Bargello (needlework)

File:Florentine.png

Two examples of Bargello patterns (Florentine work). The top is a typical curved Bargello motif. The bottom image is a "flame stitch" motif similar to that found in the Bargello museum chairs.

Bargello is a type of needlepoint embroidery consisting of upright flat stitches laid in a mathematical pattern to create motifs. The name originates from a series of chairs found in the Bargello palace in Florence, which have a "flame stitch" pattern.

Traditionally, Bargello was stitched in wool on canvas. Embroidery done this way is remarkably durable. It is well suited for use on pillows, upholstery and even carpets, but not for clothing. In most traditional pieces, all stitches are vertical with stitches going over two or more threads.

Traditional designs are very colourful, and use many hues of one colour, which produces intricate shading effects. The patterns are naturally geometric, but can also resemble very stylised flowers or fruits. Bargello is considered particularly challenging, as it requires very precise counting of squares for the mathematical pattern connected with the various motifs to accurately execute designs.

Alternative names

A number of alternative names are used by different scholars, including:

• Florentine Work - After the fact that the Bargello Museum is in Florence.
• Hungarian Point (punto unghero) - In Italian, Bargello is known as "Hungarian Point" (Williams 1967: 5, Petschek 1997), indicating that the Florentines believed the technique originated in Hungary. However, English embroidery vocabulary also includes a diamond-shaped stitch called the Hungarian Point, so few English-language books use this term to refer to Bargello.
• Flame Stitch (fiamma) - A type of Bargello motif in which zig-zag or flames are created. The chairs in the Bargello museum do use flame stitch motifs, but curved motifs are also common (see below). These curved Bargello motifs would normally not be "flame stitch", but would be called Bargello.

Because of the potential for confusion, most books written in English refer to the technique simply as "Bargello" (Williams 1969, Kaestner 1972, Petscheck 1997).

History

As with many traditional crafts, the origins of Bargello are not well documented. Although early examples are from the Bargello Museum in Florence, there does exist documentation that a Hungarian connection is possible. For one thing, the Bargello Museum inventory identifies the chairs in its inventory as "17th century with backs and seats done in punto unghero (Hungarian Point)." (Williams, 1967:5). In the 18th century, Queen Maria Teresa of Hungary stitched Bargello and her work has been preserved in the Hungarian National Museum

Petschek (1997:7) also cites additional "legends" of Hungarian noblewomen practicing the craft, including a Hungarian princess marrying into the de Medici family, and a princess Jadwiga (Hedwig) of Hungary who married into the Jagiełło dynasty of Poland.

It is unknown if those were distinct developments or if they influenced each other. Both Bargello and Hungarian Point tend to be colorful and use many hues of one color, which produces intricate shading effects. The patterns are naturally geometric, but can also resemble very stylized flowers or fruits.

Bargello technique

Bargello refers not just a stitching technique, but also to motifs created by the change of colors in the stitches. This section describes the vertical stitch, and how it is combined with color and "stepping" to create different motifs.

Vertical stitches

Most agree that traditional Bargello pieces incorporate a series of all vertical stitches (vs. diagonal stitches). The basic unit is usually a vertical stitch of four threads, but other heights are possible.

Some Bargello pieces use only one height of stitch, but even the earliest pieces (such as chairs in the Bargello museum) combine different heights of stitches.

Stepping

Bargello patterns are formed when vertical stitches are stepped or offset vertically, usually by two threads (i.e., halfway down a unit of four threads). The patterns in the steps combined with color changes determines how the overall pattern will emerge.

Flame (sharp) vs. curved motifs

If vertical stitches are stepped down quickly, the design forms sharp points or zig-zags. This type of Bargello motif is often known as "flame stitch". Flame stitch can be found on the Bargello Museum chairs.

If steps are gradual, then the design will appear to be curved. Traditional curved Bargello motifs include medallions and ribbons.

Examples of Bargello motifs

There are many identified motifs possible (Williams 1967), but some common ones include:

Flame zigzag (sharp)

Stitches step sharply across the design. xd

• 
  Example of a flame stitch motif. Image created and licensed by Elizabeth Pyatt.

Diamonds (sharp)

Stitches step sharply across the designs and color changes cause diamonds to appear.

• 
  Example of diamond motif formed with Bargello stitches. Image created and licensed by Elizabeth Pyatt.

Ribbonsri (curved)

Stitches are gradually stepped in different colors.

Medallions (curved)

Stitches are gradually stepped and color changes cause spheres or medallions to appear.

• 
  Example Bargello Medallion design. Image created and licensed by Elizabeth Pyatt.

