Royal School Of Needlework

September 15, 2013 by Ann Bernard

Royal School of Needlework – Part 5: We Hit the Jackpot!

Every now and again, the internet delivers a wonderful surprise. In early September, Debbie, who lives in Shropshire, England sent me a brief note saying she was able to identify the young lady who was stitching the GoldWork Sampler in the class photo at The Royal School of Needlework. Would I like to know her name?

I felt that I had won the pot of gold at the end of a treasure hunt. My profound thanks to Debbie for the initial information and then looking for more and sending me all that she found.

Stitcher Joan Lander

The young lady stitching that complex piece was Joan Lander. She was older than us teenagers having served as a nurse during World War lI and then started training at the Royal School of Needlework in 1947. At the time of the photograph she would have been in her last year of studies (see Blog entry of July 4, 2013).

Joan Lander’s family home was Sunnycroft. Wikipedia supplied the following history:

Located in the market town of Wellington, Shropshire, England, and owned by the National Trust as one of their more unusual properties.

Suburban villas were almost ‘country estates in miniature’ that attempted to emulate upper class mansions on a middle class budget. Many have either been modernized, renovated or refurbished out of recognition over the last 60 years or so or have been demolished and replaced with later housing, converted into offices or residential care homes, or have been broken up into flats and smaller residences.

Rare Survivor

Sunnycroft remains intact, complete with the original interior fixtures and fittings, many of which are still in place and therefore has a unique character and intimacy that is often lacking from larger properties but very evocative of its time and place.

Sunnycroft was built in 1880, and extended in 1899. Uniquely the house remained in the same family from its completion in 1899, until it was bequeathed to the National Trust in 1997.

The National Trust summarises Sunnycroft as:

A late 19th-century gentleman’s villa – typical creation of Victorian era suburbia
Rare unaltered interior, with an elaborate conservatory
A mini country-estate, with pigsties, stables, kitchen garden and orchards
Colourful borders and summertime flower displays
Superb long avenue of redwood trees and lime trees.

Visitors to the house will get an insight into some of the exquisite embroidery worn at Westminster Abbey and can browse through souvenir newspapers.
The ‘Thread Through History’ exhibition is housed in Miss Lander’s former bedroom and embroidery workshops are planned throughout the year.
Joan Lander travelled far and wide to teach embroidery and traded as Joan Lander Designs. She was awarded a gold medal by the Royal School of Needlework and held lessons around the dining room table at Sunnycroft.

Joan’s travels led her to collect all sorts of textiles and designs that inspired her work – including several pieces of Leek embroidery – providing a link with the likes of William Morris, who designed pieces for the Leek Embroidery School.

“Among the amazing collection we have also recently discovered what we think is the largest collection of Leek embroidery in the country.”

The fabulous colours of the silks and fabrics have been perfectly preserved through years of being hidden away in various pieces of furniture throughout the house.

National Trust curators and conservators have been delving in to cupboards and chests of drawers to create this fascinating new exhibition.

Joan worked on the embroidery of the Queen’s Purple Robe of Velvet at the 1953 coronation.

Leek Embroidery is William Morris Designs stitched with Silk Thread. I had never heard of it until now.

The following piece of embroidery is now owned by the National Trust. Designed and stitched by Joan while a student at RSN, it is probably her sampler of Laid Work. The appearance and the fact that it was stitched with silk threads leads me to that conclusion.

Stitcher Joan Lander Owner By National Trust

Joan Lander, bequeathed the house and estate to the National Trust. Realizing its historical value, she did not alter or modernize the house.

You will find a tour of some of the house, contents and the gardens on the following site:

http://www.flickr.com/groups/sunnycroftnt

There is a picture of the billiard table which she did not use for billiards but rather as a storage area for her embroidery supplies. There is only one photo of her embroidery on this site but her early RSN samplers would have been the same as mine.

