) or my eBooks on 17th-century silk embroidery from Tyrol and my latest one on the long-armed cross-stitch. Every purchase is very much valued and the survival of my business depends on it now that I can't teach embroidery!

And last, but not least: your support has a knock-on effect. Small business owners tend to shop with small businesses themselves! Not only do I mainly sell products from small family businesses, but when I shop for groceries, household items or clothing, I am almost only buying from independent small businesses. The only exception: cat food and cat litter. When we tried to use an organic brand from our local organic store, Timmie and Sammie were sure we were trying to not so subtly kill them :). Above you see my latest purchase: a hand broom made from wood and horsehair by the last surviving authentic brush/broom binder in Germany. I've been purchasing high-quality brooms and brushes from Volker Kees for years. He is a travelling craftsman and we usually meet at open-air fairs here in the South of Bavaria. He has no website, but can be contacted by email. As I was pretty sure that he struggles to sell his products now that all fairs have been cancelled, I sent him an email and a couple of days later this functional beauty arrived.

Supporting small businesses is something I have been firmly integrating into my life over the past few years. If you did not already do so: please take this pandemic as an excuse to start doing the same. You'll be surprised at how much impact your purchases have!

For the past couple of weeks, I have been working on a new eBook. Ever since I came across the 12th-century chasuble that inspired it, I wanted to promote this ancient embroidery technique that is now little known in the embroidery world. Contrary to popular belief, the cross-stitch wasn't a popular stitch before the 16th century. Instead, other counted stitches were used in creating magnificent pieces of stitched art in the medieval period. One of these stitches is the long-armed cross-stitch. A bit more 'up-market' than the modern cross-stitch as it creates a pretty braided effect. And very well suited as a filling stitch. Both on the grid and off the grid! Let me show you what I created by using this lovely stitch and the pretty geometric patterns from the chasuble.

Those of you who follow me on Instagram have already seen this VERY opulent phone case that I created using the embroidery technique and patterns from this new eBook. It is very well in keeping with medieval tradition: it is completely OTT :). Densely stitched in silks, seams covered with amethyst beads and a damask lining. I would have been a really cool Acupictrix back in the 12th century sporting a case like this :).

If you like to read about the history of embroidered pieces than this eBook is for you! The 20-page PDF includes nine new pictures of the historical vestments not previously published on my blog. And for those of you who want to learn the ropes on long-armed cross-stitch, there are several clear stitch diagrams so you can easily replicate the stitch left to right, right to left, top to bottom and bottom to top. And last but not least, the eBook comes with stitch diagrams for 36 different geometric patterns found on the original 12th-century chasuble! You could stitch them all on a big sampler or do as I did and use a few to decorate an item.

Would you need expensive materials to recreate these patterns? Absolutely not! You probably have all you need already in your stash. Some type of evenweave fabric or even aida and a matching embroidery thread. The pretty braid created by the long-armed cross-stitch works best when you use a non-devisable thread like perle or cotton a broder. However, multiple strands of stranded cotton do the job just fine too. And if you prefer to work the geometric patterns in cross-stitch instead, I won't be hurt :). They work just as well in modern cross-stitch as they do in its ancient cousin long-armed cross-stitch. You can purchase your copy of the eBook here.

Each and every purchase is much appreciated! These are challenging times for small businesses. I am very committed to bring you quality digital products as we presently can't gather live for classes or workshops. Please support my work with your purchase and keep me in business. Thank you.

As the lock-down here in Bavaria, and indeed elsewhere, continues till at least the 19th of April, my embroidery courses at the open-air museum Glentleiten and the stumpwork course here in my studio had to be cancelled. Unfortunately, teaching is literally my bread-and-butter. Over the past two weeks, I have been looking into other avenues of promoting my embroidery business and making up for the financial downturn. One project will be another eBook. It will be on a little-known counted medieval embroidery technique with huge potential. I hope to be able to release it next week. The other project underhand is starting a FlossTube channel on medieval embroidery. The second episode is now up:

In these short videos, I'll talk about a specific aspect of medieval embroidery. In the first one, we explore the name acupictrix and the Babylonian confusion regarding the word 'embroidery' in Greek and Roman written sources. If you have missed it, you can watch it below. In the second episode, I'll show you how to search a fantastic online catalogue of medieval (textile) art in the Netherlands. It contains many high-resolution pictures of embroidery which you can download and use freely as long as you cite the source.

