What do embroidery designs mean? Well, sometimes I don’t think they mean anything much – we stitch a daisy, a mountain lake, a cat, the Girl with the Pearl Earring, the Tardis, because we like the picture. Sometimes there is a bit more to it; the Tardis might be more than just something from the tv series you enjoyed, it may remind you of watching that series with a loved one who is no longer with you; the daisy may have trumped the rose and the violet because your name happens to be Daisy; the cat may be the spitting (or hissing) image of your own pet.
You might think there isn’t much room for that sort of thing in the design I did for my RSN Certificate course, because the subject is decided for you; everyone who does the crewel module stitches a Tree of Life. But that leaves plenty of room for personal input! So what are the reasons and stories behind the elements in my version of the Jacobean tree?
First there’s the tree itself. As some of you will know, I’ve been working on a Tree of Life design on and off for the past few years, and it has now turned itself into a SAL. That tree is not Jacobean, but it does share the stylised nature of the RSN design, albeit in a much simpler form. I love the idea of the Tree of Life, which for me is firmly rooted in the word picture painted of the New Jerusalem in the Bible, and so the opportunity of doing a second Tree was always going to be an attractive one.
Staying with the flora of the design for the moment, the most noticeable thing is probably the enormous flower at the top. I love the complete lack of proportions in Jacobean designs, they lead to some hilarious pictures – not just the historical squirrels-half-the-size-of-lions, but my poor Rabbit threatened by an enormous Carnation. Because I am Dutch, I thought a tulip would be a good flower to incorporate into my Certificate piece, and I found a particularly beautiful example in a design by Shelagh Amor in the A-Z of Crewel Embroidery. Because of copyright I was going to change it fairly radically, but Angela assured me that as the Certificate piece is a) for my own use only and b) for educational purposes, I could actually use parts of existing designs. Even so, I changed the fillings and also added a frill as I wanted an area that would work for buttonhole stitch with a detached buttonhole edge. In the original tulip there is a lot of orange in the filling stitches; that didn’t quite work within my colour scheme, but the outlines and the fringe will be worked in the two shades of coral in my palette, which should be orange enough to emphasise the Dutch connection.
Originally I meant to base my large flower on the rather ancient carpet that adorns the children’s corner in the Coffee Shop room at our local Methodist Church, whose chapel we (the local Baptists) are sharing while we are rebuilding our own church. As part of the chapel into which we have been welcomed so warmly, to me it represents the unity of all Christians (I admit that is rather a lot to make an old carpet mean, but it does to me). But then the large tulip rather took over. Even so, I still wanted to use that carpet, and in the end I used the part indicated by the orange arrow as the inspiration for the small “flower” (for want of a better word) on the left of the design.
Many RSN Certificate Jacobean pieces (Google the phrase, you’ll find lots of pictures!) have some sort of hillock or hillocks at the bottom, and that’s where the design ends. Mine could easily have ended there too. But I wanted a river. Or some sort of water at least. I’ve written about the significance rivers have for me in a previous FoF, but the short version is that they remind me of my mother, who at the end of her life was greatly comforted by the image of the River of Life. According to that description of the New Jerusalem I mentioned earlier, it is where the Tree of Life grows. How could I not have a river?
As an added bonus it gives me the opportunity to use a stitch I first saw in an embroidery by my mother-in-law, fly stitch couching.
Let’s move from flora and inanimate nature to fauna. The brief for the Certificate design says that it must contain at least one animal. Well, that was never going to be enough – I love adding animals to things. It’s only because I thought of it too late that there isn’t a web with a spider in it attached to the tree somewhere!
The first animal is based on a poem by A. A. Milne. It’s called “The Four Friends” and it’s in either When We Were Very Young or Now We Are Six. It contains my favourite line ever from children’s poetry: “James gave the huffle of a snail in danger, and nobody heard him at all”. Over the years, many leisurely moments have been pleasurably spent trying to imagine the sound of that huffle. James was going to be included. He needed a bit of tweaking, though. According to the poem he is “a very small snail”, something that doesn’t work very well in Jacobean embroidery. So James was bulked up a bit. He is also meant to be sitting on a brick, but any brick I tried to design was far too angular to fit in with the rest of the design. In the end I drew something that looked more like a stone, but it will be stitched in the orange shades to make it look a bit more brick-like.
And finally there is the cat. Of course there is a cat. A cat inspired by Lexi, our Bengal/tabby cross, in one of her less ladylike poses – you know the one, front legs stretched full-length, backside in the air and tail curled over her back. I saw her do it in the garden while doodling initial ideas for the Certificate design and I knew I simply had to have her in there, in that pose. I sketched a quick outline, which was just as well as despite numerous attempts to sneak up on her with a camera when she was doing her stretchy pose, I was never quick enough to catch her. Then came the question of colour. In my first colour scheme, I soon realised that the cat would have to be a ginger. Not in itself a problem (Lexi disagreed on this point), as our previous cat, the lovely Alfie, was a ginger, and in fact it would be rather nice to have them both in there, the pose of one with the colour of the other. But later colour schemes actually made it more suitable for the cat to be done in browns – they aren’t quite her colours, but I hope they are close enough to pacify her a bit.
So there you have it, a bit of background to the design I’ll be working on for the next seven or eight months. I hope I still like the various parts of it as much by the time I finish…