Beginner's Guide to

Lesley Wilkins
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SEARCH PRESS
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Blackwork is a counted thread method of
embroidery, using straight stitches in a
contrasting colourworked 011 evenweave fab1ic.
The true origin of this type of embroidery
app.ears to have been the Moors andArabs, who
in the thirteenth centqry travelled to England
with soldiers and noble1nen remming from the
Crusades in the Holy Lands.
In Cha:ucer's Canterbury Tales., there is a
descriHtion of what seems to be blackworkin
The Miller's Tale:
'I-fer smock was white.and embroidered in
fro11t and behind wirh coal-black silk, and
embroidered also on the inside and outside of
the.collar.'
lt is believed �hat the Spanish princess,
Katha1ine ofAragon, brought blackwurk to
England with her in 1501. Eig�t years later she
married HepryVIII, and for more than twenty
years she influenced the English court with her
passion for embroidery. The stitch she used was
knqym as 'Spanishwork'. It had become part of
Spanish culture during the tule of the Moors.
There were many portraits painted at this
ti1ne-sho;wing people wearing elothes deeorated
with blackwotk embroidery. One of the
blackwork stitches was named after Hemy VIII' s
court painter, Holbein, because so many of his
sittets displayed it.
Blackwork' s closely texturecl.stitchingvvas
not ©nly decorative- it was also used to
6
reinforce collars and cuffs, and to disg:uise dirt
during a time of poor hygiene. The poorer
classes also stitched the delicate designs on
Their clothes as a cheaper alternative tb lace,
whith was difficult to obtain due· to high taxes.
After Katharine's divorce from Henry in
1533 the Spani: sh influence disappeared, so the·
term 'blackwork' replaced 'Spanishwork.' The
stitches used then are very mueh the same as
today: Patterns can look complicated, but the
stitches are very silnple.
When I was ten years old, I discovered
blackwork and cross stitch samplers on a school
visit to the Victoria andAlbert Museum. That
day led to the passion I still have today for this
form of embroidery.
Apart from the excellent needlework and
craft teacherslhad at school, I have had no
academic training and owe my skill in this craft
to sheer determination, hard work, patience and
the fascination I have for blackwork and.cross
stitch. I hope that, as you turn the pages of this·
book, you too will fall in love with blackwork.
Oppos1fe
Many blaclnvork patte111s wei�e inspiied by Tudor knot
gardens and mazes. Knot gardens featttred designs of
inter:lacing bands and ribbons made from low hedges,
enclosing beds filled wi.t.h flowers.
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7
Blacl<Vvork requires an evenweave fabric. Usually, the fabric found in good
needlework stores vvi ll state the number of holes or threads to the square
centin1etre or inch. 1�he fewer holes to the square centi.n1etre, the l arger a
. ce of en1 broiclery vvill be. lt is advisable not to choose a very fine fabric
pie
for your first project, as it can be very hard on your eyes, and ifyou are a
begin n.er, coun d.ng th e threads accurately for a first attempt may prove a
little disheartening.

Aida (blockweave)

This is available in various counts and in numerous colours. lt is a cotton

or cotton mixture [ab lic whicl1 is made especially for counted needlework,
with [WO threads woven into blocks rather than single threads. The
majority of my embroideries are worked o n this fabric as it gives crisp,
accurate results, especially with intricate designs.

Evenweave

This is a plain, single weave fab1ic. The number of threads for the vvarp
and the weft are the same, and because the texture is open, the threads
are easily counted. Cambric, white and coloured linens are popular
ev e nvveave fab rics.

Hardanger

A good fabric for blackworkwith pairs of intersectin g t11reads which make

it very easy to count. The fabric remains firm and in shape - more so than
single weave.

O;Jpos1!e
Aida, evenweave and
hardanger fabrics. Most
of my embroideiies are
worked on Aida, as it is
ideal for· intricate designs.

8
Today, there is a great variety of threads available for all kinds of
embroidery, son1e specially for blackw0rk. The choice of threads
and their thiclmess is of course a personal preference and
depends on the type of-design you are trying to achieve. It is
advisable to use short lengths in the needle to avoid knoJting.

Stranded cottons consist of s'L-x strands of cotton and can b·e

separated into groups to provide·different thickness and shades.

Coton perle 5 and 8 are highly mercerised two-ply threads vvith

a shiny finish and soft t\vis.t. They are available in many colours
and are made by several well-known brands.