I am currently working on the third episode in which we will explore the rich silken fabrics used for these magnificent medieval goldwork embroideries. Please subscribe to my channel, give me the thumbs up and help me to promote my business. These are crazy times and we will only make it if we support one another. Thank you!

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

Since most of us are forced to stay at home, this blog post is a collection of embroidery related news to keep your hands busy in good virtual company. First up is a lovely spring-time cross-stitch pattern I adapted from a vintage pattern I found in the Antique Pattern Library. The pattern uses only two colours of stranded cotton: a colour for the flowers and a green. No need for specific colour numbers, just pick two colours that go well together. And if you like the effect of variegated yarn, you get a similar result as I did (see pictures below). I've used vintage variegated DMC stranded cotton on linen banding from Vaupel & Heilenbeck. You'll find the free pattern download in the download section of my webshop.

If you are rather into whitework, check out Luzine Happel's Global Schwalm Sampler. Over the next three months, embroiderers from all over the world can contribute to this community art project. Details are available on Luzine's website in German and many more languages.

Since we cannot for the foreseeable future gather in real life, I've started a FlossTube channel. The first episode has been up for a few days. And as viewers are rather positive and starting to suggest future topics, a new episode will go up in the next few days. Please like the video and subscribe to my channel so that you don't miss any new uploads. You can watch the first video here.

Nothing to do on Easter Sunday? Brilliant! Join hundreds of stitchers around the world for the first-ever FiberTalk Stitchathon. If you are in the CET time-zone (Amsterdam, Berlin etc.), make sure you are in front of your screen from 18:00h till 24:00h. Give-aways from shops, designers and fellow stitchers are coming in and guests from all over the world are being lined up. This is going to be awesome! Hope to 'see' you there!

If you are a follower of the antics of Gary of FiberTalk, you would have heard him rave about his purple fabric :). I have three pieces left for sale. They have the same fabric count as Gary uses, namely 35 ct. However, the colours are somewhat different. The basis for all these pieces was Maxima Alba/Weddingen linen, but of different batches. Some were white others more off-white. These pieces can be shipped in an envelope worldwide for €3,70 postage. Please keep in mind that mail is still going overseas, but it probably takes longer due to the virus. You will find the pieces for sale here and here.

And last but not least: the winners of last month's thread packages! If you would like to be included in the draw for one of these then please make sure you subscribe to my newsletter. This month's winner from the existing subscribers is: Marcella van Oost. And this month's winner from the new subscribers is: Elizabeth Dilworth. Both stitchers have been contacted. Congratulations!

That's all for now. Keep well!

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

Before I tell you all about my collaboration with LoveCrafts, I would like to let you know that I was a guest at the wonderful Friday Night show with Vonna and Gary of FiberTalk. If you haven't already done so, please watch the show and hear what I am doing to help the stitching community through these difficult times. You will also see my dear husband making a guest appearance :). And now on to some design- and thread talk!

The lovely Sarah from LoveCrafts sent me some embroidery threads to play with. And since I am a self-proclaimed thread-addict, I was up for the challenge. Browsing the LoveCafts website, I came across the beautiful hand-dyed stranded cotton by the Roumanian brand Valdani. Now I had heard that name before but never seen these threads, let alone played with them. So I picked some reds and pinks as I already had a design in mind: a Millie Marotta crab. You see, not only do I love her designs, but I and my husband happen to be Cancerians.

These are the lovely variegated threads I picked: 0533 Golden Autumn, 0534 Quiet Fall, 812 Brick, 813 Brick Dark and H204 Nostalgic Rose. Even the two 'bricks' are ever so subtly variegated. These would be perfect for those of you who recreate historical samplers. And what I really like about theses skeins? The wrapper is made of recycled paper. Not those horrible plastic wrappers the more modern DMC skeins have. We all need to do our bit to preserve our planet and I am glad Valdani does their bit.