I have also read that she also worked on the gown the Queen wore to her Coronation. She was chosen to be part of this team because of her exceptional skills particularly in GoldWork. From the wording, it is not clear if it was the gown or the velvet train she worked on but both were embroidered by the Royal School of Needlework.

Queens Coronation By Royal School of Needlework

Debbie thinks that Joan’s GoldWork sampler may be in a local church and hopes to be able to find it.

To add to this discovery, Debbie found a Pathe News Film dated 1951. It was taken at the Queen’s presentation of Diplomas to graduating students at the Royal School of Needlework. There is no sound track so here is a quick guide. I think that it was taken in the front office of the school’s property at Princes Gate. Everyone bows or curtseys to the Queen and then to the Princess Royal who is seated on the Queen’s right. The gentleman with the Queen is Earl Spencer, father of Princess Diana.

http://www.britishpathe.com/video/queen-elizabeth-at-needlework-exhibition/query/royal+school+of+needlework

The graduating students are, first, Joan Lander. She had won the Gold Medal as an excellent student. There is a bit of repetition and you will see her twice. The second lady, I do not know. The student second to last out of four (at 00:21) is myself!! Continue watching through the gentlemen receiving their honours. They were also graduates of RSN, presumably from the night school program as they were not among the day students. Following this, you will see the Queen touring the display of students’ work. She is accompanied by Joan and is looking at the sampler which I am sure that you will now recognize. I am standing in the doorway at the back. I was wearing a blue wool dress made by my mother from a Vogue pattern. Is not the Queen a truly beautiful woman with a wonderful smile!

A link to another very short video of this momentous occasion was supplied by Claire Reeves of the National Trust. In this one, you will see more of the stitched samplers.

http://www.itnsource.com/en/shotlist/BHC_RTV/1951/12/24/BGU412150048/?s=Joan Lander

Notwithstanding Pathe’s assertion that the film dates from 1951, I think that it is more likely to be 1952. My recollection is that RSN did not have a presentation in ’51 because there were so few students actually graduating that year so the presentation of their certificates was postponed until ’52. But until I locate my Diploma, I cannot be sure of the date.

I do remember the day and receiving my Diploma from the Queen. I did not get a higher level Certificate as I had only been a student for 18 months and had not completed the three year course. But I worked as hard and as fast as I could and completed about 2 1/2 years worth of work.

Debbie happened to find my blog as she is interested in embroidery and has taken a course on Crewel Embroidery taught by RSN and presented in her neighbourhood. She is eager for there to be another course and hopes to have the time to attend. She sent me a photo of her project which is a real credit to her and I hope that she will be able to continue this interest.

I hope that you have enjoyed this blog entry as much as I have creating it.

September 9, 2013 by Ann Bernard

Burden Stitch – Part Two: a Tutorial

If you are using Burden Stitch as part of a design, you will have already decided on how you plan to complete the surrounding areas. On this sample, which is going nowhere except onto this blog, I had to decide on completion. The decision was a solid blue background around the area on the right and a section without blue fabric on the left.

Burden Stitch Finishing Stages

Burden Stitch Sinking The Thread Ends

The next step was to sink, or plunge, the ends of gold thread in the left area. Make yourself a lasso using a length of Perle thread or DMC, fold it in half and thread the two thicknesses into the eye of a Chenille or Tapestry needle. Make a hole with your awl in the spot you wish to take the gold thread through to the reverse side of your fabric. The lasso goes into that hole. Place the far end of the gold thread into the loop of the lasso. Gently ease the lasso and the gold thread through to the reverse side of your work. If you catch the gold thread too close to the stitching, it will not go through the fabric smoothly, The gold wrap will get stripped off its core and you will be unhappy with it and probably have to restitch that row.

Burden Stitch Threading the Lasso

Lassoing /plunging can be useful in other situations. It can be used for starting a thread or finishing cord that is too thick to go though any needle. If you have reached the end of some stitching and the last bit of thread is too short to finish off normally, then lasso it to the reverse side of your embroidery. It can also be useful in weaving threads into the reverse side of your work.

