Elizabethan embroidery

In the Elizabethan embroidery, designs were inspired by a variety of sources. These included pattern books. There were published and aimed at both the domestic and professional embroiderer. Needle workers also used herbals, symbol books and bestiary books to find patterns and designs. The theme of the needlework of the Elizabethans reflects their love for nature. Plants, flowers, birds, animals and inserts are all common motifs found in Elizabethan embroidery including that produced on clothing. During the Elizabethan period, there are following styles of embroidery that became popular. First is Black work was used mainly on clothing, however in the beginning black work embroidery was used only on collars and cuffs but with the passage of time it extended to free form style (often floral) all-over work used on foreparts and sleeves. Second is Tent Stitch, This embroidery patter was used the variety of household items, including table carpets, bed dressings, bags and cushions. It was also used to produce slips which were small motif stitched on linen and then applied to more expensive fabrics.

Opus Anglicanum Emproidey

Term Opus Anglicanum used in medieval continental inventories to describe English embroidery. It was famous for its fine gold work and the use of techniques of underside couching and split stitch. This embroidery pattern was used for both ecclesiastical and secular textiles, although very few samples of this type of embroidery have survived. English embroiderers are famous for used of specific techniques while stitching the face and hair. To complete the head they would use two different colors to denote natural curl. Another characteristic of Opus Anglicanum was the general liveliness of expression and pose in the figure modeling of features and the use of split stitches worked spirally, for example, to suggest rounded cheeks and black eyes. Minutely observed birds and animals, clearly based on contemporary animal drawings, figured largely in the decorative schemes. This Embroidery pattern forms the balance between silver-gilt metalwork, stained glass, sculpture and architecture. Because of the use of expensive material used in the embroidered textiles the article became something of a status symbol for royalty and religious leaders. In 1317, Queen Isabella, wife of Edward III, paid 100 marks which becomes £40,000 of today to “Rose, the wife of John de Bureford, citizen and merchant of London, for an embroidered cope for the choir, lately purchased from her to make a present to the Lord High Pontiff from the Queen.”

Anglo-Saxon embroidery

Anglo-Saxon designs in embroidery reflected design in other mediums such as carving and illumination. There was extensive use of interlaced patterns, figural and animal designs as well as architecturally inspired structure within the needlework design. As these embroideries drew heavily from Biblical and religious themes that is why is used heavily in church decorations. There are many references to embroidery in literature and also to those who produced it. In the 10th C, there is reference to St. Dunstan working on designs for Queen Aedgytha, wife of Edward the Confessor. There is also Queen Margaret of Scotland, wife of Malcolm III, who decorated copes, chasubles, stoles and altar cloths. Gifts of textiles to the Church formed an important part of late Anglo-Saxon society. Vestments, made up of many marks worth of gold, were given to various religious communities during this period. These Vestments are often the most valuable items in the treasuries of the communities. Because of the intrinsic worth of these items (a cope and two chasubles burnt in the 14th century recovered over two hundred and fifty pounds worth of gold) many were destroyed to recover the gold. This explains why so few of these items survive, despite their acknowledged beauty.