GREEK EMBROIDERY 17th-19th Centuries

Works of Art from the Collections of the Victoria and Albert Museum

ANGELIKI HATZIMIHALI FOUNDATION

GREEK EMBROIDERY 17th-19th Centuries

Works of Art from the Collections of the Victoria and Albert Museum

Texts

Tatiana Ioannou-Yannara

This catalogue is published in conjunction with the exhibition Greek

Embroidery 17th to 19th Century, from the collections of the Victoria
& Albert Museum and the Benaki Museum, Athens
held at the Benaki Museum- Pireos Street Annexe, Athens from 12 April to 28
May 2006, organised by the Angeliki Hatzimihali Foundation in co-operation with the Benaki Museum and also at The Hellenic Centre, London from
13 October to 16 November 2006, organised by The Hellenic Centre with the
support of the Angeliki Hatzimihali Foundation.

Sponsorship of the London Exhibition has been provided by:

The A. G. Leventis Foundation

Stavros S. Niarchos Foundation
Additional support has been provided by The Hellenic Foundation,
Lykion ton Hellinidon, UK and those who wish to remain anonymous.
The organisers would like to thank the Benaki Museum and especially the
Director, Professor Angelos Delivorias, for their generous co-operation
and assistance.
Published by the Angeliki Hatzimihali Foundation.

Texts:

Publication design:

English translation:

Concept:

Alexandra Doumas

Vassilis Zidianakis

Photographs:

Layout:

Tatiana Ioannou-Yannara

V & A Picture Library: Cat. nos. 5, 7, 9, 10, 14, 15, 19, 21, 22, 23, 26,
27, 33, 34, 40, 58, 64, 65, 66, 69, 70, 71, 72, 73, 76, 77, 79, 80, 81, 83, 84,
85, 86, 87, 88, 90, 91, 94, 95, 96, 97, 99, 100, 101, 102, 103, 104, 106, 107,
109, 111, 112, 113, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125,
126, 127, 128, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141,
142, 144

Leonidas Kourgiantakis: Cat. nos. 1, 2, 8, 12, 17, 18, 20, 24, 25, 28, 29,
30, 31, 32, 35, 36, 37, 38, 39, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52,
53, 54, 55, 59, 60, 61, 62, 63, 67, 68, 74, 75, 78, 82, 89, 92, 93, 98, 108, 110,
114, 129, 143

Gerasimos Skiadaressis: Cat. nos. 3, 4, 11, 13, 16, 145

Costas Manolis: Cat. nos. 6, 56, 57, 105

ATOPOS

Leonidas Poulopoulos
Production
COLORNET
printing:

Ballidis Petros

ANGELIKI HATZIMIHALI FOUNDATION 2006

All rights reserved. No part of this publication may be reproduced or transmitted

by any means, electronic or mechanical, including photocopying, recording,
or information retrieval system, without permission from the publisher.

Co-ordinating editor:

Xenia Politou

ISBN: 960-87697-2-8

Contents
Preface
7
Foreword
8
Introduction
9
Epirus
Ionian Islands

10
38

Greek Mainland

54

Sporades and Trikeri

86

Northeast Aegean

106

Cyclades

118

Dodecanese

154

Cyprus

194

Crete

202

Catalogue of works

235

Bibliography

296

298

n 2001, I was surprised to learn from the then president of the Lyceum
Club of Greek Women in London, Eleni Vlassopoulou, that there are
about one thousand two hundred embroideries from all over Greece in
the storerooms of the Victoria and Albert Museum. Indeed, anyone of
my compatriots not familiar with such matters would be surprised, as
very few are initiated into the secrets of the contents of museum storerooms,
in Greece and abroad. My interest was honed even further when I learnt that
these historical works of art have never been exhibited. So, when I was
asked whether the Angeliki Hatzimihali Foundation would be interested in
organizing an exhibition of these embroideries in Athens, as well as in
London, I accepted the proposal without hesitation, on the condition of course
that the V & A would agree to it as well.
The exhibition was a challenge for the Foundation established in 2000, as
the Board was eager to organize an important event such as this to mark the
fortieth anniversary of the death of Angeliki Hatzimihali. We are confident that
she herself would have loved the idea. Nevertheless, we had to ask ourselves, as I imagine every visitor to the exhibition or reader of the catalogue
will do, what would be the connecting link between the embroideries in the V
& A and the Greek folklorist. In the end we selected from the V & As collections the most important embroideries originating from places that Angeliki
Hatzimihali had visited and studied. Thus, the public has the opportunity of
seeing these significant works, while at the same time following Angeliki
Hatzimihalis travels and researches in Greece, from Epirus to the
Dodecanese, from Thrace to the Mesogeia, and from Thessaly to Ikaria.
In the exhibition the embroideries from the V & A are complemented by a
large number of examples of Greek needlework from the collections of the
Benaki Museum, so as to give the visitor an overall picture of this art, which
flourished in Greece from the sixteenth into the nineteenth century.
It took us four years to prepare the result presented today. The collaboration between all those who worked to mount the exhibition and to produce the
catalogue was close and fruitful. I wish to thank in particular Eleni
Vlassopoulou, without whom the exhibition would never have taken shape;
the Director of the Victoria and Albert Museum Mark Jones and all his colleagues; the Director of the Benaki Museum Professor Angelos Delivorrias
and the Assistant Director Irini Geroulanou; the Benaki Museum representative responsible for the exhibition Xenia Politou; the Executive President of
the Hellenic Centre in London Stamos Fafalios and his collaborators; and of
course the tireless curator of the exhibition Tatiana Ioannou-Yannara, who
was in fact a collaborator of Angeliki Hatzimihali.

