Directions 3

Nancy Taffel HAPPY CHANUKAH NEEDLEPOINT DESIGN SUPPLY LIST: 1 skein 5 perle DMC blanc 1 skein 5 perle DMC #5282 Gold 2 skeins 5 perle DMC #826 1 card ELSA WiLLIAMS cloisonne Silver 1 9” square frame 1 9” square canvas Regular needlepoint stitching supplies INSTRUCTIONS: 1. Using DMC #826, outline the Happy Chanukah message with tiny single vertical or horizontal stitches that go over one thread. 2. Fill in the latke pans with the outline and double continental stitch The double continental stitch changes direction in the middle. 3. Fill in the Jewish Star and dreidl with the diagonal mosaic stitch slanted in the direction of the border. 4. Use DMC #5282 for the latkes, the Jewish lettering in the dreidl, and your initials or design of your choice inside the Jewish Star. 5. Use the Elsa Williams Closoinne for the double continental and long stitches both horizontally and vertically for the menorah. The long stitch goes in two directions and changes in the middle of the base of the menorah. 6. The flame stitch is for the top of each candle in the menorah in DMC #5282. 7. The background stitch is a chai stitch with alternating rows of three and four spaces in between. They are centered as clearly as possible inside the Happy Chanukah letters and in rows. The chais are two spaces apart and are started two spaces below each other in alternate rows. See the stitch graph 8. The border is a double continental stitch in DMC # 826. You might want to make that a triple continental stitch or two rows of a double continental stitch. HAPPY CHANUKAH NEEDLEPOINT DESIGN 9. Inside the border, DMC # 5282 is laid out the length and width of the piece and then couched. 10. Cross stitches using DMC #826 are accented between the candlesticks of the “menorah”. They are at an angle to highlight the Shamas candle. There are four spaces between each cross stitch. The alignment for the stitches on the alternating rows is one space higher. On both sides of the Shamas candle there are the same number of cross stitches. * THE SYMBOLS OF CHANUKAH HAPPY CHANUKAH is a greeting all Jews say to each other in December. The holiday represents the winning of the war in which the Syrians destroyed the house of worship, but fled and left oil burning in a candle that should have lasted for one day. Latke is a potato pancake that is traditionally eaten during Chanukah. It is fried in oil symbolic of what was left in the synagogue. Latkes are served with sour cream or applesauce. The Jewish Star has six-points instead of five as it was in Egypt where Jews were slaves for many centuries. It is one of the main symbols of the Jewish religion and stands for survival. The dreidl is a toy that children play with during the Chanukah season. It has several Hebrew letters and is played with “gelt” money or candy. The menorah is a special candlestick that holds nine candles a regular menorah holds eight and is called a Chanukiah. One candle is lit for each of the eight days of Chanukah. The tallest candle of the menorah is the Shamas candle. It is used to light the others. The other eight candles remind us that the Macabees found a small amount of oil which should have only burned for one day but miraculously lasted for eight. On each day an additional candle is lit while a special prayer is recited. On the last day of Chanukah, all nine candles are lit. Chai is the Jewish symbol for life! Happy Stitching and Happy Chanukah

Directions for the Floral Hebrew and Illuminator’s Alphabets by Arlene Diane Spector The two alphabets--the Floral Hebrew Alphabet and the Illuminator’s Alphabet--are created to be used in other needlework pieces. In the Floral Hebrew Alphabet, make cross stitches in all the gold threads first. Next, using 2-ply DM0 thread, make cross stitches in all the green floss, then the magenta, then the rose and finally the yellow. Outline the letters in backstitch using 2-ply of one of the DM0 floss of your choice. In the Illuminator’s Alphabet, using gold Kreinik balger cable thread, make cross stitches starting at the top left corner of each letter and work from left to right. For the other symbol, a bead is preferred or a French knot could be used. Outline the letters in backstitch using 2-ply floss of your choice.

