Posts
The Great Countess Matilda of Canossa is one of those historical figures who fascinates me. She lived from 1046 - 1115. Her lands spanned across much of the central northern part of what is Italy today. She was politically active and even hosted a reconciliation between Pope Gregory VII and King Henry IV of Germany at her castle in Canossa. She was apparently quite the military strategist as well, her forces achieving several successful campaigns. In the 1630s her remains were moved to St. Peter's Basilica in a tomb made for her by Gian Lorenzo Bernini and several other artists at the request of Pope Urban VIII.
In the 1920s Dr. Maria Bertolani Del Rio, a psychiatrist, had designs recorded from the stonework and architecture of the Canossa castle and surrounding churches. Putting them together with many Romanesque and Carolingian designs found on "Matildic codexes" (the Countess Matilda was responsible for a great many important documents and even had her own biography completed within her lifetime), a book was produced in 1935 called Ars Canusina [Art of Canossa].
Dr. Bertolani Del Rio was the Superintendent for the Antonio Marro scolastic colony, a project of the San Lazzaro Psychiatric Institute in Reggio Emilia. The purpose of the colony was to look after and educate children who had been admitted for psychiatric care or were abandoned by their families. Boys learned various trades and girls were taught embroidery and other textile arts.
In 1932 the colony was asked to exhibit works of local tradition in the National Exhibition of Woman's Work. This was when Dr. Bertolani Del Rio merged her two fields of interest: the children and the designs she had been collecting. With the help of the Drawing teacher, Professor Giuseppe Baroni patterns for embroidery were created. Beautiful embroideries stitched by pupils of the colony with the assistance of a few expert embroiderers won the gold medal at the Exhibition.
The colony closed down after the Second World War and the trademarked name is now owned by the Comune of Casina and authentic products are made by the Consorzio Ars Canusina.
Tuttoricamo has two excellent articles on the history of this technique and the colony under the "Techniques" heading. There are also some technical instructions in the "How its done" section.
Books on the technique include:
Reggio Ricama Racconta l'Ars Canusina, 2003 (text in Italian and English)
Ricamo Canusino, Comune di Casina (text in Italian - difficult to find)
Ars Canusina, Maria Bertolani Del Rio, 1935 (facsimile reprint 1992. Text in Italian - difficult to find)
Some examples of Ars Canusina embroideries are here, here, here, here and here.
Monday, April 26, 2010
Sunday, April 25, 2010
Italian Needlework School Collaboration - History in the Making
I have been asked to tell you about a project I worked on in 2008. Many of you know (and many of you may not know) that I donate some translation work for the website Tuttoricamo.
In 2008 the Tuttoricamo ladies wanted to put together a book about Italian embroidery with the proceeds going to charity. Simona Bussiglieri from Mani di Donna had already put together a booklet of cross stitch designs in 2007 and was doing the same for 2008.
The ladies from Tuttoricamo sent word around to various embroidery schools asking if anyone would be interested in contributing to this worthy cause. (Proceeds went to the Pediatric Hospital Bambino Gesù of Rome which then used them to help the Bellosquardo House in Rome which houses low-income families from all over Italy and the poorer countries of the world). The response was good and the Tuttoricamo ladies embarked on the daunting task of coordinating and putting together the book: Un Natale da Ricamare 2008 con Tuttoricamo.
First a bit of background information: in Italy there are many embroidery and lace making schools. They are run by the various masters and teachers of Italian needlework techniques, usually as a second job, as most of you are aware, embroidery doesn't make anyone rich. These schools are generally in competition with each other, each one vying for students, teaching not just one, but many techniques in an effort to attract pupils. Some courses are carried out over weekends, some on specific days of the week, some over a period of weeks, months or years; in churches, community centres, private homes. Some schools and associations are fortunate enough to have some financial backing from community, provincial or regional funds and therefore have a fixed address and classrooms. It is a difficult way to make a living and the competition is quite fierce.
