Bath wrap or sash of hand woven linen embroidered with silk and metal thread in double darning on the diagonal. There is a narrow band worked with metal thread along the lower end. The upper edge of the decorative border is marked by a fine line.
The decoration is formed by four off-set bands, each containing two floral motifs. One of a fine vertical green stem with small leaves and a large, drooping pink carnation with a gold centre. Below the carnation head is a small pink flower, possibly a cyclamen. The other motif is of a fine vertical stem curving slightly at the top with a serrated pink and green leaf growing to one side from its base. The stem bears nine small flowers outlined in red.
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| - Bath wrap or sash of hand woven linen embroidered with silk and metal thread in double darning on the diagonal. There is a narrow band worked with metal thread along the lower end. The upper edge of the decorative border is marked by a fine line.
The decoration is formed by four off-set bands, each containing two floral motifs. One of a fine vertical green stem with small leaves and a large, drooping pink carnation with a gold centre. Below the carnation head is a small pink flower, possibly a cyclamen. The other motif is of a fine vertical stem curving slightly at the top with a serrated pink and green leaf growing to one side from its base. The stem bears nine small flowers outlined in red. (en)
- We do not know whether this border is from a bath wrap or from a sash. A bath wrap was a large cloth made from three widths of fabric. People who visited the <i> hamman</i> (public baths) would wrap them round their bodies when they rested after bathing. People wore sashes round the waist and tied them so that the decorative ends hung at knee level.
From about the 1720s onwards Ottoman embroidery stopped copying woven designs and became a truly creative art form. Designers introduced new, lifelike floral decorations, many of which were very detailed. They allowed some floral decorations to sway and sweep across the fabric. Some were stylised. All decorations were worked in soft colours often enriched with metal thread. The colours of many 18th century embroideries were originally very bright but they have faded to pleasing pastel shades. (en)
- Bath wrap or sash of hand woven linen embroidered with silk, Turkey, 18th century. (en)
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| - Bath wrap or sash of hand woven linen embroidered with silk and metal thread in double darning on the diagonal. There is a narrow band worked with metal thread along the lower end. The upper edge of the decorative border is marked by a fine line.
The decoration is formed by four off-set bands, each containing two floral motifs. One of a fine vertical green stem with small leaves and a large, drooping pink carnation with a gold centre. Below the carnation head is a small pink flower, possibly a cyclamen. The other motif is of a fine vertical stem curving slightly at the top with a serrated pink and green leaf growing to one side from its base. The stem bears nine small flowers outlined in red. (en)
- We do not know whether this border is from a bath wrap or from a sash. A bath wrap was a large cloth made from three widths of fabric. People who visited the <i> hamman</i> (public baths) would wrap them round their bodies when they rested after bathing. People wore sashes round the waist and tied them so that the decorative ends hung at knee level.
From about the 1720s onwards Ottoman embroidery stopped copying woven designs and became a truly creative art form. Designers introduced new, lifelike floral decorations, many of which were very detailed. They allowed some floral decorations to sway and sweep across the fabric. Some were stylised. All decorations were worked in soft colours often enriched with metal thread. The colours of many 18th century embroideries were originally very bright but they have faded to pleasing pastel shades. (en)
- Bath wrap or sash of hand woven linen embroidered with silk, Turkey, 18th century. (en)
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