The main sources for information about Icelandic Embroidery for the period
covered by the SCA is extant examples and church inventory records. At
the present time there are approximately 20 surviving pieces of work.
Most date back no later than the second half of the 14th Century.
Materials:
Base materials used:
linen ground fabric (most common)
wool ground
Threads were usually homepsun woolen yarn (natural or dyed) with only
occassionaly use of silks, linen or metal threads.
The predominant stitch is laid and couched work (found on eleven embroideries).
Techniques:
Some pieces used a mixture of stitches and materials, others used only
a limited number of techniques. Below are some of the cominations in surviving
pieces:
stem stitch in polychrome wool on linen ground
laid and couched work in polychrome wool on linen or wool tabby ground
(note: unlike other cultures that used this technique, Icelandic work
often covered the ENTIRE ground with embroidery - unlike similar works
such as the Bayeaux Tapestry where only figures etc were embroidered
and the ground left plain).
outlining - secondary stitche such as stem, couched outline, split
and chain stitch were used to outline areas that were laid and couched.
This was done first and filled in later.
one example of split stitch in polychrome silks on linen
Design:
Influences on Icelandic embroideries include Byzantine silk fabrics,
which resulted in the widespread use of circular and polygonal frames
which enclosed various motifs including animals, plants, hunting scenes
and religious scenes.
Another design element was the close relationship between medieval embroidery
and contemporary Icelandic illumination.
Later Icelandic needlework was also influenced by the widely available
pattern books, especially those from Germany.
Altar frontals make up the largest group of surviving works. These were
generally free-style renderings of religious topics.
Colours reflect the dyes available, as such the use of blue, green, red
and white against a yellow ground is typical of much Icelandic embroidery
of the period.
Examples:
Altar frontal from Draflastadir Church
in northern Iceland. First half, probably last quarter of 16th C. Embroidered
in laid and couched work in wool with some linen. 109cm x 11cm. National
Museum of Iceland
Gudjonsson, Elsa. "Icelandic Mediaeval Embroidery Terms and Techniques"
in Veronika Gervers, ed., Studies in Textile History: In Memory
of Harold B. Burnham, pp. 133-143. Toronto: Royal Ontario Museum,
1977
Bridgeman, H and Drury, E. Needlework: An Illustrated History,
(London: Paddington Press, 1977)
Sweden
Background:
Few examples of Swedish embroidery have survived from this period. Most
of those come from grave finds such as those at Birka. Those that
do survive show cultural and commerical links with eastern Europe
and the Byzantine world. As with many other areas in the SCA period,
textiles for the church were one of the main markets for embroidery.
In Sweden both imported and native made works were used.
counted thread work using long-armed cross stitch, cross stitch or
pattern darning (on wool or linen).
Design:
The freestyle and silk embroideries were mostly created for ecclesiastical
use. They were mostly created using satin and split stitch but there are
also examples of laid and couched work. Early works used geometric patterns
but during later periods the designs become more free flowing. Outlines
were emphasised by thicker threads.
Many surviving examples of ecclesiastical embroidery started life in
the secular world and were later donated to the Church. A surviving example
of this is a patchworked bed cover. The shaped patches have couched threads
or gilt membrane strips between patches. This technique was also used
for things such as cusion covers.
Needlework was also used to produce household furnishings such as wall
hangings (often in the form of friezes), tablecloths and cushion covers.
These types of articles were usually worked in cross stitch or long-armed
cross stitch or darning on a wool or linen ground.
Common motifs for this type of work were stylised lilies, trees, stars
and birds, arranged diagonally or symmetrically with a central access
and often a polygon framework.
Bridgeman, H and Drury, E. Needlework: An Illustrated
History, (London: Paddington Press, 1977)
Norway
Background:
Many surviving medieval embroideries from Norway were in fact imported
into the country. This was not an unusal occurance as many countries had
international reputations for certain types of work.
Materials:
Base materials used:
linen ground fabric (most common)
wool ground
Threads were usually homepsun woolen yarn (natural or dyed) with only
occassionaly use of silks, linen or metal threads.
Some pieces used a mixture of stitches and materials, others used only
a limited number of techniques. Below are some of the cominations in surviving
pieces:
wool ground fabric, white linen thread outlines using stem stitch
filled with pattern darning
linen ground fabric with pattern darning using wool yarn.
laid and couched work in polychrome wool on linen or wool tabby ground
Design:
While there are not enough surviving works to talk about specific design
influences, the surviving works tend to be done using a common palette
of blue, yellow, green and red wool yarn and white linen thread to make
the pattern darned designs.
Examples:
Watercolor Reconstruction of the Oseberg Tapestry/Textile
Jane
Stockton - Broiderer and Subject of Lochac