Plato-Alexis Hadjimichalis
President of the Board of the Angeliki Hatzimihali Foundation

he idea of the exhibition Greek Embroidery 17th-19th Centuries

Works of Art from the Collections of the Victoria and Albert
Museum was conceived when Alexis Hadjimichalis assumed the
presidency of the Angeliki Hatzimihali Foundation and Board of
the Foundation decided to honour the memory of the folklorist
Angeliki Hatzimihali with this event. For forty years we have been waiting
impatiently for the publication of Angeliki Hatzimihalis important miscellaneous writings to commence. The endeavour to continue her work on the
basis of present needs both for research and to rescue the wealth of Greek
tradition is an obligation to her studies, concern and toil.
The idea of organizing this exhibition on the art of Greek embroidery was
precious for me personally.
My friend Eleni Vlassopoulou, President of the Lyceum Club of Greek
Women in London, from the first moment collaborated closely and supported
us in our contacts with the Victoria and Albert Museum. Her desire that this
exhibition take place and her assistance in every difficulty were not only
touching but filled me with joy.
Our first visit to the directorate of the Victoria and Albert Museum and to
the Curator of the Department of Textiles, Jennifer Wearden, was instructive
as to the possibilities of working in the museum. I wish to thank Ms Wearden
for her interest and for providing information on the museums rich collection
of Greek embroideries.
Studying and classifying the embroideries that would represent every corner of Greece in the exhibition was no easy matter. Sadly, I was obliged to
omit important pieces and I shall remain with the sorrow that it was not possible to bring more than 49 embroideries from the V & A to exhibit in Greece.
There was discontinuity in the historical course of the art of embroidery
some of the most representative pieces are voluminous and heavy, others
are badly damaged and the transporting of them was ruled out. Fortunately,

the Director of the Benaki Museum, Professor Angelos Delivorrias, permitted

us to exhibit the embroideries I selected from the Athenian museums collection, in order to fill in the gaps as far as possible. I am most grateful to him
for his understanding and contribution.
Irini Geroulanou, member of the Board of the Foundation, was most
encouraging, offering her help and advice with verve and vivacity, particularly regarding the organization of the exhibition.
I wish to thank also everyone at the V & A who helped in mounting this
exhibition, in particular Clare Brown, Jennifer Weardens successor, for her
untiring efforts to solve organizational problems, David Packer, registrar, for
his constant support, as well as Lynda Hillyer and Susana Hunter, from the
conservation department.
Warmest thanks are due to my friends Youla Riska and Kate Synodinou,
personnel of the Benaki Museum, for their boundless assistance. I owe much
to Stamatis Zannos for his highly sensitive presentation of the embroideries
in the exhibition space.
I am grateful too to Benaki Museum photographer Leonidas Kourgiantakis,
and to Efi Bertsia who typed the Greek texts for the catalogue.
Sincerest thanks go to Vassilis Zidianakis and his team at ATOPOS for
their collaboration on designing and producing the catalogue, with vitality and
expressive flair, enabling us to take a fresh look at the embroideries of Greek
tradition.
Xenia Politou was an indefatigable helpmeet from the moment she undertook the secretariat and the co-ordination the exhibition. I thank her from the
bottom of my heart for her input to the project.
The words thank you are not enough to express to Alexis Hadjimichalis
my feelings on being entrusted with this task, which is for me the restitution
of a debt to my beloved mentor Angeliki Hatzimihali.
Tatiana Ioannou-Yannara

