As you saw in the picture from yesterday, the panel in the EG collection is quite small. It appeared to me to be the same scale as the jacket, but some further measurements will be made from photographs I took with a ruler at the edge of the mounting. If you remember, our hypothesis is that the same master vine pattern was used for both.

The first thing that struck me was that the petals of the flowers were stuffed, giving them a trapunto-like effect. This isn’t visible in the published photos of the piece. Of course panic set over me – was the jacket also stuffed? My gut said no, as the extra work would have greatly increased the time to finish the piece and we had already seen that some details on the panel had been dropped for the jacket by comparing photographs. When I saw the jacket the next day, it wasn’t stuffed. Phew. I don’t know the material it was stuffed with, but it appeared ecru to white when I saw it peeking out under one damaged petal. Possibly wool? I did really like the effect. I may have to try it.

The stuffing, I think, would have been put under the growing petal as work was being completed. I say this because the fiber wasn’t sticking through the top (as it might if it had been laid down first). Also the reverse chain outline was there and so the petals were embroidered in place. What we don’t know is if a traditional trapunto technique was used – slitting or making a pushed hole in the back and then fiber stuffed in and the hole sewn shut. The panel is mounted, making the back unavailable to view. Considering how difficult it might be to stuff from the back without damaging the buttonhole, I think I will try stuffing as the petal is worked.

Tricia

Here’s the other half of the jacket’s left sleeve. You can see the concave curve at the top which goes under the armpit.

And a detail of foxgloves, showing the “speckling” which is done, as Kimberly mentioned, in running stitch. I agree, the GST doesn’t show up well in a still photo. It shows to best advantage when you move the frame slightly, letting the light, especially sunlight, play over it. Which makes sense, when you think of it being used on clothing, so the best effect is when the wearer moves and light, in that case probably candlelight or lamplight, plays over the surface, not only of the GST but also the sequins, the gold vines and the metal lace with the dangling spangles. Oh.

And here’s a motif photo, this is columbine. We’ve got a few columbines with just this blue bit in the middle done, Tricia has been working on directions for the rest, determining which stitches are used where. On more than one occasion we’ve found there was more going on with a motif than at first appeared, like when Tricia and Susan North found at least four different variations in how the pansy motifs were worked.

Norma answered Carol’s question as to why the trefoils are “dreaded”. There are just so very many of them, and with the three leaves and the color changes they take a long time to do. That, and though no one has said so out loud they’re also done in plain silk, not the glamorous Gilt Sylke Twist. Poor trefoils.

Tricia is checking on how the acorn caps were made in that 17th-century raised-work picture. I’ll ask her to check her notes for the other elements, too, and she’ll give us a post with the answers.

We’ve added a couple of embroiderers for tomorrow. I’m delighted – the more the merrier, not to mention the more progress, but we may be a little cozy here in the Wardrobe office. Shaina and Penny have turned their excellent spatial-relations skills to how to arrange the room most efficiently, so we’ll be in good shape. I’ll remember to take photos.