Needlepoint Guide for Making Coptic Bird Textile
It is amazing to think that the wool and linen tapestry that inspired the first needlepoint in the book was woven in Egypt sometime in the fourth-to-fifth century. Although the original is badly frayed in many places, the stunningly bright colors have survived; astonishingly, one complete section of the fabric is intact, and it is from this that the design was taken.
The Copts are the native Egyptian Christians, who became theologically separated from mainstream Byzantine orthodoxy after the council of Chalcedon, in 451. Their art of this and the succeeding centuries is based on Egyptian ethnic motifs and colors, influenced by the Syrian and Persian cultures—a glorious mixture of naivety and sophistication, with the colors that are still to be found in Egyptian folk art. It is easy to understand how Coptic art spread far and wide, even— according to some—influencing the development of medieval Celtic art.
A friend who is an accomplished amateur watercolorist stitched this piece. She asked me to send her lots of colors so that she had a wide palette from which to choose to recreate the effect of the original. I envied her the task as I put together the bright turquoise, glowing greens and yellows, reds, blues and purples, all to be set off by the black background. I love working with bright colors, but have to restrain myself as so many people want softer shades for their homes.
When I received the completed piece back, I was astonished to find that she had used nearly all the colors. Incorporating some quite subtle shading, she has brought this very old piece back to vibrant life. I was delighted and couldn't stop looking at it for days, but also felt that it would fit into many different settings because of its enduring quality. A dark navy background might soften the effect slightly, but I think the black is exciting.
I have shown the design on a soft footstool in the picture below, but it could have many uses. By repeating the pattern in lines and then back to back as shown, it could either be adapted for a cushion or elongated for a fender stool, something for which I am often asked.
By changing the canvas gauge you can alter the size. On a very fine canvas, the design would be suitable for a bell pull (it is displayed that way up at the museum). Alternatively, it would make a fabulous carpet border on a big canvas, worked with two threads in the needle.
The Copts are the native Egyptian Christians, who became theologically separated from mainstream Byzantine orthodoxy after the council of Chalcedon, in 451. Their art of this and the succeeding centuries is based on Egyptian ethnic motifs and colors, influenced by the Syrian and Persian cultures—a glorious mixture of naivety and sophistication, with the colors that are still to be found in Egyptian folk art. It is easy to understand how Coptic art spread far and wide, even— according to some—influencing the development of medieval Celtic art.
A friend who is an accomplished amateur watercolorist stitched this piece. She asked me to send her lots of colors so that she had a wide palette from which to choose to recreate the effect of the original. I envied her the task as I put together the bright turquoise, glowing greens and yellows, reds, blues and purples, all to be set off by the black background. I love working with bright colors, but have to restrain myself as so many people want softer shades for their homes.
When I received the completed piece back, I was astonished to find that she had used nearly all the colors. Incorporating some quite subtle shading, she has brought this very old piece back to vibrant life. I was delighted and couldn't stop looking at it for days, but also felt that it would fit into many different settings because of its enduring quality. A dark navy background might soften the effect slightly, but I think the black is exciting.
I have shown the design on a soft footstool in the picture below, but it could have many uses. By repeating the pattern in lines and then back to back as shown, it could either be adapted for a cushion or elongated for a fender stool, something for which I am often asked.
By changing the canvas gauge you can alter the size. On a very fine canvas, the design would be suitable for a bell pull (it is displayed that way up at the museum). Alternatively, it would make a fabulous carpet border on a big canvas, worked with two threads in the needle.
Making the Hassock Footstool
Materials
1 1/8 yards (1m) of black elephant corduroy, 36-inch (90cm) wide
2 yards (1.8m) of thick piping cord 14-inch (35cm) black zip
Polyester or feather filling
Matching thread
Use 3/8-inch (1.5cm) seam allowances throughout.
You can achieve a lovely corded effect in piping with this fabric if it is cut on the cross. Cut a strip 3-inch (7.5cm) wide, cutting from top left to bottom right of your fabric (in other words, diagonally across the centre of the fabric, leaving you with two large triangles). Cover your piping cord with this strip, folding it over the cord and using the zipper foot to stitch as close to the cord as possible.
For the base: cut a rectangle 18 x 15-inch (38 x 46cm) lengthwise, along the grain of the fabric. The zip needs to be inserted into this panel, so cut it in half lengthwise: take the two pieces, put them with right sides together; stitch the seam 2-inch (5cm) at each end; press open, and then insert the zip in between. The finished panel should now measure 131 x 18-inch (34 x 46cm).