To ask these schools to collaborate together is something that had not been attempted before. Counting on the main goal of charity at Christmas time, the Tuttoricamo ladies went ahead and were successful in getting 13 associations to donate over 30 small patterns to be stitched up as Christmas cards or gifts. The techniques included: Classic Surface Embroidery, Drawn Thread Work, Palestrina Embroidery, Aemilia Ars Needle Lace, Cutwork, Reticello, Shadow Work, Cilaos, Filling Stitches, Bricco Embroidery, Cavandoli Macramé, Bandera Embroidery and Colbert Embroidery. Projects besides numerous Christmas cards were: table runner, table centre, needle book, lingerie envelope, wine bottle carrier, dish carrier, wine bottle drip-stop apron, napkin rings, Christmas tree ornaments, book cover, guest towel, advent calendar, sachet.
This is the sachet done by Gilda Cefariello Grosso (look her up at Tuttoricamo under 'Prominent Characters'):
This is the lingerie envelope done by the Association Giaveno Ricama:
Everyone donated their time, those who drew the patterns and wrote instructions, those who stitched the models, those who photographed, those who coordinated and me, who translated an English version (available as an insert upon request from Mani di Donna). The booklet is not for beginners, it is assumed that you have some working knowledge of the techniques as limits of space prohibited extensive instructions. It wasn't easy and it was stressful as putting together any publication is. Printing deadlines had to be met and asking people who are donating their time to conform to time restraints is not the easiest thing in the world to do. In the end however, a piece of history was made. This book represents more than the good will and charity of embroiderers at Christmas, it represents a sisterhood of sharing the art of Italian needlework and presenting it to the English-speaking world.
In 2008 the Tuttoricamo ladies wanted to put together a book about Italian embroidery with the proceeds going to charity. Simona Bussiglieri from Mani di Donna had already put together a booklet of cross stitch designs in 2007 and was doing the same for 2008.
The ladies from Tuttoricamo sent word around to various embroidery schools asking if anyone would be interested in contributing to this worthy cause. (Proceeds went to the Pediatric Hospital Bambino Gesù of Rome which then used them to help the Bellosquardo House in Rome which houses low-income families from all over Italy and the poorer countries of the world). The response was good and the Tuttoricamo ladies embarked on the daunting task of coordinating and putting together the book: Un Natale da Ricamare 2008 con Tuttoricamo.
First a bit of background information: in Italy there are many embroidery and lace making schools. They are run by the various masters and teachers of Italian needlework techniques, usually as a second job, as most of you are aware, embroidery doesn't make anyone rich. These schools are generally in competition with each other, each one vying for students, teaching not just one, but many techniques in an effort to attract pupils. Some courses are carried out over weekends, some on specific days of the week, some over a period of weeks, months or years; in churches, community centres, private homes. Some schools and associations are fortunate enough to have some financial backing from community, provincial or regional funds and therefore have a fixed address and classrooms. It is a difficult way to make a living and the competition is quite fierce.
To ask these schools to collaborate together is something that had not been attempted before. Counting on the main goal of charity at Christmas time, the Tuttoricamo ladies went ahead and were successful in getting 13 associations to donate over 30 small patterns to be stitched up as Christmas cards or gifts. The techniques included: Classic Surface Embroidery, Drawn Thread Work, Palestrina Embroidery, Aemilia Ars Needle Lace, Cutwork, Reticello, Shadow Work, Cilaos, Filling Stitches, Bricco Embroidery, Cavandoli Macramé, Bandera Embroidery and Colbert Embroidery. Projects besides numerous Christmas cards were: table runner, table centre, needle book, lingerie envelope, wine bottle carrier, dish carrier, wine bottle drip-stop apron, napkin rings, Christmas tree ornaments, book cover, guest towel, advent calendar, sachet.
