Bev Malcolm is also a member of the Broiderers Group of Guelph.  Bev and her husband visited the Keukenhof Gardens in the Netherlands while on a tour.  They liked it so well they went back on their own and spent a day there.  It was such a good memory that Bev wanted to record it in stitching in order to enjoy it more permanently.

Bev took her inspiration from a photo her husband took of the gardens..  She used the techniques from Hand Stitch Recognizable Spring Flowers specifically Tulips and Muscari.

The embroidery is 8″ square.  The stitching is dense and it took her several months to complete.  Though if one stitches at our meetings only, it will inevitably take awhile to complete anything.  The fabric was mounted on a rectangular frame with a tight tension.  Despite the density of stitching, there was no puckering and it did not have to be stretched before being framed.

Her embroidery gives a good sense of the glory of the mass of spring colour in the Kukenhoff Gardens.  There is a picture of the original at the end of this posting where you will note that her embroidery is an interpretation and not, an exact copy.

I want to take a moment to talk about inspiration. Most of us start stitching with a kit.  Whatever it’s source, online, a store or a garage sale, it connects with our imaginations and urge to be creative.   A good quality kit is expensive.  By this, I mean that the designer knows how to stitch and the design is appropriate and stitchable, the directions are clearly written and the fabric and threads are of good quality.  You will enjoy working with this product and the result will please you.  Not all kits fit into these specifications.  This is an excellent way to learn how to embroider.

When experience and abilities have developed, we move on to trying an embroidery that is more personal.  It may not be an original but an ‘inspiration’ triggers a creative urge.  This is what happened for Bev.  The memory and visual experience of the Kukenhoff Gardens motivated her to stitch her memory.

It was not a ‘copy’; it is an interpretation using needle and thread.

Here is her Inspiration.  Go back and compare it with her interpretation.

Thank you Bev for your inspiration and for sharing it with us.

Every Friday afternoon, year round, the Broiderers group meets.  We all live in The Village by the Arboretum in Guelph, Ontario.  Any resident who would like to stitch is welcome to join us.  Edna Miller is one of our regular and productive members.

This is her own original design.  The background is blue denim which is an excellent  fabric choice as it is densely woven and has good body.  She marked the skeleton of the design on the fabric using white chalk which disappeared as she stitched.  The details of the flowers are all stitched freehand.  She kept the whole design visible as she stitched so could see spacing and balance.  She mounted the fabric tightly on a rectangular frame and thus had no problems with puckering.  This has not been blocked and does not need to be blocked.  It is ready for mounting.

Edna used many different stitches and used them effectively.  Note her colour choices and how nothing disappears in to the background.  Notice of the spray of red berries on the right side.  It is obvious what they are but she has left spaces instead of stitching densely as she has for the pale blue flowers above.

Meet Sebastian, the ladybug.  He is a piece of whimsy but he also balances the layout of reds in this piece.  He is so small he is hardly visible but, he serves his purpose of  bringing some red in to the lower part of the design.  He is a surprise when you find him.  Look at each colour in this composition and the triangular layout.  It gives balance and harmony to the whole.  The details give interest and make one look more closely to see what else one can find.

The peach centre of pink and mauve flower is unexpected and effective.  There is so much to see in this piece.  Every time I look at it I find something that I had not noticed before.

Edna intended this to be the side of a tote bag.  The Broiderers have all said that it was too nice to be used and risk getting dirty and worn out.  What do you think?

Congratulations Edna!  This is a creative and effective piece of stitching.

Tapestry of Spirit presents the ambitious and inclusive social project to create a cross-stitched representation of the Torah.  This installation features texts from the books of Genesis, Exodus, and Deuteronomy, along with selections for the Scriptures and the Qur’an. It includes the first five books of the Bible, reflecting on the theme of creation.

It is an immersive installation that has been collectively created by almost 1500 volunteers of many faiths, under the artistic leadership of Temma Gentles (Toronto). Visitors will journey through nearly 1000 panels in three languages (Hebrew, Greek and Arabic) including illuminations and embellishments by stitchers from 28 countries who have interpreted these ancient narratives into contemplative, often highly personal expressions.

Volunteer Barbara Feldman’s cross-stitch —After Joseph interprets Pharaoh’s dreams and develops a strategy to save Egypt from future starvation, the king honours him with splendid robes (Genesis 41: 49-52).

