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Red, as well as red-blue and red-black were the predominant color schemes in the archaic geometric embroideries of these northern regions of Ukraine, executed primarily in dense rows of a horizontal needle-weaving stitch (called “zavolikannia”) that created horizontal bands of patterns reminiscent of weaving.
One particularly fine example is The Adoration of the Magi chasuble from c. 1325 in red velvet embroidered in gold thread and pearls at the Metropolitan Museum of Art in New York. It depicts a nativity scene with emphasis on decorative motifs, flowers, animals, birds, beasts, and angels.
The Bereg full cross is stitch needlework. [2] The raw material is drawing canvas without colored filet silk is the pattern. The most common patterns are of birds, little flowers, the tulip, lily of the acorn and the Rákóczi pattern. The patterns are constantly changing, with new motifs and colors are expanding, but retain the basic form of ...
Cross stitch was widely used to mark household linens in the 18th and 19th centuries, and girls' skills in this essential task were demonstrated with elaborate samplers embroidered with cross-stitched alphabets, numbers, birds and other animals, and the crowns and coronets sewn onto the linens of the nobility.
The Butler-Bowdon Cope, 1330–1350, V&A Museum no. T.36-1955.. The Anglo-Saxon embroidery style combining split stitch and couching with silk and goldwork in gold or silver-gilt thread of the Durham examples flowered from the 12th to the 14th centuries into a style known to contemporaries as Opus Anglicanum or "English work".
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