German Appliqué Book Cushion

---

​15th Century German Book Cushion

Historical contextA pair of book cushions for presentation to Count Felix Arnett von Danzig and Countess Eva von Danzig, in recognition of their reign as the thirty-fourth crown of Lochac by the Worshipful Company of Broderers, is based on an example in the Europaische Stickereien 1250-1650 (pictured below). It is noted as ”61 Behang oder Decke Deutschland oder Österreich (?), 2. Hälfte 15. Jahrhundert” which translates as a Curtain or cover from Germany or Austria from within the second half of the fifteenth century (Deutschen Textilmuseums Krefeld, 2010). It is an example of western European appliqué, an ornamental needlework technique which involves applying smaller pieces of fabric, usually by stitching, to create a design.
 

Applique might also be known in some sources as Opus Consutum. The Textile Research Centre states, “Opus consutum is mentioned in thirteenth century documents and may be translated as 'sewn-together work'. It would refer to intarsia or inlaid appliqué. The term is again used from the late-nineteenth century for appliqué work, especially from the medieval period.” (Textile Research Centre)
 
Similar embroideries include:

• The Tristan Hanging, a fourteenth century North Germany century wall hanging located in the Victoria and Albert Museum “It is a dark blue, woollen cloth with appliqués of woollen fragments… The edges between the various scenes are reinforced with gilded leather, imitating gold thread embroidery. This technique, according to the V&A catalogue, is also known from contemporary Scandinavian pieces.” (Unknown, 14th Century).
• Royal Seal Bag of Edward I of England (Unknown, Royal Seal Bag of Edward I ), was attached to a document dated 1280. “The seal bag is made of wool with a linen lining, intarsia (inlaid) appliqué (with motifs surrounded by laid linen cord) for the main designs, and silk thread embroidery for the details. The embroidery is worked in split stitch.” (Vogelsang-Eastwood & Vogelsang)
• Royal Seal Bag of Henry III (Unknown, Seal bag of King Henry III). It consisted of “a linen bag decorated with appliqué and silk embroidery.” “The cloth for the bag probably originally came from a surcoat, or possibly a horse trapping or blanket of some kind, which was decorated with embroidered heraldic motifs. The original cloth is believed to date from 1248-1260. The background cloth is a simple tabby weave, while the emblems are embroidered in blue, red and yellow silk thread using couching and split stitch.” (Vogelsang-Eastwood & Vogelsang, Great Royal Seal Bag of Henry III (1207-1272) - Textile Research Centre)
• Banner of the de Blonays ( (Unknown, Banner of the de Blonays, Late fourteenth century) There is little information on this banner as it is still in the possession of the family. (Department of Medieval Studies at Central European University)
• Hog’s Parish Roundel with Deer (Unknown, Roundel with Dear (ID 96346), Late Middle Ages) “Intarsia and applique embroidery in selected wool fabric and gilded leather strips in extra stitching. Blue fund. Red circular frame with outgoing leaf ornament. Applied leaf frame on white.” (Historiska)
• Quilt with Roundels (Kyrkligt föremål 96348 (Church object 96348)) Applique is red, blue, white with intarsia and applique from late medieval period.
• Religious textile fragment in blue, red, black and white. Appears to be wool and linen with chain stitch, stem stitch, couching. It also appears to have fly stitch directly in gold. (Textile Fragment with Unicorn, Deer, Centaur and Lion (Accession Number: 2011.430), c.a. 1500)

 
Analysis reveals a number of common features in the above listed examples of medieval applique. These include:

• Colour: Most common colours are red, black and blue, with some white.
• Fabric: The most common grounds and cut out motifs are felled and woven wool. The use of linen and leather is also not uncommon.
• Technique:
  • Applied appliqué is common, with a number of techniques employed to secure the motifs, including:

• Tacking the edges
• Close couching stitches around the edge
• Running and double running stitch to create a decorative stitch on the motif
• Couched threads around the edges
  • Intarsia (or inset appliqué) is also common
  • Other common embroidery stiches include couched gold work, stem stitch, and chain stitch.

There are a number other examples of western and northern European appliqué in the late medieval period – I have just listed a sample. The influence of this needlework style and materials can be seen in the renaissance period. A notable example of this influence can be seen in a superb Tudor rose wall-hanging in felted wool, applied silk and silk cord which can be found at the Victoria and Albert Museum (Tudor rose wall hanging (T.209-2004), 1580-90).

The design for Felix and Eva’s book cushions is consistent with the extant appliqué examples analysed in the following ways:

• Colour: white, red, black and blue.
• Fabric: felled (woven then felted) and woven wool.
• Technique:
  • applied appliqué with tacked edges and couched threads around the edges
  • couched gold thread
  • stem stitch in silk thread

The adaptation for these book cushions from the example in the Europaische Stickereien 1250-1650 remains true to that needlework style as can be seen from the below stitch guide. 

​Instructions for embroiderers
​The following material was to help the three embroiderers, Rosalind Beaufort, Arabella d’Aubigny and me, to complete the needlework and achieve a consistent end result. To this end I supplied full colour and size print outs of the design and tracing paper versions of the design with the following kits and instructions to Rosalind and Arabella. I also made a kit for myself so I was following the same approach with the four squirrel panels.
 