So how does one go from the intricate Millie Marotta drawing to a stitch-able pattern? In this case, as I approach the whole project as a doodle rather than a thoroughly pre-planned affair, I simply copied the outlines of the crab. I decided upon the size of the project (I like to use a particular brand of frames, so I decided on 14 x 14 cm) and I added some lettering. Apart from wanting to use some Schwalm embroidery on the main body of the crab and simple surface embroidery for all the other parts, nothing was planned. The combination of Schwalm and surface embroidery determined the fabric I was going to use: not too fine, as that would make the cutting of threads for the Schwalm too much of a challenge, but not too coarse either so as not to hamper the surface embroidery. I settled for 40 ct (16 threads/centimetre) Zweigart Newcastle natural coloured linen (now also available in off-white!). As the label says that the Valdani threads are colourfast, I used an aqua-trick marker for the pattern transfer.

And here are my stitching steps:

- lettering 'Cancer' chain stitch with three strands Brick Dark
- lettering dates simple backstitch with two strands Brick
- outline body of the crab in the classic Schwalm way of doing things: chain stitch with three strands of Quiet Fall followed by coral stitch with three strands of Quiet Fall
- preparing the grid for the Schwalm filling pattern by cutting out every fourth fabric thread in both directions
- filling the grid with the Schwalm filling pattern 'Pfauenauge' (from Limetrosen I by Luzine Happel) using two strands of Quiet Fall. I've picked this particular pattern as it mimics the shape of the crab's body
- filling the first segment of the legs with satin stitch using two strands of Brick
- the second segment is filled with fly stitch using two strands of Quiet Fall
- the third segment is filled with Cretan stitch using two strands of Golden Autumn
- the fourth segment on the lower legs is filled with Van Dyke stitch using two strands of Quiet Fall
- the claws were filled with chain stitch using two strands of Nostalgic Rose
- at this point, I realised that the bottom parts of the upper claws would lend itself well to being filled with Schwalm embroidery too
- again I made sure that the Schwalm filling pattern resembled the shape I was filling: 'Rippen nach links' and 'Rippen nach rechts'. I used two strands of Nostalgic Rose

Behold the result: I added two matching beads for the crab's eyes. So what do I think of Valdani stranded cotton? Firstly, I really like the colours of these hand-dyed variegated threads. Nostalgic Rose and Quiet Fall were my favourites. Secondly, I love the more environmentally friendly packaging compared with other brands. Thirdly, each skein holds 10 yards consisting of six strands. That's over a meter more than DMC or Anchor :).

Any disadvantages? Unfortunately, yes. I have found that the single strands of the stranded cotton are a bit more irregular and a bit fuzzier than those of either DMC or Anchor. This was especially noticeable with the darker colours: Brick Dark and Golden Autumn. Although I switched to a bigger needle, the appearance of my stitching is slightly fuzzy. This becomes especially noticeable when you compare the chain stitch + coral stitch edge around the Schwalm filling of the crab's main body. The stitches look dull on the edge, but there is a nice sheen on the filling stitch. As the filling stitch is worked in a grid, friction is much less and the thread keeps its sheen. Furthermore, you definitely can't re-use a thread when you made a mistake and stitches needed to come out. The thread will shred.

What are your experiences with Valdani stranded cotton? Have you used other Valdani threads? I've seen that they do perle and silks as well. How do they compare to the leading brands? Do let me know in the comments below!

Once again a huge thank-you to the lovely people of LoveCrafts.com who were kind enough to let me play with the Valdani stranded cotton! Be sure to check out their website for lots of embroidery threads, embroidery kits and amazing free inspiration.

A couple of weeks ago, I became the 'victim' of #fibertalkmademebuyit. When I checked out the website of one of their sponsors (Fire Poppies), I came across a very pretty cross-stitch and beaded easter egg. Those who follow me on Instagram will remember the drama to get my kit released from customs in Weilheim. Last week, I was finally able to start working on this kit. I am going to tell you all about it in this blog post. Do read till the end as I am having a special offer for all of you at the bottom of this post :).

When I saw a picture of the beaded easter egg on the Fire Poppies website, I was immediately charmed by the pretty design. I had never seen anything like it. When my kit arrived, I found out that the company who makes them is called Riolis from Russia. The actual designer is called Anna Petrosyan. Pardon my ignorance, but I had never heard of either. I do however know that embroidery is huge in Russia and that there are many talented designers living there. I just wished there wasn't such a language barrier!

