We were in England early this summer for a week on a canal boat. I didn't manage to hit a stitching store, but we had a lot of fun. We visited Worcester cathedral. I enjoyed examining the frontal that was on the altar there. From a distance you see abstract clocks of colour. Come closer and you see that the whole thing is three dimensional, with each block of colour set at a different ditance from the base, and done in different types of stiching, from the very easy to fairly complicated. The explanation said that the 'hanging' had been stitched by 'local artists'. It is supposed to represent the cathedral reflected in the waves of the Severn River. To be honest, I didn't see it,(even after reading that), but I quite admire the designer. It is lovely from a distance, and close up. It uses the various skills of the stitchers available (I assume that each was given the material, shape, and an idea of what the end product was supposed to look like, and let loose to work it her own way. The variety of stitches and interpretion add a richness to the final piece that is hard for a single designer to manage. But the whole thing works together.
In the morning I went for Morning Prayer and Communion in the crypt. I have to confess that I missed a lot of Morning Prayer: I was studying the altar. It was a nearly cubical block, with a swirling textured pattern. From my seat, I couldn't figure out whether I was looking at a block of wonderful stone with the colours and swirls carefully intensified by the skill of a stone mason, or whether the altar was covered by a quilted parament that covered at least three sides. I finally decided on cloth, and later examination proved me right. A wonderful subtlety that delighted me.
As a counterpoint to the modern pieces I enjoyed in Worcester, was the lovely exhibit at the Eastern end of Chester Cathedral. In two chapels presently unused for liturgical purposes were several pieces from the Cathedrals collection - late 19th and early 20th century vestments and paraments chosen to illustrate the influence of William Morris. Pure joy to look at! I own a small hanging of the Good Shepherd, and was intrigued to see that one of the pieces there had the top end of 'my' shepherd on it. (BTW My piece is not just away in a closet, as it was used as part
of the altar decoration for the Methodist church here at Easter.)
Showing posts with label ecclesiastical needlework. Show all posts
Showing posts with label ecclesiastical needlework. Show all posts
Tuesday, 18 August 2009
Monday, 5 January 2009
Paraments on View at St. Stephan's
Until the end of the month there is a small exhibit at Stefansdom of paraments from 5 centuries. Actually, most of those on display are 18th century, but I'm never against seeing baroque goldwork. There is one that dates probably to the 15th century, and the most recent is still unfinished. My favorite was one from 1900. Goldwork again, but this time typical Jugendstil scrolls instead of the heavy overall work from the earlier examples.
It's a narrow winding staircase up (two way traffic!) but well worth it even just for the view of the church from the higher vantage point, and when you have this rich treasure of needlework to see as well it would be a shame to miss it.
It's a narrow winding staircase up (two way traffic!) but well worth it even just for the view of the church from the higher vantage point, and when you have this rich treasure of needlework to see as well it would be a shame to miss it.
Wednesday, 10 December 2008
Embroidered banners
I had to drop in today at the building of the Wiener Wirtschaftskammer - the Vienna Chamber of Commerce. To my great delight, the building has several cases holding embroidered banners. I would guess that the ones I saw were 19th century. They were done in silk shading and goldwork, in a style that I associate with church embroidery. (These, of course, are secular pieces.) Jerry was in a semi-legal parking space waiting for me, and only one of the three I looked at was well lit, so I can't say much more about them, except that I shall have to make an opportunity to go back with more time, and perhaps a light. Then I will go through the building and check out each floor. (I saw two on the 4th floor, so I hope there are more on the floors in between.
Monday, 16 April 2007
Crusader Exhibit in Schallaburg
I'm almost feeling human again, so Jerry, Steven and I decided to make use of the lovely summer weather we are having to go visit the new Crusader exhibit about an hour's drive from Vienna.
In terms of textiles, the quantity was minimal. However, the quality was great, so we won't complain too much.
First was a chausuble from the 12th century (German). Long arm cross stitch in silk on linen. Lovely work, and in places the fabric was quite close to the side of the showcase. In style it reminded me of the set that is at the MAK, but much more consistency within the piece. The whole cloth was divided up into rectangles (perhaps 20 - 25 cm) each of which held one or more figures. There were fairly narrow borders separating the rectangles. The linen was only visible where the stitching had worn away. The rows of cross stitch were only a few mm wide, all very even, giving a striped or braided effect.
Second was a hood or bonnet from the late 12th or early 13th century. Sicilian work. It is now taken apart and shown flat. Unfortunatly, it was at the bottom of a tall glass showcase, so there was no way to really see the stitching. The cloth had been stitched in an all over pattern of whirls, couched gold thread on red silk.
Third was early 12th century Egyptian. This was a small bit of plain fabric with a woven in border.
There were also a fair number of chain mail outfits, but I don't count those as textiles. Oh, yes, one later tapistry depicting scenes from the crusades. Not in the things from then, but with the items showing how the crussades have been depicted in later eras.
