WIEHLER MAGAZIN

Issue 02
|
December 2007
Chakrenbilder sticken-
Energie für Herz und Hand
Icons
Vessels of divine mercy
Clothes - Protection and
strength About the power of
embroidered symbols on clothing
WIEHLER GOBELIN
Symbolism in Embroidery
Embroidering Chakra Images
Energy for Heart and Hand
Gently protected by
the still powers
Instruction for the Production
of a Meditation Stole
The Wiehler Magazin is the Wiehler Gobelin company‘s
customer magazine
Contact Wiehler Gobelin, Staderstr. 32, D-21614 Buxtehude
V.i.S.d.Pr Jutta Böttcher
Contributors to this edition Jutta Böttcher, Elfi Connemann
Layout Feldmann & Partner Buxtehude
Reproduction, even of extracts, only permissible with the
approval of Wiehler Gobelin. All pictures and text © 2007
Wiehler Gobelin. Pictures Page 18, 19, 20, 21 © Kunsthistor-
isches Museum Vienna.
Wiehler Gobelin is a registered brand name
Imprint
In the northern hemisphere of our planet Earth it is now
winter. Daylight is very sparse, the nights long. Bleak winds,
rain and snow call for cosy hours indoors where it is warm.
Candlelight, soothing tea with friends and family – life has
retreated into the house.
Tus the silent season is particularly suitable for sof tones.
We too have drawn attention a little away from the hectic
life outside and cordially invite you to devote yourself in
a hopefully relaxed atmosphere to one aspect of embroi-
dery that many lovers of the art of embroidery have already
discovered for themselves – about which, however, little is known.
In keeping with the festive season you can look forward at the end of the magazine
to two particularly beautiful designs. Te wonderful meditation cape on orange-col-
oured Dupion silk originates from the Karbig Studio. Hovering angels’ wings adorn
this precious work and lead us to sense the protecting presence of our heavenly
escorts.
Te topic “Angels” is very popular and so too is our cross-stitch picture “Vom Himmel
hoch” (“Picture Angel with Greeting”) devoted to those divine messengers.
I would now like to wish you inciting reading with many impulses and would be hap-
py if aferwards you should feel inspired to pick up a needle and thread once again!
I wish you a Blessed Christmastime and a Happy New Year
Index
Editorial
Wiehler Gobelin
News from Wiehler Gobelin _______________ 2
Imprint ________________________________ 2
Symbolism in Embroidery
Spiritual Encounter ____________________ 3
Icons - Vessels of divine mercy _______________ 5
What is a symbol? ________________________ 7
The use and the role of symbols in Embroidery
Examples from antique embroidery samplers
and embroidered items of dowry ____________ 8
Embroidering Chakra Images-
Energy for heart and hand _________________ 12
Clothes make the man- About the power
of embroidered symbols on clothing __________ 18
Instructions
Gently protected by the still powers… ________22
Angels‘ Stole __________________________ 23
Picture Angel with Greeting ________________ 27
From Spring 2008 onwards a smaller number of
staff will be ensuring that you receive the popular
original Wiehler material sets in the usual good
quality.
For this reason with effect as from 15th February
2008 we will only be dispatching consignments
once a week instead of twice up to now.
Already at this point we ask for your understand-
ing if this change should lead to somewhat longer
delivery times.
However, we would like to offer you the oppor-
tunity to take advantage of delivery in the usual
time and quality between 15th January and 15th
February 2008 by offering you a 15 % restructuri-
sation discount.
Already in 2005 we announced the development
of the “Aurum Cordis Line”. “Aurum Cordis”
is the Latin translation for “Gold of the Heart”.
This expression describes an inner treasure that
humans can fnd if they set out to look for their fate
here on Earth. In order not to lose one’s way dur-
ing the search one occasionally needs signposts in
the form of “mirrors” in which one can recognise
oneself again as a whole.
Art has repeatedly produced such “mirrors”. The
images that appear in the “Aurum Cordis Line”
represent such “mirrors”. At present there are
seven images of the chakras – the energy centres
in the aura of the human body - which we would
like to introduce to you in this issue of the Wiehler
Magazine.
We hope that you will like them and feel a need to
start familiarizing yourself with them in the form of
embroidery.
In particular we would be pleased if we and
other embroidery enthusiasts may share in your
experiences gained during your work on these
pictures. If you would like to publicise them we
have provided a newly created blog system in this
magazine to help you communicate with us and
the other readers!
Yours
Jutta Böttcher
News from Wiehler Gobelin
WIEHLER MAGAZIN – December 2007 PAGe 2
When in January 2005 afer the sudden
death of my father I equally suddenly and
unexpectedly became proprietor of the
Wiehler Gobelin company, I felt the need
to save this small enterprise in order with
the help of the creative handling of picture
embroidery to make visible once again this
cultural treasure, with which I had been
familiar for many years but which appeared
to be disappearing due to the image of
embroidery as being an old-fashioned and
outdated art.
Only insiders – as many of our customers
are – appreciate this treasure, but otherwise
it remains hidden as it were behind a secret
door that frst needs to be discovered and
then opened.
Many suspect its existence, but it requires
decisiveness and patience to succumb to
the decelerating efect of using needle and
thread and to go out in search of it. At the
latest afer completing our frst icon – and
many of our customers who embroider
icons will confrm this – at the latest afer
completing this fne, symbolic work the
door is found, opened and a new dimension
behind it is discovered.
The treasure that can be found
here can perhaps best be descri-
bed as a “spiritual encounter”.
It affects the whole person and
changes something in that person.
We speak of this customer as one of
our “inspired persons”. Anyone who has
been able to have this experience becomes
addicted to it and cannot put the needle
down again. For such people the produc-
tion of fne petit-point work is most popular
because it shows the way to that inner door
via patience and concentration. In doing so
working on symbols plays an important role.
Recently I read in the book “Sacred Mir-
rors” by Alex Grey
1
an article entitled “In the
eyes of the artist” by the philosopher and
artist Ken Wilber who described in words
what icon embroidery can mean to our
customers.
In the article Ken Wilber describes three
diferent possibilities of perceiving our
world. People can observe it with the eyes
of their physical body that are developed
during the frst two years of life and become
aware of the material, sensually experienced
world. Tis sphere is perception is called
“sensibilia”. During the following 10 - 20
years of life the eye of the soul or intellect
is opened providing access to the world of
symbols, terms and words. Tis perception
level is termed “intelligibilia”.
In many people in the course of their lives
and the development of their souls a further
level can be seen thanks to the gradual
opening of the contemplative eye. Tis level
is called “transcendentalia” and grants the
seeing person the key to the infnite world of
spirituality and transcendence.
Te question that arises upon contem-
plating a work of art is that of the sphere of
perception from which the artist works and
which he wishes to open up to the observer!
If this question is already important on
regarding a work of art, e.g. a painting, what
signifcance will it then have for picture em-
broidery in which the art of the painter and
the artistry of the embroiderer are united
with one another! In the act of embroidery
the person immerses him- or herself in the
picture this time with all available senses
in quite a diferent way. An intensifcation
of perception through the sensory, haptic
handling of both the motif of the picture
and the colouring and texture of the thread
and fabric grant access in a special way for
the person working the picture onto the
fabric once again to the original view taken
by the artist at the time the picture was frst
created!
Ken Wilber continues to explain that the
European art of the past 1000 years served
as a perfection of the representation of the
“sensibilia”. Te development of perspectives
has given people a fundamental understand-
ing of the function of their real world. Tis
perfection of a representation that is true to
nature also penetrated sacral art. It made the
world of the Bible appear real and familiar
to the observer. It was not in the interest of
the Church to give rise via a depiction of the
intelligibilia or even the transcendentalia
Spiritual Encounter
We speak of this customer as one of our “inspired persons”. Anyone who has been able to have this experience
becomes addicted to it and cannot put the needle down again.
Christ before the High Priest Article No. 3542-5
WIEHLER MAGAZIN – December 2007 PAGe
to a notion of a world whose strict and sole
goalkeeper it was understood to be.