My easter egg kit came with most of the materials needed to finish the design. I just needed to add sewing thread and beading thread. Fabric, floss, beads, needles and wooden egg were all included. And everything was very good quality too. Fabric came from Zweigart and Anchor supplied the floss. The instructions were very good too. With clear diagrams and an adequate translation into English. Not perfect, but very doable if you are anything other than an absolute beginner.

As always, I started by locking my fabric to prevent fraying. I also wrapped my floss onto some paper bobbins. The actual embroidery was very straight forward working with one strand of floss over one fabric thread (Zweigart Lugana). This explains why the finished embroidery looks so very refined.

When it came to the construction of the actual egg, I had some minor difficulties. The translation isn't very good here. When you follow it to the letter, you will find that one of your seams shifts when you pull your finished embroidery over the wooden egg. The upper and lower seams are only fastened at the central seam at the back. If I were to stitch another one of these eggs, I would prevent this by sticking the seams to the back of my embroidery with the help of some Vlisofix/Bondaweb. Or, more likely, I would only stitch half cross-stitches for the border. When turning the seams, I would fasten them by finishing the border cross-stitches (i.e. put the other half cross-stitch in). This would secure the seams perfectly and would prevent shifting.

The actual beading was great fun! I certainly learned a new skill. And I am very pleased with the result. Not as perfect as the pictures shown in the kit, but pretty good for a first attempt. And being an embroidery designer, I am already thinking of improving the finishing on these eggs (or Christmas baubles?). How about using linen banding? That would eliminate the whole drama with the seams :).

If you would like to stitch your own Riolis easter egg, then please ask Google. The kit was released in 2014 and has sold out on the Fire Poppies' website. The design number is 'B185'. However, I hope my review has shown that embroidery kits from Riolis are high-quality, contain plenty of materials and are well worth a try!

Now, on to something exciting! Please start the video below:

You can book your Skype session here. Hope to talk to you soon!

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

Today I am going to share some more medieval eye-candy with you. This time we are going to explore some of the goldwork embroideries made in France during the 13th-15th centuries. Particularly Paris enjoyed a boom in embroidery during the 13th-14th centuries as the royal court resided there. Written guild regulations from 1292-1295 and 1316 suggest that female embroiderers were the norm and that the apprenticeship lasted eight years. However, the embroiderers attached to the King and the princes have names such as Robert de Varennes or Sandre Lappert. So was the situation in medieval Paris really so different from that in the Low Countries? I doubt it. Prestigious commissions from the French King and his princes were likely given to male embroiderers.

The first piece I would like to draw your attention to is a mitre worn by the abbot of the ancient abbey of Sixt, Upper-Savoy. The very fine silk- and gold embroidery is executed on white silk (either samite or serge) backed by linen. The silk embroidery is executed in split stitch and stem stitch. The goldwork embroidery is all done in couching. Although the embroidery was executed by embroiderers from Paris, the drawings were likely made by Jean le Noir, a famous illuminator who had a daughter, called Bourgot, who assisted him. I particularly like how the wings of the angel are placed so that they fit the sloping side of the mitre just perfectly.

Another piece that blew my mind was the mitre created for Sainte-Chapelle around 1375-1390. There's so much going on on this relatively small object. And the scenes are adorable. Look at the ox and the ass. They make me smile :). The amount of padding on this piece is rather incredible too. And I just love the tiny seed pearls. It makes it all looks so over the top, yet so coordinated. The treatment of the garments is quite different from the usual or nue or pattern couching seen on so many of these pieces. Instead, the different parts (folds) of the garments are created by laying separate strands pairs of passing thread in different directions. The folds are accented with couched dark brown silk. Very clever indeed.

The last pieces of embroidery I would like to draw your attention to are known as the embroidered cycle of the legend of Saint Martin. This impressive, but incomplete, collection of embroidered orphreys was made for a single altar in a church or chapel. They thus show the medieval opulence when it comes to liturgical vestments. Due to the fact that these pieces were created at the court of Rene of Anjou (1409-1480) we know the painter of some of the designs: Barthelemy d'Eyck and the embroiderer who executed them: Pierre du Billant. It probably helped that both men were related.

The embroidered orphreys are now dispersed over four museums in Paris, Lyon, Baltimore and New York. Their original layout has been lost due to more modern up-cycling. Have a look at the very fine silk shading on the drapery of the clothing on some of the figures (there's definitely more than one embroiderer at work as there are marked differences in quality between the orphreys). The brightness of the colours after nearly 600 years is simply incredible!