Coton a broder no. 16 is a single or three-strand thread

which is the·equivalent of two strands of
coton perle or stranded cotton. It is made
in a -vv ide range of colours.

Ordinary machine sewing cotton is

harder than stranded cotton, and
gives fine work a crisp effect.

Sheins and reels of thread: cotton

per1e 5 and 8, coton a broder no. 16,
black stranded cotton ctnd ordinary
machine sewing cotton.

10
Needles

For all counted needlework you will require a blunt needle.

Sharp needles will pierce both the threads on the fabric and the
stitches alreadyworkecl.Also, when the needle passes through
the fab1ic, it should nor enlarge· or distort the hole- if it does,
then it is the wrong size. Finer needles have a larger number and
thicker needles a lower number. Sizes 22-26 are usually best.

Organising yout threads

Thete are many excellent organising systems you can buy, but I
make my ovm cards, which are simple and.cost nothing.

2. Cut your skeins into

manageable lengths. Take a
length, double it an d thread the
looped end through a hole in
your organis er Push the cut ends
.

through tbe loop and pull tight. It

is easy to remove one length of
thread from rbe card v;,;1.thout
disturbing the rest.
1. Take a piece of stiff card and
puneh holes down the side.

3. At the side of the thread,

write the 1nanufacturer's name
and the number of the shade..
\Vhen you have completed your
project, any spare thread can be
left on the card and used for
your next embroidery.

11
1�here are various sizes and types to choose Rectangular frames

fron1, depending on the size of your\vork. Some
are availab le with floor or table stands, clip-on
lamps and magnifiers. So, the days of having a
fra1ne in one hand , needle and thread in the
other, the chart on your knee1 a inagnifying glass
hung around your neck and the lamp balanced
dangerously on tb.e edge of the table. are over!
Whichever type of frame you choose, the
important rule is to keep your fabric drun1 tight.
This type of fran1e, \Vhich is available in many
sizes, can accommodate the whole width of the
fabric, keeping it taut at all times. You do not
need a screwdriver to release and move the
fabric while you are e1nbroide1ing - you just
move the rollers until you reach the area you
want to work on.

Embroidery hoops

It is best to use hoops only

when the whole of the
design fits inside the iing.
Moving the hoop around
your work can distort the
stitches and mark some
types of fabric.
Place the fabric over the
smaller hoop. Then force
the larger ho·op over it,
making sure that the larger
hoop is scre,ved fairly tightly
and the fabric is taut. You
vvill need a screvvdriver to
loosen the outer hoop and
release the fab1i.c.

A valiety ofjran1es are

available, from hand-held
hoops to freestanding
rectangular frames.

12
Dressmaker's scissors for curring our the fabric. Follo\11 the
Une of the thread when cutting, to make sure you have a
straight line.

A cutting mat is useful when cutting mounting board with a

craft knife.
An iron is used to press an embroidery gently on the back
before n1ounting ir.
Embroidery scissors are useful for unpicking n1istakes. They
should be kept sharp to prevent them fron1 chewing the thread.
The point should be fine enough to slip under the stitch ro cut it.

Pins are used to mark the centre of your fab1ic, and to hold it in
place \Vhen you are mounting an embroidery

A measuting tape or ruler are used for n1easuring when

choosing fabric and \vhen mounting embroideries.

Masking tape is used to prevent fabric from frayin g .

A hole punch is used for making a thread organiser.

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A craft lmife, acid-free mounting
board and double-sided tape (

are used for n1oun t1ng your

nnished work,
This book gives you charts and patterns to work from, but when you
beco1ne more confident; you maywant to create your own design:s. Many
embroiderers like to use ready-made designed kits from craft shops, or the
countless embroidery magazines, which are rich with ideas. I myself once
thought the same way1 but with time and experience, the need to design
my o'wn embroideries became greater. Once I started, I began to design
band sampler after band sampler. Hooked, line and sinker.
Most of my patterns have come from, or been influenced by, historical
fifteenth, sixteenth and seventeenth-century embroideries, and my book
shelves and computer files are bursting -vvith ideas that have been
collected over the years.
If you would like to design your own patterns, carrying a small graph
book and pen on your travels is incredibly handy, notjust for jotting
down ideas, but to fill in spare moments of time. A camera, too, is
invaluable to capture instantly on film an idea that can then be worked
on when you returrt home.
Even. if you do not travel a great deal, you can find inspiration without
leaving the comfort of your own home, and once you start you will notice
it everywhere. Fabrics, tiles, wallpaper, stone walling and iron gates all
contain shapes and patterns ideal for blackwork.
T here are certain tips to remember when you begin creating your own
designs. A close pattern will make your shape appear darker and a more I