This is the sachet done by Gilda Cefariello Grosso (look her up at Tuttoricamo under 'Prominent Characters'):
This is the lingerie envelope done by the Association Giaveno Ricama:
Everyone donated their time, those who drew the patterns and wrote instructions, those who stitched the models, those who photographed, those who coordinated and me, who translated an English version (available as an insert upon request from Mani di Donna). The booklet is not for beginners, it is assumed that you have some working knowledge of the techniques as limits of space prohibited extensive instructions. It wasn't easy and it was stressful as putting together any publication is. Printing deadlines had to be met and asking people who are donating their time to conform to time restraints is not the easiest thing in the world to do. In the end however, a piece of history was made. This book represents more than the good will and charity of embroiderers at Christmas, it represents a sisterhood of sharing the art of Italian needlework and presenting it to the English-speaking world.
Saturday, April 24, 2010
Cavandoli Macramé
Since I told you about Bricco Embroidery yesterday, it only seems logical to tell you the story of Cavandoli Macramé today.
Valentina Cavandoli was an Italian school teacher who came to be the headmistress of a house for poor and/or orphaned children in Turin around the end of the First World War. Many of the children were the healthy offspring of parents with Tuberculosis. There were many houses who cared for these children but we will concentrate on the Casa del Sole [House of the Sun] directed by this special lady.
The Casa del Sole was a mansion donated by a clothing manufacturer in memory of his daughter. He also donated enough money to build dormitories, a dining room and shower facilities for the 100 children who lived in the home. Children of both sexes were housed between the ages of 3 and 15.
To keep the children busy, Valentina had them create objects in a certain type of Macramé – an art she herself had learned from her great grandmother – which came to be known as Cavandoli. With this technique, the children made accessories for clothing and interior decorating and sold them in charity markets. Each child was assigned a savings book and the money earned from their products was recorded and then given to them upon their leave-taking of the home.
The Casa del Sole survived until 1936 when the political and social situation in Italy became too difficult for the mainly Jewish benefactors of the home.
Valentina Cavandoli died at the age of 97 in 1969, having received a gold medal of recognition for her life's work in 1961.
Cavandoli Macramé is always made of two colours. Each stitch consists of two knots, the pattern is created by inverting the knots. When done in larger pieces, it produces a kind of stiff "fabric", excellent for creating table mats, book covers and borders for pillows, purses, etc. Smaller items can be book marks, eye glasses cases, belts, etc. Patterns for single colour cross stitch or filet lace are suitable to use for this technique.
This is the front of my work in progress made with Pearl Cotton no. 8:
... and the back:
I don't recommend starting your first project with so small a thread – I am having a lot of difficulty keeping the work even!
There is an excellent book on the history and technique of Cavandoli called: Bricco e Cavandoli, due favole in punta d'ago by Gisella Tamagno Gazzola. (Click on the author's name to go to her website where you can see pictures of Cavandoli Macramé.)
To learn more about Cavandoli Macramé, go to Tuttoricamo and look under the 'Techniques' heading. Once there, you can also read a review of the book mentioned above: click on 'Books', then 'Other Italian Techniques'.
The book can be purchased at Tombolo Disegni, click on 'Books', then 'Libri Ricami', then 'Ricamo Italiani'. The book has two subjects, Bricco Embroidery and Cavandoli Macramé and is printed in both languages (Italian and English) together. (You must send an email request to make a purchase.)
The Anchor Manual of Needlework has a whole chapter dedicated to 'Cavandoli Work' with photos and technical instructions.
Valentina Cavandoli was an Italian school teacher who came to be the headmistress of a house for poor and/or orphaned children in Turin around the end of the First World War. Many of the children were the healthy offspring of parents with Tuberculosis. There were many houses who cared for these children but we will concentrate on the Casa del Sole [House of the Sun] directed by this special lady.
The Casa del Sole was a mansion donated by a clothing manufacturer in memory of his daughter. He also donated enough money to build dormitories, a dining room and shower facilities for the 100 children who lived in the home. Children of both sexes were housed between the ages of 3 and 15.
To keep the children busy, Valentina had them create objects in a certain type of Macramé – an art she herself had learned from her great grandmother – which came to be known as Cavandoli. With this technique, the children made accessories for clothing and interior decorating and sold them in charity markets. Each child was assigned a savings book and the money earned from their products was recorded and then given to them upon their leave-taking of the home.
