As women got more skilled they could move from embroidery books to patterns designed for bookbinders or calligraphers and for the really inventive, herbals and emblem books.įor modern embroiderers these little books still provide a source of inspiration, and for historians a fascinating insight into 16th century publishing and domestic history.We pride ourselves on providing high-quality machine embroidery designs. Experienced or confident needlewomen would use the paper to adapt the designs for specific projects or for their own work. This allowed the embroiderer to increase the size of the finished embroidery by drawing out the designs using the same proportions but on a grander scale onto more squared paper, often provided by the publisher. Many patterns were printed on squared paper. Transferring a pattern from a book to material was done by ‘pouncing’: this was a technique which involved pricking out the outline of the pattern with a pin, attaching the page to a piece of fabric then rubbing soot or charcoal through the pin holes so that when the page was removed the pigment would be left in place.
The patterns were mainly floral or geometric, suitable for repeating as borders, but sometimes whole scenes were drawn out. Most pattern books included sections on lace and cutwork as well as embroidery and were small enough to be easily handled. The Needles Excellency, John Taylor, London, 1631.
This was partly due to the paucity of good engravers but also publishing laws which meant only certain types of books could be published in quantities large enough to be financially viable. In Britain, the output of pattern books was small and only four titles have been recorded. Although the high number of titles would seem to indicate a wide range of different patterns, plagiarism was rife and the same designs appear right across Europe over and over again sometimespublishers would have new wood blocks cut with small embellishments but quite often they were a direct copy. Between 1523–1700 more than 150 separate titles were published. The first recorded example was published by Johann Schonsperger in Germany in 1523 and others followed quickly throughout Europe, especially in France and Italy. Pattern draughtsmen could be commissioned to create a design to order, drawing tutors employed or, by the 17th century, fabric with the pattern already drawn out could be purchased.īy far the most commonway of getting a design however, was through pattern books. This problem was overcome in several different ways.
#Embroidery patterns professional#
In some families where the women were unable or unwilling to do the work themselves, professional embroiderers could be employed, but for a lot of women embroidery provided a fulfilling and creative occupation.Īlthough many women were skilled embroiderers, rather fewer could design the intricate, detailed patterns that were fashionable. Clothes, household furnishings and book covers were all embroidered and the more lavish and extravagant the design the better. Pressmark 95.O.6For wealthy women of the 16th and 17th centuries, embroidery was an important part of everyday life. Neues Modelbuch, Rosina Fuerst, 1689, Nurnberg.