open pattern will appea,r lighter. Using thicker thread will hlso give a
Opposile
This embroidery was
darker appearance, and finer thread will appear lighter. A large design area
inspired by patte rns
to fill really needs a bold pattern, whereas· a smaller area requires a more· characteristic.of the·
sixteenth and seventeenth
compact repeat pattern.
centuries. The design is
Blackwork embroidery in the past would have used mainly one colour: compiled from a variety of
band patterns, all of which
black, although red and occasionally fine gold thread were used. Today,
may have appeared on
with the vast variety of thread types and e.alours available; the potential for clothes a:nd furtiishings i11
that era.
different effects is endless.

14
15
In an age whe11 books were costly and rare,. the reference source, as they could be rolled up and
sampler, vvhich was a personal book of patterns stored in a work box.
and stitches, would have been a valuable iten1 I hope the motifs,,pattems and borders
worth passing on to the next generation. shown in this book will inspire you to design
Band san1plers, which appear in this book, your own band samplers. You may decide to
are patterns vvorked in long bands, enough to have a theme, such as flowers, and choose as
show the repeat, plus spot n1oti:fs such as birds, inany patte1ns and single tnotifs as you can find.
flowers and animals. The example given Alten1atively, you may wisl1 to create your own
opposite shows four different band designs. patterns, vvhich is easy and can be a great deal
Joined together, they make an attractive finished of fun. Experiment with simple shapes, adding
article. In their 01iginal use, bci,nd san1plers were lines horizontally, vertic;ally and diagonally, and
a convenient site and shape to use as a you can create your own blackwork library.

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The most important part of the chart is the
point at wliich you will place your first stitch.
Blackwork can be very intricate, so the centre
poi nt of the chart and fabric is where you
should begin. Should you start sewing in the
wrong place, you may find half 'Nay throu gh
yourvvork that you run out of space, and hours
of\.YOrk will be wasted.
On the chart, a grey square or black cross
usually pinpoints the centre. With your fabric
also 1narked in the centre, this is your starting
point and it will ensure an adequate n1argin
around your design.
18
In the chart opposite, the centre point is at
the bottom of the 11ower, which is an excellent
motif to sew first. The motif, in rum, will help to
position the surrounding patterns of the flower
and the centre top of the intricate border.
Once the centre motif has been completed,
work the surrounding patterns in any order until
you reach rhe outer border. One strand of thread
is used throughout the design to show the
intricate patterns clearly on the fabric.
Most of the designs in this book appear in
chart form, to show the patterns clearly and to
enable you to design your ovvn band samplers.
Tudor Rose, lily and
pansy motifs lihe these
were used e.xtensive"/y in
sixteenth-century
embroidelies. Roses were
the enihlems of the
Tudor htngs.
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The chartfor the enibroide1y opposite. Begin worhing from the grey square in the centre.

!S!2!=

19
Every person has their own way of working,
holding a rrame balanced on th ei r lap or
supported by a stand, and sitting on a stool or
in a corn[ortable arn1chair.
l have a special \.VOrk box close to hand
co n taining everyt h ing I nee d for that particular
project, and l support n1y fra111ev.7ith a seat
frame holdec This enables n1e to si t co ntlortably
v.1ith the fran1e in n1y lap, and work freely w i th
both hands .
lfyou require a n1agnifier and a lamp
auachmen r, then a floor stand frame vvould be
more beneficial. The most impo rtant thing to
consider is comfort and good backsupport
while you are working, and having your
inaterials close at hand.
Natural daylight is best for en1broidery, so sit
near a w in dow for the best results. Outdoor
sevvi ng can lead to all sorts o F disasters, such as
dropping the work on the ground or insects
getting squashed on the fabric .
If you have to sevv at night, 1,ivork under a
good lamp wh ich should be positioned on the
lefr if you are right-handed, or on the right if
you are left-handed, to preven t working in your
O\vn shadow.
Dayl ight bulbs, al though expensive, are
vvorth investing in and give an excellent clear,
natural light.
Seat frames are ideal.for embroidery. They enable you to
work .fi·eely with both hands and you can sit in your
conifortable chair in a relaxed position.
A ba.nd design typical �f
the Jifl�entlt anci sixteenth
ce11tttries. When working
011 cm intdcate design like
this, I prefer to t1se a seal
frame large enough to hold
the whole embroidery at
01ice. This means there is
110 need to unstretch the
fablic and move the
e111broide1y around as
work progresses.