However, there have been some great
artists who were full of mystic power and
fantasy and through whose paintings their
insight into this spiritual world has been
manifested.
Also the early Christian icons were ex-
pressions of transcendence. In their highly
treasured “pictography or iconography” they
were and still are an expression of divine
power in human form. Tey therefore still
serve as the most exclusive purpose of art,
namely to be a bearer of meditation!
Just like many great works of art they have
originated from the view of the contem-
plative eye that is opened most clearly and
simply during meditation. At that moment
when the artist emerged from this condition
he became creative and depicted in his work
what he had “seen”. Tese works of art thus
became “sacred mirrors“ in which the ob-
server could see his own inviolable core and
experience him-/herself in contact with it.
And at this point the cycle closes in icon
embroidery – (even in the embroidery of
symbols on the whole). It is this secret of
spiritual encounter, a look in the mirror at
one’s own invulnerability, that is developed
stitch by stitch in patient embroidery.
Wiehler Gobelin has made it its aim to
prevent any of the hidden power being lost.
Its patterns were drawn by hand on our own
premises with the highest degree of care
and dedication. In this way we are passing
on to our customers what has been given to
us! Tis attitude is refected in the diligent
design of the patterns for the chakra images
in the Aurum Cordis line that have thus
become a benefcial refection of the energy
cycle of our difering physical levels.
Te production of such fne embroidery
patterns that are full of symbolic energy
means the creation of portals through which
in his/her work the person embroidering
can experience a unifcation with a level of
spiritual healing and bonding.
1
„Sacred Mirrors“, Te Visionary Art of Alex
Grey, 1990 Inner Traditions, Rochester, Ver-
mont, USA
These paintings therefore still ser-
ve as the most exclusive purpose
of art, namely to be a bearer of
meditation!
Madonna with Child Article No. 3729-8
in oklad, 19
th
century
Madonna of Kasan Article No. 3544-7
Russia 18
th
century
WIEHLER MAGAZIN – December 2007 PAGe
For us westerly thinking people the extent
of reverence that is shown towards icons in
the Orthodox Church is hard to comprehend
and understand. We are too accustomed to
approaching a phenomenon from a mental-
ly distant position, which elsewhere would
shock and transform the whole person from
the depths of his heart.
Let’s do it the way we are used
to and let’s approach from the
outside!
Icons are in general two-dimensional images
of Jesus Christ, the Mother of God and other
saints. Te picture can be made in the form of
murals (mostly egg tempera paints), portable
icons, embroidery, enamel-, ivory-, or metal-
work.
Te artist is restricted to strict rules in his
freedom of composition.
He follows a specifcally defned language
of colours and shapes. It is a very traditional
image based on originals past down from
ancient times.
Tese originals follow a certain typology.
Tat way one distinguishes, for example,
between diferent messages in the portraits of
the Virgin Mary, depending on her gesture:
The praying Mary
Mary raises her hands in an ancient gesture
of prayer (Orans position) and carries the
Christ child in a large locket at her breast.
His right hand is lifed up in the gesture of
blessing.
Mary showing the way or representing
(Hodegetria)
Here the right hand of the Mother of God
points at the child who is facing the viewer as
the image of a small adult.
Te prefguration of Hodegetria, which all
icons of this expression refer to, is said to
have arisen in an incredible way. It is ascri-
bed to the Evangelist Luke. When he collap-
sed in the middle of his work while painting
this picture, he prayed for help. His prayer
was answered and - so the story goes - the
icon completed itself. See picture: Madonna
rejoicing about her Child
The Maternal or Merciful Mary
In this version mother and child afectionate-
ly nestle cheek to cheek.
Te Merciful is very popular for domestic
icons. See picture: Madonna rejoicing about
her Child
The Enthroned Mary
Te Virgin Mary sits on a throne facing the
viewer and holds the child on her lap.
See picture: Madonna with Child, Page 6
Te strict reglementation in regard to co-
lour, shape and expression of the icon, which
still commits the artist today, originates from
the deep mystic meaning of the icon, not
from an artist’s sense of style for this kind of
adoration of saints.
Icons
“Vessels of divine mercy”
Madonna with Three Hands Article No. 3653-0 Madonna rejoicing about her Child Article No. 3715-6
Moscow, end 17
th
century
WIEHLER MAGAZIN – December 2007 PAGe
Te word “icon” goes back to the Greek
word “eikon” which means “image or coun-
terpart”. In order to that, the word already
refers to the counterpart of God in mankind,
which is an essential content in the Christian
message of salvation. Tis counterpart image
has its practical expression in the double
commandment of love: “Tou shalt love thy
neighbour as thyself ”, because in your neigh-
bour and in yourself God himself confronts
you.
God in his endless mercy reveals himself
in mankind itself. Trough Jesus Christ, his
son, the people on earth what it means, when
the divine word merges with the state of
human being.
As St. John says: “And the word was made
fesh, and dwelt among us, (and we beheld
his glory, the glory as of the only begotten
Son of the Father,) full of grace and truth.”
(St. John 1, 14)
It is this deep inner combination of
Holy Spirit and human being that
is disclosed in the “image” of the
icon.

Te making of an icon is a divine service.
It is deepest truth, the manifestation of one’s
inner self and a sensual experience of God.
It is communion brought into colour and
shape. Terein lies the actual reason for the
fxed place the icon has been given in Chri-
stian-Orthodox liturgy. For that reason there
is no requirement for exceptional artistic
skill in making an icon, but the willingness
to admit to a spiritual path.
Te preparation of prayer, fasting and me-
ditation helps to clear the mind, in order to
give space to the divine impulse that leads to
being expressed in the icon image.
Trough the composition of the icon the
artist comes into contact with the Divine in
himself.
All icons are fed from the one universal
source – that healing power that was ma-
nifested in Jesus Christ. Terefore all icons
refer in efect to Jesus Christ – even the pic-
tures of the Virgin Mary.
Just as Jesus Christ became manifested in
divine energy, this energy is materialised in
each icon that is produced in inner atten-
tiveness.
With this the picture becomes a vessel of
divine mercy that takes its special healing
power from the transcendental space that
was entered during its making, as well as
from the subsequent consecration and wor-
ship.
St. Basil the Great (archbishop of Caesars
in Cappadonia, died 379 B.C.) already said
that the “glory” of the icon that it takes from
“worship” refected the prefguration.
In composition and worship of the icon,
man steps into interaction with the Divine
that dwells in himself; this is made visually
comprehensible to him by the icon.
This explains the treating of the
icon as a “Sacred Object” in Or-
thodox church law.
For the Orthodox Christian the “divine
liturgy”, the heart of which is the Eucharist
celebration, is the most important form of
service.
Te Eucharist celebration, the “Lord’s Sup-
per”, is all about that event of transubstanti-
ation of material that also takes place while
making an icon. In the Lord’s Supper we par-
take of divine energy that has become fesh.
Te energy from the life-giving bread and
wine as an expression of the incarnated pre-
sence of Jesus Christ totally penetrates man
and ofers him the experience of “belonging”.
Terein lies the forgiveness of the “sin”, the
“detachment”.
In the festive ritual of the Holy Commu-
nion man in his entire imperfection, puts
himself into close contact with that divinity
that is present within him and is waiting to
be developed.
For this development a recurring deep
apprehension of the great truth is needed,
that surrounds all people, but is not always
perceptible in everyday life on earth. Tat
apprehension is the reward for self-refection
that can fnd its expression in the compositi-
on of an icon.
Te inner experience allows a look into
another world that is otherwise usually
closed to us. It is for this reason that icons
are also known as “windows to eternity”.
