Introduction to Tudor Embroidery - Finished

The five finished samples were combined into a single display. The background was quartered with the Ecclesiastical Flower Motif, the Berkeley Grape Vine, the Goldwork Rose, and the Bacton Marigold in each of the four corners, and the Broiderers’ Crown Roses on a roundel of black velvet in the centre.

© Cynthia Jackson/Carol-Anne Conway

Various metallic threads were combined to conceal the joins between the fabric grounds. A flat gold was threaded into a coil of fine gold wire which was then overstretched and flattened. This was positioned and couched over the join. Different weights of lizarine were then couched along each side of the flat wire. Only a small segment of the looped wire remains visible creating a subtle effect against the flat wire.

© Cynthia Jackson/Carol-Anne Conway

The ribbed silk faille used for the Bacton Marigold corner was gorgeous but you only had to look at it and it frayed. This meant that I needed additional embellishments to cover the join between the faille and the velvet … and I had to stitch very gingerly to prevent further fraying.

© Cynthia Jackson/Carol-Anne Conway

The central roundel was treated in a different way. The flat wire was crimped and carefully coaxed around the curve. This was outlined with gilt brilliant twist – a two-ply cotton thread that is covered with a thin gilt strip.

© Cynthia Jackson/Carol-Anne Conway

I learned a lot on this course and it only served to heighten my interest in historical embroidery.

Happy stitching!