Arraiolos Rugs
Rowanwald Central
century and am coming up against a wall. I think I may be too far "out of
the loop" to know _where_ to look.
According to "Portuguese Needlework Rugs" by Patricia Stone, these rugs
date to our period of study and are quick and easy to create. I'd like to
find sufficient documentation to justify encouraging artisans to begin
crafting them - they're beautiful and transportable and have the advantage
of being easy enough to craft that a person can make one for their pavilion
in record time - but I can't find anything beyond Ms. Stone's book on the
subject, except for kits and later pieces offered by antique dealers. I
don't want to introduce another craft that is "documentably marginal". I
have ILL requests out for the books she cites in her bibliography, but can't
believe that there's nothing archived on the Internet about the subject.
Rosine
Charlene Charette
>
> I'm trying to find examples of Arraiolos rugs from the 16th or 17th
> century and am coming up against a wall. I think I may be too far "out of
> the loop" to know _where_ to look.
New Stitches magazine had an article on them awhile ago (within the last
2 years?). You might contact them to see what information they can
provide. They're very helpful.
--Perronnelle
--
No snowflake in an avalanche ever feels responsible. -- Stanislaus
Lezczynski
=====
Free Book Searches (out-of-print, hard-to-find, foreign, used, new) -
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Faireday
> century and am coming up against a wall. I think I may be too far "out of
> the loop" to know _where_ to look.
>New Stitches magazine had an article on them awhile ago (within the last
2 years?). You might contact them to see what information they can
provide. They're very helpful.>
If you have any sucess finding the info, please share it. I would love to
learn to make period rugs. Thanks,
Mariot
ruadh
Rhodos, Greece. In period time, it would have been part of the "measure of a
person's worth". This one is 1.5m x 2m in size and about 5 Kg and green;
its been camping for most of those years [ floor of tent, bed pad, cover
over . . etc] . Spinning the yarns needs to be very fuzzy to create the
felted back side that protects the tabby weave [~10 tpi] of the rug base.
Tying on the "Shag" is with the knot still so common with oriental rug [ or
fake it with latch hook style]. The shag spacing should be about one index
finger, and length = the height of a fist. Period processing after assembly,
is to raise the nap [ use wire brush] and hand rub a solid felting on the
back side [ use the fuzz of the weave]. Then put into moving water and let
that action "full" the shag material. A short water fall is what I used.
It looks likes a sheep skin fleece when freshly cleaned. Could this have
been the real "Golden Fleece" of Greek early history ? Its strong enough !
O'Gaul-lee
"Faireday" <fair...@aol.com> wrote in message
news:20010404102219...@ng-bd1.aol.com...
EKScholar
1) the stitch (long armed cross stitch) is documentable. Someone correct me,
but I believe it's in "Traditional Icelandic Embroidery" by Else Gudjonsson
(sp?) as pre-Reformation in Iceland, which makes it 16th century or earlier.
It was used in altar frontals (sometimes re-made from bed valances).
I can't give any further specifics because my copy of the book is currently
being digested by the House.
You might not be able to find anything in the books in her bibliography, but I
can suggest the following:
"Designs for Needlepoint and Latch Hook Rugs" by Dorothy Kaestner. One of the
designs is for a rug copied from "Oriental Rugs in the Metropolitan Musem of
Art" by M. S. Dimand & Jean Mailey. The original dates to the first quarter of
the 17th century. I don't know if the original was tufted, woven or
embroidered, but the motifs should be near period. I would recommend against
making the full rug listed.
"Color Treasury of Rugs & Tapestries from East and West" (Crescent books, no
author) does not have any patterns, but there are numerous color plates, with
sufficent detail to chart from.
Best of luck.
richild la gauchere
(not a laurel)
Charlene Charette
> 1) the stitch (long armed cross stitch) is documentable. Someone correct me,
> but I believe it's in "Traditional Icelandic Embroidery" by Else Gudjonsson
> (sp?) as pre-Reformation in Iceland, which makes it 16th century or earlier.
The long-armed cross stitch is most definitely well within the SCA's
period. There are numerous examples in Schuette's Art of Embroidery.
--Perronnelle
--
If ever you find something you like, buy a lifetime supply ... because
they will stop making it.
Heather Rose Jones
>
> EKScholar wrote:
>
> > 1) the stitch (long armed cross stitch) is documentable. Someone correct me,
> > but I believe it's in "Traditional Icelandic Embroidery" by Else Gudjonsson
> > (sp?) as pre-Reformation in Iceland, which makes it 16th century or earlier.
>
> The long-armed cross stitch is most definitely well within the SCA's
> period. There are numerous examples in Schuette's Art of Embroidery.
In the examples I've seen, the long-armed cross stitch was most often
used as a "solid fill". (For example, in the late-period Italian
precursors to the technique known today as "Assisi work", the solid
color parts were normally long-armed cross stitch, rather than the
modern simple cross stitch.) I've also seen a few examples where it was
used more dynamically to create linear geometric designs (e.g., an
embroidered purse, I believe from around the 13th century -- I'm away
from my notes -- currently at the cathedral of Sens in France, where
it's used to create geometric "maze" and "key" type patterns). The
nature of the stitch tended to strongly shape what sorts of uses it got,
since it has to work in straight lines and doesn't lend itself to small details.
I tend to have a knee-jerk reaction to discussions of the historicity of
particular embroidery techniques that treat "period" as a binary
attribute. I think it's always important, when discussing embroidery
techniques, to discuss particular times, places, and applications.
Tangwystyl
--
*********
Heather Rose Jones
hrj...@socrates.berkeley.edu
*********
Charlene Charette
> I tend to have a knee-jerk reaction to discussions of the historicity of
> particular embroidery techniques that treat "period" as a binary
> attribute. I think it's always important, when discussing embroidery
> techniques, to discuss particular times, places, and applications.
Mea culpa. I know better. It was a quickie response because I didn't
feel like trying to find the Schuette. Heck, at the moment I can't even
get to the bookcases. I *really* need to get that room cleaned out.
Stefan li Rous
For more on period cross-stitch, check these two files in the
TEXTILE ARTS section of the Florilegium:
cross-stitch-msg (33K) 10/21/99 Period and SCA cross-stitch.
p-x-stitch-art (20K) 3/ 1/99 "Cross Stitch Embroidery in the Middle Ages
and Renaissance" by Karen Larsdatter.
In article <3AD3CAD3...@flash.net>, Charlene Charette
<char...@flash.net> wrote:
--
THL Stefan li Rous Mark S. Harris
Barony of Bryn Gwlad Austin, TX
Ansteorra ste...@texas.net
*** Check out Stefan's Florilegium files at:
http://www.florilegium.org ***