Madonna with Child Article No. 3560-9
WIEHLER MAGAZIN – December 2007 PAGe
Te original meaning of the word “symbol” as the “something
joined together” was derived in a pleasant way from the old ritual
whereby a guest bade his host farewell with a piece of a broken earth-
enware tablet or a ring. Te guest retained the other half. In case of a
possible reciprocal visit – perhaps also from friends or relatives of the
former host – the individual parts were pieced together again. Only if
the entirety of the broken piece was restored, could one be sure that
the present visitor was in the house on the recommendation of the
former host.
Te picture of the reinstated piece therefore conveyed more than
a thousand words of possible explanation, thus reliable clarity about
the nature of the visit. It meant that the guest had come with friendly
intent and was made welcome; so sociability, together with all its vir-
tues such as joy, warmth, sympathy, being there for others and many
more positive characteristics, had been recreated.
Also from today’s point of view the word “symbol” indicates an
initially fragmentary image of a whole that always bear in it a longing
for reunifcation. Tis longing demands that we remind ourselves of
the entirety via the encounter with the symbol.
Hugo von St.Viktor describes this task of the symbol in wonderful
words:
Te longing for the beauty of the invisible touches the soul and in-
cites unconscious powers to become visible once again.Te invisible
powers can also be understood as parts of a personality that – each
with his fragment of the earthenware tablet in his hand – in the
course of life have been strewn in all directions.
As this occurrence describes a universal truth for everyone we
fnd the representation of the “inner person” in the archetypes of the
legends, religions and teachings of wisdom in the world: King Arthur
and the twelve Knights of the Round Table, the twelve signs of the
zodiac, the wild perchtas who rampage around the house in the 12
Holy nights between Christmas and the Epiphany, but also the twelve
Apostles who focked around Jesus Christ as a symbol of the Holy
Unity.
If these powers are allowed to meet up again, a new entirety is
formed in the human being. It emerges again in its full beauty for
which mankind has longed. Te person can now consciously handle
those pieces that had long been forgotten.
In a particular way artistic work is suitable for deeply uniting one-
self with the power conveyed by the symbol. Artistic work demands
not only intellect but also and in particular sensuousness.
In this the slow, meditative art of embroidery has always played
a great role. In embroidery in convents it used to serve as a metho-
dof “ora et labora”, i.e. of immersing oneself through this activity in
meditation.
In meditation the contemplative eye of the human being opens and
links him with that invisible level from which the symbol gains its
power.
To embroider symbols therefore means more than the simple handi-
craf itself. Embroidering symbols means concentrating in the peace
and slowness of the fne work on something we wish to remember and
allowing it to develop its benefcial effect on life once again as in days
of old.
What is a symbol?
Also from today’s point of view the word “symbol” indicates an initially fragmentary image of a whole that al-
ways bear in it a longing for reunifcation.
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WIEHLER MAGAZIN – December 2007 PAGe 7
The Use and the Role of Symbols in Embroidery.
Examples from antique embroidery samplers and embroidered items of dowry.
By Elf Connemann
Te antique embroidery samplers of which
we are showing some particularly beauti-
ful examples here, have meanwhile become
almost forgotten objects of cultural value.
Tey have existed in Europe since the middle
of the 16th century and have played an im-
portant role in the lives of girls and women
over the centuries, in fact until well into the
19th century. Te embroidered symbols in
the samplers were their “language” through
which the ladies were able to articulate them-
selves for lack of other opportunities – they
were not intellectually educated!
However, before we explain the symbolic
language by taking a look at some wonderful
examples, we would frst like to deal with the
purpose of an embroidery sampler.
. Samplers are collecting and memorizing
cloths for embroidery patterns and tech-
niques.
. Young girls from the age of 5 to 15 years
“took note” of patterns and techniques
using needle and thread on linen fabric
in order to be able to embroider their
dowry with these at a later stage.
. A sampler is therefore a note cloth.
. It was part of the closest personal sphere
of women and accompanied them
throughout their lives. Who was to inhe-
rit the sampler was ofen even laid down
by will.
. Most of the time the sampler was careful-
ly put away. Tis helped as far as possible
to preserve the beautiful colours of the
naturally dyed silk threads that were used
for the embroidery. Te broken shades of
the natural colours are responsible, along
with other aspects, for the particular
charm of a sampler.
. Te embroidery motifs in the samplers
(and in the dowry) ofen had a certain,
mostly symbolic signifcance. For this
reason many patterns appeared time
and time again throughout the whole of
Europe over the centuries.
In the Southern German sampler dated 1763,
40x26 cm, two motifs/symbols that were
transferred to two richly embroidered parts of
a dowry, are of particular interest to us.
Te peacock can be found twice on the
showpiece towel dating from 1788 from Tu-
ringia, 150x60 cm, that was hung up on festive
occasions as wall decoration. Its symbolism:
Te peacock is an early Christian symbol of the
Resurrection and immortality, as its splendid
feathers renew themselves and its meat was
considered to be undecayable. Te “hundred
eyes” of the tail are the all-seeing Church and
the frmament. In the Christian faith the pea-
cock is therefore regarded as a bird of paradise.
WIEHLER MAGAZIN – December 2007 PAGe
Southern German sampler dated 1763, 40x26 cm Showpiece towel dating from 1788 from Thuringia, 150x60 cm
Te reclining stags (here with red antlers)
were transferred from the sample to a further
showpiece towel dated 1729 from Gotha/
Turingia, 140x50 cm. In Christian icono-
graphy the stag is a symbol of Christ who
slays the great snake (the devil) with Divine
water, i.e. the devil can resist the Divine
word just as little as the snake can resist the
water. Te stag, however, is also the symbolic
representation of the human soul that longs
for God. “As the hart panteth afer the water
brooks, so panteth my soul afer thee, O
God.” (Psalm 42). As the soul is likened to a
hart afer the water brooks, for God, thirsts,
the hart (old-fashioned term for stag) is also
a symbol of baptism. So whenever a baptism
was celebrated, this showpiece towel served
as festive wall decoration.
Te Hamburg Sampler dated 1746, 26x40
cm, shows as its main motif Adam and Eve
beneath the apple tree with the snake in the
Garden of Eden. Also there is a fagged ship
with anchor at the top lef corner.
Adam and Eve are portrayed on a splen-
did showpiece towel for a wedding in 1767,
170x60 cm, in the Lausitz. According to the
story of the Creation in the Bible they epi-
tomise the frst two human beings and the
frst married couple. Te stilting bird next to
them is not a stork as one would assume, but
a crane. Te white colouring of its feathers
are regarded as a symbol of purity, the red
head feathers a sign of vitality.
Te Ship was already known to the anci-
ent people many thousands of years before
Christ as a symbol of the “voyage of life”.
We fnd it with the Egyptians, Babylonians,
Greeks and Romans. Tey imagined a happy
Eternity to which the deceased were rowed
over by a divine ferryman. Apart from the
image of the Ship of Life for the individual,
Christianity also envisages the “Ship of the
Holy Church”. Te Church is the element
that conveys each of its children over to
Eternity. It sails across the sea of temporality,
defes all the storms and can never be shipw-
recked because its anchor lies frmly on the
bed of the sea just like the Christians stand
frmly in their faith.
Just as the whole dowry was embroidered
with symbols taken from the samplers, the
Ship of Life can be found on two very rare
pieces of linen on the topic of death. One is
embroidered under the date 1793, on a burial
gown in which the deceased was buried.
WIEHLER MAGAZIN – December 2007 PAGe
Showpiece towel dated 1729
from Gotha/Thuringia, 140x50 cm.
The Hamburg Sampler dated 1746, 26x40 cm
Adam and Eve on a showpiece towel
for a wedding in 1767, 170x60 cm
Te other can be seen as a fne cross-stitch
pattern on a shroud dated 1813, that hung
down from a roof beam during the laying out
of the deceased (in winter up to one week)
like a tent in order to protect the corpse from
insects and curious onlookers. On the Ship
of Life the mast together with one arm each
of the two human fgures forms the cross of
Christ. Te small dog travels along too as a
symbol of faithfulness and watchfulness.
