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This month's ACORN cover

Poster: karen@georesearch.com (Karen Green)

I thought some people might be interested in the design on the cover of
the ACORN so here's some information about it.  (If anyone wants a copy
of the pattern I'd drawn up, lemme know.)  :)

The design was inspired by several late-period English samplers, and I
suppose it would qualify as a "band sampler."  Except for one of the
bands, the patterns are of either my own design or my own redaction from
a period design.

I've included notes as to what stitches were used in each band -- please
note that what I call "double running stitch" here is also called
Spanish stitch, Holbein work, or blackwork.  IMHO it's all blackwork,
because it's done in *black.*  You see?  Ain't that just clever?  ;)

So here's where they come from:

BAND 1:  Big Acorn Lattice - Double Running Stitch
The framework for the lattice is based off of the Jane Bostocke Sampler
(1598) with the knot at the corner of each lattice removed.  The figure
inside each opening is from a spot sampler (don't remember the period

BAND 2:  Long-Arm Cross Stitch

BAND 3:  Acorns and Flowers - Double Running Stitch
BEFORE 1600 (one of Ianthe's original patterns; I used it because I
couldn't find anything else that would fit in that space as
conveniently) :)

BAND 4:  "THE ACORN" - Cross Stitch
The alphabet I used is from the Frances Bridon sampler (1664).  From
what I can tell, the lettering on the original sampler was done in
counted cross stitch "over three."

BAND 5:  Birds and Flowers - Double Running Stitch
This is also from the Frances Bridon sampler, where it is worked in two
different colors (which I think are faded to green and orange but I
don't really remember).  You can see it along with Angela Wainwright's
somewhat different redaction in RENAISSANCE CROSS STITCH SAMPLERS.

BAND 6:  Long-Arm Cross Stitch

BAND 7:  Mini Acorn Lattice - Double Running Stitch
This is my own redaction from the Jane Bostocke sampler (1598).  The
square-shaped stitches on my piece are actually rice stitches, not cross
stitches as in the lettering.  Ianthe has a different redaction in THE
NEW CAROLINGIAN MODELBOOK that I only saw after I did the redaction.  I
like mine better though :)

The finished piece is on an eavenweave linen.  I used DMC#310 because I
had no access to stranded silk at the time.  We scanned it in at home
from the finished embroidery and then e-mailed the image to Rabah.  The
actual finished piece was just big enough to fit on the cover with a
half-inch margin all the way around.

If you wanna see the original, come on out to the Needlework Nights (let
me know if you'd like the announcement).  I can also schlep it to A&S
exhibits if I ever get out to events any time soon :)

Yours in Service to the Dream,

Karen Larsdatter
  Barony of Ponte Alto, Atlantia
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