21
Having chosen a design, you need to work out how much fabric it will
take, by following the guidelines below.

1
1 11, 11 • ,,, i111•1•111u1•11jr1ri•11,•1•1wrl111111r11111•!•1111111,,.1111J�''1''�1u•1•111•1•11l'l'l''"'f'••1 u111•11i1r•�
- 1�\>\U \ UOIO
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. �lG

1. Take a ruler or orher straight edge ro che lasr 2. To calculate the thread or block count on the
stitch on the chart on the left, then the right, and fab1ic, place your ruler on the material and count the
count the squares in between, to find the vvidth. Do number of threads or blocks there are to 2.5 cm
the same fron1 rop to bottom, to find the height. (1 inch ).

:: : : :: :: : : : ::: : : :: :: :
gg;TITIIffTi I1fffi fi�l��!;iu H;g;g;;;i;u:;igg�1gni
HHHHH HHiHHHHHH;HHHHHiHHHHHHH�HHH
:::::::::::::::::::::::::::::::::::�i::::::::::::!::::H
: :: ;
; ;

:1 1111�1�i!!1il\l\liiil�ifill �li!lll ��ll�l

;

1l1 1 11 11��1�11�1lli1Jw1111�1 1i�1 111 1i

Evenweave is stitched Aida is one stitch per Hardanger is made up
over n.vo threads. So, if block. So, if your design of pairs of threads
there are 26 threads to has a graph count of 54 woven together co give a
2.5cm (lin) and there squares across and 54 dense background,
are two threads to each squares dovvn, and your while still leaving easily
stitch, that will 111ean 13 Aida fabric has 18 visible holes bet\veen
stitches for 2.5cm (lin). blocks to 2.5cm (lin), the warp and weft. It can
lf your design has a divide 54 by 18, and be stitched over one or
graph count of 54 you will require a piece tv10threads. Calculate
squares across and 54 of fabric 7.5cm2 (3in2). the size of material
squares do\.vn, divide required in the same
54 by 13 and you will vvay as for Aida.
require 10.5cm2
(4V+ in2) of fabric.

22
When you are happy with the measurements of the actual sev.ring area,
remember to inc1ude extra fabric around your design. l try to leave an
extra 10-1 Scm (4-6in) for stretching and mounting. Smaller projects do
not need so much.

lt is extremely
important to leave
extra fabric around
the edge of the
embroidery, as shown
here. This will. ensure
that you have
adequate room to fit
t:he em broiclery on the
fahric and, when it is
finished, to mount
and stretch your wod?
around stiff card,
ready for display.

23
l always work on a re<:[angular frame because T Bnd it n1ore

practical than a hoop. Rol ling yourdesi.gn rowhere you need to

sevv is easier ilian conscantly ren1oving a1
i d replacing a hoop,
and the fabric is never distorted, because i.t is conscantlypul.led
straight and drum tigh r.
Uthe fabric you are using Erays easily, ei tl1er hein the edges
or tape them with masking tape before sevving the fabric to
the webbing.

1. Find rhe centre or the fabric by 2. Sevv [he fabiic ro rhe top and botron1 vvebbing on the fran1e \IVith
folding it in half, rhen in half running stitches. Keep the central pin or cross stitch in t he centre or the
again. Mark tbe centre with a pin Cran1e, and make sure the fabric does not ove rlap the vvidth of Lhe fraine.
or a cross stitch.

J. Put rhe frame together ancl

roll me fabric as tight:ly as
possible around the rollers, top
and botton1. Keep che· fabric
centred, and srrercl1 it so tharit
is dn;11n tight.
Ifyour design is
co111plicatcd, like tliis one,
a rcc1w1Kular ji·amc 111ahes
it ee1s ier to follow yoHr
progress, wh He l�eeping the
.fc1hric stretcliccl. A /wop
frame requires constant
u�just 111e11L a11d may
di.�tort tlic ft1hiic and silhs.