Introduction
The beginnings of embroidery in Greece lead us to excavated finds from
Antiquity. Although climatic conditions here are not favourable to the preservation of old textiles, in contrast to the case of the Egyptian tombs (14th century BC), a few examples shed light on the kind and the course of embroidery
in the ancient Greek world.
E.J. Barber, in her research on prehistoric textiles, analyses the stages
in the development of cloth: of the painted textile and the decoration woven
on the loom, which pre-date embroidered textiles.1
The earliest examples of excavation finds, such as the fragments that
Orlandos brought to light from the Pitsa Cave near Xylokastro, attest that two
stitches present in earlier finds from Egypt exist in the pieces from Pitsa,
which are dated to the sixth century BC.
Apostolaki2 classes the embroideries found in excavations dating up to
the time of the Arab conquest of Egypt in four categories:
1. The stem stitch, arose from knowledge acquired first through sewing
skins and later textiles. Stem stitch covered in repeated rows large parts of
the design that was drawn on the textile in ink. It was also used to embellish
loom-woven motifs.
2. Chain stitch (alysida or alysidi in Crete, kasinaki in Macedonia, pontos cardinella in Corfu) is a complex stitch because every time the needle
enters the textile the thread passes under the needle, to create a loop on the
surface of the textile. It requires holding the textile in a certain way with the
left hand, and stitches of equal size in order to achieve neat embroidery.
On embroideries from Egypt, as well as those from Pitsa, the Crimea,
Palmyra and elsewhere, chain stitch covers the design, spiralling in dense
rows. More rarely it exists on the outlines of motifs (as on the garments of the
hunter-nobleman in the embroidery from Lefkada no. 20).3 A variation of chain
stitch occurs on an embroidery from Palmyra, where the thread is not twisted or barely twisted and one stitch after the other splits the thread, in this way
covering better the ground of the textile (as on the embroidery from
Cephalonia no. 25).4 On the embroidery from Palmyra there are various variations of chain stitch, as Apostolaki also mentions.5
3. Counted embroidery, that is xobli or xobliasto, which is executed by
counting the threads of the ground of the textile, of the direction depending
on the design, the straight line of which would be destroyed by the slight deviation of just one thread of the warps or of the weft, as Apostolaki completes
the description of the stitch.6 She obviously means the stitches running or
back stitch,7 double or single, and the darning stitcth, double or single, (as
e.g. in the Naxian embroideries nos 88-91 or on the broad-leaf pattern (platyphyllenio) in the Dodecanesian embroideries nos 102, 103, 112, etc.), which
continued the tradition to the present day.
4. The couched embroidery, known from the chrysoklavarika embroideries as kavaliki or karphoto.8 This is executed with two threads, one follows
the design drawn on the surface of the textile, while the other very fine thread,

passed through a needle, pricks the textile and holds the first thread in place.
Such embroideries (with gold wire), which are the most artistic and the most
perfect in technique, are encountered in all periods from the fourteenth to the
nineteenth and the twentieth century.9 This technique is applied to textiles
stretched taut on a frame, in order to remain stable.
On the robe of Tutankhamen we also find a decoration with beads or
other tiny ornaments, corresponding to the sequins used on traditional costumes. The beads and so on were affixed to the textile with knots formed by
the thread passing through the hole in the centre. Researchers believe that
all the decoration executed in the aforementioned stitches is influenced by
Syrian and Aegean designs.
In the Crimea some variations of the stitch we call back stitch have
been found, as well as the double darning stitch and a variation of it which
creates openings in the textile, as the thread draws together the threads of
the ground of the textile. The knots seen in Egypt have also been found. Last,
the full stitch has been identified on an embroidery from Pantikapaion in the
Crimea (5th-3rd c. BC), on the hem of a chiton worn by an embroidered
Amazon.10
Apostolaki records some stitches (with reservations) from embroideries
of the fourth to the ninth century, which are variations of herringbone. These
stitches are known today as Byzantine or herringbone, Cretan fishbone or oriental, which when densely worked is called Cretan feather stitch. She notes
three variations of looped stitches, that is open buttonhole stitch, which when
worked in horizontal rows, one above the other, is also called crossed buttonhole stitch. She also records three decorative stitches, all variations of
stem stitch. Each one has a different local name today.
Concurrently, of interest are the geometric designs, leaves, flowers,
birds, animals, etc., and the similarities these subjects display to many corresponding ones that continued through Byzantine and Post-Byzantine
embroideries, to be imprinted in Greek traditional embroideries. At the same
time, subjects and designs known from the palatial finds at Knossos, continued through the centuries and attest to the outstanding power of tradition,
such as the so-called Maltese cross11 from the garment of Tutankhamen,
which comes to meet with the symbol of Christianity and continues to be
imprinted on the bed tents (sperveria) of Rhodes. The symbolism also continues to allude to the same meaning and content for centuries. One example, I think, suffices: birds symbolized chastity and fertility, both in 1400 BC
and in the most recent traditional embroideries.
More information is available for Byzantine embroideries, mainly imperial
and ecclesiastical items, or even the garments of dignitaries. Little is known
about the embroideries that embellished the clothes or the houses of ordinary
people. Testimonies come mainly from descriptions or exhortations, such as
of John Chrysostom, for people to do away with opulent attire, excessive cosmetics and expensive finery.12
In Byzantium the Christian faith formulated the symbols that social life
embraced, while concurrently the pagan symbols lived on in the mores and
customs. Communications and transactions with the peoples of the East and
with Egypt continued. It is clear that each Greek place formed its own local
habits, according to its contacts (commercial and other), and these are
reflected also in the embroideries.
From the time of the Crusades onwards people come into closer contact with the West. The Greeks, used to living at a crossroad of civilizations,
were once again open to innovations. Although some influences are imprint-