The Torah stitchers live world wide.  Upon volunteering, they received a package with fabric, thread and chart. It was necessary to follow the directions exactly so that the design was centred and there was adequate fabric for alignment with other panels and for assembly.  The stitcher was able to add small extras to the panel if there was space.  As you can see from the first photo, there are many embellishments to the text.  I picked  two out of hundreds to show you.  The tapestry is full of birds, animals, flowers and designs as you can see in the first photo.

You can read more about The Torah: Stitch by Stitch Project by going to

The Tapestry is currently on display in the Textile Museum Toronto.

It has been open since June but closes on November 17, 2019.

With great regret,  Marie Fenwick, Susan Clinesmith and myself will NOT be visiting  The Toronto Historical Embroidery on Wednesday, October 23, which is next week.

When we made the date in July we were younger!!  Time has moved on.  We are now older than we were back then.  It saddens us all, but undertaking traveling into downtown Toronto is more than we are physically able to undertake at this time.

Of course, we regret it.  Toronto is now a major city with a lot of traffic and a lot of people. The Subway System is geared to younger folk.  Driving is a challenge and from here, going in to Toronto out of rush hour, is problematic.

Remember, it was 37 years ago that the Embroidery was completed and 43 years ago when it was started.

There is always the phone and the internet.  They allow us to communicate without the hazards of being physically somewhere else.

Bless technology.  Our thanks to the young people who have created it.

Thank you readers everywhere,

Ann

The Toronto Historical Embroidery was completed and installed.  That is Marie on the right wearing the white sweater and Sue is centre front.

We celebrated!!  Why not!  After six years of intensive effort and the participation of 140 stitchers.  The Toronto Guild of Stitchery had achieved an incredible feat.  We were rightfully proud of ourselves. And, we were all so young!

And then what?

Most of us remained members of the Toronto Guild, but we basically went back to our normal lives.  Basements got tidied up and the extra chairs and tables went back into storage.  We stopped being part of each others’ daily lives.  A few people moved out of town; many of us went back to work either full or part-time.

We got on with our lives – as happens.

It is now 37 years later.  Marie and I have remained constant friends but we have lost track of most of the others.  Sue sent me her photos and Marie sent me her advertising brochure of the Embroidery   We each have a copy of the video which has given much of the specific information for you.

Recently, Marie, Sue and I met for lunch.  Although time had wrought physical changes, we were still the same people and we were glad to be together again.  Marie is on the left with Sue in the centre.  We had lots to talk about of course.  Marie continues to quilt and Sue has taken it up since she retired.  I continue to stitch but it has become increasingly sporadic.

We plan to meet again at noon on Wednesday, October 23.  We are going to City Hall to see the Embroidery and I hope to get a few more photos of the embroidery in its new location.  I would like to take a video if possible.

Here is how to find the Toronto Historical Embroidery.

On to the ground floor of City Hall, you will find Cafe on the Square. Behind the cafe, there is a corridor and a staircase going down to the lower level.  The Embroidery is located at the bottom of the stairs.  It has its own lighting system and audio presentation which you can turn on.

Visiting is free.  It is in excellent condition as it was well made, well finished and is protected from daylight and dirt.

If you are in Toronto downtown that day and just happen to be there, we would love to include you in our trip down memory lane.

Thank you for following this blog and I hope that you have found this series on the Toronto Historical Embroidery interesting.

Your comments would be most welcome.

The panels, frieze and end bars were all completed.  The frieze is being joined together.  You will be recognising the different figures in the frieze.  For instance, Joe, Luigi and Mario are continuing to build the subway system – followed by the business lady and the hippies.

A long-awaited moment. Let’s see how it might look.  Though still in the den, it looks,—amazing!!  That is Sue on the right; Colleen Darling on the left. She stitched many of the figures including the Highlander in the kilt.

The organisers checked every figure, every detail and when totally satisfied, they started putting it together.  Everything was mounted on plexiglass padded with Fleecy Pellon and covered with factory cotton.

The eighteen panels were mounted in sets of three.  The frieze was divided into two parts. The end panels were another two long and narrow panels.  All ware laced with linen thread.  This was a huge job and needed a new and specialized team led by Georgina Mentis.

Threads and fabrics were packaged and placed inside the frame along with a panel on which every stitcher embroidered her name.  Sue also has a list of who stitched every figure and the threads they used.

It was completely finished after six years of detailed planning and stitching, with eight days to spare!

All the sections were packed separately and transported to City Hall in a van.