Lois Stanley The piece itself is a 12” square and has approximately 2500 stitches. I would be happy to have the piece exhibited. It is titled- “Dancing Miriam with a Chai Cymbal”. The Chai cymbal is of course a symbol for life. Purchased Materials: 1/2 yd. white silk moire-for background 12” square Aida cloth for backing 1 1/2 yds white grosgrain to cover back seams 1 1/2 yds embroidery trim of choice to “frame” front edge 1/3 yd. contrasting silk fabric for “dancing Miriam” pattern I “face” button small amount of poly batting to stuff Miriam INSTRUCTIONS: 1. Baste white silk to Aida backing cloth, 1/2” from edge. 2. Cut “Dancing Miriam” pattern. Fold and baste 1/4” hem all around pattern. Pin in place on white silk and and hand sew with tiny stitches as you lightly stuff Miriam with batting 3. Finish both back edges of grosgrain with machine stitching. 4. Finish both front edges with embroidered trim by machine making a frame for picture. 5. Sew face button in place. Lois Stanley

Maura E. Stone trianglepoint matzoh cover MATZOH COVER designed and executed by Maura E. Stone Materials: 16 mesh canvas, approximately 22 x 22 to give a healthy margin around the stitching I use interlock canvas although you can use interwoven instead white matte silk thread white shiny silk thread white cotton embroidery floss to use for trame for a little padding under the stitches and so the canvas threads won’t show size 22 tapestry needles - Check your needles frequently for any burrs or rough spots as on the needle or in the eye. If there are any, the silk thread/yarn will snag. Brown paper or pattern paper, approximately 24” x 24” to make pattern for lining and pocket 2 1/2 yards brushed silk fabric for lining and pocket sewing thread -preferably silk 1 disappearing ink fabric marker 4 stretcher bars or a scroll frame about 24” in length Soap & water for washing your hands before you needlepoint each time since you are working with white! You want to make certain that none of the daily dirt and oil you collect on your hands is transferred to the silk thread or canvas. I find that if I wash my hands and then use hand sanitizer afterwards, my hands stay cleaner longer. If I have to quit working even for a short phone call, I go through the same hand-cleaning routine before stitching again. Directions: 1.Find the center of the canvas by folding the square into quarters. Mark the center very lightly with a dot of disappearing ink fabric marker or a very light pencil mark. 2.Stretch the canvas over the stretcher bars and staple the canvas to the bars or attach to the scroll frame according to the style of frame. Attach the frame to a stand; it is easier to work with two hands - your dominant hand below the canvas and your other hand above one stitch at a time. It is easier to control the tension and the thread/yarns will lay flat with less twist. Use a laying tool or a thin knitting needle if you have difficulty getting the stitches to lay flat with all threads parallel. See diagram 1 Every so often, let the thread/yarn and the needle hang free from the back of the canvas so the thread/yarn untwists. 3.Work from the center of the canvas to the edges. First put in several rows of frame. See graph for placing the first triangle marked 1. The point of the triangle should be the center of the canvas. Follow the stitch diagram with all stitches running in the vertical direction. Each triangle is made up of nine stitches increasing in length from crossing two threads of canvas to crossing 10 threads of canvas. The first thread crosses two threads, the second crosses four threads, the third stitch crosses six threads, the fourth stitch crosses eight threads and the fifth stitch crosses 10 threads. This fifth stitch is the tallest and the point of the triangle. The next four stitches decrease in length by two threads progressively until you have symmetry. 5.Try some practice stitches on some scrap canvas. You will notice that the smallest stitch is shared by two triangles next to each other. 4.Make the center Mogen David with shiny thread/yarn. Weave in the thread/yarn ends on the back of the canvas. 5.Change to the matte thread/yarn and follow the stitch diagram for the first border around the center Mogen David. Lay the trame thread/yarn as needed. Work slowly enough so the threads run parallel and vertically. 6.Continue to follow the diagram changing thread/yarns according to the diagram. 7.When finished with the needlepoint, wash and block or take it to a reputable, professional finisher who has experience with white thread/yarn and exotic fibers. After all this work approximately ??? stitches and hundreds of hours of work you want the needlework to be washed, cleaned and blocked perfectly.... 8.Now for the edge. Wash your hands first. The Van Dyke stitch is used to finish the edges of the hexagon. It is a back and forth stitch that is designed to give a crisp edge to any article. First fold back the unstitched canvas to the wrong side. Trim any obviously excess canvas leaving at least 1 1/2 inches for a border. Fold the sides of the canvas unstitched, of course to the wrong side. Take the side down, trimming between the rays of the star as needed. Begin the VanDyke stitch and continue around the edge of the matzoh cloth. Finish off. Weave in yarn ends on back. 9.Make a paper pattern from the needlepoint cover. Lay the cover on the paper and draw around it. Add ½” to 5/8” seam allowance around the pattern. Lay the pattern on the silk fabric. Cut one piece of fabric using the pattern. Turn the edges of the fabric under the width of the seam allowance. Press. Notch at corners to reduce seam bulk. Lay the fabric on the back of the matzoh cover with the wrong sides to each other. Pin the lining to the cover. Handstitch the lining to the cover, easing the lining as needed. 10.Cut two more pieces of fabric for the pocket and a self-lining. Put right sides together, pin and sew seam on wrong side, leaving an opening large enough to turn the fabric. Notch the seams at the corners to reduce seam bulk. Turn the fabric. Press lightly and slip stitch opening closed. 11.Lay the finished pocket on the cover, matching corners. Hand stitch about half way around the pocket attaching it to the back of the cover. The opening is so you can slip matzoh inside the pocket. Bibliography Lantz, Shirlee. TrianglePoint. Viking press Studio Book 1976, New York, NY Viking Press Studio Book 625 Madison Avenue New York, NY 10022