For the covered area on the right, I also lassoed the gold thread but placed the holes away from the edge of the circle where they will be covered by the blue fabric. Then, using a length of dressmaking thread, I whip stitched the ends of these threads to the the backing fabric. I do not always do this but felt that securing them was necessary in order to maintain the correct alignment of the gold thread on the front of the work.

Burden Stitch From The Bottom

Next step was to couch a single line of gold thread to the left side of the circle. I tried using one thread of gold with six threads of DMC along side but the DMC has a lower profile and slid under the gold. Unsuccessful and abandoned.

The blue fabric is a sample of drapery fabric from my stash backed with one layer of felt. I trimmed the inner edge of the fabric to about 1/4″ and nicked it so that it would lie flat. Then I pinned it and basted it into position.

Burden Stitch Finished

Using one thread of blue, I catch stitched around the inner edge of the blue fabric.

To complete the sample and to secure the blue fabric and felt to the background, I couched two threads of gold as a pair a specified distance from the inner edge. Once again, I used the reverse side of the very helpful business card to help me maintain an even distance from the edge.

And that is that. Completed. I hope that this tutorial has been helpful by taking the mystery out of working with this stitch and by making it simpler and less prone to hazard and unwelcome surprises.

The Flying Horse is stitched in Burden Stitch which is used as a solid filling stitch. It is part of my Metal Thread Sampler from RSN. The photo is not as good as I would have wished because it was taken through glass. The framed sampler is too large and heavy to move easily so we used the available light in our hallway.

Flying Horse Burden Stitch

Wishing everyone Happy Stitching.

August 12, 2013 by Ann Bernard

Royal School of Needlework – Part Four: Designing

Remembering is fun especially when there is someone else to share memories and add to them. I am indebted to Gillian Cox, now Creelman (the dark haired young lady, second from the right in the first class room photo in my July 4 posting). We were both very happy to learn professional techniques from the masters of the art of embroidery but neither of us was particularly happy to discover that, after learning the basics on established samplers, we were expected to design our subsequent pieces of embroidery. These included Long and Short Stitch, Laid Work, Black Work, Coarse and Fine Whitework and Gold Work. How this piece of vital information could have surprised me is now beyond my comprehension. From hindsight, I will also comment that it is hard to design for a technique about which you, as yet, know little or nothing. I still have a mental block about designing but have developed some coping skills.

To aid us in this endeavour, we spent Friday mornings sketching in the Victoria and Albert Museum, the Natural History Museum and, Gillian tells me, she also sketched in Kensington Gardens and Hyde Park but that was after I had left. She remembers, as do I, that passersby would comment on what we were doing as if we were not there or were stone deaf. I dutifully went to the museums and sketched bits of the Syon Cope and stuffed birds but had no idea why I was doing it.

Syon Cope

The Syon Cope is one of England’s treasures. For those who do not know about this remarkable, large piece of embroidery, I will explain why. Made between 1300 and 1320, it is an example of the high degree of artistry and the use of the technique of Underside Couching. Commissioned by wealth it was made by professional stitchers in a workshop. The most expensive of materials was used and it was extremely labour intensive. Underside couching was a specialty of England and is known as Opus Anglicanum. The Syon Cope was taken out of England during the reign of Henry V111 for safe keeping and remained in France until the early 1900s when it was returned. This saved it because otherwise if would have been destroyed and the extensive amount of gold used in the gold thread would have been recycled into the Exchequer. I hope that this information is correct but you can read a lot more about it on the web. I missed the Syon cope when I visited the Victorian and Albert Museum on my last trip to England. The Information Stand that now stands in the main entry hall is not an aesthetic replacement.