The Casa del Sole survived until 1936 when the political and social situation in Italy became too difficult for the mainly Jewish benefactors of the home.
Valentina Cavandoli died at the age of 97 in 1969, having received a gold medal of recognition for her life's work in 1961.
Cavandoli Macramé is always made of two colours. Each stitch consists of two knots, the pattern is created by inverting the knots. When done in larger pieces, it produces a kind of stiff "fabric", excellent for creating table mats, book covers and borders for pillows, purses, etc. Smaller items can be book marks, eye glasses cases, belts, etc. Patterns for single colour cross stitch or filet lace are suitable to use for this technique.
This is the front of my work in progress made with Pearl Cotton no. 8:
... and the back:
I don't recommend starting your first project with so small a thread – I am having a lot of difficulty keeping the work even!
There is an excellent book on the history and technique of Cavandoli called: Bricco e Cavandoli, due favole in punta d'ago by Gisella Tamagno Gazzola. (Click on the author's name to go to her website where you can see pictures of Cavandoli Macramé.)
To learn more about Cavandoli Macramé, go to Tuttoricamo and look under the 'Techniques' heading. Once there, you can also read a review of the book mentioned above: click on 'Books', then 'Other Italian Techniques'.
The book can be purchased at Tombolo Disegni, click on 'Books', then 'Libri Ricami', then 'Ricamo Italiani'. The book has two subjects, Bricco Embroidery and Cavandoli Macramé and is printed in both languages (Italian and English) together. (You must send an email request to make a purchase.)
The Anchor Manual of Needlework has a whole chapter dedicated to 'Cavandoli Work' with photos and technical instructions.
Friday, April 23, 2010
Bricco Embroidery
In 1913 Countess Tarsilla Petitti started a school for girls in a little town called Bricco de Faule (near Turin) in the Piedmont region of Italy. The people of the town were mostly poor farmers and the object of the school was to educate girls and train them in embroidery so that they could earn a living.
The Petitti family was in possession of a sacerdotal robe of richly embroidered fine cambric linen dating back to about the 17th century which they displayed in their chapel. At the time it was made, Church vestments were richly embroidered in what the Italians called Saxony Embroidery (Ricamo di Sassonia) which I strongly suspect is what we know today as Dresden Embroidery.
The robe was finely embroidered in white and silver threads with designs of roosters and peacocks, heraldic double-headed eagles, the emblem of Franciscan nuns, leaves and vines and many different types of stylized flowers. Tarsilla Petitti decided to create designs for her students using the robe as inspiration. Her pupils learned traditional embroidery techniques but became especially proficient at Bricco Embroidery as the embroideries born from the designs of the robe became known.
Instead of fine cambric, robust undyed homespun cloth made of hemp, cotton or linen was used. Thicker cotton threads replaced the fine white and silver ones of the robe resulting in a completely 'new' style of embroidery. Embroidered clothing done by the girls of the school were sold to the upper classes who were happy to support the project.
The outbreak of the First World War robbed the school of its pupils who were needed at home to replace the men who had gone off to war. Tarsilla Petitti then looked to the lower middle class women of the area who needed to supplement their incomes and to local nuns to keep her embroidery workshop open.
Bricco Embroidery took a gold medal at the 1923 Industrial Agricultural Exposition in Cherasco and became well known throughout Italy and abroad.
The Countess died in 1937. This unhappy event and the outbreak of the Second World War signaled the end of her workshop.
The technique had been all but forgotten until a recent revival has sparked new interest resulting in pieces of this unique and attractive embroidery being produced once again by various Italian embroiderers and the publication of the book: Bricco e Cavandoli, due favole in punta d'ago by Gisella Tamagno Gazzola. (Click on the author's name to go to her website where you can see pictures of Bricco Embroidery.)