1 1/8 yards (1m) of black elephant corduroy, 36-inch (90cm) wide
2 yards (1.8m) of thick piping cord 14-inch (35cm) black zip
Polyester or feather filling
Matching thread
Use 3/8-inch (1.5cm) seam allowances throughout.
You can achieve a lovely corded effect in piping with this fabric if it is cut on the cross. Cut a strip 3-inch (7.5cm) wide, cutting from top left to bottom right of your fabric (in other words, diagonally across the centre of the fabric, leaving you with two large triangles). Cover your piping cord with this strip, folding it over the cord and using the zipper foot to stitch as close to the cord as possible.
For the base: cut a rectangle 18 x 15-inch (38 x 46cm) lengthwise, along the grain of the fabric. The zip needs to be inserted into this panel, so cut it in half lengthwise: take the two pieces, put them with right sides together; stitch the seam 2-inch (5cm) at each end; press open, and then insert the zip in between. The finished panel should now measure 131 x 18-inch (34 x 46cm).
For the box edge, you need a piece 66-inch (1.65m) long and 7-inch (18cm) wide, with the grain of the fabric parallel with the short side. (You will need to cut two strips and sew them together to get sufficient length).
Trim the canvas of your stitched needlepoint, leaving a margin of 5/8-inch (1.5cm), and sew a panel of fabric to the top and bottom of the panel to make it the same size as the piece you have prepared for the base.
Baste the piping cord to this top piece. Machine around, again using the zipper foot and pushing up close to the piping cord. Baste the long piece of fabric to the piped top to make the box edge. The right sides of the long piece of fabric and the top of the hassock should be together, with the piping in between.
Machine this all the way around to make the piped top and box edge. The resulting short open seam is sewn up by hand. Turn the hassock inside out and with right sides together, baste the bottom panel to the bottom edge of the box edge. Machine in place, remembering to leave the zip undone. Turn out the right way; fill tightly with feather or fiber pad, and close.
Trim the canvas of your stitched needlepoint, leaving a margin of 5/8-inch (1.5cm), and sew a panel of fabric to the top and bottom of the panel to make it the same size as the piece you have prepared for the base.
Baste the piping cord to this top piece. Machine around, again using the zipper foot and pushing up close to the piping cord. Baste the long piece of fabric to the piped top to make the box edge. The right sides of the long piece of fabric and the top of the hassock should be together, with the piping in between.
Machine this all the way around to make the piped top and box edge. The resulting short open seam is sewn up by hand. Turn the hassock inside out and with right sides together, baste the bottom panel to the bottom edge of the box edge. Machine in place, remembering to leave the zip undone. Turn out the right way; fill tightly with feather or fiber pad, and close.
Coptic Bird Finished Stitched Area
16 3/4 x 7-inch (42.5 x 17.5cm)
Stitch
Tent stitch (basketweave) or half cross stitch
Materials
23 x I3-inch (58 x 33cm) of interlock canvas,
12 holes per inch (2.5cm)
Size 20 tapestry needle
Rowan Needlepoint Wool
A2 White – 1 skein
A62 Black - 9 skeins
M52 Prussian Blue - 2 skeins
M53 Dusky Blue - 1 skein
N55 Bright Blue – 1 skein
N125 Turquoise Blue - 1 skein
P100 Jade – 1 skein
P421 Smoky Green – 2 skeins
V75 Spring Green – 1 skein
V32 Pale Greeny Yellow – 1 skein
E79 Peach – 1 skein
V605 Mid-Green – 1 skein
E402 Tangerine – 1 skein
B5 Pale Gold – 1 skein
B152 Gold – 1 skein
V31 Yellow – 1 skein
G46 Magenta – 1 skein
F45 Rust Red – 1 skein
L137 Lavender – 1 skein
Stitch
Tent stitch (basketweave) or half cross stitch
Materials
23 x I3-inch (58 x 33cm) of interlock canvas,
12 holes per inch (2.5cm)
Size 20 tapestry needle
Rowan Needlepoint Wool
A2 White – 1 skein
A62 Black - 9 skeins
M52 Prussian Blue - 2 skeins
M53 Dusky Blue - 1 skein
N55 Bright Blue – 1 skein
N125 Turquoise Blue - 1 skein
P100 Jade – 1 skein
P421 Smoky Green – 2 skeins
V75 Spring Green – 1 skein
V32 Pale Greeny Yellow – 1 skein
E79 Peach – 1 skein
V605 Mid-Green – 1 skein
E402 Tangerine – 1 skein
B5 Pale Gold – 1 skein
B152 Gold – 1 skein
V31 Yellow – 1 skein
G46 Magenta – 1 skein
F45 Rust Red – 1 skein
L137 Lavender – 1 skein