The result of being clueless was that when we got to the point of producing a design for the next technique, I was dumbfounded, speechless and without a thought or an idea in my head. Miss Randell coaxed me into some sort of a decision and a design for Regal Lilies using Long and Short Stitched stitched in wool emerged. I had never even seen a Regal Lily and I do not think that anyone else had either. Remember that London was bleak and grey at that time and even the basics of life were in short supply. Available flowers were only those hardy perennials that had survived the war years. My choice was governed by the dream of an unobtainable exotica and the colours. Even after the decision was made, side views and details were guess work. The shading was guided by Miss Randell without whom I would have been totally lost instead of only 98% lost. Now we can turn to Google Images and find a wealth of information and pictures on every subject possible.

Regal Lilies

I was interested to hear from Marion Scoular, who many of you will know, about her experience of RSN and design. She started her training two years after Gillian and myself. For her first year, Marguerite Randell was her teacher; the second year, Miss Randell moved to the workshop section and Beryl Dean became the senior teacher in the school. Beryl Dean was an RSN graduate but was also an accomplished artist and designer. She tried to change the curriculum and place more emphasis on design. However, the Board of Governors did not agree with her and she only taught there for one year. What a missed golden opportunity that was. Her work is amazing and well worth researching on the web.

Cope for Bishop of London

When I look at the current RSN students’ gallery, I am totally amazed at the variety and ingenuity displayed. Their work is a lifetime different to anything we ever created.

www.royal-needlework.org.uk Gallery: Degree students work

July 4, 2013 by Ann Bernard

Royal School of Needlework – Part Three

It is more than time to return to my account of being a student in the 1950s at the Royal School of Needlework. Part Two is dated March 25, 2013 and available for you to establish continuity.

On Friday, April 6, 1951, The Times Educational Supplement published a full page article called the Tradition of “Opus Anglicanum”. After a brief historical review, the article continues to describe the syllabus and experience of the course and then mentions employment opportunities. A press photographer took some photos and three were published. This first photo was not one of those published but is the only one that I have in my possession. Efforts to obtain better quality prints of the others have been unsuccessful so we have done the best we could with a scan of a 60 year old newspaper page.

Royal School of Needlework

This first photo was staged and is thus not a realistic scene. For instance, we did not sit in a row. The first stitcher on the right and the furthest stitcher were older and had started a few months before the other three of us. This is evident in that they are working on the third sampler which was Crewel work. The nearer of the two young ladies stitching their second sampler is Gillian Cox and to her right is Carmel Leibster. The student stitching the sampler loose in her hand is me. And no, I do not recognize myself either! Both Gillian and Carmel are stitching on their own frames while I was given the work of an unidentified student to give the photos more variety. In reality, I was at that time stitching the same sampler as Gillian and Carmel. And we all hated that tedious piece of applique on which we learned to stitch accurately and with totally even spacing. And we also learned to stitch fast. If you watch the videos made by Erica Wilson, you will see how quickly she works. Note that our trestles (or easels) are ancient. We stitched with our work covered (like a surgeon) and not uncovered as is indicated. Carmel’s protective cloths are folded and hanging on her trestle. Gillian has hers protecting the edge closest to her which is the part most likely to be snagged by leaning on it. Old white cotton sheeting is ideal for protection cloths. It does not need to have finished edges but it is desirable to launder them occasionally. Gillian now lives in the eastern USA, I am in Canada while Carmel remained in London. The parquet floor and panelled wall are original but the hot water radiator is probably a more recent addition as the house was built in the 1850s.

Royal School of Needlework Classroom

This is a general view of the classroom. Note that the students are sitting in a random manner, the normal layout. What is not normal and staged for the photographer is that the frames are uncovered. The student on the left is stitching on her goldwork sampler. Note how much larger is the frame and fabric when compared with our beginner samplers. Many types of embroidery can be rolled around the roller bar using extra fabric for padding and protection. Because of the padding within the motives and the desirability of not disturbing the gold thread in any way it is not possible to do this with goldwork hence the frame gets larger and larger.

