A White Scarf for Baron Marcellus Capoziello da Napoli
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White Scarf (Full View) |
Spike No. 1 |
Spike No. 2 |
Detail of the center line |
The White Scarf: The Order of the White Scarf is a Grant Level award of the Kingdom of Atlantia, and it is given to those subjects who have excelled in the exercise and advance of the noble art of defence, and have distinguished themselves as examples of the precepts to which it is devoted. It is the highest recognition that the Kingdom gives to a rapier fighter. Members of this Order are allowed to wear a white scarf. The Atlantian White Scarf is unique in that it features a unicornate seahorse (affectionately known as "Spike"), and a stripe that runs along the length of the scarf.
Description: A white linen scarf featuring two similar, but not identical, "Spikes" at each end and an embroidered blue stripe running along the length of the scarf. The embroidery is done with stranded silks in split and stem stitch, with beadwork and gold spangles. This scarf is not a reproduction of a period artifact, but a traditional Atlantian symbol of recognition, with the heraldry of an Order of High Merit embroidered with a period flair.
Materials: Silk stranded floss on a white linen ground, ceramic blue beads, and gold spangles.
Design and Construction: I got the inspiration for this project from some of the blue and white Majolica pieces from the 1500’s (see Figures 1 and 2 below). Because of its versatility and beauty, I decided that split and stem stitches, similar to those used for Opus Anglicanum or “English work” (see figures 3 and 4), would allow me to obtain the desired effect. Opus Anglicanum was popular during the period between 1100 and 1350 and the use of split stitches worked spirally is perfect to emphasize a great deal of detail, which I needed for my unicornate seahorses.
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| Figure 1: Faenza, about 1510. Painted by the “Master of the Resurrection Panel”. Inscribed in the back with the name Maestro Jeronimo da Forli. | Figure 2: Two broad-rimmed bowls, Deruta 1515-30. Painted in blue. |
I also wanted to give my "Spikes" some texture. That is where the ceramic beads came about. It is important to note that beading used in Opus Anglicanum embroidery consisted of seed pearls, not glass or ceramic beads. Nevertheless, the color of those beads was too pretty to pass, and since my project was not intended to be a reproduction of a period artifact, I went along with it.
My seahorses also needed something to give them shine, and which contrasted with the blue and white palette. Gold spangles as a background for the eyes were the perfect fit. Spangles became wildly popular in the 16th Century. They were never used for Opus Anglicanum. However, they looked so good on my "Spikes" that I decided to use them nonetheless.
In the end, I was very satisfied with the results. My project did look like a textile "Majolica" piece, I learned a new period stitch, and my husband loved his new white scarf.
Who could ask for anything more?
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Examples of Opus Anglicanum Embroidery |
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Figure 3: Burse, 1310-1340. Linen, embroidered in silver-gilt thread and silk. England. Victoria and Albert Museum. |
Figure 4: Panel from a cope, The John of Tanet Panel, 1300-1320. Woven silk twill, embroidered with silver-gilt, silver and silk threads and pearls. Victoria and Albert Museum. |
Resources:
1. Donald King and Santina Levey, The Victoria and Albert Museum’s Textile Collection: Embroidery in Britain from 1200 to 1750, V&A Publications, 1993, 160 Brompton Road, London SW3 IHW.
2. Santina M. Levey, An Elizabethan Inheritance: The Hardwick Hall Textiles, 1998, National Trust Enterprises, Ltd, Great Britain.
3. Lanto Synge, Art of Embroidery: History of Style and Technique, The Royal School of Needlework, Antique Collector’s Club, Woodbridge, England.
4. Mary Rhodes, The Bastford Book of Canvas Work, BT Bastford, Ltd., London.
5. Mary Thomas, Dictionary of Embroidery Stitches, Hodder and Stoughton, London.
6. The Encyclopedia Britannica
7. The Victoria and Albert Museum
