Glossary of Ecclesiastical Ornament, Augustus Pugin refers to ornamented garments of this type worn by ancient Romans as auriclavae or clavatae. Tunics were ornamented with a band referred to as a clavus or clavi. The bands, which were often purple in color, were sewn onto tunics.
The amice, which is one of the first vestment pieces that a priest puts on when vesting. it has lace edging around the sides. When one looks at the care of the tiny pleats in the lace at the corners, and the way the lace follows the linen in the folds, one can not help but to think the lace is attached to the edge of the linen amice.
The design motif for the Advent stole is a simple star worked in Cloth of Silver. This simple design would be great to work with an embroidery patch and heat press system. The stars are outlined with a satin stitch, and detail stitches are added in the centers. A few additional stitching lines may be added to create the rays that “shine on the place where the Christ Child lays.
Advent stoles. Using cloth of silver, this star shape will be cut and appliqued to the stole, and outlined with a soft metallic gold thread.
Stole Set It has been far too long since any new projects have been underway in the Ecclesiastical Sewing workroom. For tonight, we shall have a quiet peek at… Read more Stole Set →
Update on Changes Update on Changes. Getting a new online business up and rolling has its fair share of challenges. There are samples to collect, fabrics and trims to source, patterns to draft, and sample garments to create. Throw in a few life moments like a college graduation, wedding, and a remodel, along with numerous photography sessions needed to capture images of stunning Ecclesiastical Fabrics and trims…..and yes, it does take time to pull it all together. The original plan was to launch the new online storefront in early… Read more Update on Changes →
Wakefield employs several design details with the combination of different thread tones, textures, and colors.
An assortment of linens has arrived, perfect for creating altar linens. From lightweight cambric for sheer veils to fine linens ideal for intricate needlework, There’s even linen suited for making traditional Albs, and a range of yarn sizes perfect for hemstitching. Also with various widths, starting from 54 inches and going up to 120 inches.
When creating a new vestment pattern. The first rule: make the pattern so that if I were purchasing, the pattern could be opened, and reviewed, and after understanding the instructions and layout, the pattern were ready to use.
Creating church vestment patterns involves careful drafting, adjusting for style and fit, and attention to detail. The process includes making a master pattern, modifying it, and fine-tuning for the desired result. The Rochet and Monastic Choir Alb patterns are in progress, with multiple sizes planned.
This little book (founded on a series of articles on Church Embroidery written for the ‘Treasury’) is intended for the use of those who are desirous of learning by practical experiment how to make the best use of such time and skill as they have at their command; and who, while they are unable to go through the long courses of instruction which are generally indispensable to the attainment of perfection are yet anxious to devote their ‘labour of love’ to the service of the Church. – Hinda Hands (Hands, 1907, p. 1)
The name of Lucy Vaughn Hayden Mackrille is well known by many involved in Ecclesiastical Sewing and the making of church vestments as the founder of the Washington Cathedral Altar Guild. Her book entitled Church Embroidery and Church Vestments is a valuable resource for seamstresses, providing detailed instructions for making many vestments.
Ninian Comper, also known as John Ninian Comper, embarked on his design career in 1880 at age 16 in Aberdeen School of Art. After joining Charles Kempe’s studio in 1882, he honed his skills. Comper’s apprenticeship with George Frederick Bodley in 1883 marked a significant phase in his development as a church architect. This dedicated training for four years under Bodley and Thomas Garner shaped Comper into a skilled practitioner beyond a mere craftsman.
Season Changes The seasons are changing, and there is no doubt about it. The days are still sunny and warm while the evenings have a bit of a chill. There has even been a hint of frost in the air and on the ground this week in Northern Minnesota. Seasonal changes are not the only new events occurring in and around the Ecclesiastical Sewing workroom. Soon there will be a brand new format for Ecclesiastical Sewing along with a new website storefront. The changes are slow, and it takes… Read more Season Changes →
Venezia is a lovely name for a liturgical fabric. It conjures up thoughts of foreign lands with such a name, and so it should. Venezia’s name is tied to the Venetian artisans of long ago. The 15th-century Venetian artisans, who drew much of their design influence from the ancient Romans, developed a taste for reproducing many of the classical architectural features from that era. Those features include the use of graceful lines, the classical form of the pottery or jar, in the jardiniere, as well as other design elements such as the birds, plants, and scroll work.
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