Royal School of Needlework Student Working

A closer view of the student working on her goldwork sampler. All students first stitched the three emblems at the top – a pomegranate, crown and fleur de lys. The remaining three to six items on the sampler were our own design. This was a third year project and demanded a lot of time and skill to complete the technically demanding designs that we were inspired to create. Note the size of the frame and fabric when compared with our beginner samplers. She would have stitched the upper three motives with the extra fabric rolled onto the roller bar at the base of project. Having completed these, the fabric would have been unrolled giving access to the middle of the design. When that was completed she would have unrolled the rest of the design. Many types of completed embroidery can be rolled around the roller bar using extra fabric (such as sheeting) for padding and protection. It is not possible to do this with goldwork hence the frame gets larger and larger. Notice, too, that she has two spools of gold thread. Japanese gold is couched down in pairs. Having two spools means that the twist on both threads is the same allowing the gold thread to reflect light in the same way. As goldwork is all about light reflection this is the correct way to do this and it does make a difference to the finished piece. It would appear that she has included some silk shading in this dramatic and ambitious piece. I wish I knew her name.

Goldwork or Metal Thread Embroidery as it is often called, is a wonderful medium in which to work and I am glad that I had just enough time to include this in my studies. I do have my sampler but it is simple compared with the one in this photograph. I had three weeks to complete the whole thing before leaving to move on to college. It had to be simple and manageable in terms of the number of stitches needed. I love teaching goldwork though my students are encouraged to choose designs that are more contemporary than traditional. Even so, we all continue to use the techniques and skills that have been used since medieval times and even before. Goldwork had reached a high standard of technical expertise several centuries ago as is evident in Opus Anglicanum found in the Syon Cope and other works located in such places as Durham Cathedral and museums.

Royal School of Needlework Teacher and Student

Our principal and senior teacher was Marguerite Randell. She is indicating a detail to the student who is one of our two older stitchers. Note that the protection cloths are hanging on her trestle and that she is stitching with one hand on the top surface and one underneath. Stitching this way is how the professionals do it and it helps with speed and accomplishing the project in a cost effective manner.

Marguerite Randell (1881 – 1955) was a superb teacher. She wrote three very detailed books on stitching: Simple Embroidery, More Simple Embroidery and Plain Sewing. All were published by Cassell and Company, Limited. These small, thin books contain a mass of information with detailed and accurate diagrams. I recommend them to serious stitchers for whom accurate information is more important than beautiful colour photography. I have originals but they have been reprinted and are available through AbeBooks.com. 1952 was her last year of teaching after which she worked in the workroom on commission pieces. She seemed very elderly to us young ones and she certainly did work long after normal retirement age. She was a gentle and gracious lady who knew exactly how to do everything. Erica Wilson acknowledged her as “my first teacher, who knew more about needlework than anyone I’ve ever known – the late Marguerite Randell”.

Both Gillian Cox and myself echo this sentiment wholeheartedly.

March 25, 2013 by Ann Bernard

Royal School of Needlework – Part Two: Let’s Step Inside

In early September 1950, the rest of my life started. Having just turned 17, and leaving an unhappy school life behind, I started travelling daily from an outer region of London into Kensington and Prince’s Gate.

Royal School of Needlework Floor Plan

RSN was housed in a magnificent building which had seen even more grandiose days in the previous century. The central hallway was two stories high, wood panelled, and had an impressively grand staircase and upper landing with a railing along two sides forming a balcony. The room beside the front door was an office. The other two rooms on the ground floor were large and gracious with floor to ceiling french doors or windows that opened onto a stone terrace. Beyond this was a sunken garden with large trees and an immaculate lawn. You can see this hidden garden on Google Maps aerial view; viewing it today makes me wonder, idly, how many other such hidden gardens there are in London.

One floor up, the workroom occupied the front room while the class rooms were in the two elegant rooms overlooking the garden. These rooms all had light coloured panelled walls and parquet floors. New overhead lighting had been installed and we had no trouble stitching anywhere in the rooms though most of us had young eyes. This is where our easels with slate frames stood. The easels were all ancient and finding and keeping a matching pair was a challenge. The cleaners could get them mixed up. There was also a huge high table where our teachers, or us, cut fabric, transferred the design (prick and pounce) and finally mounted it and laced it onto masonite. On the floors above were more class rooms where we learned history, dressmaking, pattern drafting, design, and something called small samplers.