Kit Contents

• 1 piece of 20x25cm red Wool
• 1 piece of 20x25cm blue wool
• Smaller pieces of red, black, blue and white wool, for applique
• Piece of white linen, as backing for wool
• 3 packets of Yellow silk embroidery thread
• 1 packet of black silk embroidery thread
• Gold twist
• Blue Gutermann thread Silk Colour 315
• Red Gutermann thread Silk Colour 46
• Black Gutermann thread Silk Colour 000
• White Gutermann thread Silk Colour 800
• Bondweb (on paper backing) for the white wool only
• Pattern guide in colour (design guide)
• Pattern design on tracing paper
• Pattern in full colour on plain paper

What each embroiderer needed to supply

• Crewel needles
• Sharps or milliners' needles
• Slate frame or roller frame
• Crochet cotton
• Also may need some strong thick silk to make a lasso
• Chenille needles (or other large strong needle)

Method
Preparation
1.Trace the curly pattern (for silk embroidery) onto the white linen ground. Please be aware, this pattern is mirror image, so you will need to make sure that you don't accidentally copy same pattern twice (a common downfall for me!).
2.Cut out all your pieces.
a.Note: Because the white wool is not felted, you will need to use bondweb to minimise fraying – you may need to use fraystop too in places. Trim around the shapes cut from the tracing paper to make sure they all fit on the white wool, then iron the bondweb onto the white wool, iron the tracing paper on to the bondweb and cut out the pieces. Leave the tracing paper attached at this stage. I have done one of the beasts each for you so you can see what I mean. [I am aware this is not ideal when it comes to historical accuracy, but the availability of white wool fabric was limited]
b.Please be aware, there is almost no white wool left over, so it might be tricky getting more to you quickly if you run out. So please be extra careful with these pieces. There is plenty more of the blue, black and red wool if you need it.
3.Iron linen and wool grounds.
4.Tack the wool firmly to the linen with half to cm stitches – can be on machine. (I have allowed extra in case the edges are a bit distorted by this). The pattern on the white linen should be visible on the reverse side of the wool.
5.Attach linen grounds only to slate frame using crochet cotton and chenille needle.
Vinework design6.Working from the back of the frame, tack- the curly vinework design in white single thread cotton through the wool at the front, following the design drawn on the linen
7.Working from the front of the frame, work the outline of the vines using stem stitch using the yellow silk. Do not split the yellow silk strands, use all together with a crewel needle to stem stitch to make a rich outline.
Applique elements8. For the animals, remove the tracing paper extremely carefully as the wool tends to come apart at this stage.  Place the pieces web side down on the ground fabric.
9.Place each cut out piece over the edge of the stem stitch design (as you can see in the inspiration design) and pin or tack in place. Place each piece so that you just cover the ends of the vinework (as you can see in the design guide).
10.Use small straight stitches in matching silk thread to applique the piece in place all around the edge, with stitches about 1-2mm long, about 3mm apart. Refer to the extant embroidery to see the effect we are after.
11.Couch a single row of the gold embroidery thread around the edge of each shape using the silk colour that matches the shape (not the background), with stitches 2mm apart. Start and finish each length of couching in the intersection where the silk stem stitch is and use the sinking method to tidy ends. See later in the document for instruction on the sinking method.
Please note, the beast has a lot of detail that is difficult to cut out in the wool and will need to be emphasised with the gold twist.
12.Using one strand of black silk, satin stitch the tiny eyes and nose of the beast.

 Technique for Sinking Gold threads
​It is recommended that all gold threads be sunk and attached to the linen on the reverse side of the work in the manner described below.
 
“Sinking is the method in which you will be hiding all those passing tails by pulling (sinking) them to the back of the piece. Sinking can be a lot of fun mainly because the threads and fabric give a satisfying “POP” every time you successfully sink the threads to the back. :)
Sinking is also where a good set of rubber [needle] pulling discs (and a sinking lasso (see below) come in handy.

To create a sinking lasso, using a strong twisted silk is recommended. You basically want to create a strong loop in a large-eyed needle (chenille preferred). You will be capturing each strand of passing thread in the loop and yanking it down through the fabric with the lasso. (Figure N.) 

When to sink your threads is also up to your personal preference. Depending on the size of your shape and passing thread, you may want to sink and bundle as you go, sinking every 3-4 pairs. The only problem with sinking as you go is that you’ll need to keep in mind where your “bundles” are on the back of your work so as not to get stuck in them as you couch. Bundling underneath already completed work will aid in avoiding that problem.
Sinking at the end involves finishing the shape entirely, and then dealing with all those pesky tails in one go.
A student actually devised an excellent strategy. She would sink every pair after couching them and utilized the turnaround of the bundling to begin her new passing threads at the beginning of her shape again. Quite inventive!
When bundling, make sure you do not use a “stab and stick” method, since you don’t want to catch your beautiful couched threads on the right side. Instead, stitch keeping your needle parallel to the fabric, stitching around the bundles, catching the fabric and felt only to secure the bundles down. (Figure P.)