Anyone interested in medieval ceramics from the Near East would love the exhibit. There were lovely tiles and containers. My favorite had been first glazed in a soft turquoise. That had been covered in black, and the design scratched out.
There were several models of crusader castles and cities of the time that were nicely done. Steven loved those, and either commented on how dificult aech castle would have been to attack, or wished that he had the original to climb around in.
Many of the larger items on display were casts or modern representations of the originals. In some cases this was fine, but the two graves of arab leaders of the time were more theatrical props than anything else. I would have wanted good detail pictures of some of the decorations on the originals, I assume these were inlaid stone? and not paint on fiber board.
As ever, the items I really liked were not available as postcards. The catalog (German) looked interesting, but at Euro 29, more than I felt like paying.
Schallaburg is a lovely castle, well worth visiting for it's own sake. I didn't think the exhibit was very exciting, but neither was it so big as to get boring. If visiting with German-speaking children, get the children's guidebook before going in, and try to answer the puzzles as you go through. There are two side trips off the main route. Follow them when you see the signs. You'll come right back to the main exhibit. There are a few special events planned during the summer if you are into tournaments and such. Basic information on the crusades was given in both English and German. There is also a spectacular dragon playground. All in all a good family outing. Combine it with a drive through the Wachau.
In terms of textiles, the quantity was minimal. However, the quality was great, so we won't complain too much.
First was a chausuble from the 12th century (German). Long arm cross stitch in silk on linen. Lovely work, and in places the fabric was quite close to the side of the showcase. In style it reminded me of the set that is at the MAK, but much more consistency within the piece. The whole cloth was divided up into rectangles (perhaps 20 - 25 cm) each of which held one or more figures. There were fairly narrow borders separating the rectangles. The linen was only visible where the stitching had worn away. The rows of cross stitch were only a few mm wide, all very even, giving a striped or braided effect.
Second was a hood or bonnet from the late 12th or early 13th century. Sicilian work. It is now taken apart and shown flat. Unfortunatly, it was at the bottom of a tall glass showcase, so there was no way to really see the stitching. The cloth had been stitched in an all over pattern of whirls, couched gold thread on red silk.
Third was early 12th century Egyptian. This was a small bit of plain fabric with a woven in border.
There were also a fair number of chain mail outfits, but I don't count those as textiles. Oh, yes, one later tapistry depicting scenes from the crusades. Not in the things from then, but with the items showing how the crussades have been depicted in later eras.
Anyone interested in medieval ceramics from the Near East would love the exhibit. There were lovely tiles and containers. My favorite had been first glazed in a soft turquoise. That had been covered in black, and the design scratched out.
There were several models of crusader castles and cities of the time that were nicely done. Steven loved those, and either commented on how dificult aech castle would have been to attack, or wished that he had the original to climb around in.
Many of the larger items on display were casts or modern representations of the originals. In some cases this was fine, but the two graves of arab leaders of the time were more theatrical props than anything else. I would have wanted good detail pictures of some of the decorations on the originals, I assume these were inlaid stone? and not paint on fiber board.
As ever, the items I really liked were not available as postcards. The catalog (German) looked interesting, but at Euro 29, more than I felt like paying.
Schallaburg is a lovely castle, well worth visiting for it's own sake. I didn't think the exhibit was very exciting, but neither was it so big as to get boring. If visiting with German-speaking children, get the children's guidebook before going in, and try to answer the puzzles as you go through. There are two side trips off the main route. Follow them when you see the signs. You'll come right back to the main exhibit. There are a few special events planned during the summer if you are into tournaments and such. Basic information on the crusades was given in both English and German. There is also a spectacular dragon playground. All in all a good family outing. Combine it with a drive through the Wachau.
Thursday, 8 March 2007
Hidden stitchery
One of the fun things for me is discovering needlework treasures where you don't expect them. Here in Vienna, if you go to the Schatzkammer, you know you'll get to see your fill of the Golden Fleece vestments. If you go to the KHM you can admire the way major painters interpreted the needlework that their sitters where wearing. The MAK has wonderful textiles on display. ... Yes, but when you go into the coal mine under the Technical Museum, you don't expect to have the long stretch of dark and claustrophobia rewarded by seeing a lovely sampler dedicated to St. Barbara. (Yes, It's lovely. No, I don't intend to ever visit it again.)
One of the other things I do is theology. Last night I attended a lecture at the Theological Courses of the Archdiocese of Vienna. (This is a wonderful organization that exists to train lay people. I learn Hebrew there, and enjoy the lecture series when my health allows.) The first question when arriving at the Kurhaus next to St. Steven's is where they have put the lecture. If lots of people are expected they use the big room right at the entrance. If fewer people are there, usually we are upstairs. This year the lift is being replaced, so that means climbing three flights of stairs, and like most old buildings in Vienna, the rooms all have high ceilings. It's a long climb. Last night we were in a smaller room, but on the ground floor. Missing the climb was enough reason to be pleased. But I'd been in that room before, and had nearly forgotten that an old antependium is hung in the corridor that leads to the room. Aaah!