From the richly embroidered sampler dating
from 1808/1809 from the Hamburg Elbe island
of Finkenwerder, 40x30 cm, two embroidery
motifs rest that can be found in two rarely
embroidery dowry itemsare of particular
inte: the Crucifxion scene on the top lef and
the unusual central motif of two bending
carnations in a vase with handle. (By the way,
here too we have two representations of the
Ship of Life).
Te unusual depiction of the Cruxifction
on the sampler can be found in absolutely
identical form on a cofn pillow dated around
1800: Jesus fanked by the two thieves, each
on the cross. Te embroiderer of the pillow
has only chosen diferent colours of threads
for the two motifs. As Finkenwerder was only
very sparsely populated around 1800 one can
assume that sampler and cofn pillow origi-
nated from one and the same household.
WIEHLER MAGAZIN – December 2007 PAGe 10
Ship of life embroidered on a burial gown, around1800 Embroidered sampler dating from 1808 from the
Hamburg Elbe island of Finkenwerder, 40x30 cm
Crucifixion on a coffin pillow, dated around1800
Shroud, dated 1813
In the leaves and fruits of the carnation the
Christian symbolism sees the nails with which
Christ was fxed to the cross. For this reason
the carnation is a symbol of the Passion and
is ofen found on pictures of the Madonna.
Te red carnation also means admiration:
true and passionate love, also relating to
marriage.
Apart from the colouring the picture of the
carnation has been transferred identically to
the cover of a prayer book which was only
embroidered in one corner; including the an-
gels as messengers of God; the stars, as light
of the world; and the symbol of love in the
form of two billing birds with a small heart
between them.
Te Danish sampler from 1761, 30x32 cm,
shows as its central motif a festively fagged
castle. Tis motif, that is ofen found in Nor-
thern Europe on samplers, symbolises the
divine Jerusalem, the city of God.
In the Danish decorative towel (wall deco-
ration) dated 1809, 105x32 cm, the Heavenly
castle can be seen twice; and next to each
of them the key to Heaven, an attribute of
the Apostle Peter who was given the “key to
Heaven” by Christ.
Tis is only a small selection of the sym-
bols on samplers and dowry items. You can
learn a lot more about it in a specialised mu-
seum that is unique throughout the world:
WIEHLER MAGAZIN – December 2007 PAGe 11
Danish decorative towel (wall decorati-
on) dated 1809, 105x32 cm,
The Danish sampler from 1761, 30x32 cm
Cover of a prayer book
(German Embroidery Sampler
Museum, Celle)
Collection Elf and H.-J. Connemann
The special museum records four cen-
turies of the social and cultural history
of women shown on the example of
a forgotten textile everyday culture:
embroidery samplers and everthing
that is connected with this feld.
An institution of the town of Celle
Palais im Prinzengarten
D-29223 Celle
Tel: 0049 (0) 5141 38 26 26
Fax: 0049 (0) 5141 38 26 38
www.stickmustermuseum.de
Opening times: 10.00 - 17.00 hrs
Closed on Mondays and Fridays
Winter holidays: 1
st
– 31
st
January
Guided tours for groups upon prior
booking
THE DEUTSCHE STICK-
MUSTER-MUSEUM CELLE
Embroidering Chakra Images - Energy for Heart and Hand
The Chakra - Energy Centres in the Aura of the human body
One associates with the term “chakra” from the “Sanskrit” ( = disc of energy or wheel) an ancient
Indian doctrine that has meanwhile spread throughout the world and represents, for example, the
basis of all yoga traditions.
With the content of the following text, I admit that I am putting your patience of remaining with me
to a hard test. But I promise you – it is worth while your time to take a profound look into an unusu-
al aspect of our lives.
WIEHLER MAGAZIN – December 2007 PAGe 12
Y
ou will discover that in this article there is a hidden invitation to
take part with your embroidery in an experiment, the relaxing
efect of which you will feel for yourself at the latest upon completing
your frst picture from the Aurum Cordis Line.
So – are you ready? Yes? Ten sit down comfortably and simply
imagine that your body, in which your soul has settled so well, is a
Chinese vase with lid!
Ten imagine that your soul has the desire to learn more about its
nature and the place where it is at home, to lif the lid of the vase and
to look at its surroundings. What do you think it would discover?
It could well be that it would be astonished to see how many of
these vase lids there are in the immediate vicinity. Some are probably
frmly closed, but it could be that in the case of the other vases the
lid is lifed and someone pops out. Te fascinating thing is, however,
that the mutual discovery of all those who risk a peep out of the vase,
are surrounded by a fne, transparent substance. It could be that this
substance sways to and fro with gentle movements so it looks as if it
were covered in fne rays of lights or has a grid-like structure.
But it is certain that it surrounds all the vase lids to
the same extent, holds them and joins them all toge-
ther.
Tose souls that dare to peep out of their shelter, will experience
something astonishing. Te discovering of being joined up with the
coatings of other souls in the form of each of their vase lids has a mo-
ving efect on you. Tey begin to rotate in your innermost self and to
move slowing in the same rhythm as their surroundings.
In turn, the rays of light in the substance surrounding them begin
in certain places to penetrate the coating of the vase and to shine
through it. Similar to the refraction of light on a prism via which the
otherwise not perceptible frequencies of white light in the colours
of the spectrum become visible, the outlines of the vases appear in
diferent sizes and colours. Te rigidity of the vase material becomes
sofer and more permeable. Gradually, a single movement arises from
the rotation of the surroundings and each of the wide open vases
and their inhabitants that – pleased about the connection with all the
others – follow the primeval pattern of motion of life and thereby get
to know the nature of their housing better and better. Te points at
which the rays of light began to penetrate through the coating of the
lid vases, are shown as wonderful, radiant wheels of light in diferent
colours. Te chakras are described as being just like that. Te word
“chakra” comes from the Sanskrit and means “wheel” or “disc”.
F
or a moment we leave the story of the vases and return to our
familiar idea of our body. Te chakras are energetic organs that
unite our physical body and its energetic refnements (etherical, astral
and mental bodies etc.) with the energetic substance that surrounds it
and everything that is alive. Depending on their position (fve along
the vertebrae and two on the head) the chakras have infuence on the
endocrinal glandular system, hormone activity, organ functions and
the circulation. As the refnements of our physical body are the ener-
getic image of our feelings and thoughts, we communicate these via
the chakras so to speak “online” to our energetic environment.
Embroidering Chakra Images -
Energy for Heart and Hand
WIEHLER MAGAZIN – December 2007 PAGe 1
Depending on their position (fve along the vertebrae and two on the
head) the chakras have infuence on the endocrinal glandular system,
hormone activity, organ functions and the circulation.
S
ensitive people whose “vase” is also already in the stage of light
penetration, can therefore very easily pick up the thoughts and
feelings of other people. But the opposite direction is also possi-
ble. Toughts and feelings can contribute towards the points at the
beginning of the rays of light being blocked at the lid of the vase.
Te connection to the energetic structure of the environment is thus
made difcult or is interrupted so that at this point congealment sets
in again.
Tis energetic environment that connects all vases or bodies with
one another, has been given diferent names in the doctrines of wis-
dom throughout the world: Breath of Life, Chi, Ki, Ether, Prana...
Tey all mean the same thing. Tey describe the never-ending
source of original energy of life, with which we are connected via our
energetic organs, the chakras.
Te more intensive we devote ourselves to the care of these organs,
the more harmonious they will rotate in the frequency of their life-
giving environment. Te further this harmony devel-ops, the more
penetrable and enlightened will be the formerly rigid coating of the
vase – to abide by this image.
Te energetic anatomy of our body with fully functioning energetic
organs in harmony with the rotational pattern of the “ether” is the
exact copy of the wholesomeness to which we can return by our own
power.

You will probably ask yourself “How”, “How does
that work?” “What could the care of the light organs,
the chakras, look like?”