This is a small purse kit that I purchased from the author in 2007:
To learn more about Bricco Embroidery, go to Tuttoricamo's website and look under the 'Techniques' heading. While you're there, read a book review of the publication mentioned above: click on 'Books', then 'Other Italian Techniques'.
The book can be purchased at Tombolo Disegni, click on 'Books', then 'Libri Ricami', then 'Ricamo Italiani'. The book has two subjects, Bricco Embroidery and Cavandoli Macramé and is printed in both languages (Italian and English) together. (You must send an email request to make a purchase.)
If you have the Anchor Manual of Needlework, there is a little bit written on this technique with a photo in the 'Italian Embroidery' chapter.
This is a fun Advent Calendar done in Bricco Embroidery:
The Petitti family was in possession of a sacerdotal robe of richly embroidered fine cambric linen dating back to about the 17th century which they displayed in their chapel. At the time it was made, Church vestments were richly embroidered in what the Italians called Saxony Embroidery (Ricamo di Sassonia) which I strongly suspect is what we know today as Dresden Embroidery.
The robe was finely embroidered in white and silver threads with designs of roosters and peacocks, heraldic double-headed eagles, the emblem of Franciscan nuns, leaves and vines and many different types of stylized flowers. Tarsilla Petitti decided to create designs for her students using the robe as inspiration. Her pupils learned traditional embroidery techniques but became especially proficient at Bricco Embroidery as the embroideries born from the designs of the robe became known.
Instead of fine cambric, robust undyed homespun cloth made of hemp, cotton or linen was used. Thicker cotton threads replaced the fine white and silver ones of the robe resulting in a completely 'new' style of embroidery. Embroidered clothing done by the girls of the school were sold to the upper classes who were happy to support the project.
The outbreak of the First World War robbed the school of its pupils who were needed at home to replace the men who had gone off to war. Tarsilla Petitti then looked to the lower middle class women of the area who needed to supplement their incomes and to local nuns to keep her embroidery workshop open.
Bricco Embroidery took a gold medal at the 1923 Industrial Agricultural Exposition in Cherasco and became well known throughout Italy and abroad.
The Countess died in 1937. This unhappy event and the outbreak of the Second World War signaled the end of her workshop.
The technique had been all but forgotten until a recent revival has sparked new interest resulting in pieces of this unique and attractive embroidery being produced once again by various Italian embroiderers and the publication of the book: Bricco e Cavandoli, due favole in punta d'ago by Gisella Tamagno Gazzola. (Click on the author's name to go to her website where you can see pictures of Bricco Embroidery.)
This is a small purse kit that I purchased from the author in 2007:
To learn more about Bricco Embroidery, go to Tuttoricamo's website and look under the 'Techniques' heading. While you're there, read a book review of the publication mentioned above: click on 'Books', then 'Other Italian Techniques'.
The book can be purchased at Tombolo Disegni, click on 'Books', then 'Libri Ricami', then 'Ricamo Italiani'. The book has two subjects, Bricco Embroidery and Cavandoli Macramé and is printed in both languages (Italian and English) together. (You must send an email request to make a purchase.)
If you have the Anchor Manual of Needlework, there is a little bit written on this technique with a photo in the 'Italian Embroidery' chapter.
This is a fun Advent Calendar done in Bricco Embroidery:
Thursday, April 22, 2010
Venice and Fortuny
If you're planning to be in Venice before the 18th of July this year, there is an exhibition on now at the Palazzo Fortuny called La Seta e il Velluto [Silk and Velvet]. There are a number of early 20th century clothing pieces on display including a series of rare Delphos (pleated silk satin dresses) owned by American collectors.
The Palazzo Fortuny is located in the historic centre of Venice near the Rialto bridge at: San Marco 3780, Boat Stop A, S. Angelo, Route 1. The museum is open daily from 10 am to 6 pm but is closed on Tuesdays.
Mariano Fortuny was a Spanish artist who became famous in Venice in the early 20th century. Fabrics of his design are still manufactured and sold today, you can see a number of them here.
