In “Books: The Next Best Thing Part III,” the focus is on Ecclesiastical Giants from the past two centuries. discovering “Thread of Gold: The Embroideries and Textiles of York Minster.” This book, edited by Elizabeth Ingram, offers the history of Ecclesiastical Embroidery and Vestments at York Minster. From pre-Reformation origins to fascinating stories about Queen Victoria’s silk and the restoration of the Great Processional Banner, the book provides a rich visual and historical embroidery.
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Ecclesiastical Sewing looks at Sir Ninian Comper’s work in the book “Sir Ninian Comper” by Anthony Symondson and Stephen Bucknall. Born in 1864, Comper aimed to make beautiful things that lead people to worship God. The book, with black-and-white photos, shows Comper’s creations like altars and beautiful copes with detailed embroidery. His idea was simple: “A person should like beautiful things from a young age.” The book gives a peek into Comper’s lasting influence on Ecclesiastical design.
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Ecclesiastical Sewing explores new books on Ecclesiastical Giants as an alternative to attending the Giants of Gothic Revival event at the Victoria and Albert Museum. The collection includes works by Augustus Welby Northmore Pugin, such as “Pugin’s Gothic Ornament,” “Pugin’s Floral Ornament,” and “Colored Plates from Pugin’s Ecclesiastical Ornaments.” These books offer insights into Pugin’s intricate designs and patterns, from wood and stone carving to delicate floral motifs. Additionally, Pugin’s “Glossary of Ecclesiastical Ornament and Costume” provides valuable insights into various Ecclesiastical terms.
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Discovering hidden treasures in vintage Ecclesiastical Embroidery transfers is always exciting. While exploring a worn book, unexpected finds emerged, including a small iron-on transfer suitable for stole ends or whitework on Church Linens. Moreover, a larger transfer sheet with four designs, and another long and narrow design, provided valuable resources for enhancing Ecclesiastical Embroidery projects.
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Alethea Wiel, a skilled Ecclesiastical Artisan from 1894, designed a Chalice Veil rich in symbolism. The illustration includes a chalice on seven rocks representing the Seven Sacraments, with the Nativity engraved on the chalice. Angels, Luke, and John surround Christ, while the reverse side showcased the Crucifixion with angels shielding their eyes. A vine, symbolizing Christ, intertwines throughout the design.
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Ecclesiastical Sewing and embroidery elevate pieces through simple details. Inspiration comes from various sources, such as photos, sketches, and notes. For instance, a plain green chasuble with goldwork embroidery gains visual appeal with a flowing gold scroll twist along the galloon trim. This detail softens the transition between the large floral motif and the clean galloon line, enhancing the overall design.
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Ecclesiastical Sewing, a traditional craft, provides a glimpse into history and tradition. Exploring vestments worldwide on platforms like Pinterest reveals beautiful hand-embroidered pieces from countries like Russia and Ukraine. A document by the Metropolitan Museum of Art explains the differences between Orthodox and Western Church vestments, showcasing the Russian Phelonion. The ornate vestments from 1802 to 1877 feature luxurious materials, gold, silver, bells, and unique garment labels, offering insight into the rich history of ecclesiastical textiles.
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Ella Rodman Church’s 1886 book “Artistic Embroidery” offers valuable insights into color theory and embroidery techniques. Focusing on Ecclesiastical Embroidery, the book explores the proper arrangement of colors and provides advice on pairings and placements. It also features ideas for creating ornate Bible covers, reflecting the historical significance of design book covers. This vintage resource serves as a treasure for those interested in the art of church embroidery.
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Reading time from Ecclesiastical Embroidery with Grace Christie’s book, ‘Embroidery: A Collection of Articles on Fine Needlework.’ Explore a 14th-century red cope from the Butler Bowden Family, adorned with pearls and a charming lion’s head. Learn about the cope’s survival through history, now in the Metropolitan Museum. Discover the use of precious stones in Ecclesiastical Embroidery and the unique Opus Anglicum technique. Let this book be your companion on a stormy night.
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Visiting the museum, display revealed a whitework embroidery fragments, including one with the words “Happy Feast!” and the date “1895.” The remnants were cut from a larger hand-embroidered linen tablecloth used by the Sisters, showcasing beautiful craftsmanship. Intrigued by the search for Ecclesiastical Embroidery, we were directed to Father, to know the promising revelations in the chapel.
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Starting with a plan for a quick cleanup, it evolved into a comprehensive overhaul of scattered Ecclesiastical Sewing and Embroidery ideas. What began as a simple task extended into organizing notebooks, sorting patterns, and creating a system. Nine 3-ring binders later, everything has its place, labeled and easily accessible. This newfound order brings joy, making it quicker to find project details.
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Summer travels brought unexpected surprises for the Ecclesiastical Sewing family in Montana. A visit to the Ursuline Center revealed a hidden treasure—a Sister’s art studio in the tower, showcasing two hand-painted Ecclesiastical Banners. One banner displayed signs of age with faded beauty, intricate details, and gold bullion fringe. The banners’ origin and age are unknown, making them even more intriguing.
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Weekend thoughts on Church Sewing: Looking at a Chalice Veil design from “Design for Church Embroidery” by R.A. Alethea Wiel. It has an Agnus Dei and four angels, each symbolizing something. The balanced design, shapes, and careful placement make it beautiful. Thinking about its artistry makes us wonder about true beauty in modern designs and what we can learn. Also, seeing the design in Or Nue embroidery on different platforms adds a touch of history.
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The inspiration for current Ecclesiastical Embroidery projects comes from Lucy Mackrille’s book, featuring the Victorious Angus Dei with a quatrefoil frame. The Italian Stitch, damascene stitch, and goldwork embroidery threads are used, drawing from a wealth of knowledge provided by Mackrille’s book and online mentors. The fear of trying new techniques diminishes with thorough reading and guidance.
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Receiving new Ecclesiastical Embroidery books among them is “Design for Church Embroidery” by R.A., Althea Wiel, originally published in 1894. This treasured book, now republished, offers a glimpse into historical Ecclesiastical vestment designs. One notable design, intended for a chalice veil, intricately symbolic of Christ, His Sacred Heart, and symbolic elements like grapes and vines. Another design features a simple yet elegant cross adorned with ivy leaves, suggesting color choices for stitching. These designs provide a valuable connection to the artistry of the past in Ecclesiastical Embroidery.
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