As the existence of our energetic organs and the quality of their
wellbeing is ofen or even usually beyond our conscious perception,
recommendations such as the loud tones of an open “O” to relieve
chronic stomach ache, are strange to us. We would certainly feel a
lot happier with the familiar recommendation of a diet. Even if the
diet still remains an important contribution to healing on a physical
level, it is also important to undertake an energetic treatment of the
afected organ. Tis can be achieved by activating and harmonising
the relevant energetic organs, in the case of the stomach, the third
chakra.
In order to achieve an activation of this kind, there are many pos-
sibilities. One would be e.g. the above-mentioned acoustic method,
but prayers and meditation with the colours of the chakras have also
proved to be efective.
However, a further possibility would be to unite
oneself with the quality of the chakras on a symbolic
level.
As already explained in the article “What is a symbol?”, the symbol
is a bridge to an original entity that has a reminding function and to
which contact should be made.
By seeking the encounter with symbols of the chakra, the light or-
gans are reminded of their function of uniting to form a whole of the
feld of the original energy of life.
Tis approach has been practised since time immemorial so that an
abundance of colours, shapes, sounds and elements have always been
associated with the quality of each individual chakra.
Embroidery of symbols - our inner experience
We at Wiehler Gobelin would like to invite you to devote yourself to
the care of your energetic organs in the art of embroidery.
From the rich symbolic language for the chakras we have, in our own
creativity and attentiveness, developed an artistic, overall composition
for each chakra that will not make the choice so easy for you!
So what happens when you are embroidering – what makes it so spe-
cial to embroider a symbol such as the image of a chakra?
On this topic we had an interesting conversation with the anthropo-
sophically trained artist and art therapist, Philemon-Sophia Hoepf-
ner-Jordan. She reported to us that within the framework of childhood
education at a Waldorf School (pedagogy according to Rudolf Steiner)
cross-stitch is taught most consciously at the pre-adolescent age of ap-
prox. 10 years. Te sewing of the crossing stitches creates a picture on
the material that is regarded as being connected with the likewise cros-
sing movement in eurhythmics. Te aim is to bring to the minds of the
children the act of centring themselves both via movement and via the
encounter with the image on the fabric and to make it possible to ex-
perience this in a physically sensuous way. Tis training helps to form
the self-energies that – in the opinion of the Waldorf teachers – should
be developed particularly at that age so that the following detachment
processes can be easily mastered during puberty.
So you can now embroider from a quite diferent perspective!
Embroidering Chakra Images -
Energy for Heart and Hand
WIEHLER MAGAZIN – December 2007 PAGe 1
O
ur customers also report on the centring that they experience
when embroidering our pictures. Te exact counting out of the
stitches demands such concentration that in doing so they feel they
are holding communion with themselves.
Te fabric becomes the mirror into which one’s own sensitivities
are worked out of a meditative mood. Ofen enough the next day, just
like a look in the mirror, one can recognise one’s emotional condition
the day before by the type of stitching, by the frmness of the embroi-
dery etc. Tis contemplation of the result is important because it frst
makes the unconscious become visible.
In addition, the sensuous experience of the colours, the feeling of
the textures of the fabric, the encounter with the pictorial elements
during the long production process unite the embroiderer with the
level that cannot be grasped mentally. Te person is moved as a
whole.
Tus an inner connection evolves with an energetic level from
which the power of the symbol – in this case of the chakra – retroacts
and can develop its healing efect on the concrete levels.
Ofen a response of this kind to a picture is already shown in the
choice of picture not being made through understanding but purely
intuitively.
For this reason we would now like to invite you to engage in inten-
sive contemplation of the following pictures of the chakras and then,
in a second step, to read in more detail about their meanings.
WIEHLER MAGAZIN – December 2007 PAGe 1
1
st
Chakra - Base Chakra
Location of the Chakra
Between the perineum and the anus
Dedicated gland system
Adrenal glands
Powers of awareness
Self-confdence as an established member of a group
Central themes
Security, stability, grounding, survival
2
nd
Chakra - Sacral Chakra
Location of the Chakra
Sacral bone area
Dedicated gland system
Gonads, testes, ovaries
Powers of awareness
Emotional interaction with the outside world. Te individual experiences their
emotional constitution with regard to external pulses
Central themes
Sexuality, creativity, enjoyment of life and sensuality, creative vitality
3
rd
Chakra - Solar Plexus
Location of the Chakra
Lumbar vertebra
Dedicated gland system
Pancreas
Powers of awareness
Discovery of personal power as an expression of beginning individualisation.
Connection of externally active powers such as assertiveness and personal power
with inner values such as human warmth and compassion. Link to the Heart Chakra.
Central themes
Self-esteem and self-confdence, empathy and sensitivity
4
th
Chakra - Heart Chakra
Location of the Chakra
Toracic spine
Dedicated gland system
Tymus gland
Powers of awareness
Awakening of spiritual powers; discovery of the power of forgiveness
and unconditional love
Central themes
Love, humanity, compassion, afection, feeling of security
Embroidering Chakra Images -
Energy for Heart and Hand
WIEHLER MAGAZIN – December 2007 PAGe 1
5
th
Chakra - Throat Chakra
Location of the Chakra
Larynx area, cervical spine
Dedicated gland system
Tyroid gland, parathyroid
Powers of awareness
Intermediatory centre between thought and emotion. Groundedness;
personal powers; compassion for oneself and others have developed to such
an extent that we have more courage to show and express ourselves
Central themes
Communication, faculty of speech, one‘s own thruth, independence
6
th
Chakra - Brow Chakra
Location of the Chakra
Above the root of the nose between the eyebrows, in the centre of the forehead
Dedicated gland system
Pituitary gland
Powers of awareness
Intellect and soul are brought together by perception of our world of inner
images, leading to deeper insight and wisdom
Central themes
Intuition, wisdom, improved perception, imagination
7
th
Chakra - Crown Chakra
Location of the Chaka
Cranial roof at the apex of the head
Dedicated gland system
Pineal gland
Powers of awareness
Te gif of pure awareness which fows into human nature via the opening
of the Seventh Chakra, resulting in enlightenment
Central themes
Spirituality, experience of unity, self-realisation, enlightenment
Embroidering Chakra Images -
Energy for Heart and Hand
WIEHLER MAGAZIN – December 2007 PAGe 17
WIEHLER MAGAZIN – December 2007 PAGe 1
Clothes make the man
About the power of embroidered symbols on clothing
Te well-known author and expert in as-
trological geomancy, Harald Jordan, writes in
his book “Clothes – Protection and Strength”
“Everything in human life is con-
nected whit one another and also
a spiritual cultural history is visible
in the basic patterns of clothes”
Just like interior design is similar to the
design of our third skin, our innermost self
becomes visible in the type and style of our
clothing.
Clothes are therefore a means and expressi-
on of our individuation process. Tus the
choice of fabric, colour, shape, cut and orna-
mentation! deserves to be made with special
care.
In accordance with the physical laws of
vibration a faster vibration gives rise to a
slower one and the rougher frequency is
improved by a higher vibrating one. Every
person transmits a personal frequency that
has its infuence through its development
and the way in which the person organises
his life. However, he always responds to his
environment to which he reacts with changes
in his vibration, but on which he has a chan-
ging infuence in return.
With this in mind, the strengthening ef-
fect that individually designed and crafed
clothing has on its wearer and also on the
people who observe him becomes clear.
Seen in this way the sentence „Clothes
make the man“ has a double meaning. In-
dividually designed, carefully crafed and
style-consciously worn clothing envelops the
wearer in a certain dignity that on the other
hand is perceived by the environment that
reacts to it and lends the wearer a certain
aura.
So much the more important is therefore
the choice that is made for a certain type of
clothing! It is a message that is transmitted
and received at many conscious and uncon-
scious levels. Taking these determined facts
into consideration one can imagine what
efect many a destructive symbol on a T-shirt
can have not only on its wearer, but on the
atmosphere in his environment.
In complete contrast to this is the moving
power of the hand-embroidered symbol on
an also handmade robe.