The long sections of the frieze and end panels would not fit into the elevator and had to be hand-carried up the stairs. The installation team of seven and some  City Hall employees installed it in the entrance hallway of the Council Chambers on the third floor.

Presentation Day was memorable.  Marie was president and made the speech.  The gift was accepted by the Mayor, Art Egleton.

Marie Fenwick, President of the Toronto Guild of Stitchery presents the Toronto Historical Embroidery to the City of Toronto. March 4, 1984

There is one final and wonderful photo of Sue in front of the Embroidery which is both dramatic and gives everyone an idea of the large size of the Embroidery.

I wish that a photo of the completed Toronto Historical Embroidery could be included here.  But it is 24 feet long and 6 feet high and that is big.  The city provided a three-section folder which shows the entire embroidery and includes some information.  It is no longer available after all this time.

I have been trying to include a total photo in two sections but this technology will not cooperate.

And then what happened?   The final chapter will be next.

After the end of the First World War, life became more pleasant for awhile.  There are two ‘flapper girls’ of whom only one is included here. Their gowns and hairstyles are elegant. The depression and soup kitchens followed.  This photo was taken from one of the stitching frames.  You can tell this by the extra fabric at the top and bottom edges.  5″ were included so that there would be adequate for the framing and construction of the frieze.

The next group of figures represent those who served in the Second World War. Rosie, the Riveter, is not included here.

Meet Tony, Luigi and Mario, who were named by the stitchers who worked on them.  Note the rock fragments and the light in this scene.

The Italians came to Toronto to work on building the subway line in the 1950s.  This  Italian community increased hugely and have built large sections of our modern city. It is now, or was, the fourth-largest Italian city in the world.  Our city is now home to large populations from multiple countries.  We are a multinational and multicultural city and are proud of it. Immigrants have enriched Toronto in more ways than I am aware of or can imagine.  When you come here, you will be able to enjoy restaurants that feature the cuisine of almost every country in the world.

The final scene on the frieze is of Kensington Market as it was in the 1980s. The market is still there though it has become more organised than it was 40 years ago. The buyers and the seller, as portrayed here, are new Canadians selling canadian apples.  The scene includes children as well as a cat and a dog which you will see when you visit.

Some, but not all of the sections of the frieze have been joined together.  Note all the extra fabric all around the embroidery to allow for mounting. Still in the basement!

There are many historical embroideries in existence all of which are unique.  This series gives you a close view of what is involved in making a large embroidery.  The considerable amount of planning and preparation was successful in precluding problems during the creative process. In fact, I do not recall hearing of problems prior to the stage of assembly.

Next, the assembly of the Toronto Historical Embroidery.

This group of closely packed people represent the large wave of immigrants to Toronto in the 1800s. The artist added more women and children to the design of the frieze at the request of the members of the Toronto Guild of Stitchery.   Notice the different facial features of the people.  Stitching the faces was a challenge which became the speciality of only a few members.  They experimented with different thread colours and stitch directions.  This group appear to be European but you will notice different nationalities in later scenes.

Toronto experienced two major fires which did extensive damage to the city.  I stitched the flames using a technique from my days as a student at the Royal School of Needlework.  It is/was called – stitching to a vein without a vein.  Am not sure how well this worked but it was a technique change from split stitch . This is a snapshot taken while the piece was still on the frame.

The First World War.  Canada sent many men to assist with the war effort despite the fact that it was a young country with a small population.  The soldier in his tartan kilt is a masterpiece of correct detail and stitching.  He was stitched by Coleen Darling and the members noticed that he looked remarkably like her husband even down his red hair. Please pay special attention to him when you go to see the actual embroidery. No photograph does him justice.

There were multiple fabrics used in panels and the frieze.  As colour was so important the right ones were found in cotton, polyester, silk, satin and Ultrasuede.  Ultrasuede was used in large areas of the panels and for the windows of the buildings. As it does not fray, accuracy of size and shape was achievable despite some pieces being the size of a thumbnail.

The sky and lake water in the panels are hand-painted silk.  The threads in the frieze include Anchor, DMC, Cotton a Broder, Appleton’s and Medici wool.

Another peek at a panel being stitched.  This is Doris Spurr who worked on the embroidery extensively and who is the narrator of the video that was made. This frame is the final one set in 1984.