Elegant as all this sounds, let’s get down to reality. English society was still full of rules, regulations and restrictions and it never occurred to us (or to me, anyway) to question them. We were not allowed to enter through the front door but instead went down the stairs by the front door to the basement where we left our coats. We were not allowed to enter the front hall or walk on that magnificent stairway but used the steep and narrow servants’ staircase instead. You can see this on the left side of the floor plan. It was a long climb to the upper floors. We were not allowed to enter the workroom or talk to the staff. The showroom containing the threads and other supplies was located on the main floor in the larger room at the back. It was off limits except to select thread colours. Mostly, the threads and wools were set and did not require us to make choices. We were absolutely forbidden to set foot on the terrace or go into the garden. Did I feel hard done by? No. This was normal in England at that time and for a long time after, too. No one questioned this that I was aware of. We knew and expected nothing else.
And we started to learn our stitches immediately. We all knew the basic stitches but we had to stitch them perfectly or else they came out. Others were new to us, particularly the composite stitches which contained several stitching stages; I do not think I have used any of them since then. Feeling very virtuous, I stitched small. Not only can I now no longer identify the structure of the stitch but it made me slow with the result that I was the last one in our group of about seven students to complete their work. Being last meant that I had the last choice of background linen fabric for the next sampler and finished with a brilliant pink which I hated and still do. This second sampler was appliqué and on it we learned to stitch accurately and fast. It was a boring project and I think that everyone was glad to complete it. Frankly, it was sufficiently tedious and demanding enough to make anyone but the determined quit on the spot. Having survived that one, we progressed to the crewel work sampler stitched with wool on linen twill. I do not know what the wools we used were. Certainly not Medici. Materials and thread for embroidery still had limited availability but RSN had a stock on hand from prewar days. There seemed to be enough of everything but colour ranges and choices were not always complete. Our teacher, Marguerite Randell, was excellent. She was elderly but eternally patient and always available when you needed assistance. But, she had her standards. Stitching had to be up to that standard, and the best you could do or else it had to come out. Some careful snipping of threads released the offenders but the remainders (called dead stitches) had to be removed in their entirety. I remember clearly, being in a hurry to get on to the next stage and not getting all the thread whiskers out. She sat down and told me this was inadequate. The offenders were quickly removed but it was a very very long time before she came back to show me the next stage. A lesson never forgotten.

Next entry: We continue to stitch, the press comes to call and we meet other students.

March 10, 2013 by Ann Bernard

Royal School of Needlework – a Historical Perspective – Part One

Are you curious about what it was like to be student at RSN? I would be if I had not had the good fortune and an accommodating father to pay the bill. Actually, I remain curious to hear about being a student at Hampton Court Palace and hope others with more recent experience will add to this account.

You can Google this address but, for those not familiar with London, Prince’s Gate is a terrace off Kensington Road. Crossing the road to the north is Hyde Park with the Serpentine and Rotten Row, a horse and carriage riding route. Connecting Kensington Road to the south is Exhibition Road which leads to South Kensington Underground station. The Victoria and Albert Museum, the Natural History Museum and the Science Museum are all located on Exhibition Road. To the west, you will find the Royal Albert Hall, Imperial College and Kensington Palace, the home of several members of the Royal family. Going east will take you to Knightsbridge and Harrods. I found the history of the development of this area of London to be interesting and hope that you will, too.

In the late 1600s, a gardener named George London and partners established the Brompton Park Nurseries, part of which is now the site of the Victoria and Albert Museum. Influential in garden design and innovative plantings, he nurtured plants and trees brought to him by travellers to other countries. He supplied plants and trees and landscape designs in London, elsewhere in England and in Europe. In the 1700s the neighbouring rural village of Brompton experienced a building boom with an influx of terraced houses and the creation of a busy metropolitan borough. A further building boom in the early 1800s transformed the area into a prosperous residential area. Portions of the nursery garden were appropriated for building.