25
 ve n he re ar e th e m ost co1nmonlyused for
es gi
The three sti tc h exan1pl
. Fo r in xr ic at e de si gn s, double running stitch is
blackwork embroidery und
tli ni ng , us e ba ck stilc h. Cross stitch m ay be fo
favoured, and for ou
m an y of th e de si gn examples in this book.
within

Double running stitch

or ke d in do ub le ru nn ing stitch, or Holbein
ly w
Blackworki.s traditional
th er ef fe ct th an b ac k stitch, and is ideal for
stitch. This gives a smoo ute
et ric ba nd s an d fillin g paltems. Plan your ro
creating inuicate geom
ki ng so th at yo u wor k a line, t11en fill in the
are wor
around the pattern you
gaps on the way back.

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Fi ll in th e sp ac es on the return journey. Brin
2.
as shown. of the previous stitch,
1. Work a line of stitches the needle up at the top
le below the start of the
and then insert the need
next stitch.

26
Backstitch

Back stitch is used as the basis for many other

stitches, and can be used as an outline stitch.

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1 . Bring the needle up 2. Bring the needle up 3. Always finish the A line of back stitch.
to the right side of the to the right side again, i.n stitch by inserting the
n1aterial. Take it back front of the first stitch, a needle at the point where
along the line and go stitch length away. the last stitch began.
down to rhe wrong side.

Cross stitch

This is a very simple stitch, but it can look untidy if the directions of the
top stitches differ, so always make sure they face in the same direction.
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· ' ' ' • " " 1 ' » I1'1 r 1t • i • J-• :. l •• JJ?! • 1 1 1 ; !1• !" , ·. r � 1 ·J 11 ·
'. I ,1 ,' 1 " , .. • .1 > , ·
, j. .11 .,. .,1 .•" ',. .,.,,".,-.·
. . . .. 1. 1 t •ilt" l �! l � !'!· · > j ft •t • 1 1 j "' ' ' • • • , •. , • • �
'I ' . I , . . . J • ,,. t , : • � . ; •• ,• • j . . • l
•· . • . . .. . � ·J · 1 i • " " ' ' . , .,. ,• • • • ,
.. .
·� • I • f I • I � #t t • I • • • ) • I • f , t • I
.
o • • • o 1 o j.. •! • • • • • • • 1 . ;, 1 , 1 0 I , r , ; ! ' ' ' r i � .f. • lI • • • i • f • •" l • i • ! • ! • I • • •
i • .f.o
• • • 1 • • o •t
!

L,.1.,.1 • • at I
• • ) , , • • t 1 •I • • • •

l . Start at point A. Take 2. Bring the needle up

the needle diagonally to at point C and insert
the left and insert it at B. down at D.

B D

3. For the next stitch, bring the needle up at point

C and repeat the procedure.
c A

27
lt is imporcanc co start at the centre of the chart to ensure that
your finished vvork'ivillbe central, vvith sufficientsurp.lus fab1ic
all around it. The marker on the chart, and the pin or cross stitch
you have put in your fabric indicate your starting poin L

1. Make a knor in vour thread.

,
2 . lnserr the needle from the
This is a waste knot, and is nor right side of your work, into an
pcn11 anen t , as if not ren1oved area vvhich wi ll be disguised by a
lacer, i t wo uld leave an unsightly blacl<Vvork pattern, not [ar [ro1n
bump in che surface of your vvork. the starting poinL (1narked here
vvi ch a pin).
3 . Work the area of pattern until
you reach the vvaste la1 ot, cut i t
off, and condnue \\rith the patten1.
The thread, which lies at the back
of the work, is now secured by
the stitches of the pattern. Use
this procedure each time you scan
\>vith a ne\v thread.

l . Finish <.\ th read by catching

rwo or three stitcl1es underneath,
111 aking sure you do not surface 2. Trim oEf any ends with sharp
on the right side of your \vork. en1broidery scissors.

28
 T-fondreds of threads may be stwted
and .finished in a design such as this.
The important part c?f" any _finished
embroidery is to ensure that no hnots
are used. This will allow your worll t(l

sit flat without any bumps whe11

mo1mted. Also, anv ,
loose threads left
.
at tl1e /:Jach may show througl1 to the
ri.ght si.de of the ft1/,,ic !Fyoi1 have not
woven lhem in correclly.

. . . . . . . .. . . . . . .. ... . . .. .. .. . . . . .. .. ... .

��:::·:·�: \��sef��sifsif� ����sii�Jfsif� ��·:· :�. i\:

.. . . . . . . .

: : :� : .� � : · :· . : � � �
.

. . . . . . . . ..
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:
. . . : : � . . · : : ::
. . :

: : :
..

:
.

