Armorial Long Cushion

Created for
Andrew of York, Baron Ruantallan

Armorial long cushion

Introduction

The living areas of Elizabethan households were sparsely furnished compared to modern households with much of the seating being hard un-upholstered chairs or stools. Cushions were very important in the Elizabethan house (3). "Enthusiasm for embroidery was unparalleled in the 16th century; it ornamented every conceivable item of dress or furnishings" (1) and this was no less true for cushions. Long cushions, such as the one produced here, were more common than square ones

Armorial Cushions

"The Coat of Arms made clear to everyone the importance of the bearer's position in society, and it would be proudly displayed as often and as strikingly as possible. They were particularly eye-catching in embroidery.... standing out against a background of flowers and elaborate motifs. Many scenes were set in gardens or the countryside, and these provide a unique record of pleasures of the day. Patterns were often close together and vied with one another in complexity" (1). Armorial cushions, such as the Warneford and Yates cushion or the Lady Hastings cushion, are examples of the popularity of these style. Other examples of armorial cushions can be seen in Victoria and Albert Museum. Since this long cushion was created for Andrew of York, Baron Ruantallan his arms are featured at the top of the cushion design.

Design

Many designs were based on the flowers to be found in the Bible, translations from classical literature, history and emblem books and the herbals of the day (1, 3, 4). From these sources, the embroiderer would either commission an artist to create a design, or if skilled in drawing might attempt it herself. Historically, the method of transferring embroidery patterns onto a garment would have involved either the use of pin pricks through the design and then powder or chalk pouched onto the garment, or charcoal applied to the garment through a series of pricks in the design (1, 3, 4, 5). Charcoal or chalk can both be easily rubbed off. The design used on this cushion was created by drawing freehand; then pricks through the pattern onto the silk. Once the design had been pouched using chalk the outline was then gone over with a basting thread so that it would remain visible while the design was embroidered.

Stitches

Armorial cushions were frequently embroidered with metal threads and silks; with interlacing vines or knot work surrounding the motifs. Commonly used stitches for these works were tent stitch, laid and couched work, long arm cross-stitch and satin stitch. Generally these patterns were worked first and then appliquéd to the cushion later. After the main design was completed details of the design could be added in a variety of stitches as well as sequins, spangles and seed pearls, with borders completed in plain braids with or without tassels (3). In the cushion, are examples of silver metal thread couched onto the silk to create the vining pattern, satin stitch, outline stitch, French knots (all done with silk thread) and spangles.

Appliqué

Appliqué is defined as the applying of a contrasting material onto another material to create a decorative effect, while reverse appliqué consists of cutting the desired shape from the main material, fitting the secondary material in mirror image to cut piece and joining the two pieces together using some form of cording, thread or even leather strips. Only a few examples of appliqué have survived into the modern age, but from documentary evidence it is fairly obvious that this was a popular method for decorating items (6) . This design incorporates both applied and reverse appliqué. Examples of both applied and reverse appliqué combined with metal thread embroidery are shown in late 16th C valences(Victoria and Albert Textiles plates 23 and 24.)

Motifs

Placing motifs into roundels which were then placed onto the cushion, while not common was done as can be seen in the Mary Queen of Scots square cushion at Hardwick Hall. These devices on the cushions served as intellectual puzzles or represented items identified with Queen Mary herself (4). Within the roundels, done in reverse appliqué, are motifs that reflect Baron Ruantallan personal interests, as well as the white heraldic roses of York and his arms. Appliquéd to the silk are 'hop' leaves to show his interest in brewing. Embroidered onto one of the stems is the emblem of his lady - the snail. Falling from the tendrils are several embroidered rings, since the Baron is well known for his collection of rings.

Construction

Once all of the embroidery had been completed the silk was sewn to a backing and a navy braid was sewn along the edges. One end of the pillow was left open. A square of hard pillow foam, over wrapped with several layers of cotton batting was then stuffed inside the silk and the open end was hand sewn closed. In order to hold the pillow on the hard stool it was decided to machine stitch ties into each of the long ends.

Bibliography:

1. Beck, Thomasina 1995
   The Embroiderer's Story: Needlework form the Renaissance to the Present Day
   David and Charles, Brunel House, Newton Abbott, Devon
   ISBN 0-7153-0962-5



2. King, Donald and Santina Levey 1993
   The Victoria and Albert Museum's Textile Collection: Embroidery in Britain from 1200 to 1750
   Canopy Books, New York
   ISBN 1-55859-652-6



3. Digby, George Wingfield 1963
   Elizabethan Embroidery
   Faber and Faber Limited, London, England



4. Swain, Margaret 1973
   The Needlework of Mary Queen of Scots
   Van Nostrand Reinhold Company, New York
   ISBN 0442299621



5. Salazar, Kim Brody 1995
   The New Carolingian Modelbook; Counted Embroidery Patterns from Before 1600
   Outlaw Press, Albqerque, NM
   ISBN 094208229



6. Taniland, Kay 1991
   Medieval Craftsmen: Embroiderers
   British Museum Press, London
   ISBN 07141204120510