Modern Bargello

Since the revival of Bargello in the 1960s, the technique has evolved in different directions. Although traditional Bargello is still stitched, modern designers have expanded the repertoire of design possibilities.

Four-way and eight-way Bargello

Traditional Bargello is executed with just a vertical stitch in one direction, but Dorothy Kaestner (1972) created a style of Bargello called four-way Bargello. In this technique, the canvas is first divided diagonally into quarters. Then the same motif is worked in horizontal stitches in two opposite areas, and vertical stitches in the remaining two areas. The resulting design frequently resembles a kaleidoscope effect.

Kaestner describes the origin of the technique:

My first piece of four-way Bargello was started approximately ten years ago [in the early 1960s]. I placed a mirror on a Bargello design in a way that showed me how it would look if I mitered [turned] a corner. This intrigued me so much, I graphed a design starting in the center and mitering all four corners.

Some examples include

• Cathy Decker - [1]
• Stan Taylor - [2]
• Stan Taylor - [3]

This concept has been expanded to eight-way Bargello, or Bargello stitches in eight directions (horizontal stitches, vertical stitches and diagonal stitches), by designers including Susan Kerndt:

• Kaleidoscope [4] (Eight Way Bargello by Susan Kerndt)
• Ice Crystals [5] (Eight Way Bargello by Susan Kerndt)

The two links above are broken try the alternative link below for samples of Susan Kerndt's work, including Kaleidoscope and Ice Crystals:

• "Sue Kerndt" - [6]

Bargello band samplers

Designers of band samplers may include a band of a Bargello motif among other sampler stitches. Unlike traditional Bargello, these bands are stitched with the same stranded cotton, silk or linen embroidery thread used in band samplers.

• Laura's Sampler (American Needlepoint Guild) [7] - first horizontal band is a Bargello motif
• Lavendar Hearts by Thea Dueck [8] - bottom band is a Bargello motif

Bargello quilts

In addition to Bargello embroidery, there are now Bargello quilts in which the patterns used in Bargello embroidery are constructed with strips of fabric of the same height but different widths.

In Bargello quilting, long strips of fabric are sewn together along their long sides. Then the first and last strip are sewn together, forming a loop. The loop is laid flat on a table, and then cut vertically (in the opposite direction from how the strips were sewn together) to make many narrow loops. The quilter then opens the loops by pulling out the stitching between two pieces of fabric, making a long, flat strip. Finally, all the strips are sewn together. By opening the loops in between different pieces of fabric (for instance, between the first and second piece on one loop, then the second and third piece on the next loop), the artist can make the colors of the quilt appear to shift and wave. Slicing the loops very narrowly makes the waving and movement appear sharp and fast; cutting wide loops creates more gentle movement in the quilt.

• Ann S. Lainhart [9]

References

• Barnes, Charles and David P. Blake (1971) Bargello and Related Stitchery: Seventy Superb Accessories with Patterns, step-by-step drawings...illustrated in full color Hearthside Press.
• Boyles, Margaret (1974) Bargello: An Explosion in Color MacMillan Publishing Company.
• Boyles, Margaret (1976) The Margaret Boyles Bargello Workbook: A Collection of Original Designs MacMillan Publishing Co., Inc.
• Edie, Marge (1994) Bargello Quilts That Patchwork Place; Reprint edition.
• Fischer, Pauline and Anabel Lasker (1972) Bargello Magic; How to Design Your Own Holt, Rinehart, and Winston.
• Kaestner, Dorothy (1972) Four Way Bargello Scribners.
• Kaestner, Dorothy (1984) Bargello Antics Encore Editions.
• Kaestner, Dorothy (1990) Needlepoint Bargello Prentice Hall.
• Petschek, Joyce (1997) Beautiful Bargello Trafalgar Square.
• Rome, Carol Cheney (1988) A New Look at Bargello: The Florentine Needlepoint Stitch Book Crown Publishers.
• Silverstein, Mira (1973) Bargello Plus Scribner.
• Snook, Barbara (1967) Florentine Embroidery Scribner; Second edition.
• Stevens, Gigs (1977) Free-form bargello. Scribner.
• Williams, Beth Ann (2001) Colorwash Bargello Quilts Martingale & Company.
• Williams, Elsa S. (1967) Bargello: Florentine Canvas Work Van Nostrand Reinhold.
• Wright, Eileen (2009) Twist and Turn Bargello Quilts That Patchwork Place.

External links

• Is Bargello Period? - A detailed analysis and possible evolution of Bargello, with historical examples and photographs