The slate frame, available in various sizes, creates a secure foundation for embroidery, with fabric tightly stretched using twill tape and lacing. To make the embroidery process more comfortable, trestle stands hold the slate frame at an adjustable height, allowing for hands-free stitching.
Advent is the first season in the liturgical calendar and it is a season of preparation for celebrating Christ’s birth. It also reminds us to look ahead to the promised return of our Saviour. And as we look forward to this wonderful time, we also look inward at our own personal state, which leads to repentance. This is where the color purple, perhaps a lovely violet shade, is most appropriate.
Ecclesiastical Sewing’s newest release of the “Stole Style #3 in the Luther Rose Brocade” is a good example. It is not simply gorgeous – it is confessional. The embroidery is not a random collection of pretty designs. In this case, they are symbolic of the Six Chief Parts.
The Great Antiphons of Advent or The O Antiphons of Advent. An antiphon’s purpose is to summarize the main point of the psalm which helps make the connection between the psalm and the service on which it is chanted or sung. These Great Antiphons point the way toward Christmas and Christ. They talk about the Old and New Testaments and summarize the ties that bind everything together. They are a final push and lead us directly to our Lord’s birth, but more importantly, they shed light on the rest of the story and the greater picture.
A scrollwork cross. The cross is a creation taken from part of the vintage embroidery designs. This cross is similar to many vintage hand embroidery designs. Satin stitch would be nice around the center diamond shape and the four dots just outside of that. The Scrollwork could be an outline or stem stitch or trailing stitch. The tiny tendrils could be back-stitched or a small stem stitch. The three clover shapes at the cross ends could be stem stitched and filled with seed stitch or satin stitched. The very center of the large diamond could also be filled with seed stitches. It would take only about 3 or 4 stitches to work this little design up.
We enter a season filled with green trees and grass dotted with bright pink, purple, red, and white the flowers blooming profusely all around us. One glance around nature provides a feast of green shades for the eye to behold. It brings the entire world to life. Green is also the color for ordinary times in the church years. With the long Trinity Season or the “Green” Season just getting underway in the church year.
The tradition within the church is to use a Pall to cover the coffin for funerals. At the time of Pugin (early to mid-1800s), Palls were elaborate items, often embellished with extensive embroidery and gold work. Palls are still used today to cover a coffin during a funeral service. They are frequently white in color with a cross or other appropriate design applied. While churches may own a Pall for covering a coffin, they may not have a pall for covering an urn. The use of urns to replace large coffins is becoming more common.
The remarkable story of St. Mark’s Basilica in Venice, revealing the hidden sarcophagus of St. Mark the Evangelist beneath an altar. The basilica, erected in the 9th century, and holds the remains brought from Alexandria by Venetian merchants.
The chasuble pattern is a graceful Monastic style chasuble that is wide, full, and long. The pattern is created in several sizes and has things like lengthening and shortening lines for further customization. The pattern has notches for matching seams when sewing. There is a separate pattern piece for the front and back orphrey band as well as a neckline facing piece.
St. Anselm, born around 1033 A.D. in northern Italy, later part of the Kingdom of Burgundy, journeyed to Normandy in 1059. Influenced by Lafranc of Pavia, Anselm became the Abbot of Bec in 1078 and transformed it into a center of learning. A skilled administrator, he later succeeded Lafranc as the Archbishop of Canterbury in 1093. Anselm’s contributions extended to philosophy and theology, making him a notable figure in medieval history.
The fabric is block-cut to a rough size, review the embroidery design and dimensions determine the embroidery placement, and locate the center. Once the center position is determined, use a product called Dream Weave Ultra and fuse that to the back of our fabric. Dream Weave Ultra is a fusible tricot that adds a bit of body to a piece of fabric. Dream Weave comes in two weights – the regular, and the Ultra. Used both but prefer the Ultra for our embroidery work. Dream Weave should never be used as a stand-alone backing for embroidery.
The Ecclesiastical Sewing Family’s Easter in 2017 and a special church project. Dossal curtain – Dossals, traditionally adorned with intricate embroideries, like the Lanercost Dossal. Tailored to fit sanctuary dimensions, for instance, is 88” wide and 124” long, complementing stained glass. A captivating coincidence forms a cross with the dossal and stained glass, as seen in the Good Friday dossal, the dossal and the stained glass make a cross on the back wall behind the big wooden cross.
Good Friday in 2017 – church adhered to solemn customs, draping the altar in black with six candles, the seventh being the Paschal candle. While black is our choice, I found practices in other churches, employing red or violet. Despite the somber tone of Good Friday services, they set the stage for a joyous Easter celebration.
In Janet Mayo’s book, “A History of Ecclesiastical Dress,” she begins by exploring the Early Church’s post-Christ era, progressing chronologically. The narrative delves into various garments, contextualizing them within specific eras, locations, and decrees.
The Fabric chosen for the Dossal is the lovely and rich Litchfield Brocade with Red/Gold Fairford orphrey bands edged with Landsdowne Braid. These fabric and trim combinations create a stunning final result that has added beauty and color to the church.
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