18th Century Iriſh Stitch

This style of embroidery presently goes by several names, including bargello, flame stitch, Florentine stitch, Hungarian stitch, and Irish stitch — which appears to be a common name in English for the style. Elizabeth Sandwith Drinker’s journal describes several embroideries made in Irish stitch, including her 1759 bible. Additional examples:

“And I give to my Daughter J.D. my Iriſh-ſtitch Chair and Stool that I worked, and my two fine long Cuſhions work'd and caſed, and my square one of Iriſh-stitch …” — Excellent Precedent of a Will in Sir Orl. Bridgman's Conveyances, 1725

“And as his Wife has lately opened School, this gives Notice to thoſe who may be willing to favour her with the Education of their Children, that they may be aſſured ſhe will uſe her beſt Endeavours to inſtruct them; ſhe alſo teaches Iriſh-ſtitch and Lace-work …” — The South-Carolina Gazette, July 13, 1747

“TAKEN out of the houſe of John Franks, tobacconiſt, in Second-ſtreet, Philadelphia, on Saturday the 18th of December, an Iriſh ſtitch pocket-book …” — The Pennsylvania Gazette, December 30, 1756

“Ruth Jones Hereby informs the Publish, that She intends to open a SCHOOL the 20th of March inſuing, in Pitt Street, where ſhe will endeavor to Teach young MISSES all the various Arts and Branches of NEEDLEWORK, namely, Needle Lace Work, Needle Work on Lawn, Flowering with Cruel, working Pocket Book with Iriſh Stitch, drawing and working of Twilights, making of Letters, and plain Sewing, &c.” — New-Hampshire Gazette, March 9, 1770

Embroideries worked in this style exist from the 16th and 17th centuries, and the style underwent a renaissance in the 1970s (and, thanks to embroiderers like Paul Bailie, may be undergoing a new revival).

This page focuses on 18th century flamestitch embroideries, and is organized by the type of embroidered item. Irish stitch patterns vary considerably — such as zig-zags, ogees, and carnations — and sometimes combinations of multiple styles on the same piece. In general, the stitches are all in one direction, and often (though not always) have a sort of ombré effect that suggests blending and depth.

I find that Bargello embroidery produces a fairly dense, thick textile with a weight resembling an upholstery fabric, which is excellent for applications requiring a hard-wearing textile, but not so good for applications requiring a lightweight or translucent decoration.