I hope you liked seeing some more of the temporary exhibition at Musee Cluny in Paris! If you would like to try your hand at recreating your own medieval orphrey with diaper couching and or nue, then I am pleased to tell you that I have a few kits left for sale from the Crewelwork Company needlework retreat in Stratford upon Avon. Go to my webshop to secure your kit!

Literature
Descatoire, C., 2019. L'art en broderie au moyen age. Musee de Cluny. ISBN: 978-2-7118-7428-6 .

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

Before I'll announce the winners of this month's selection of embroidery threads, I'll give you a short impression of my teaching for the Needlework Spring Retreat at Stratford-upon-Avon organised by the Crewelwork Company. Below you see me in front of my fellow teachers (Jenny Adin-Christie, Kate Barlow, Nicola Jarvis and Mandy Ewing) as well as Phillipa Turnbull and her daughter Laura. The reason I look so happy: I just rescued some fabulous creme brulee the staff at the hotel were about to take away :).

It was great to catch up with my former colleagues from the Royal School of Needlework. Who knew that Kate Barlow used to work on the costumes of the Chippendales? It apparently involves tiny pieces of flesh-coloured lycra held together with fishing wire... Mandy innocently asking what these pieces were for, made everyone's evening :).

During the retreat, I was teaching the Gothic Poppy piece to students from Australia, South-Africa, the UK and the USA. We had great fun and a special thanks to Daniel and Susan for the great conversations we had! And on a lighter note: Thanks to Dorothy, couching stitches forming a bricking pattern will forever have a whole different meaning :). And Susan suggesting that I should recreate the beautifully embroidered codpiece worn by Archduke Maximillian of Habsburg for my husband was truly priceless :). I am looking forward to seeing many of you either at my studio here in Bavaria or at the Lady Anne's Needlework Festival in 2021!

And now without further ado: This month's winners of the selection of embroidery threads are: Mieke van der Maaten and Linda de Boey. Both have been contacted and will receive their threads shortly.

That's it. Can't do any serious writing after yesterday's 15-hour train trip back home.

At the beginning of January, I and my husband were lucky enough to be able to visit the embroidery exhibition in Paris. Today I'll show you some stunning pieces from the Opus Anglicanum section. The term for this type of embroidery from the 12th-14th centuries translates as 'work from England' and usually consists of very fine silken split stitches and underside couching. It was greatly valued throughout Europe especially, but not solely, for religious purposes. Therefore, you will find these stunning pieces of embroidery in museums all over Europe. But beware: not all Opus Anglicanum embroidery was actually made in England or by English hands. Medieval Europe was already so well connected that both ideas and people travelled a lot.

The graves of bishops are a great place to search for medieval embroidery. Bishops were usually laid to rest in their finery in a grave with better preservational conditions than Joe Average. Antiquarians from the 19th century knew that too and when these graves were opened for whatever reason, they brought their scissors along. This is illustrated for instance on a pair of liturgical sandals from a grave from the Cathedral of Saint-Front in Perigueux: three different museums own pieces of the same pair of sandals.

Today, many museum visitors turn their noses up when they see these brownish fragments of textile. They are mostly not 'pretty' in the usual sense. But I was very pleased to see that Musee de Cluny devoted a whole display case to these extraordinary finds. For obvious reasons, the levels of lighting were lower than in the rest of the exhibition so my pictures are sometimes a little dark. Nevertheless, look at these stunning patterns of birds and scrolling in very fine underside couching!

Another stunning piece of embroidery on display was the above panel with the martyrdoms of the saints. There is a second panel too with female saints. Both are kept in different museums in Belgium but originate from the same church in Namur, Belgium. It was in use as an altar frontal but might have originally been a vestment. The embroidery on this piece is absolutely immaculate and very fine. I particularly love the different goldwork couching patterns in the background and the immense detail on the horse. Although only the above panel was on display in Paris, both panels were displayed at the Opus Anglicanum exhibition in the Victoria & Albert Museum in London a few years ago.

