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    Tudor and Stuart Embroidery
    Tudor and Stuart Embroidery
    Tudor and Stuart Embroidery
    Ebook83 pages2 hours

    Tudor and Stuart Embroidery

    By M. Jourdain

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    About this ebook

    This vintage book contains a detailed treatise on embroidery in the Tudor and Stuart eras. With details on history, development, popularity, and influence, this volume is highly recommended for those with an interest in the history of the textiles industry, and would make for a fantastic addition to collections of related literature. Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this book now in an affordable, high-quality edition complete with a specially commissioned new introduction on embroidery.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateApr 16, 2013
    ISBN9781447491644
    Tudor and Stuart Embroidery

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    • 5/5
      A very informative book with delightful pictures of embroidery taken from different periods.

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    Tudor and Stuart Embroidery - M. Jourdain

    TUDOR PERIOD

    Influx of French embroiderers.—Gold embroidery of the Tudor period.—Metal embroideries and passements imported from Florence (temp. Hen. VIII).—Spanish Work or Black Work.—Embroidery of linen and lawn.—Turkey work.—Cessation of ecclesiastical embroidery towards the middle of the sixteenth century.—Petit-point.—Increased richness of upholstered furniture in the reign of Elizabeth.—Tendencies of Elizabethan embroidery.—Inventories of Mary Queen of Scots.—Inventory of the effects of Henry Howard, Earl of Northampton.—Emblematic meaning of certain devices found in embroidery.—Embroidered books.—Embroidered gloves.—Bed cushions belonging to Lord Fitzhardinge.—Relics of Queen Elizabeth at Ashridge.—Elizabethan needlework picture at the Maidstone Museum.—Hardwick Hall.—The incorporation of the Broderers’ Company.

    THE sixteenth century shows a great advance in the use and richness of embroidery, perhaps from an influx of French embroiderers,¹ perhaps from the improvement in needle-making in Queen Elizabeth’s reign.

    Fine steel needles were made in England in Elizabeth’s reign. They seem to have been a Spanish invention. There was some attempt to make them in Queen Mary’s time, but it either proved abortive or the knowledge died with the workers. One would expect to hear that this manufacture revolutionized costume and needlework, but it was not sufficiently developed perhaps to effect any change, or else our ancestors, who certainly showed a remarkable talent for turning out beautiful work with very imperfect instruments, preferred their old appliances.

    In the Tudor period, especially from the reign of Henry VIII onwards, velvets and silks were covered with embroidery of gold¹ and silver, such as may be seen in many portraits. A good example of embroidery applied to costume is the painting² at Hampton Court of Henry VIII, with Queen Katherine Parr, the Princess Elizabeth, Prince Edward, and Princess Mary. The King and Queen wear robes embroidered in gold with the small interlacing patterns characteristic of the period. A cushion beneath the King’s feet and the canopy behind his throne are enriched in a similar manner.³ Other portraits of the King show the same fine interlaced patterns, apparently influenced by goldsmith’s work. Later Tudor portraits show bolder designs, such as a portrait of Margaret, Duchess of Norfolk, painted in 1562 by Lucas de Heere, where the design is worked in gold and silver thread upon green velvet; and a portrait of Frances Kynvett, Countess of Rutland, at Belvoir (painted probably between 1602–8), where the rich red dress, of which the edge is pinked, is embroidered with light conventional arabesques. It is probable that the fine interlaced patterns noticeable in the metal embroideries upon the costume of Henry VIII in many of his portraits are of Italian origin; for England, like France, was at that time completely under the influence of Italian art.

    f0003-01

    BIBLIA. TIGURI. 1543.

    In the seventh year of his reign (1515–16) embroidered garments were prohibited by statute to all beneath the rank of a son of a Knight of thè Garter. No one beneath the degree of a knight (with certain specified exceptions) was allowed to wear any pynchyd shirt or pynchyd partlet of lynnen cloth or playn shirt garnysshyd or made wyth sylke or gold or sylver. Towards the year 1546 Henry set aside his Acts of Apparell as regards foreign imports by granting a license in favour of two Florentine merchants to import for three years’ time all maner sorts of Fryngys and Passementys wrought with Gold and Silver or otherwise, . . . for the pleasure of Us our derest Wyeff, the Quene, our Nobles, Gentlemen and other.¹ The King reserves to himself the first view of their merchandise, with the privilege of selecting anything he chose for his private use.

    Much embroidery must have been worked for the house before and shortly after the Reformation, but beyond an occasional inventory nothing is left to show it; such as the inventory of Wolsey’s great Palace at Hampton Court, where there is mention of two hundred and thirty bed hangings of embroidery.

    The steady development abroad of weaving elaborately figured and ornamental brocades, satin damasks, and velvets affected the design of English embroidery, and the bulk of sixteenth-century embroideries certainly appear to have been wrought from designs consisting of ornament governed by canons of composition borrowed from those weavings, viz., repetition of the same or very kindred details, and geometrical symmetry in their plans and schemes.²

    Introduced in the reign of Henry VIII, traditionally by his Spanish wife, Catherine of Aragon,³ was the Spanish work or black work, which throws back to a style that was fairly well established a little earlier in European woven fabrics, and quite developed in China and Persia at a still earlier date. The leading motive of this class or style of pattern, which, as one sees, became cosmopolitan, is an all-over distribution of continuous scrolling stems, rather slender as compared with the somewhat bulky, off-shooting, fancifully treated leaves, fruits, etc. It was used to decorate various articles of apparel—tunics,

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