: :
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.. . :
I ' '

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• •

.
•

.
• "" ' ' ' • • • • • • • •,. • • • • • • • • • • • - • • • • • - • • ' • • • • • ••• • • • • • •• • • • • • • •• -' • • • • • · •

.
-·:- · . : 1 · : :
• • • • • • • • • • • · •

. . .. . .

. .
. . ..., . .
'

.
.. .
.

..
" :

... .. . . . . . . . . - .. .. . .
" .

. ' . . .. ,
. ... .. . . ' .
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::: . : :: : : ' . : : u . :: . : . . . :: : : . : :: :

.
: . : : : . : ·
: : : :
.
. : : : : : : : : : : · : : -:,: : .:� : : : : : : : :. : : : :
.
: : : ! . ' : : : : : : : � .: : : : : : : : : : : : : ; : : : : : : � : .: : : : : : : : : : : : :
:

.
... : : : :
:

. :

. . . . . . . . . . .. . . . . .. , . . . . .. . .. .. .
:
. , . . . . . . . . . . . . . . . .. . . . . . . . . . . . .
.
, -
"

.. .. ... . . . . .. , .
'

. . . . .
' • I , ' ' ' ' • ' • • ' ' ' ' ' ' • • ' •

'

29
The invention of printing in the mid-fifteenth
century provided a ready source of design
lnate1ial for the eager sea1nsrress to sew on
to fabric. Illustrations of the plants used by
herbalists in their recipes, and of those found
growing in Tudor knot
gardens and herb
gardens, such as roses,
pansies, honeysuckle
and comfrey, all found
their way in to
blackwork designs
decoratil1g clothes and
-,

household furnishings.

A wide range offlower and

plant motifs featured in
traditional blackworh, � ­

£.:�:��·.'.'·--..!.��
Al.I.
. ..
.� ::-��
�"��
with Tu,c/or Roses t:he
_..-- ._ .
'• ""
"" '
javowi.te. These emblems
of the Tudor kings were
sewn full-face rather than
in bud. Can1ations,
pansies, thistles, tulips,
pineapple�., figs, grapes
and strawben·ies were
also popular.
On these and the following
pages, the embroide1y is
shown on the left-hand
page, with. the chart
opposite. Page 18 explains
how to use tile c11arts.

30
31
 - ... ...
..
.
.. .

,
. .

. . .·.
;;,
-
..
. . . . .- -
. ""·
.... . ,,,. . . .. . - · - . ..-
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H i.' 1•:1 ,'"; "'!�•,
.. . ..

-..:,.
·t
) "o
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� - •:· , • • .� ,/·1
<, .,_... o""i ,..
,. . ... .
. ... . .. . . .. • . . ... .
: ..- ,.;;i-.J�: ;-
· r-i ..
�•
,
,,._., : , · . .
• ·l tt
· · · · · · ·-�•,,•·•J ..-
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.

...
1. - • • •� . .
· ·-·
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... .
.. .

..

..

'
"
'
. . ..
.

."

•'

ThLs enibroidery shows, on the top row: acorns and a strawberry plant; on the second row:
honeyst.tc�le; 011 the third row: acor:ns ancl h.oneysµchle; 011 the fo urth row: roses and on the hottom
row: grapes and a pcin�y.

32
"TX'r-T-f"'1-�
1:�"
-i
.
.

m .

cl; �
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•
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'
- f"'r-
-

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-- "'f"'I"
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.

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_,_ - . .. ,.

I l
'

33
Illustrations of strange animals and birds from far-off1artcls, and
books such as Aesop's Fables, gave additional material for motif
work. Wallpaper and lining papers of'the late fifteenth century
depicted English birds, buttetll ies and floral fruits, ·and these
motifs also appear in
,
.. . .. . - ....
. :..:.: ..:;..:-·:�.;:.;:.:.:_. :
..

-
blackwork designs of the time. .... .

'Boxers' were
representations of fhe human
form and \Vere often depicted
carrying hearts, aco1ns or
flowers. The term !boxers' isa
mode1n interpretation,
.
.. . .
. .. -
- "'

:�::·�::: ; ��.:. :: : �::'..,;:�::��:..

.. . �

refening to their stance. On.e � -:

� ....:.�

,.
:-:::. :.::
·· - ·�- - . .
. -
\

�. : :�
· :;·:..z.

:: : : : : : ;
et-..rplanation for their ..
. ..
...
:
. , . .. . .. . . - . .

�:-,: ·�:: ... ":

.;:
- . � ::� :� �
.
...
, .
..
... ...
. . . -· . -.
.. .
.......
. _. _ ..

