These particular excerpts were not on the same page, but they’re numbered so that the embroiderer knows that there’s an association between the framed design (top left), and these other marquise-shaped designs that are found, here and there, throughout the folio. Here’s another example of some excerpts from a pattern folio. The color of the vestment or furnishings for this design would most likely be predominantly violet, or, if they’re for Good Friday, they could be black. But you might see passion flowers, symbols of the passion (like the medallions shown above), sacred monograms representing Christ, a pelican, or the Agnus Dei with the lamb recumbent, or lying down, with the banner partially or completely furled. So symbols associated with the passion and death of Christ would be appropriate, but symbols associated with the Resurrection of Christ or with the Blessed Virgin Mary, or with other joyful associations, would not be appropriate.įor example, you wouldn’t see, along this thistle band, roses, lilies, sunrises, or the Agnus Dei symbol with the lamb standing and the banner completely unfurled. The symbols inside the medallions would coordinate with the overall message, based on the overriding thistle theme. The embroiderer would be careful to choose appropriate medallions to embroider along the band. In Christian symbolism, thistles are associated with the passion and death of Jesus Christ (the thorns being representative of the crown of thorns).Īn ecclesiastical embroidery designer, then, would only make use of that particular design band on pieces meant to be used during penitential times of the liturgical year (such as Lent or Advent, certain vigils, and the like). (You can find the individual thistle design to download and use, here.) Notice that the design band on the left features thistles. Each medallion, then, is symbolic of something, as is the entire embroidery. Designers don’t just mash things together without taking into consideration their meaning. Symbolism is very important in ecclesiastical embroidery. If the embroidered band is going to be particularly long, then the medallions can be used along the length of it, without any repeats in the symbols. The small medallions on the page are interchangeable with the medallions in the band on the left.Īny of the medallions – or the passion flower – on the right can be substituted for the medallions already in the band on the left. The page features several bands that could be repeated to whatever length is needed for embellishing ecclesiastical vestments, linens, or other furnishings. In real life, the excerpt above prints at about 17″ x 22″. The page itself is old and yellow, but the designs are crisp and clear, perfectly usable. This is a scan of part of an original pattern page, already a little cleaned up. We’ll also talk a little bit about symbolism, and I’ll share a pattern from an old portfolio that’s cleaned up and user-friendly. Today, I’ll show you some examples of typical pattern pages and how the designer gets as much use out of space as possible. Looking at these old pattern pages – and using them! – is kind of like putting together a puzzle. Often, when patterns are meant to be repeated or substitutions can be made, letters and lines indicate the connections and suitable substitutions. The patterns themselves are ingeniously arranged, so that there’s no wasted space in the printing. I think the pattern folios are pretty fascinating! They’re large envelopes or board covers (often tied together with ribbon) filled with massive fold-out sheets of patterns. It’s what originally pulled me into taking embroidery seriously as an art and led me into learning different techniques.Įver since my first infatuation with ecclesiastical embroidery – especially historical examples of it – I’ve been collecting old embroideries and old pattern folios. If you’ve been hanging about a bit on Needle ‘n Thread for a while, you probably know that ecclesiastical embroidery is kind of a Thing of mine.
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