Te knowledge about the fne efect of
clothing has been widespread for a very long
time. Te efect has been consciously put to
use by the rulers of the world as a demons-
tration of their position and power as well
as of their own inspiration. In this way they
were able to demonstrate their infuence by
having endlessly precious fabrics processed.
Apart from basic materials made of velvet
and silk, the clothes were embroidered in
sophisticated techniques with gold and silver
threads, with pearls and wonderful precious
stones that in turn contrib-uted their very
specifc radiance towards underlining the
personality of the wearer.
Gloves of Emperor Friedrich II.
© Kunsthistorisches Museum Vienna
WIEHLER MAGAZIN – December 2007 PAGe 1
A particularly impressive example of a
precious robe ornamented with a deeply
symbolic representation is the “Coronation
Robe of the Holy Roman Empire” that is still
exhibited today in the Kunsthistorisches Mu-
seum in Vienna.
It was produced between 1133-1134 A.D. in
Palermo by Arabian embroidery artists in
the royal workshops of the Norman King Ro-
bert II. (1113-1154) as a ceremonial robe and
later passed on to the Staufers and Habs-
burgs. Pearls, rubies, spinels, sapphires, gar-
nets, glass and vitreous enamel were worked
in with gold and silk embroidery onto red
patterned, scored silk (Samit).
Although there is still no fnal scientifc
interpretation of the deep meaning of the
symbols on the Coronation Robe, one thing
seems to be sure: the Saracen embroiderers
and design artists were highly educated and
wise men. Tey knew what they were doing.
Tis robe was to be worn in a coronation ce-
remony in which knowledgeable people with
connections to the highest ranks (no matter
what there names were!) were to be appoin-
ted into ofce and with whose power they
were able to change the world at that time. It
was absolutely vital to all subjects that it was
not earthly greed and primitive longings for
power that motivated their rulers, but that
these were guided in their decisions by Divi-
nely inspired wisdom.
Thus they intended that during the
coronation ceremony the greatest
radiance of the Coronation Robe
was combined with the power of
the ritual and that this should be
conveyed to the wearer of the robe –
increasing the personal vibration
of the future ruler – for the benefit
of all those concerned
Coronation Robe of the Holy Roman Empire
© Kunsthistorisches Museum Vienna
WIEHLER MAGAZIN – December 2007 PAGe 20
Te symbolism on the robe appears to
indicate a deep transformation process from
the un-knowing human being to a Divinely
awakened being. All the depictions on the
Coronation Robe bring the polarity of the
human being to the fore, the combination of
which leads to that condition of arousedness
which for a ruler by the grace of God was to
be the basis of his whole life and deeds.
When the robe was laid around the shoul-
ders like a cape and closed in the middle
with a clasp across the chest, the embroi-
dered representation of the Tree of Para-
dise or the World Tree (a great ash tree at
the centre of the universe and joining the
nine worlds of Norse cosmology) arising
from its roots in the ground and with its
crown creating the connection to Heaven,
was displayed across the back of the wearer.
Te World Tree is a symbol of the human
being who thanks to his backbone is able
to walk upright, who is the only being in
God’s creation to have his feet frmly on the
ground and who can be aware of his Divine
origin via his mental development. From the
Arabian source of the embroidering artists
it appears that for the representation of the
Tree of Paradise on the Coronation Robe a
palm tree was the inspiration. Its trunk truly
reminds us of the individual vertebrae. By
the exact positioning of the picture on the
actual backbone of the wearer of the robe the
expression connecting it with the World Tree
is emphasised in its full signifcance. Te
„World Palm Tree“ on the Coronation Robe
stands in the centre of the representation
with which it again becomes clear how im-
portant it was for the artists to crown a ruler
in this costly robe who was aware of his gifs.
Te vertical aspect of the tree emphasises the
vertical orientation, the leaves reaching out
to the sides and the horizontal represent the
reclining lion. In this way the Cross is sug-
gested, whilst the vertical aspect symbolises
the already described awareness process, and
the horizontal indicates the deeds of man-
kind in the world.
Te leaves of the Tree give the impressi-
on of ferns that are unfurled and pointing
upwards i.e. towards Heaven. Tere are six
of them that are crowned by a leaf directed
at the top vertebra. Te neck and head of the
human being rest on this vertebra and there-
fore the seat of mental energy that enables
his release from his detention on earth, even
during his lifetime. So altogether there are
seven leaves. On the other hand the Holy
number “seven” indicates the seven-fold
integration process as is e.g. known from the
Indian chakra teachings.
Two leaves with sevenfold artisti-
cally fine veins running through
them are hanging down and
pointing to the earth which em-
phasises once again that spiritual
superelevation can just as much
lead to a downfall as one-sided
bondage with the earth. No matter
has strong the mental knowledge
is, one should always keep one’s
feet firmly on the ground. Heaven
and earth should have a mutual
effect on people!
On the wings of the robe there are lions
that are resting on camels. Te depiction of
double lions is known and traditionally indi-
cates the double nature of mankind who just
as much bears the seed of God in him as that
of the ominous opponent. As a searching
spiritual being mankind faces the challenge
of being aware himself of these conficting
powers in him and of gaining inner victory
over them.
Tree of Paradise
© Kunsthistorisches Museum Vienna
WIEHLER MAGAZIN – December 2007 PAGe 21
Interesting is the relation to people in the
depiction of the lion that is produced nume-
rologically via the clearly visible fve claws of
the lion as well as via the fve-fold plumed
tassel on the tail of the lion. Five is regarded
as the number of the human being who is
active in the world thanks to his four limbs,
whereas the head as ffh power determines
the way in which this infuence is exercised.
One could assume that the lion would kill
the camel. But he is resting on it and already
has laid a paw around the neck of his possib-
le victim. However, similar to in many pic-
tures of St. Michael, in which the archangel
with his spear bans the wild earthly powers
in the being of the dragon - but does not kill
it – here too the camel as a possible sym-
bol of wise earthly powers and great earthly
wealth is dominated – but not killed.
Te lion as a symbol of the energy of the
sun and of power proves to be truly regal as
it turns the strength of the camel into spiritu-
al knowledge and integrates it in itself.
Te enamel octagons appliquéd to the
heads of the lions can be a further symbol for
the way of spiritual knowledge that leads to
the superelevation of matter. Te octagons
are formed from a crossing of two squares.
As the square counts as a form of matter and
of the earth, its doubling into an octagon
indicates the simultaneous existence of an
inner transforming di-mension in the exter-
nally visible world – i.e. here too an indica-
tion of the symbol character of our reality
itself! Within these octagons a further eight
small felds are formed. Numerologically the
number “eight” stands for transformation.
It describes the step in another dimension.
A beautiful picture of this is the counting
of our weekdays, whereby Sunday is both
the eighth and therefore the last day of the
week as well as the frst day of a new week.
A transformation of this kind is also seen
in Baptism. For this reason many baptismal
chapels were built in the shape of an octagon.
The future ruler should act from
this higher level of awareness in
order to lead his subjects in wis-
dom and goodness and to protect
the whole political system from
harm.
Te costly Coronation Robe is therefore
a unique, wonderful “symbolic piece”, a
connecting link to an enlightened entirety
that one would wish upon a “being similar
to God”. Shrouded in this power the future
ruler in the Coronation Robe received a
kind of consecration during the coronation
ceremony in order to remind himself of his
Divine nature and to tread the path of inner
knowledge.
Source of the quotation at the beginning of
the text:
Harald Jordan: “Clothes – Protection and
Strength”, 2005 published by AT-Verlag, Euro
19.90 (only in german language available)
One wing of the Coronation Robe
© Kunsthistorisches Museum Vienna
Enamel octagon to the heads of the lions
© Kunsthistorisches Museum Vienna
WIEHLER MAGAZIN – December 2007 PAGe 22
Afer we have told you so much about the
benefcial efect of embroidering symbols we
would now like to invite you, of course, to
try it out for yourself.
For this reason we would like to make two
wonderful designs available to you free of
charge complete with material description
and working instructions.