One of the biggest pieces of embroidery on display were the fragments of a horse trapper (a protective garment for a horse in battle or tournament). It was unfortunately impossible to capture all (over 20, many quite small) fragments in one picture. The detail of the goldwork embroidery is amazing. The lion's mane and hairy claws are so full of movement through laying the goldthreads in different directions. In amongst the bodies of the lions are many small human figures in courtly dress. They clearly show how to embroider on such a difficult fabric as velvet: cover it with a thin piece of silk. When the embroidery is finished, cut the excess silk away.

Although this piece of embroidery comes under Opus Anglicanum it does not show any underside couching and only small areas of split stitch (the silken parts of the claws). Instead, the goldwork is all 'normal' couching and the small figures and the foliage are stitched in running stitch (hence you can see the silk that was used to keep the hairs of the velvet at bay when stitching). It is said that in using these two embroidery methods the actual embroidery would take much less time then when split stitch and underside couching were used. I agree when it comes to the split stitch versus the running stitch. The latter is much quicker as it covers more ground with fewer stitches. However, I am not so sure that normal couching is that much quicker than underside couching. I now practice both and the only marked difference for me is that underside couching is harder on your body due to the slight extra force you need to apply with every stitch.

By the way, these fragments have an interesting 'upcycling' story to them. The horse trapper was probably originally made for King Edward III. He was a guest at the Reichstag (Imperial Diet) at Koblenz, Germany, in AD 1338. The horse trapper probably remained in Germany as a royal gift. It was turned into a set of vestments for the Altenberg Abbey. These were dismantled in 1939 to once more show the original horse trapper.

There were many more beautiful pieces on display in this part of the exhibition. For those of you who were not able to visit in person, I can highly recommend the exhibition catalogue. It is packed full with good quality pictures and many close-ups. More on my textile adventures in Paris in further blog posts!

Please note: there won't be a blog post next week as I am away teaching for the Crewelwork Company. Stay tuned as I will name the next two winners of a thread pack in the first blog post after my return!

Literature
Browne, C., G. Davies & M.A. Michael (eds.), 2016. English medieval embroidery Opus Anglicanum. Yale University Press. ISBN: 978-0-300-22200-5.
Descatoire, C., 2019. L'art en broderie au moyen age. Musee de Cluny. ISBN: 978-2-7118-7428-6 .
Michael, M. (ed.), 2016. The age of Opus Anglicanum (= Studies in English medieval embroidery 1), Harvey Miller Publishers. ISBN: 978-1-909400-41-2.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

P.P.S. Don't forget to sign up for my newsletter so you'll have a chance of winning a selection of embroidery threads each month!

This is the last article in the series accompanying the conference 'Über Stoff und Stein' in Munich. The other three articles can be found here: part I, part II and part III. For my last goldwork embroidery sample, I choose a letter from the Sternenmantel of Holy Roman Emperor Henry II held at Bamberg. You can read about my visit to the museum where it is housed here. As one of the conference organisers, Dr. Tanja Kohwagner-Nikolai, is also head of the research team for the embroideries held at the Diocesan Museum in Bamberg, I was able to ask very specific questions about the embroidery. I was even given a high-resolution picture of the particular letter (for obvious copyright reasons, I can't publish that picture here). Join me in my musings on recreating part of a very elaborate 'R' from a stunning piece of embroidery that's a 1000-years old.

The original goldwork embroidery was worked on a dark purple samite. This is a specific twill-type weave for silk fabric which was popular in the Middle Ages. I only once had a small piece in my hand which was found during an archaeological excavation in the medieval parts of Emden in northern Germany. Samite is hard to get hold of nowadays. Czech-based company Sartor recreates historical samites for the re-enactment scene. Fortunately for my purse, they don't have a dark purple one in stock. Instead, I had a look in my fabric stash and came up with a paisley patterned silk damask.

Next up was transferring the pattern. The drawing of the 'R' is very intricate and can only be transferred onto the fabric once simplified. I made a pricking of the simplified drawing and used white pounce powder for the transfer. The white dots were then connected with watered-down watercolour Raw Siena (see video above). As the drawing is so intricate, I did my utmost best to keep the paint lines as fine as possible. NB: From the high-resolution picture I could tell that the letter is 9.5 cm tall. As I worked with my original pictures and some crude maths, my copy is about a centimetre taller.