At both ends of the embroidery are vertical panels showing the coats of arms of the city of Toronto.  These are 6 feet high, are worked on tapestry canvas using a variety of canvas work stitches.  Roller frames were used to hold the canvas and as a section was completed, the canvas was rolled forward to expose the next section.  Even this part of the Embroidery was a huge amount of stitching.  I have no close-up photos to show you of the vertical end panels so please look at them closely if you have a chance to visit the embroidery which is located within City Hall in Toronto.

There is lots more to share with you.  The actual ‘stitcbing’ is only part of this huge undertaking.

More, in the next posting!

The history of the people of Toronto starts with the original inhabitants who were Mohawk Indians.  The bodies are stitched in long and short stitch and the hair is straight stitching. Elsewhere in the frieze, the stitches are predominantly split and stem stitch.  These were found to be the most appropriate choice.

The frieze was divided into fifteen sections each of which was mounted on a wooden frame made specifically to the needed measurements.  A member of the Guild would take a frame home together with all the threads needed for one of the figures and bring it back completed two weeks later.  It then went to another member to stitch the next figure. With 96 figures in total, it grew slowly.  Susan Clinesmith was in charge of all the work on the frieze.

In the above section of the frieze, the trees are being cleared for the construction of Yonge Street.  Built by Governor Simcoe and named for a friend, it was the longest street in the world.  It runs from Lake Ontario, 56 miles north to Lake Simcoe.  The longest street in the world is now acknowledged to be the Trans Canada Highway which is almost 5000 miles long from Vancouver Island to Newfoundland.

Photos do not age well unlike the Embroidery which is in excellent condition.  It has been a puzzle to transpose the 40-year-old photos to this blog.  The originals are all high quality which has helped.  But the quality and detail have been reduced by the process of screenshots.

The positive aspect of this is that you are having a ‘behind the scenes’ look at what was involved in creating the Embroidery.

Here are some ladies working on the frames of the frieze.  Basements and  dens were commandeered for working areas.  The members met and stitched on a regular basis.  For some, it was daily, for others, once a week.  Some preferred to stitch in their own homes. We all became very well acquainted!

The tree trunks were stitched with chain stitch and fly stitch was used for the leaves.  The divisions of the frieze were organised to occur within the body of a tree which concealed the seam.

The war of 1812.  The flags and uniforms are correct for the date.  The researchers made sure these details.  I stitched the Union Jack and I remember how careful I was that it was correct.

To be continued,  More about the stitching of the frieze.

There was so much preparation to be done that it was two years before any stitching began.  It was decided to start with the upper and lower panels which show the gradual transition from trees to the city as seen in the early 1980s.  Panels number four, the most intricate, were the ones they worked on first.

Here you can see that there are two sections of trees and two of buildings in both the upper and lower sections.  The events in the central frieze are congruent timewise with the buildings in the panels.  Each building in every panel represents an actual buildings in the city.  If you know just what to look for, you will find Fort York and Casa Loma.  Yes, Toronto has its own castle.

The sky and the water of Lake Ontario are hand-painted silk. The upper and lower panels are different but the right and left sides are mirror images.  Can you see the CN Tower?

These are the final panels.  The forest is gone – it is all city.  Toronto is now a handsome city with a lot of modern architecture.  It is also well planted with trees and has a good forest canopy especially in the residential areas.

The panels are all machine embroidery and they are intricate.  I regret that there are no close-ups to show you.

Until the panels were completed, the frieze was not started.  The frieze and the end panels of the Embroidery are all hand-stitched.

The Embroidery has nine pairs of panels with the frieze placed between them.  It is 24 feet long and 6 feet high.  That is –  around 8 meters in length and 2 meters high.  Pace it out in your home, if you have enough space. It took 140 members of the Toronto Guild 11.000 hours to create it.  It is big, and, that is a lot of work.

Before we go any further, I must say that the photos here do not do justice to the colours, the detail, or the quality of the stitching.  In real life, the Embroidery is vivid and alive.  It has survived time way better than any photo I can share with you.  It is in excellent condition. It is far easier to see the detail in person when viewing the actual Embroidery.  Thank you to Marie Fenwick and Susan  Clinesmith for all the photos included here.

There is also a video containing pictures of every stage of the creation of the Embroidery.  I own a copy and although it is excellent for correct information, screenshots taken from it are blank.  Frustrating to say the least.

The frieze is next!  With photos taken by Susan during the creative process, I am able to include a lot more detail about the stitching.  It is a good idea to take photos of your work in process.  You never know if and when you might be glad you did.

Enjoy, and share.