The Venice showroom is now reopened and you can go for a look (and buy fabric!) Monday to Friday, between 9:30 am and 12:30 pm and then between 2:30 pm and 5:30 pm on the Giudecca canal at no. 805.
A great book (if you can find it and afford it) is Fortuny by Anne-Marie Deschodt and Doretta Davanzo Poli. (text in English)
The Palazzo Fortuny is located in the historic centre of Venice near the Rialto bridge at: San Marco 3780, Boat Stop A, S. Angelo, Route 1. The museum is open daily from 10 am to 6 pm but is closed on Tuesdays.
Mariano Fortuny was a Spanish artist who became famous in Venice in the early 20th century. Fabrics of his design are still manufactured and sold today, you can see a number of them here.
The Venice showroom is now reopened and you can go for a look (and buy fabric!) Monday to Friday, between 9:30 am and 12:30 pm and then between 2:30 pm and 5:30 pm on the Giudecca canal at no. 805.
A great book (if you can find it and afford it) is Fortuny by Anne-Marie Deschodt and Doretta Davanzo Poli. (text in English)
Wednesday, April 21, 2010
Hand-stamped fabrics
The tradition of hand-stamped fabrics goes back far into Italian history, at least to the 1400s if not farther. Some fabrics were stamped to embroider over and some were made just to be used as-is. Embroidery took a long time to produce therefore it was expensive, hand-stamping brought similar results at a lower cost.
Hand-stamped fabrics were used for table linens, upholstery, household furnishings, animal trappings and even clothing.
Traditionally the stamps were hand-carved into pear wood. Dye colours included rust, indigo blue, green and very rarely gold-yellow and brown.
Artisan hand-stamped fabrics are still produced today in Italy.
This is the corner of a small table cloth I purchased from Bertozzi:
This is a pear wood hand-carved stamp from the first part of the 20th century, part of a collection owned by Arnaldo Caprai.
Many more can be found in the book: In viaggio con Penelope. A catalogue of many embroideries, laces and textile-related articles owned by Arnaldo Caprai.
The area around Gambettola, Italy was especially productive in this art. Watch the video here that shows how the production is carried out, some patterns and also some modern designs.
This company specializes in Renaissance patterns and has some interesting slide-shows with English text.
To learn more of the history of hand-stamped fabrics in the Romagna region, go to Tuttoricamo and under the 'History' heading, you'll find a fascinating article called 'Hand printed fabric'.
There is an online museum of a collection of stamps from all over Europe here. You can visit this museum which is in Via Ugo Foscolo no. 4, Milan, entrance is free. I have not been there but it's on my list of things to do!
Hand-stamped fabrics were used for table linens, upholstery, household furnishings, animal trappings and even clothing.
Traditionally the stamps were hand-carved into pear wood. Dye colours included rust, indigo blue, green and very rarely gold-yellow and brown.
Artisan hand-stamped fabrics are still produced today in Italy.
This is the corner of a small table cloth I purchased from Bertozzi:
This is a pear wood hand-carved stamp from the first part of the 20th century, part of a collection owned by Arnaldo Caprai.
Many more can be found in the book: In viaggio con Penelope. A catalogue of many embroideries, laces and textile-related articles owned by Arnaldo Caprai.
The area around Gambettola, Italy was especially productive in this art. Watch the video here that shows how the production is carried out, some patterns and also some modern designs.
This company specializes in Renaissance patterns and has some interesting slide-shows with English text.
To learn more of the history of hand-stamped fabrics in the Romagna region, go to Tuttoricamo and under the 'History' heading, you'll find a fascinating article called 'Hand printed fabric'.
There is an online museum of a collection of stamps from all over Europe here. You can visit this museum which is in Via Ugo Foscolo no. 4, Milan, entrance is free. I have not been there but it's on my list of things to do!
Tuesday, April 20, 2010
Bizantina Ars
Parts of what we know today as Italy were ruled by the Byzantines for a number of centuries. This influence is evident in some architecture, mosaics, marble carvings, frescos and... needlework.