ed in embroideries too, life remained under the influence of oriental tradition:

innovations were assimilated and reworked, and incorporated in their own
preferences.
The customs associated with marriage, for example, which were
formed in the Byzantine Age, influenced folk embroidery. The nuptial ceremonial, as elaborated in different places, was continued without deviation by
all. Thus the bridal costume (nyphostoli)13 had a special place in the life cycle
and the preparation of the dowry began from childhood for girls. The bride
and the bridegroom wore luxurious costumes and precious jewellery, the
bridal bed (pastos) was adorned with elaborate and opulent embroideries as
well as with flowers.14 The decoration of the pastos reflected the economic
status of the family. The guests should be present at the wedding rite (crowning) and the wedding celebrations dressed in wedding costume.15
Frequently the families could not afford this outlay and ended up borrowing
garments and jewellery.16
Through the pages of the catalogue we get to know embroideries that
adorned the houses and the costumes on festive days (weddings, Christian
feasts, name days, etc.). We get to know the influences as well as the inventiveness, the aesthetic sensitivity of the women who with outstanding artistry
and accomplished technique, love and knowledge, produced uniquely beautiful and delightful embroideries.

See Barber 1992.

See Apostolaki 1956.

See Apostolaki 1956, 20. This stitch is encountered in many traditional embroideries
and particularly those from Constantinople.

See also no. 24.

See Apostolaki 1956, 20.

See Apostolaki 1956, 21.

In traditional embroideries this stitch was used on the seams and more rarely in the
embroidery.

See Hatzimihali 1952, 44 with full description of the manner of execution of this stitch
in Byzantine and Post-Byzantine times.

See Hatzimihali 1952, 43.

10

It is very difficult to identify all the aforementioned stitches with the corresponding
ones used in traditional embroideries. One should perhaps experiment by copying
them on cloth in order to reach some conclusions.

11

See Barber 1992, 162.

12

and I beseech that there be no gold hanging from the ears and lying around the
hems and the necklines, nor hanging in the chamber, nor golden robes and luxurious
objects., PG 62, column 145.

13

See Koukoules 1951, 91-92.

14

See Koukoules 1951, 90.

15

See PG 62, column 541.

16

See PG 62, column 390.

9

10

EPIRUS

The central subject of the wedding scene, the bride

flanked by her relatives. An excellent example of the
painterly rendering of the subject, which is characteristic of Epirot embroideries. Detail of cat. no. 1, p. 236.

12

Figures on horseback, companions of the bridegroom.

Details from the representations of a wedding scene,
cat. nos 4 (left) and 2 (right), pp. 236-237.

The central subject of the wedding scene, the bride

flanked by her relatives (left) and a detail of the partridge (right), cat. no. 3, pp. 236-237.

Anthropomorphic and zoomorphic filling motifs, cat.

no. 5, p. 237.
16

235


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A- 1986
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1999
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2004
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1956
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1969
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. -, , 1986.
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. -, , 1990.

1984
. . , , 1984.

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1951
. , , , 1951.

1964
, 9 ,
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Bossert H. T., Ornamente der Folkskunde, Tbingen 1949.
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. -, , 1980.

296

1960
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- - 1966
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1888
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(.), 1888.
1993
, , 1993.
1994
. , , 1994.
1988
. , (12111669), . , 1988.
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S. L. MacMillan, Greek Islands Embroideries: Museum of Fine Arts, , .

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