Crewel Work

Throughout the 17th century Crewel work embroidery was widely used as bed hangings. The design was based on the 'Tree of Life.' The origins of this pattern are shrouded in the mists of time. It is thought to have come from the Far East and it is probable that it arrived in Europe from china via the silk and spice routes. It is a pattern full of symbolism, the 'tree' represents the passage through life from the roots to then leaves.

The Tree of Life design has spawned many other patterns and is constantly being reworked. This makes it a true design classic. The typical stylised form with which we are familiar with today evolved in the 17th century. It was worked in fine 'Crewel' wools on linen cotton twill in long and short stitches, often in one or two colors. Colors used could often be red or black but more often a distinctive indigo blue. Green was a difficult color to produce in the 1600's. Blue would be over dyed with yellow, but this was far more fugitive than the blue, leaving the blues we are familiar with, both in Crewel and Stump work.

Later Crewel work designs were influenced by the Indian Palamores, which also represented the tree of life, a mixture of floral and oriental motifs. The pieces were bought with the tree drawn on . They resemble the wood block painting of India.

The Elizabethans developed a style of embroidery using floral motifs and scrolls from the tree of life. They were often worked in one color and gold. It is extremely fine work often in sets of pillows of graded rectangles. The Elizabethans introduced many different stitches. The designs included extended scrolling flowers borrowed from the imported bizarre silks.

Towards the end of the 19th century when needlepoint had mostly replaced Crewel work as a needlwomans primary skill, crewel work enjoyed a revival. The proponents of the arts and crafts movement developed the technique as we know it today with the combination of 12 basic stitches worked in many colors. The 'tree' itself remains little changed.