The Sternenmantel has undergone major alterations since it was first stitched around AD 1020. The first major re-make took place in the 15th century when the gold embroideries were cut out from the old mantle and appliqued onto the blue silk damask we see today. The thick red and white embroidered lines along the edges of the lettering date to this re-make. The original lettering looked indeed very different.

The goldthread used for the lettering is a kind of very fine passing thread. The strips of gold foil wrapped around the silk core are less than half a millimetre wide and have a near pure gold content. In comparison, most ordinary gilt goldthreads used today have a gold content of 0.3% -2%. There are about 46 goldthreads per centimetre and this makes each goldthread around 0.21 mm. This is comparable to a modern-day Stech vergoldet CS 70/80 or a smooth passing #3. The goldthread is couched down as a single thread with red silk yarn. I've used DeVere Yarns Carmine #666. There is no regular couching pattern.

Although the high-resolution picture is much better than my original pictures, I still am unable to tell if the tails of the goldthreads are plunged and tied back on the reverse of the fabric or if the ends are simply cut off and secured with an extra couching stitch. It is highly likely that the answers lie beneath the thick white and red contour lines which were added in the 15th century when the goldwork was taken off the original mantle (or mantles) and appliqued onto this 'new' one. I was also told by the head of the research team that the restoration in the 20th century now makes it impossible to inspect the reverse of the embroidery. This is very unfortunate indeed, but also shows the great strides made in textile conservation since then. In my reconstruction, I did not plunge my ends in accordance with the later Gothic embroideries from the Low Countries where there was no plunging either. I know that this is a long stretch both in time and area. However, the goldthread used is so pure that it would have been far too costly to waste any of it on the back.

During the conference, I had a lovely discussion with both Tanja and Dr. Holger Kempkens on who made the Sternenmantel and the other magnificent goldwork embroideries held at the Diocesan Museum Bamberg. We readily agreed that it was not noblewomen or nuns, but men in professional workshops. Probably travelling with the highly mobile imperial court. And with connections to both the Western world and the Islamic world. Modern-day professional commercial goldwork embroidery is often executed by men (for instance the cover for the Kaaba in Mecca). The first mentions in the historical records of women doing goldwork embroidery either as creators or repairers are from the 17th century in this part of the world (the situation is different in England).

And then there is the embroidery itself. The couching on the lettering is done in a very specific way. Although the couching stitches are placed randomly, the goldthread is by no means laid randomly. The embroiderer made sure that this very precious thread was laid down in the most economic way with as little starts and stops as possible. This is easy to do on the straight parts, but far less easy on the 'knotty' bits. Although I stared long and hard at the picture, I found out halfway through the actual stitching that I had it wrong. In comparison, my husband needed very little time to figure out the correct 'path'. Now please don't get me wrong or accuse me of sexism, but there are things in life MOST men can do better than women and vice versa. Not ALL men or ALL women. And this is not to say that there aren't women out there that can do this job perfectly. But I get the feeling that this particular embroidery job suits men better than women. Please don't hate me.

Demonstrating historical goldwork embroidery techniques to the conference delegates was very enjoyable. They were tremendously interested and had lots of questions. It is so important to get both 'head' people and 'hands' people in the same room talking to one another. Tanja's idea of doing just that for this conference was brilliant and I certainly hope that it will get copied like mad by others.

Literature
Baumgärtel-Fleischmann, R. 1983. Diözesanmuseum Bamberg ausgewählte Kunstwerke, Bayerische Verlagsanstalt Bamberg. ISBN 3-87052-380-8.
Kohwagner-Nikolai, T., S. Ruß & U. Drewello, 2016. Goldgestickte Vergangenheitsinszenierung, Restauro 5, pp. 48-53.
Kohwagner-Nikolai, T., 2014. O Decus Europae Cesar Heinrice? Die Saumumschrift des sogennanten Bamberger Sternenmantels Kaiser Heinrichs II., Archiv für Diplomatik, Schriftgeschichte, Siegel- und Wappenkunde 60, pp. 135-1646.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

P.P.S. My effort to raise money for the relief fund of the Australian Red Cross in the aftermath of the bushfires amounted to € 80. I've decided to up that to € 100 and this has now been donated. Mabel Reedijk won the embroidered coaster. Congratulations and a huge thank you to Anja Deijl, Jackie Ayres and my parents who also generously donated!