A Single Thread. Tracy Chevalier
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And with Mabel, I expect. Is she having you sort wool? It’s best if you hold it in the natural light. That’s why Mabel was sorting it on the sill. Didn’t she say? Honestly, she’s hopeless! And her embroidery! I shouldn’t point fingers, as mine’s nothing special. Let’s just say there’s a reason Mabel gets assigned to the cupboard so often. Did she or Mrs Biggins explain the blues? No? You’d best have a look at what I’m working on; then you’ll understand better.” From a bag at her feet she pulled out a rectangular frame with canvas stretched across it. “I’m making a kneeler for the presbytery. Nothing fancy – not like the choir cushions.”
“What different things are being made?” Violet interjected, already exhausted by her new friend’s patter.
“Biggins didn’t tell you? Of course not – she’ll never tell you anything so practical, she’ll just assume you know it. The first thing we began working on was the kneelers for the chairs near the altar in the presbytery, like this.” Gilda patted the embroidered rectangle. “There are to be hundreds of them eventually. These are all variations on a theme – a sort of mediaeval-style knot in the centre, circular, with flowers or geometrical shapes in them, set on a background patterned in blue with crosshatching or zigzags. Miss Pesel says we are always to use at least three shades of blue for the background, to give it texture. Those are the blues you’re sorting – four there, so when making a kneeler you choose three of the four. Then there are borders, made up of red or brown and cream or yellow squares or rectangles, and the corners have little motifs. They’re not too difficult to make, and there’s a surprising amount of variety in stitch and tone, so that they feel individual but are harmonious when all together. Miss Pesel is a genius designer.”
Violet nodded, wondering if she would get to meet the genius.
“Then there are two types of cushions – stall seat cushions, which are smaller ones for the seats along the back of the choir; and bench cushions, which will be much longer. The bench cushions and some of the seat cushions will have a series of medallions in the centres that Miss Sybil Blunt is designing. She is a friend of Miss Pesel’s – she just does the designs, so you won’t see her much at these meetings. The medallions are to be scenes from English history, with a Winchester twist. So there will be kings who have ruled here or are buried here or have connections here, like Alfred and Canute and Richard the Lionheart, and one of King Arthur. And there will be famous Winchester bishops like Wykeham and Beaufort and Wodeloke.”
“Are there any women?”
“Wives. Emma and Mary Tudor. In terms of embroidery style, the history medallions will be a mix of large stitches and petit-point using finer wool and silk, and which require more skill. Only the more experienced broderers will work on them. The rest of us will fill in the backgrounds and borders. Miss Pesel has done the top of one of the history cushions to show us what we’ll be aiming to make. Would you like to see it?”
Violet nodded.
“Biggins will have stored it in the cupboard in the hall, I expect. You go back to your sorting and I’ll fetch it.” She pulled out two hanks of blue from the bundle. “Here’s your third and fourth blues.”
Violet stared. “They look the same to me.”
Gilda laughed. “Once you’ve worked with them for months you become intimate with each shade.” She winked as she hurried away.
Violet studied the wool, straining to distinguish between the different tones of blue. She closed her eyes for a moment, and thought about a drawing class she had taken several years before in Southampton. She had gone with a friend, who married the next year and disappeared into that life, keen not to be reminded by Violet of her previous surplus status. As they scraped their pencils over rough drawing paper, their teacher – a genial man who’d lost an arm in the War (“Not the drawing arm, mind – thank God for His small mercies”) – told them to be like soldiers and close the mind while opening the eyes.
It had made Violet wonder if Laurence had done that – followed orders and stopped thinking on the battlefield. There was no information about how he died, no account from his commanding officer or fellow soldiers, no small details (“He made the men smile with his imitations of the Kaiser”) or strong adjectives or adverbs (“Lieutenant Furniss fought bravely alongside his comrades and played a major role in defending the territory gained”). Perhaps the officer had written too many of those letters that day and had run dry of uplifting phrases and superlatives. Or maybe no one had seen what happened to Laurence Furniss: he was one of hundreds of British soldiers who died at Passchendaele on the 1st of August 1917. Presumably he had done nothing out of the ordinary; dying that day wasn’t special. Although no one said, Violet heard afterwards about the terrible mud there, and wondered if he had simply got stuck in it and become an easy target.
One evening at the drawing class the regular teacher was absent and a woman took his place for the evening. Her style was very different: while she set up the usual still-lifes of fruit and bottles and glasses, she had them draw quickly, then move around the room to another easel and draw quickly again, and again, then go back to their original easel and spend an hour on the drawing. Violet was not sure what she was meant to learn – that things looked different from different angles, she supposed. It made her want to go outside and smoke.
The new teacher prowled behind them, stopping to peer at their drawings and make comments – few of them complimentary. Violet tried to block the sound of her voice, retreating deep inside her thoughts. She heard her name being called from a distance, but only when a hand was waved in front of her barely-begun drawing did she listen.
“Miss Speedwell, what are you thinking of?”
“My brother,” she replied, surprised into honesty. George had had some words attached: “noble effort”, “stalwart in the face of enemy fire”, “died bravely defending the most sacred values of this country”. She could repeat these phrases because her mother had done so often over the years, sucking every drop of comfort from them until they were dry and meaningless as sticks.
“Stop thinking about him,” the teacher commanded. “He is not here.” She gestured at the still-life. “You should be thinking of nothing more than where the highlight is on the apple, or how to achieve the glassiness of the bottle. Your entire focus should be on what you are looking at – let the rest drain away. It will make for a better drawing – and it will be a relief to you too, to remain in the moment, not to dwell.” With these last words she gave Violet permission to set George and Laurence aside for the evening. She made her best drawing that night, and never felt the need to go back again.
Now, with the blue wools to sort, she tried to bring back that feeling of extraneous thoughts draining away to leave her vision clear. It was remarkable how much was knocking about inside her brain: curiosity about what Gilda was going to show her; anxiety that she would not be able to wield a needle well enough to embroider anything for the Cathedral; rage at Mrs Biggins for taking such satisfaction in belittling the workers; shyness at trying to find a place amongst all of these women who already knew what they were doing; concern that no one would even notice she was missing from work that morning; calculation about what she could have for supper that didn’t involve sardines, beans, or sprats, as she was so sick of them. There were probably more thoughts in there, but Violet cleared out most of her mind, looked at the wool again, and immediately recognised that one of the blues had a tinge of green in it, making it sea-like and murky, like her eyes, which she had always wished were a cleaner blue – like the light blue hank she picked out and dropped into its box. Light blue, mid-royal with a hint of grey, green-blue, and dark blue. Within a couple of minutes she’d sorted them, so that when Gilda came back, she had finished.
“Here we are,” Gilda said, setting down a rectangular piece of canvas embroidery about thirteen by thirty inches. In the central medallion were small, careful petit-point stitches done in subtle shades of brown and cream, depicting a tree, with two blue and tan peacocks standing in its branches, pecking at bunches of dangling grapes while a goat and a deer grazed below. The peacock feathers were intricately rendered, and the grapes expertly shaded with just a few dots of colour. Surrounding the medallion was bolder, cruder embroidery in a complicated