​Communication and ResultsA shared group chat enabled everyone to discuss progress and issues over the following two years while the embroideries were being completed under the helpful guidance of Viscountess Mistress Rowan Perigrynne.
I hand stitched the embroidery together and tacked the raw edges to the back of the embroidery to minimise bulk. Each cushion is backed with black wool flannel fabric.
A coutil fabric cushion insert was created for each cushion and stuffed with duck feathers. Coutil is ideal for this as it prevents quills piercing through the fabric just like modern ticking fabric does. I chose duck feathers as it a common stuffing option for bedding and cushions within royal courts and because it holds shape well without the compaction that occurs over time with wool stuffing.
Rosalind Beaufort and Arabella d’Aubigny each completed two panels of the beast embroidery for Count Felix based on the kits I sent them. Their stunning work can be seen below. 

Photos courtesy (and copyright) of Nicola Boyd 2022
Below is the work I completed for Countess Eva, I am particularly pleased with how the squirrels have turned out.

One of the things I would consider doing differently for future projects in wool applique is to find a source of fully felled white wool flannel or a sufficient supply to fell it myself. The extra work to ensure that cut pieces had a professional finish, and the need to use modern sizing to maintain its integrity, was not ideal. I did really like the organic and natural effect of the applique being imperfect, the felt moves and changes and perfect uniformity would have spoilt the effect. The minor variations between the panels make the whole design look more natural and much closer in final effect to the inspiration piece.
I was delighted to see my design come to fruition via the hands of other embroiderers and very grateful for the support I received from Mistress Rowan. I hope they will be enjoyed as much as I enjoyed making them.

Bibliography Department of Medieval Studies at Central European University. (n.d.). Banners. Armory as Self-Representation. Budapest. Retrieved from web.ceu.hu/medstud/manual/SRM/herself.htm

Deutschen Textilmuseums Krefeld. (2010). Europaische Stickereien 1250-1650: European Embroideries 1250-1650 English Summary, Katalog Des Deutschen Textilmuseums Krefeld Bd. 3 (Kataloge Des Deutschen Textilmuseums Krefeld). Krefeld: Schnell and Steiner.

Historiska. (n.d.). Church object 96346. Sweden. Retrieved 2019, from http://translate.google.com/translate?hl=en&langpair=sv|en&u=http://mis.historiska.se/mis/sok/fid.asp?fid=96346
(n.d.).Kyrkligt föremål 96348 (Church object 96348). Historiska. Retrieved from http://mis.historiska.se/mis/sok/fid.asp?fid=96348

Nordic Needle. (n.d.). Goldwork 101. Retrieved 2019, from http://www.nordicneedle.net/guides/stitching-techniques-guides/surface-embroidery/goldwork-101/#.XeNDCXduI2w

(c.a. 1500).Textile Fragment with Unicorn, Deer, Centaur and Lion (Accession Number: 2011.430). The Cloisters Collection, Scandinavian. Retrieved from https://www.metmuseum.org/art/collection/search/479598
Textile Research Centre. (n.d.). Techniques - Appliqué. Leiden, The Netherlands. Retrieved from https://www.trc-leiden.nl/trc-needles/techniques/applique

(1580-90).Tudor rose wall hanging (T.209-2004). Online Catalogue. Victoria and Albert Museum, London. Retrieved from http://collections.vam.ac.uk/item/O109076/hanging-unknown/

Unknown. (14th Century). The Tristan Hanging. The Tristan hanging, 14th century, North Germany. Victoria and Albert Museum, London. Retrieved from https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/secular-representations/tristan-hanging

Unknown. (Late fourteenth century). Banner of the de Blonays. Blonau chateau,, Canton de Vaud.

Unknown. (Late Middle Ages). Roundel with Dear (ID 96346). Historiska. Retrieved from http://translate.google.com/translate?hl=en&langpair=sv|en&u=http://mis.historiska.se/mis/sok/fid.asp?fid=96346

Unknown. (n.d.). Royal Seal Bag of Edward I . Royal seal bag for a seal of King Edward I. Westminster Abbey, acc. no. WAM 1494*. Westminster Abbey, London. Retrieved from https://www.trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/storage/great-royal-seal-bag-of-edward-i-1239-1307

Unknown. (n.d.). Seal bag of King Henry III. Brittish Museum, London. Retrieved from https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=44137&page=1&partId=1&searchText=1856%2C0819.1

Vogelsang-Eastwood, G., & Vogelsang, W. (n.d.). Great Royal Seal Bag of Edward I (1239-1307). Textile Research Centre. Leiden, The Netherlands. Retrieved November 30, 2019, from https://www.trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/storage/great-royal-seal-bag-of-edward-i-1239-1307

Vogelsang-Eastwood, G., & Vogelsang, W. (n.d.). Great Royal Seal Bag of Henry III (1207-1272) - Textile Research Centre. Leiden, The Netherlands. Retrieved from https://www.trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/accessories/great-royal-seal-bag-of-henry-iii-1207-1272