All this is linked to the Industrial Revolution (1760-1870). Water and steam power and the development of machine tools influenced every aspect of daily life in Britain. Massive population and income growth created the first capitalist economy leading to both great wealth and abject poverty. Steam-powered ships and railways were late developments of the Industrial Revolution

In 1850, Britain decided to celebrate its huge achievement with a Grand Exhibition. The contract was awarded to Joseph Paxton who built a modular style building of cast iron and glass and erected it in the southern part of Hyde Park. Punch, the magazine, dubbed it the Crystal Palace. With so much glass, it needed no electric lighting system but the glass panelling was not watertight and there were widespread leaks in the roof. After the Exhibition closed the Crystal Palace was dismantled and rebuilt in south London where it survived until destroyed by fire in 1936.

Britain had money to spend and Prince Albert, Queen Victoria’s husband, proposed that the area south of Hyde Park be developed as an area for enrichment and education. Thus began the founding and building of Exhibition Road, the museums and the Royal Albert Hall. He died in 1861 before seeing the completion of these projects. The Albert Memorial was built in Hyde Park opposite the Royal Albert Hall and commemorates his contribution. Queen Victoria was devastated by his death and went into mourning for the rest of her life.

To move back to Prince’s Gate, this area just north of the original Brompton Park Nursery was a market garden growing vegetables and fruit to supply the London area. In the early 1800s, plans were drawn up for a four sided block of rental town houses enclosing a private and ornamental garden. Of necessity, the first buildings were stables and a carriage house. Prince’s Gate faces onto a carriage way. This private road was set apart from the the main road and allowed horses and carriages safe access to the front doors of the houses. It is now a convenient place to park your car. Speculative building of houses with four to five storeys over a basement began in the 1840s. This was a large project and took several years to complete. The houses were slow to rent initially and then fell out of favour during the building and use of the Crystal Palace as prospective tenants complained of the loss of their view of Hyde Park and all the traffic and noise created by the Grand Exhibition. NIMBY is nothing new! Gradually, the houses were occupied by the newly rich bankers, industrialists, ship owners and minor aristocracy who wanted smart and convenient town houses in this new and fashionable area of Kensington. Despite interior differences, the facades were similar and Italianate, three windows wide with a porticoed entrance on the ground floor. The stuccoed exteriors were painted white and remain white to this day as you will see in the photograph.

Royal School of Needlework

The photo is courtesy of Google Street View and is current; in the 1950s, there were far fewer cars. No. 25 is the first house and entrance beyond the black railing. It is a bit larger than was normal as it is L shaped taking advantage of an indentation in the previously built house on the right of the photo; that building is now a boys’ school. No. 25 was occupied by The Royal School of Needlework from 1949 to 1987 when RSN moved to Hampton Court Palace. In the 1990s the whole house was refurbished and restored to a single residence. This area of London is now the location of foreign embassies with several located in Prince’s Gate.

British History Online www.british-history.ac.uk provided the information for this précis. Of further interest to stitchers are the designs for the floor and ceilings of these houses to be seen on the British history sites.

Having taken you on a historical tour, my next entry will be about being a student of RSN in this historic house during a time, just five years after the end of WW 2, when London was still bleak and dirty and food was short. But we survived and the RSN experience was certainly an interesting one.

Royal School of Needlework – Part 5: We Hit the Jackpot!

Enjoy a post from the past

Burden Stitch – Part Two: a Tutorial

Enjoy a post from the past

Royal School of Needlework – Part Four: Designing

Enjoy a post from the past

Royal School of Needlework – Part Three

Enjoy a post from the past

Royal School of Needlework – Part Two: Let’s Step Inside

Enjoy a post from the past

Royal School of Needlework – a Historical Perspective – Part One

Enjoy a post from the past