Goldwork Sampler
Gold and silver threads are a valuable addition to an embroidery, and their use has been abundant throughout history as evidenced by historical writings, scripture, and surviving pieces. This sampler aims to provide aid in how metal threads may be worked and what materials are available.
1). Pearl Purl---This purl, like other forms is manufactured by wrapping gold wire in a spiral tube, however, one side (the exposed edge) is convex creating a look of a string of tiny gold beads. This is generally seen outlining figures of gold that have been appliqued to the ground of another fabric to help round out the edges. There are extant pieces of goldwork showing outer-edges being outlined in gold pearls. I cannot speak with certainty whether or not these were executed with actual gold beads or pearl purl as I have not seen the pieces, however, as most beadwork usually doesn't survive intact my guess is that pearl purl has been used in these cases.
2). Smooth Purl---A smooth round hollow tube made by wrapping wire like a spring. It is a very pliable material. Be cautious when using purl and bullion (the larger form of purl) as stretching too much will distort the material. Purl may be cut to any length. Smooth purl is specifically created by wrapping a flat wire spirally around for a bright polished finish. The flat wire creates a wider surface area for greater reflectivity. Rough purl is similar except it uses a rounded wire giving it a duller appearance. Smooth purl can be seen on the cuffs of a dalmatic from the Royal workshops at Palermo (1130-1140).
3). Check Purl--this type of purl is created by wrapping flattened wire in varying patterns which creates a greater number of surfaces from which the light can reflect. When one looks down the coil, I find that it looks as though it was wrapped around a triangle and then turned so that the next coil is wrapped at a different angle. I have yet to find any documentation for this thread to be used in our period of study.
4). Passing Thread--This is one of the most common examples of metal fibers available. Essentially, it is made by wrapping gold around a core material. Silk is the most durable, but it can also be wrapped around linen and parchment. The Maeseyck embroideries of the 9th C. use passing thread with a core of human hair. The earliest form of gold thread was passing threads. Pure metal was beaten into thin plates and then cut into narrow strips. Several centuries later, it was drawn into wire form. It is known that in the 13th C, English ladies created their own gold thread by spirally twisting gold around a core of silk or flax before working it. Passing thread comes in a variety of sizes.
5). Couching--This is the most common method of applying metal threads to a ground. It is far to valuable to waste by pulling through the fabric, and gold thread is, in fact, usually too inflexible to be much use in regular stitching. Couching is executed by laying the metal fiber on the surface fabric (occasionally, two layers are used for stability) and tacking it down with another thread such as silk or linen. I show couching in three shapes. Generally speaking, it is easier to work from the outside in except when making circles when the shape is more easily maintained by working outside in. Some things to watch for: when turning corners it is sometimes easier to stitch the threads separately to help minimize gapping rather than stitching over two threads as is generally done. Even so, it can be a difficult area to navigate, as is evidence by my example.
6). This was created by cutting check purl into a bunch of little "beads" and randomly laying them at different angles. Pearl purl is couched along the outside to finish the look.
7). Underside Couching--This technique reached its height in the 13th and 14th C though examples my bee seen as early as the 12th. It almost exclusively existed in England and the technique vanished in the 15th C. It is executed quite similarly to surface couching with one notable exception. When the tacking thread goes back down through the fabric, it exits through the same hole, thus drawing a small loop of metal thread with it. This adds both durability and flexibility as the "hinge" of thread allows more movement and protects the couching thread from wear and tear. Extant pieces illustrated this point more fully; in pieces where the silk has deteriorated on surface couching, the gold threads hang loosely, however, in underside couching pieces of metal threads are perfectly preserved in original form as is seen in the Ascoli Cope.
As the skill of craftsmen progressed, underside couching began to be worked in patterns. The couched threads were staggered from row to row to create zigzags, geometric elements, and foliage. They even used multicolored silks to enhance the effect (though these were usually hidden). When trying this oneself, an embroiderer may wish to draw guidelines on the fabric. This technique is difficult to master as seen in my sample the rows should lay straight and the tension should be even.
8). Raised Work--This technique was much more common in the 14th and 15th C; there is less evidence of its use earlier. One of the most beautiful examples is the badge of the Order of the Dragon from 15th C. Hungary. Wrinkles around the mouth, veins of the wings, and overall "bone" structure of this three dimensional embroidery add more life and charm. The technique is executed by first padding the ground with threads or fabric (usually silk, wool, linen, flax, and/or cotton when available), usually in the opposite direction as the threads being laid, and then stitching over it. Another example of this can be found on the interlacing border of a 15th C chasuble. My example uses gold purl that is wrapped very tightly so as to look like passing thread and is stitched down with silk. The raised threads are waxed cotton that have been stitched down to the thread. To help enhance the design, lay a couching stitch on either side of the raised piece.
9). Or Nue (Shaded Gold)---This technique reached quite heights in Italy and Flanders in the 15th C. The technique creates blocks of stitches in colored silks--the overall effect is that of graphic images highlighted by sparkles of gold. Varying the space of stitches allows the embroiderer to deepen the effect with shading.
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