Te Wiehler Company would have liked
at this stage to publicise an icon pattern or
a pattern for the chakras, but the wealth of
detail and the diverse colour shades do not
allow a qualita-tively satisfactory representa-
tion of the pattern in pdf-format. Should you
wish to embroider an icon or an image of a
chakra, we would like to draw your attention
to our webshop under the Internet address
www.wiehler-gobelin.com through which
you can order the patterns in the original
form with the corresponding material set.
At this stage we would like to wish you
great pleasure in producing the picture of a
Heavenly messenger as they are likely to be
around in great numbers at this time of year.
Te angel that can be worked in cross-stitch
is bound to pass on to you the gif of leisure
and relaxation as you concentrate on the fne
shades. May it be your constant benefcial
companion for the company year 2008!
A very special work is that of producing a
meditation stole following a design by Mrs.
M.J. Karbig of Atelier Karbig, the workshop
for artistic paramentics.
Te warm, orange colour of the silk and
the matching embroidery shades strengthen
the in-nermost being. Cosily enveloped by
this colour and the precious warming mate-
rials lined with fne wool, it is easier to cen-
tre oneself. Anyone who ofen sits in stillness
knows from his/her own experience how
pleasant it is to have something warming
around one’s shoulders.
Te stylised angels’ wings on the stole
hover around the person meditating. Tey
make it clear that our heavenly companions
on earth are always with us. Tey are already
there. We do not need to do anything else
than to engage with their presence in order
to meet them in daily life. Te embroidered
representation on the stole is there to re-
mind you of this and to envelop you, as the
person meditating, in this certainty.
Two projects to try and injoy free of charge

Gently protected by the still powers…
Meditation Stole Angels‘ Stole
Design: Frau M.J.Karbig /Atelier Karbig
Nr. 4786-3 Picture Angel with Greeting
cross-stitch 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe 2
Angels‘ Stole
© 2007 Atelier Karbig, Maria Jeanette Karbig
WIEHLER MAGAZIN – December 2007 PAGe 2
Angels‘ Stole
© 2007 Atelier Karbig, Maria Jeanette Karbig
Making the „Angels‘ Stole“
Design: Maria Jeanette Karbig, Atelier Karbig
WIEHLER MAGAZIN – December 2007 PAGe 2
Material
Basic embroidery fabric : approx. 1.38 x 2.10
m (iridescent Dupion silk, fnished measure-
ments of the stole: approx. 1,00 m x 2.00m)
Untreated cotton
1,20 m x 2,10 m
Lining
1,40 m x 2,10 m
(thin new wool)
Pearls
4 types of Rocailles pearls matching in co-
lour (2mm – Gütermann or on the Internet)
Various shades of sewing thread (matching
in colour to the pearls – Gütermann)
2 m pearl fringes (matching in colour with
the basic fabric – on the Internet: www.
paillettenshop.de)
1 skein of Japanese Lumi yarn No. 12 (red-
dish gold)
Sewing thread (matching in colour to the
golden thread – Gütermann)
8 shades of Anchor embroidery twist
Square embroidery frame with rail width of
1 m
(tapestry frame in which the fabric is sewn)
Needles with point in various thicknesses
Scissors
Tin transparent paper 120 cm x 70 cm
Iron-on pattern pen
) Preparation
1a) Please enlarge the pattern to the original
size of 95 cm x 47 cm (best go to a copy
shop). Trace the pattern onto the gene-
rously chosen transparent paper.
1b) Carefully draw the traced pattern on the
reverse of the transparent paper with the
iron-on pattern pen.
Take a separate piece of fabric and make
a small ironing sample so that you are
sure that the pattern can be ironed-on
easily. Otherwise repeat stage 1b.
Place the transparent paper with the pat-
tern in position on the basic fabric and
fx it at pattern intervals and at the edges
with knob pins so that it cannot slip out
of position.
Place the iron on cotton and iron the
pattern gradually onto the fabric (similar
to the procedure with stick-on patterns).
2) Stretching the fabric in the embroidery
frame
Connect the basic fabric and the cotton
fabric with long machine stitches so that
the cotton fabric overlaps on the long
sides by 10 cm in each case.
Fold this overlap down and fx with
the machine. Tis edge will be used to
mount the fabric in the embroidery
frame.
Ten attach the basic fabric to the roller
fabric rails at the top and bottom of the
embroidery frame. Te stretching of the
fabric is achieved by turning the rollers.
In order to bring tension into the basic
fabric on both sides of the embroidery
frame, a thick, sturdy cotton thread
(tension cord) is wrapped around the
vertical rail at intervals of approx. 4 cm
through each overlapping cotton strip
and knotted.
Do not stretch the fabric too tightly or
too loosely. Te stronger you pull the
embroidery thread, the stronger you
should stretch the frame so that the
fabric cannot be warped by the stitches.
2) Einspannen des Stoffes in den Stickrahmen
Verbinden Sie den Stickgrundstoff und den Nesselstoff durch lange Maschinenstiche, so dass an
den langen Seiten der Nesselstoff jeweils 10 cm übersteht.
Diesen umklappen und mit der Maschine festheften. Dieser Überhang wird zum seitlichen
Spannen des Stoffes im Stickrahmen benutzt.
Danach heften Sie den Stickgrundstoff an die Walzen-Stoffleisten oben und unten des
Stickrahmens fest. Die Spannung des Stoffes wird durch die Drehung der Walzen erzielt.
Um eine Spannung des Stickgrundstoffes auf beiden Seiten des Stickrahmens zu erreichen, wird
ein dicker, stabiler Baumwollfaden (Spannkordel) im Abstand von ca. 4 cm durch den
beiderseitig überstehenden Nesselstreifen um den vertikalen Holm gewickelt und festgeknotet.
Spannen Sie den Stoff nicht zu fest und nicht zu locker. Je stärker Sie den Stickfaden ziehen,
desto stärker sollten Sie den Rahmen spannen, damit sich der Stoff nicht durch die Stiche
verziehen kann.
3) Die Stickarbeit:
3a) Jeder Flügel wird in einer der vorliegenden Farbschattierungen gestickt.
Beginnen Sie mit den Konturen der Flügel, die im Stielstich ausgeführt werden.
®
Stader Strasse 32
D-21614 Buxtehude
Postfach 1662
D-21606 Buxtehude
Telefon 0 41 61/8 20 88
Telefax 0 41 61/8 54 39
WI EHLER
GOBELIN
Gobelin- und
Weitere Nadelkunst
Zum Selbermachen
The stronger you should stretch the frame so that the fabric cannot be warped by the stitches.
WIEHLER MAGAZIN – December 2007 PAGe 2
) Te Embroidery
3a) Each wing is embroidered in one of the
chosen colour shades.
Begin with the contours of the wings that
are to be worked in stem stitch.
Ten the wings are decorated with a gold
thread or pearls alternately each with the
matching sewing thread. (See picture at
the bottome of the page)
3b) Te gold thread is fxed with an overlock
stitch onto the basic fabric:
Explanation: The overlock stitch is a special
technique for fabric (e.g. Japanese gold)
that itself cannot be pulled through the
embroidery fabric as it would then be
destroyed. In order to affx the material, an
auxiliary thread is needed.
First sew on a golden yellow double sew-
ing thread (auxiliary thread) invisibly at
the spot at which you intend to begin the
golden thread.
Te beginning of the golden thread
should be pulled through the basic fabric
with a thick, pointed needle so that a
short end of the gold thread remains be-
low the basic embroidery fabric. Lay the
gold thread on the basic fabric in such a
way that it can be easily sewn by overlock
stitch next to the line of stem stitch at
regular intervals (approx. 3-4 mm).
Sew the sewing thread invisibly below
the gold thread.
When the embroidery is completed, cut
the gold thread of at approx. 3 cm and
pull it with the thick, pointed needle into
the embroidery fabric base.
3c) Te pearls are af xed onto the basic
fabric using a matching double sewing
thread with a stem stitch that matches in
colour.