-
--· •
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....
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.r. ! ....
.... •
,
. .
. ... . .. .. ..

'
-
..
. . . . .. ,_ ..-- .. .. .
·
... . . ::----:... .."
: : : :;
;
significance is that they are
'
.
..
�

lovers exchanging gifts. They -·

have also been referred to as

Renaissance Cupids, and as

.
early representations ofAdam

,
.
.
and Eve.

.
.

-. . - . .

.
,.._ .. ·'

. . . . . . .. . .
. . .
..
. . . . .
.�
.

. -
. . .. .

., . , . .. . . .. . .
. -:· .· ·. ·. --.· · · ·· - - ·: -· :·:::. · .:.:
. .

... . ·- · .. . . - · · · · --·-· - -· _ _,. ,,

_ ..;. , -- ·· ·- --·
. . - .
...... .. . - ..... .
. _ .. , . .. . � � . . .
..
.
-
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·· · · · · · ·.- .·.'.. �
... .. . . .
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: ·_ -. .
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. -

,
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..

. . . . ·- . . .. ·-- -"
,
,
,. . . . . ..
.
·-·-
. . ....
. .
.... .. ..
. . . ......

Mythical and exotic beasts featured

alongside more commonplace English
animals in blacliwork design. The . '

human figures �ir� referred to CL'i .. -

···
-- ..
. .. .. .. -- -··
.. .• .• :. .. ....
·-·

. ...
.. .. ..
.r .... ..,, • •

.
'boxers' because of the.ir stance, but
......

they may have be.en intended as

. -... . "'
lovers beari.ng gifts. ..
'

.. . ...
.
. .... •, .

•• • i;' •-
.- .. .
. .'
...
' -

,. ,. "'"
� ­
•• •
'·"' ' • ...
,
-
··
,,. ·•' ....
, . ..

.
. " .

34
::: �:�: ;'1'.�� ,;...:.
...._ _ , · - · ....
.

.
.. ..
;,- .

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-
--··1 ·-·· . . .. ...
.-... ... . .. ; . . - ··�·· .. .
�� - -- -� -
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-- �- ... i,.. .. .

m-
-- -foo l •-P"'t---
- -
-

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+-

€·:fl
,.,� - .;<!.>;. -- - - -

'' �
• 'I'
-- 1'*-
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--- - -1--

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1-1--1 --too-

-i- -:..
--
-
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·1-
..... .. . .-

- ' -I '"-

--1--
---

35
 •

-{/)(b
Ifyou have a design in mind that you would llke to fill witn
various blackw0rk patterns, choose your first project carefully apd
do not be too ambitious. The simplest ofshapes can become very
impressive when finished. The followin� fi1l-in patterns ar� all
shown in squares, but you can progress to more decorative
shapes like the oak leaf design on page 44.

. . , . . . .. � . ·-
· ' .. .. . '
� ' ..
. . . ..

. . . ' ' ,• ..

IC• )(•• . .,; . ; � . ;� ;

• (;'
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,,...
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..... .... �
. . . ... ... · · -· · · ·
"'

36
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I

37
A design for a JW-i n pattern may be created from one
small motif, which is then multiplied, as in some of the
pattentS shown below.
. -.
. � • - ......
. .,.. -
.
. . -. ..
. .. . • •"*.. •
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..

:- .... ... ""'"°

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38
 •

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39
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.

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A close palle111 will appear vrt1y dark, and an open

pattern will look. much lighter. \.\/hen you need shadow in
a design to create c!epth af!d fonri, the .d19ice of 1u1tter11 is
then;fore very i11Jporta11t.

40
 . . -
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wel'.e usecl to edge garmenbj. S01ne of

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the eatterns :were so intri.c;ate fhrit I • • • -� • '

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they resem'bl.ecl 1aee. Since lace was I

extrerri.ely expensive, blackwork wets

.
ah ideal substitute. For the 1rard­
worhing poor, it was a cheap· way to . . :
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reinforce the edges of ciif[s and

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headdresses and gQw1is.

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Larger borders lihe these
were used on bed linen
and other household
items, and had practical
as well as decorative uses.
When the courts move.cl
from place to place, a
particular blackwork
design would identi_&
ownership, at a ttme w11en
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most people would have
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been unable to read

written labels.

50
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51
Most of the repeated motifs used in borders such as these had some kind of ,-digious
s·ignifi.cance, were L1sed as heraldic emblems, or deri.v,ed fr:om am;.i.en.t legends qrfolklor�.
Ot11ers were simply taken from everyday items and had no particular meaning.