Bizantina Ars or Byzantine Embroidery (the name Bizantina Ars [Byzantine Art] is actually trademarked) refers to embroidery made to resemble 4th and 5th century mosaics from the Basilicas of Ravenna.
This is a small piece of Bizantina Ars on a little rock salt sack that I purchased in Italy. It was made by the trademarked association which guarantees authentic designs and embroidery:
You can see the progression of the design from marble carving to stitched piece here.
Usually the designs are done as voided work, ie. the backgrounds are filled and the motifs left empty. Outlines are done in Stem Stitch, usually in a brown thread (DMC 801) and the filled areas are done in single coloured Punto Stuoia. The Anchor Manual of Needlework translates this stitch as Rush Stitch as that is the basic idea of it, it is meant to resemble the pattern of the rushes that covered European floors in ancient times. Single colour fillings are most commonly green, gold, red or blue. A high-count 100% Linen fabric is recommended in an ivory colour.
This example of Rush Stitch was sent to me by an Italian lady who does Byzantine Embroidery:
Here is what the back looks like:
(Note: these are examples of Rush Stitch, not Byzantine Embroidery.)
Rush Stitch is similar to Roumanian Couching though it is not meant to be evenly done but rather to have a randomness to it.
If you ever find yourself in Ravenna, all the Byzantine mosaics are worth going out of your way for. The churches of San Vitale and San Apollinare in Classe in particular.
Books about Byzantine Embroidery:
Il ricamo bizantino by Carla Scarpellini (text in Italian and difficult to find but worth it for the designs)
Bello come un sogno d’Oriente - Irma Scudellari Melandri, 2006 (text in Italian and also difficult to find but lots of colour photos of embroideries)
Treasury of Byzantine Ornament by Dover Publications is a good pattern book to use for this type of needlework.
To learn about the history behind Bizantina Ars, go to Tuttoricamo and look under the 'Techniques' heading.
For more pictures, check out the Gallery at the Bizantina Ars website.
Bizantina Ars or Byzantine Embroidery (the name Bizantina Ars [Byzantine Art] is actually trademarked) refers to embroidery made to resemble 4th and 5th century mosaics from the Basilicas of Ravenna.
This is a small piece of Bizantina Ars on a little rock salt sack that I purchased in Italy. It was made by the trademarked association which guarantees authentic designs and embroidery:
You can see the progression of the design from marble carving to stitched piece here.
Usually the designs are done as voided work, ie. the backgrounds are filled and the motifs left empty. Outlines are done in Stem Stitch, usually in a brown thread (DMC 801) and the filled areas are done in single coloured Punto Stuoia. The Anchor Manual of Needlework translates this stitch as Rush Stitch as that is the basic idea of it, it is meant to resemble the pattern of the rushes that covered European floors in ancient times. Single colour fillings are most commonly green, gold, red or blue. A high-count 100% Linen fabric is recommended in an ivory colour.
This example of Rush Stitch was sent to me by an Italian lady who does Byzantine Embroidery:
Here is what the back looks like:
(Note: these are examples of Rush Stitch, not Byzantine Embroidery.)
Rush Stitch is similar to Roumanian Couching though it is not meant to be evenly done but rather to have a randomness to it.
If you ever find yourself in Ravenna, all the Byzantine mosaics are worth going out of your way for. The churches of San Vitale and San Apollinare in Classe in particular.
Books about Byzantine Embroidery:
Il ricamo bizantino by Carla Scarpellini (text in Italian and difficult to find but worth it for the designs)
Bello come un sogno d’Oriente - Irma Scudellari Melandri, 2006 (text in Italian and also difficult to find but lots of colour photos of embroideries)
Treasury of Byzantine Ornament by Dover Publications is a good pattern book to use for this type of needlework.
To learn about the history behind Bizantina Ars, go to Tuttoricamo and look under the 'Techniques' heading.
For more pictures, check out the Gallery at the Bizantina Ars website.
Subscribe to:
Posts (Atom)
