The Passion Cross – Church Symbolism by F.R. Webber
– This is a cross whose ends are cut to points. It is also known as the Cross Urdee, and the Cross Champain, sometimes the Cross Pointed. It represents the sufferings of our Lord and has been called by some authorities the Cross of Suffering. If pictured as rising out of a chalice, it represents our Lord’s agony in the Garden of Gethsemane. It may be used as a symbol of Maundy Thursday, or of Good Friday.
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I’ll give you a hint: it is a linen fabric, and it is old. Any guesses as to what it might be?
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Ecclesiastical Embroidery and Vestment Projects,
– Improving faraway visibility in church embroidery can be tricky. Delicate silver thread on Angel Wings looks nice up close but might fade from a distance. Adding a black outline helps, but it raises concerns about muting the shimmer and blending with the blue background. Deciding between keeping the black for definition or adding more silver threads is a right choice in Ecclesiastical Embroidery.
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Sharing a vintage church embroidery design from the 1800s, still in the “rough draft” phase and the possibilities for church embroidery design are endless. On option is this versatile design could be used for whitework on altar linens or adapted for silk and gold threads on stole ends or maniples. Placing it in a quatrefoil frame makes it suitable for chasubles or burses. Stretching and elongating for a double oval ring offers options for stoles or chasubles. The design, enhanced with Dice Trim, can also adorn chasubles and dalmatics. The journey of creating ecclesiastical designs is ongoing, offering endless opportunities to learn and explore.
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The ongoing Advent Vestment Set faces challenges in couching stitches. The Silver Check Thread, with its non-tarnish finish, offers a sparkle and shine in following curves, holding edges, and concealing stitches. Despite awaiting additional thread supplies, the emphasis remains on completion rather than rushing, with the Ecclesiastical Embroidery project.
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Ecclesiastical Sewing created Rose Vestments for Gaudete and Laetare Sundays. The set included an Altar Frontal, Pulpit Fall, Stole, Maniple, Chasuble, and optional Chalice Veil and Burse. Fabrics like Rose Florence Brocade and Verona Lurex Tapestry with symbolic bird motifs were chosen. The Altar Frontal featured intricate Ecclesiastical Embroidery. The Verona Tapestry’s rich design minimized the need for extensive embroidery, with selected trimmings completing the set.
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Choosing fabrics for Ecclesiastical Sewing involves factors like season, budget, and project duration. Silk Dupioni and cost-effective options suit various vestment pieces. True Ecclesiastical Fabrics like Fairford and Wakefield, though pricier, offer quality and durability. Their longevity justifies the investment, making the cost minimal over the Vestment’s service life.
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Pattern repeats in Ecclesiastical fabrics might sound scary, but fear not! Let’s take a lovely brocade, like the Florence from the UK. It’s got motifs like floral stars and stylized flowers. The key is the “pattern repeat.” For Florence, it’s 14 1/2″ both lengthwise and widthwise. So, if you start at a point on a motif and follow it until you hit the same point on the next identical motif, that’s one repeat. Simple! It’s like a beautiful puzzle waiting to be solved.
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In the Agnus Dei Ecclesiastical Embroidery Project, significant progress has been made on the upper sky. Using long-laid stitches and horizontal guide marks, the detailed stitching maintains parallel and straight alignment. Frequent thread changes are necessary due to the 6 1/2″ stitch width, but the process speeds up as intricate details around the cross are left behind. The joy of completing a major portion of the sky-laid work is evident, with two-thirds now finished.
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The update on the larger of the Agnus Dei pieces’ from The Tale of Two Lambs.
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The Ecclesiastical Embroidery Design for the Altar Frontal features the largest Lamb, measuring about 15″ in width. The sky is stitched in Royal Floss, a vivid blue from the Belding Brothers Company. Goldwork details use #4 Smooth Passing with Silk Core from Access Commodities. The design aims for a bright and radiant sky, symbolizing the glorious Resurrection.
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Beginning the IHS Embroidery design project after a weekend of preparations. Silk Dupioni and Alba Maxima linen framed up, with the Evertite Frame chosen despite size constraints. Aligning and stretching the silk carefully, the design is transferred using a homemade charcoal and blue quilt pounce mixture. Success in the transfer marks the start of drawing lines and initiating the first stitches in this Ecclesiastical Embroidery Design.
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Cleaning and ironing linen, though often disliked, proved essential for ecclesiastical projects. Preshrinking Alba Maxima, Ecclesiastical Linen, and Linen Cambric involved a careful process of soaking, rinsing, and pressing. Despite the effort, working with well-prepared linen, particularly Ecclesiastical Linen, was satisfying and crucial for successful embroidery.
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Starting with a small Agnus Dei hand embroidery design, The Tale of Two Lambs turned into two projects – in sizes small and large. Limited Ecclesiastical designs led to this traditional choice. The smaller Agnus Dei, at 8 1/2″, fits a chasuble’s back. As the project continued, minor changes improved the second design. The small lamb’s hill, initially stitched in camouflage green, became serene blue. Using Soie Ovale for the sky presented challenges, but the finished product was pleasing. Careful placement of gold passing thread helped secure the silk strands, enhancing the design.
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Tried a new embroidery stitch, feeling a bit scared. Sometimes, fear stops from starting. But taking a step, stitching, and learning are important. Each stitch is like a step toward getting better. It’s okay not to be perfect. The important thing is to keep trying, growing, and enjoying the journey.
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