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55
Alphabets like I his one are not particularly common 'in
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identify the owner.

56
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When you have con1pleted your embroidery, if you have decided to frame
and display it, you will need to follow these basic guidelines. Use a white
acid-free mounting board, available from good stationery or an shops. You
vvill need to knovv the exact size of the picture frame before cutting the
board, so it will fir nicely inside the frame.

1 . Place the e1nbroidery face-down and cover it with a

fine, dry cloth. Apply a warm iron gen dy and lightly
so that the stitches are nor ilatrened or distorted.

\
\

\
\
\

2. When you have decided how much of your 3 . Measure the board horizontally and vertically to
embroidery you wish to frame, cur your mounting find me cenrre. Push a needle through this centre
board to this measurement, using a craft knife and a point so that the point just comes through to me
cutting board. other side.

58
 5. When you are happy that the board is central,
place pins through the fabric at the board's edges,
sticking outwards so that the board can be turned
over easily.

4. Measure the embroidery in the same way to find

che centre poinL of the design, and push the eye of
che needle on the mounting board drrough this
point, so that the centre of the design is positioned
accurately on the centre of the board.

6. Trim the excess

fabric to about 5cm
(2in) all round and tum
the embroidery over,
face down.

59
7. M i tre the corners, [old io tbe sides and pin 8. Sew the edges of the fabric together at each
t.hen1 down. corner. Remove che pins.

9. Fix the edges of rhe fabric in place \.vith 10. Re1nove the pins and place the mount in
double-sided tape, or lace across the back using the picture frame.
a strong. thread.

60
The mounted, .famed emhroide1y

61
Both this sampler and the one opposite make extensive use of motifs such
as flowers: honeysuckle, roses and pansies; and ac01m, grapes, birds and
animals. These designs were taken eitJ1erfrom eve:iyday surroundings or
in the case of more exotic animals such as the lions oppos ite from books
,

providing an insight inlo other cou11t1i.es.

62
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ' . . . . . .

• • • • • 1i • • , ,. • • • • • • • • • • • • • • . .. , ; • , , , • • • . , t • • • to I • 4 • ol. • • • • • • • • • • • • • • • • • i • ; • l • • • • • ; • ' • t '

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • J • • • • • • • • • • • ' • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

63
alphabet 56 Holbein 6, 26
animals 16, 34-35, 62
Aragon, Katharine of 6, 46 iron 1 3 , 58

lace 6, 46
bird 1 6 , 34-35, 54, 62
border 1 6 , 18, 46-55 motif 16, 18, 30, 34, 38, 52 , S4, 62
boxer 34 mounting 13, 23, 29, 58-61

clothes 6, 14, 30, 46 needles 10, 1 2 , 26, 27, 28, 58, 59

chart 1 2 , 1 4, 18, 19, 22, 28,30
counting 6, 8 patterns 6, 1 4 , 1 6 , 17, 18, 26, 28, 36-45, 46
cross stitch 6, 24, 26, 27, 28 pins 1 3 , 24, 28, 59
planes 30-33, 54

fubric 6, 8, 1 2 , 1 3 , 14, 16, 18, 2 1 , 22, 23, sampler 6, 14, 1 8 , 62

24, 25, 30, 59 band 1 6 , 1 7
Aida 8, 22 scissors 1 3 , 28
evenweave 6, 8, 22 stitch 6, 13, 16, 18, 22, 26-27, 28, 58
hardanger 8, 22
linen 8, 46, 50 thread 6, 8, 10, 1 2 , 1 3 , 1 4 , 18, 22, 28, 29
figures 3 4-3 5 organiser 1 1 , 1 3
flowers 1 6 , 18, 30-33, 34, 62 Tudor
frames 1 2 , 20 knot gardens 6, 30
seat 20, 2 1 Rose 1 8 , 30
en1broidery hoops 1 2 , 24, 25
picture 58, 60
rectangular 1 2 , 24, 25
framing 24
furnishings 14, 30, 46

64
 Lesley Wilkins shows how to
create traditional blackwork
embroideries using simple
stitches on evenweave fabric.
Step-by-step photographs and
wealth of charts illustrate l1ow
traditional motifs, patterns and
borders can be combined to
create stunning designs.

UK CB.95 US $ 1 7 . 95
ISBN 0-85532-937-8

9 780855 3 2 9 3 7 2