Tudor and Elizabethan Embroidery
In the sixteenth century English needlework moved away from ecclesiastical pieces towards more naturalistic designs with most needlework being carried out in the home by mainly amateur rather than professional embroiderers. It was considered an essential skill for any noble lady, however the designs were usually drawn up by men, who would have been employed within the household for this purpose. These embroideries included hangings for walls and beds, valances, cushions, table carpets, bible covers and clothing.
There were still professional embroiderers, mainly based in London, but their work was centred around ceremonial occasions such as tournaments. This included making horse trappings and barge decorations as well as bags and purses with heraldic symbols. Professional embroiderers also had a role in teaching, designing and advising amateurs across the country.
There were rules on what fabric could be worn and by whom. The nobility were allowed to wear satin, silk, taffeta, lace, fur, cotton and velvet whereas the lower classes were permitted to wear wool, linen and sheepskin. The secular designs were influenced by both the Renaissance and oriental origins. For example the arabesque designs of intertwining flowing lines which appear often in Tudor embroidery can also be found in designs from the court of the Turkish Sultan at the time.
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| Detail of Woman's Jacket, linen embroidered with coloured silks and silver-gilt thread. (Victoria and Albert Museum) |
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| Braid Stitch |
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| Basket Stitch |
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| Ladder Stitch |
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| Detached Buttonhole Stitch |
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| Plaited Braid Stitch |
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| Gold and silver plaited braid in interwoven knot design (NSV 2021) |
La Clef des Champs by Jaques Le Moyne shows wonderful illustrations of flowers in natural colours, as well as animals, birds and fruit.
This book was extensively used by embroiderers and tapestry weavers for inspiration. The designs were traced onto fabric by pouncing, pricking the design and forcing chalk, or similar, through the holes to transfer the outline onto the fabric.
Roses were very popular as well as carnations, pansies, irises, peonies, foxgloves, daffodils, daisies. The lists goes on and on. Insects and wild animals also appeared frequently.
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| Front panel of an Elizabethan purse (NSV 2012) |
Many of the designs had symbolic meanings. For example the ‘rainbow’ portrait of Elizabeth I shows eyes ( for vigilance) and ears (for sympathy). The rainbow in her hand represented peace.
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| Rainbow Portrait on display at Hatfield House |
Light garments were often embroidered in blackwork, also known as Spanish work, mostly stitched in black. There is a clear Moorish influence in the strapwork designs including curves and tendrils which were incorporated on both clothing and household furnishings. Blackwork was created with silk floss, using double running stitch, also known as Holbein stitch. The portrait by Holbein the Younger of Henry VIII clearly shows the blackwork on his shirt.
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| Henry VIII by Hans Holbein the Younger 1537 |
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| Freehand blackwork (NSV 2021) |
Geometric patterns were sometimes included and the embroidery was highlighted with gold and silver thread. The designs included flowers and fruit as well as scrolling patterns. Later on these designs were used on brighter, firmer fabrics so that coiling stems appear in gold thread, enclosing flowers and insects, with backgrounds enhanced with jewels, pearls and sequins. These flowing designs were developed during the seventeenth century into crewel work.
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| Blackwork border on portrait of Jennet Parkinson, artist George Gower 1558 |
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| Interwining gold braids with blackwork, encrusted with pearls Artist William Segar 1595 |
Few embroidered items from Tudor times have survived as they would have been cut up and reincorporated in later styles but there are good examples in the Victoria and Albert Museum and Oxburgh Hall. The workmanship is exquisite, especially when one considers that the embroiderers at the time, professional or amateur, would not have access to all the resources we have today.
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