Unfortunately there is no label, and I have not been able to find a date on the stitching. I would guess that it is about 100 years old. I would very much like to know more about it. I would also love a chance to get at it with needle and silk for long enough to stabilize some of the couching that is falling off. The rest of it is in very good condition. Also it is wonderful to be able to get really close without glass between me and the stitching.
The stitching is spectacular. The background is cream-coloured linen (? or cotton, but ecclesiastical things tend to use linen.) Some of the appliques are probably silk. The threads may be partly silk, but many are probably cotton. The parts I could study closely (the bottom fourth) used some goldwork techniques, but I don't remember seeing metallic threads.) Although the drawing is good, and the way the draperies are indicated is amazing, I am not impressed by the design of the whole. However, these things can look very different from a distance, and an antependium (altar frontal) can't be judged as close up as you are in a hallway.
The major figures are appliqued (after being embroidered?) There are also thickly stitched medallions that I would also assume were applied after stitching. Other stitching is done directly onto the background.
Most of the stitching is chain stitch, which changes to split stitch where a thinner line is needed. There is also a lot of couching, especially around the edges of appliques. Some areas have laid fillings. I think it must have been framed up before stitching and never removed from the frame. That's a favorite way of working these things, and I wouldn't dare move something with such long unsecured laid stitches off frame.
There are two towers stitched straight onto the background in very fine grey lines - they look like pencil drawings. They are too high for me to really examine the stitches, but they are tiny - under 2mm - and exquisitly accurate. If this is double running it is a lot neater than I can do it. (Never mind the stitch size which also boggles my mind.) However, backstitch would make the 'holes' more visible. And not split stitch either. I would like to get in there with a camera and take a picture just of one of the towers and try to copy it. But I'm not going to let my stitching be compared to whoever did this! I would use whipped backstitch with one strand to try and get the feel of pencil drawing.
Questions I would like to be able to answer:
One of the other things I do is theology. Last night I attended a lecture at the Theological Courses of the Archdiocese of Vienna. (This is a wonderful organization that exists to train lay people. I learn Hebrew there, and enjoy the lecture series when my health allows.) The first question when arriving at the Kurhaus next to St. Steven's is where they have put the lecture. If lots of people are expected they use the big room right at the entrance. If fewer people are there, usually we are upstairs. This year the lift is being replaced, so that means climbing three flights of stairs, and like most old buildings in Vienna, the rooms all have high ceilings. It's a long climb. Last night we were in a smaller room, but on the ground floor. Missing the climb was enough reason to be pleased. But I'd been in that room before, and had nearly forgotten that an old antependium is hung in the corridor that leads to the room. Aaah!
Unfortunately there is no label, and I have not been able to find a date on the stitching. I would guess that it is about 100 years old. I would very much like to know more about it. I would also love a chance to get at it with needle and silk for long enough to stabilize some of the couching that is falling off. The rest of it is in very good condition. Also it is wonderful to be able to get really close without glass between me and the stitching.
The stitching is spectacular. The background is cream-coloured linen (? or cotton, but ecclesiastical things tend to use linen.) Some of the appliques are probably silk. The threads may be partly silk, but many are probably cotton. The parts I could study closely (the bottom fourth) used some goldwork techniques, but I don't remember seeing metallic threads.) Although the drawing is good, and the way the draperies are indicated is amazing, I am not impressed by the design of the whole. However, these things can look very different from a distance, and an antependium (altar frontal) can't be judged as close up as you are in a hallway.
The major figures are appliqued (after being embroidered?) There are also thickly stitched medallions that I would also assume were applied after stitching. Other stitching is done directly onto the background.
Most of the stitching is chain stitch, which changes to split stitch where a thinner line is needed. There is also a lot of couching, especially around the edges of appliques. Some areas have laid fillings. I think it must have been framed up before stitching and never removed from the frame. That's a favorite way of working these things, and I wouldn't dare move something with such long unsecured laid stitches off frame.
There are two towers stitched straight onto the background in very fine grey lines - they look like pencil drawings. They are too high for me to really examine the stitches, but they are tiny - under 2mm - and exquisitly accurate. If this is double running it is a lot neater than I can do it. (Never mind the stitch size which also boggles my mind.) However, backstitch would make the 'holes' more visible. And not split stitch either. I would like to get in there with a camera and take a picture just of one of the towers and try to copy it. But I'm not going to let my stitching be compared to whoever did this! I would use whipped backstitch with one strand to try and get the feel of pencil drawing.
Questions I would like to be able to answer:
- Was all the stitching done for this frontal, or where pieces taken off of previous pieces?
- Were the towers done by a different stitcher from the rest of the work? How many stitchers in all?
- Were the individual drawings done by different artist(s) than the total design?