Modern Assisi work vs. historical voided work. I know that the counted thread stitching community lumps them together, but they are not exactly the same thing. What I call “modern Assisi” is the 19th century revival of voided stitching, that draws heavily on Italian folk and church embroidery styles, which in turn trace their roots back to Renaissance era voided pieces. And that late 19th century revival was again echoed in the 20th century, with the collection and republication of many patterns, and issue of new books on the subject.
Yes, both Assisi and earlier styles include prominent outlines usually done in double running or back stitch. And both feature largely unstitched foregrounds (sometimes with additional ornamentation) that contrast strongly with a stitched background.
One of the key defining characteristics of modern Assisi is the use of cross stitch for the background. That’s “plain old cross stitch (POCS)” – not long-armed cross stitch. The Renaissance era voided styles use many different ground stitches and approaches, but so far after looking at hundreds of extant examples, I haven’t seen any in POCS.
Which is why I got very excited when I stumbled across this piece. Now before you get excited too, I did NOT find the unicorn of POCS in pre 1650-era voided work.
I made the mistake of idly browsing on my phone with its tiny screen, and jumping the gun I posted about the piece before I got back to my laptop and high resolution monitor. Obviously, once I was able to zoom in I corrected my mistake, but I did look like an idiot.
So to atone for my egregious lack of judgement, I charted the design in question, and make the chart available as a broadside, for your own personal, non-commercial use. Please do not republish my redaction or include it in other pattern collections.
CLICK HERE TO DOWNLOAD A PDF BROADSIDE OF THE CHART.
Some notes on this piece.
My redaction is not true to any one repeat of the design. Instead I averaged all of them, evening out replication errors as best I could, to arrive at a single, uniform representation of the motifs. All design elements are there, in correct proportion and placement to each other, but there will be small deviations between the chart above and any one of the artifact’s pattern iterations.
The background is not worked in POCS. It was worked squared and unlike every other example of the squared filling on historical works I’ve seen, the stitches were pulled very tightly, bundling the ground cloth’s threads together. Meshy techniques for grounds were very popular in the 1600s and 1700s, but every other example I’ve seen has completely covered the bundled threads with stitching, making a very hard-wearing totally overstitched square mesh ground. In this case the ground cloth’s weave does show through.
The squared filling was worked up to but not touching the outlines of the foreground motifs. A one-unit “halo” was left around them. I’ve tried to represent that on my chart. There was considerable “fudging” in the way the filling was carried into the nooks and crannies of the foreground design. I’ve chosen the least acrobatic of them to include in the chart. Note that there are a couple of deviation points where a diagonal stitch was used to carry the ground thread up into a narrow area of the design.
Colors. Your guess is as good as mine. The outlines and the ground fill are clearly two different colors. If I had to guess, I would probably opt for black for the outlines and madder red for the fill. But other color combos do exist – not every historical piece was done in black and red.
The outlines – double running or back stitch? It’s impossible to tell from just looking at the front. I do note however that the spots on the leopards are all connected to the outline. There are none just floating in space, which makes the piece easier to execute in double running than a piece with discontinuous bits. The only minor challenge in this one if worked in double running would be that little hunting dog. It’s a small area not connected to any of the rest of the design.
And finally, the complementing edging. Note that the squared background is terminated with little “fingers” that slant up and to the right on the top of the strip, and down and to the left at the bottom. I tried to get the whole repeat on the chart, but I ran out of room. For absolute fidelity, work the bottom fingers exactly as tall as the ones on top. Don’t truncate as I was forced to do.
The moral of the story? Check, double check, and do so on the highest resolution display device you have to hand. Never let your excitement run away with you.
The link to the pattern doesn’t work.
Please refresh the page in your browser (Shift-F5 on a laptop, for example) and try again. There was a delay in the upload of the thing. I just tested the link and it’s working properly now.
rats. Link is not working. Blasted computers must be in hibernation.
ooooo, a leopard! Love anything cats!
Not sure what’s going on. Please refresh your browser page and try again. I have tested the link and confirmed that is working in every browser I have available to me, on a Windows laptop, Android tablets and phones, and iPads.
Link worked for me from the web page but not from the email. (I use Firefox.) Thank you very, very much for a lovely chart! The border is great, too.
Thanks! There’s nothing I can do about links not working from email. That’s a function of the email client’s security system, and not something I can control.
Lovely! Thank you for the chart and your insight into the history of the piece 🙂
Thank you for the chart, and your thoughts on the original. I love those fierce bunnies in the outer border. I know – that’s not what they really are, but that’s what I see.
I thought that I’d found you a new piece of Assisi work at the Detroit Institute of the Arts, but it’s buratto!