4) Te fnished embroidery is steam-ironed
on from the wrong side before rolling
up or out the fabric. Do not loosen the
tension until afer this and embroider the
other end of the stole as described. Te
arrangement of colours and fabrics can
vary according to taste.
5) Cut the fnished stole to the right size (1m
x 2 m ) plus seam allowance. Cut back
the cotton fabric on the reverse possibly
as far as the embroidery.
Sew on the pearl fringes to the short top
sides of the embroidery fabric; the fringes
should show inwards.
Tack on the lining right side to right side.
Af x this from the top side of the fabric
along the seam of the pearl fringes and
along both long sides of the fabric.
Leave a short slit open to turn inside out.
Steam-iron the edges and close the slit.
List of suppliers:
Japanese Lumi yarn
Atelier Karbig
Philipp-Orth-Str. 14, D-53909 Zülpich,
Tel.: (0049) (0) 2252 / 833232
Anchor yarn
Firma Wiehler Gobelin
Stader Str. 32, D - 21614 Buxtehude,
Tel.: (0049) (0) 4161 / 82088
Pearls
Firma Gütermann Creativ,
D - 79261 Gutach
Tel.: (0049) (0) 7681 / 210
Pearl fringes
Internetshop: www.paillettenshop.de
2) Einspannen des Stoffes in den Stickrahmen
Verbinden Sie den Stickgrundstoff und den Nesselstoff durch lange Maschinenstiche, so dass an
den langen Seiten der Nesselstoff jeweils 10 cm übersteht.
Diesen umklappen und mit der Maschine festheften. Dieser Überhang wird zum seitlichen
Spannen des Stoffes im Stickrahmen benutzt.
Danach heften Sie den Stickgrundstoff an die Walzen-Stoffleisten oben und unten des
Stickrahmens fest. Die Spannung des Stoffes wird durch die Drehung der Walzen erzielt.
Um eine Spannung des Stickgrundstoffes auf beiden Seiten des Stickrahmens zu erreichen, wird
ein dicker, stabiler Baumwollfaden (Spannkordel) im Abstand von ca. 4 cm durch den
beiderseitig überstehenden Nesselstreifen um den vertikalen Holm gewickelt und festgeknotet.
Spannen Sie den Stoff nicht zu fest und nicht zu locker. Je stärker Sie den Stickfaden ziehen,
desto stärker sollten Sie den Rahmen spannen, damit sich der Stoff nicht durch die Stiche
verziehen kann.
3) Die Stickarbeit:
3a) Jeder Flügel wird in einer der vorliegenden Farbschattierungen gestickt.
Beginnen Sie mit den Konturen der Flügel, die im Stielstich ausgeführt werden.
®
Stader Strasse 32
D-21614 Buxtehude
Postfach 1662
D-21606 Buxtehude
Telefon 0 41 61/8 20 88
Telefax 0 41 61/8 54 39
WI EHLER
GOBELIN
Gobelin- und
Weitere Nadelkunst
Zum Selbermachen
Danach werden die Flügel im Wechsel mit einem Faden Gold oder Perlen mit dem jeweiligen
farblich passenden Nähgarn verziert.
3b) Der Goldfaden wird mit dem Überfangstich auf dem Stickgrundstoff befestigt:
Erklärung: Der Überfangstich ist eine spezielle Technik für Materialien (z.B. Japangold),
die selbst nicht durch den Stickgrund gezogen werden können, da sie zerstört werden würden.
Um das Material zu befestigen, wird ein Hilfsfaden benötigt.
Danach werden die Flügel im Wechsel mit einem Faden Gold oder Perlen mit dem jeweiligen
farblich passenden Nähgarn verziert.
3b) Der Goldfaden wird mit dem Überfangstich auf dem Stickgrundstoff befestigt:
Erklärung: Der Überfangstich ist eine spezielle Technik für Materialien (z.B. Japangold),
die selbst nicht durch den Stickgrund gezogen werden können, da sie zerstört werden würden.
Um das Material zu befestigen, wird ein Hilfsfaden benötigt.
The wings are decorated with a gold thread or pearls alternately
Vernähen Sie zunächst unsichtbar einen goldgelben doppelten Nähfaden (Hilfsfaden) unmittelbar
an der Stelle, wo der Anfang des Goldfadens sein soll.
Der Anfang des Goldfadens wird durch den Stickgrundstoff mit einer dicken, spitzen Nadel
eingezogen, so daß ein kurzes Ende des Goldfadens unterhalb des Stickgrundstoffes verbleibt.
Legen Sie den Goldfaden so auf den Stickgrundstoff, daß er leicht neben der Stielstichlinie im
Überfangstich in gleichmäßigen Abständen (ca. 3-4 mm) aufgenäht werden kann.
Vernähen Sie den Nähfaden unsichtbar unter dem Goldfaden.
Am Ende der Stickerei schneiden Sie den Goldfaden ca. 3 cm ab und ziehen ihn mit der dicken,
spitzen Nadel in den Stickstoffgrund ein.
3c) Die Perlen werden mit einem farblich passenden doppelten Nähfaden auf den Stickgrundstoff
zu dem farblich passenden Stielstich festgenäht.
4) Die fertige Stickerei wird vor dem Ab- bzw. Aufrollen des Stoffes mit Dampf von links
gebügelt. Anschließend erst die Spannung lösen und das andere Ende der Stola wie beschrieben
besticken. Dabei kann die Anordnung der Farben und Materialien ganz nach Belieben variieren.
5) Die fertig bestickte Stola auf das richtige Maß (1 m x 2 m) plus Nahtzugabe beschneiden.
Den Nesselstoff auf der Rückseite evtl. bis zur Stickerei zurückschneiden.
Die Perlenfransen auf die kurzen Stickgrundoberseiten aufnähen; die Fransen zeigen dabei nach
innen.
Den Futterstoff rechts auf rechts festheften. Diesen von der Oberstoffseite her auf der Naht der
Perlenfransen und an beiden Stofflängsseiten festnähen.
Einen Spalt zum Verstürzen offen lassen.
Die Kanten dämpfen und den Schlitz schließen.
WIEHLER MAGAZIN – December 2007 PAGe 27
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
Anchor Garn / Anchor floss 1 Docke = 1 Skein
d 1. rotbraun No. 880 = 1 Docke b 1. blaugrau No. 926 = 1 Docke
j 2. rotbraun No. 881 = 1 Docke m 2. blaugrau No. 397 = 2 Docken
s 3. rotbraun No. 336 = 1 Docke x 3. blaugrau No. 398 = 1 Docke
o 4. rotbraun No. 337 = 1 Docke f 4. blaugrau No. 399 = 1 Docke
q 5. rotbraun No. 339 = 1 Docke r 5. blaugrau No. 400 = 1 Docke
ü 6. rotbraun No. 1014 = 1 Docke
u 7. rotbraun No. 1015 = 1 Docke
p 1. gelbbraun No. 891 = 1 Docke y 1. grün No. 875 = 1 Docke
c 2. gelbbraun No. 890 = 1 Docke ö 2. grün No. 876 = 1 Docke
v 3. gelbbraun No. 309 = 1 Docke z 3. grün No. 877 = 1 Docke
i 1. steinbraun No. 1007 = 1 Docke e 1. Fleischfarbe No. 4146 = 1 Docke
w 2. steinbraun No. 936 = 1 Docke k 2. Fleischfarbe No. 1008 = 1 Docke
l weiss No. 1 = 2 Docken t graugrün No. 849 = 1 Docke
ä Gold = Ophir No. 300 = 1 Spule / Spool
Two projects to try and injoy free of charge
Vom Himmel hoch…
WIEHLER MAGAZIN – December 2007 PAGe 2
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe 2
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe 0
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe 1
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe 2
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm
WIEHLER MAGAZIN – December 2007 PAGe
Nr. 4786 – 3
Vom Himmel hoch…
Kreuzstich/Cross-stich
Grösse/Embroidery ca. 16x31 cm

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