Flowers of the Needle, Volume II
Tagliente, Giovanni Antonio
Esemplario Nuovo,1531

A Garden of Delightful Designs forNeedlework, Gathered from the Most
August and Ancient Books Writ upon The
Excellency of the Needle; with which You
may Devise and Work Most Beautiful andGlorious Works in Various Kinds ofEmbroidery, which shall bear Witness toYour Industry and Skill.

Compiled and Annotated by
Mistress Kathryn Goodwyn, OL(C. Kathryn Newell)
And Newly Reissued In this Form in 2012

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Esemplario Nuovo, 1531INTRODUCTION
The title Esemplario nouva.. pubished in 1531 translates to “New Exemplar ofWorks…” The rest of the run-on title refers to teaching young ladies how to sew anddo needlework. Mention is also made of how the patterns are of use to other artisans.
Tagliente’s text is the longest of all of the books contained in this work. I only wish
his text conveyed some lost secrets of 16th century needlework. Unfortunately, itconsists mostly of the usual fulsome compliments and overly flowery prose. This isvery natural given that these publishers most likely had to please their wealthy
and/or noble patrons of these arts.
What is interesting is that Tagliente mentions men and boys sewing andembroidering. He may have been referring to professional guild members who wereoften male.
Regarding needlework materials, Tagliente mentions yarns as well as silk and gold
threads. When referring to metal threads he says “drawn silver and gold”. “Drawn”
usually means “wire”. The metal threads are made by pulling the silver or gold
through a metal plate with a hole that is the required size.
Again, as in Zoppino, there is reference to “Moorish Knots and Arabesques” in thevarious interlacing patterns. Tagliente suggests these techniques can be used to work
names, cyphers, or verses.
The first pattern page is one of supposedly easy knots and patterns. In his final pagesof instructions he explains the simple process of over-and-under to achieve theinterlace effect. If a needleworker studies his page and tries to reproduce the designs,
he promises s/he will be able to work the increasingly intricate patterns shown laterin his book.
Following this instructional pattern pages is a page with roundels. Inside of one is adrawing of a unicorn. The accompanying verse below describes the myth of a

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unicorn’s horn being used to purify poison; in this case a small lake that has beenpoisoned by a serpent.
There is some basic information in his instructions to those wishing to learn to draw
their own patterns. Some are quite obvious, as in learning to draw something simple
before progressing to something more intricate.
Tagliente lists a number of stitches, most of which begin with the word “punto”.
“Punto” literally means “point”. This is a term I have seen most usually utilized inlace, whether needle lace or bobbin lace. I assume it refers to the needle used. The
terms which stand out as most familiar are “punto croceato” meaning “cross stitch”,“punto a filo”, meaning “filet” (net darning) and “punto scritto”. This last is one
name used for what we now call double-running, but it isn’t the only name used in
the 16th century for that stitch.
Modern embroiderers know that by changing the sizes of stitches and threads one
can easily change the size of a design. Tagliente also mentions this. It is nice to knowthat modern stitchers are carrying on such a long tradition!
Following the page with the unicorn design are several pages of “Moorish” style
designs. The page following that has narrow bands of designs. I am not sure of theapplication, as these are so narrow. The band with fruit trees also contains bannerswith wording. One interesting band has naked ladies, leaning on skulls, withhourglasses. This motif and its variations were often used in medieval andRenaissance paintings to remind one of how Time Flies, and one should enjoy youth
while it lasts. The band below that shows a topless lady suckling babies while many
more babies gambol about. In Italian art, this is often a symbol of “Charity”.
Some familiar plates (previously seen in Zoppino) follow which include scrollingdesigns, double running stitch with the usual acorns, and some fretwork. There isthen an amazing design with the initials “I.H.S.”. The left arm of the H is pulled up
into a simple cross. There is a great deal of scrolling designs all over the motif. Thescrolling, at the intersection of the arms of the cross, creates a fylfot or “good”
swastika. This is a very ancient symbol, seen all over the world in various cultures
and time periods. I find it startling that it shows up in such a religious context. I
would also point out that this is one of the very few examples of overtly religious
designs in the entire work.
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The pattern section of Tagliente’s work ends with some charted designs, many ofwhich were previously seen in Zoppino’s book. There is then a puzzling design of afierce turtle biting a laurel wreath. I am sure this would have meant something topersons of the time period, but I am truly at a loss to know what it symbolized.
The very last plate is one showing a variety of artists’ tools for drawing or
manufacturing patterns, even to the scissors used to cut paper. Tagliente describes
large works done in polychrome silk, silver with gold, or all sewn with black silk(especially for men or women’s collars), partlets, stomachers, etc. These last twoterms are for small articles of clothing used as “fill ins” for the front part of an outfit.
He assumes many know how to use a stylus (pen), and if they didn’t they shouldhave a designer draw the design for them. Tagliente mentions that his work canteach men great and small who might like to learn to draw, as well as craftsmen. His
opinion is that everyone should have some knowledge of drawing.
Modern stitchers can use photocopying, tracing paper, or mirrors to turn designs intoborders, enlarge or reduce the size of patterns. Paper folding is mentioned as a way
in which one can take a part of a pattern and repeat it, or turn a flat pattern into a
circular one for a roundel. The process of prick-and-pounce is also described here.
One uses a quill to draw the design on paper, then punch the design lines on thepaper with a needle and rub with pouncing powder through the holes. The result is aline of dots which one then connects using a pen or pencil to copy the pattern.
Tagliente seems to assume that the needleworker or wishful artisan who purchases
his book already had a working knowledge of certain skills. This is most likely why
there are no descriptions of techniques.
The book ends with “Printed in Venice by Giovanantonio and the Brothers da Sabbio,
1531 on the First day of December”.

-Kathryn Goodwyn, 2011

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