Upper center section

Upper right section IV. STITCHERY My suggestion is that you work your arches first and stop at the capital of each one. Work the capital of each column and then the column below until you reach the point where the three horizontal bands begin. It is best not to work beyond until later. Once a wall area between two columns has been defined, you can proceed to the Blackwork filler. A. Arches Place your away-knot outside the design area, about a needle and a half length from your first stitch. This first stitch should be about 2” down and 2” in from the left side of your cloth. This begins the first and largest arch. Use a backstitch and follow the outline as given. All arches, capitals, and columns are worked in the #12 pearl cotton. B. Capitals The patterns for each are shown on the pattern page. Moving from left to right of the design, the patterns to be used are numbers 6, 9, 7, 10, 8, and 11, again completed with a backstitch. Directly above the capital is a ledge. The stitches should go from edge to edge, i.e. one long stitch pulled taunt, but not so tight as to buckle the cloth. The same applies to the double lines directly below the capital. Once you have finished the capitals, secure these long stitches by couching them every ¼ inch or so with black sewing thread to keep them from becoming distorted, especially since the upper ones are at an angle to the straight of the fabric. Continue stitching all capitals from left to right. Before you proceed with the columns, stitch a line using the scroll stitch in front of the first column on the left in the back. Now stitch this colum using a backstitch. Then work the second column, followed by a continuation of the scroll line behind it and in front of the second column in back. Next, comes the second front column, or fourth column, followed by the third column in back and the last column in front. The scroll stitch will pass in front of the back column and end at the left edge of the last column in front. If in doubt, please refer to the overall design printout. C. Walls The filler stitches to be used are slightly enlarged on page 12. Moving from left to right, they are numbered 1, 2, 3, 4, and 5. All of these patterns, whenever possible, should use the Holbein stitch. My suggestion is that you pick one continuous line and work it over the entire area; then pick the next continuous line and proceed in the same manner. Although no one will see the back of your piece, do try to keep it as neat as possible since any “tails” or crossings from area to area will shine through on the front. Patterns 1, 3, and 4, are worked with different numbers of plies or strands, as follows: Pattern 1 — The hexagon is stitched with 2 plies. The inside Mogen Dovid and connecting lines to the hexagon are stitched with 1 ply. Pattern 3 — All vertical and horizontal stitches are done with 2 plies, and all the diamonds are worked with 1 ply. Pattern 4 — Again, the honeycomb is worked with 2 plies, and the incomplete Mogen Dovid no horizontal connectors! is worked with 1 ply. D. Marchers The three rows of marchers are clearly shown on the detail pages of the overall pattern. I stitched them partly in Holbein and partly in Backstitch, depending on how it was easiest to get from one place to the other. The first and last row were stitched in Holbein throughout, whereas the middle row was a combination. The horizontal lines are done in stem stitch, but the first and fourth are worked in scroll stitch. E. Lettering To begin, draw a basting line across the top, beginning at the highest point of the first arch. Continue downward matching the edge of the last arch on the right. Next, draw a basting line from the upper point to the lower point; these two points are marked with an “X” on pattern pages 2 and 3. The lettering itself, with no spaces between words, is two lines high and, in most cases, two spaces across, with one space left blank between letters and rows. A sample of the alphabet is shown on page 8. Be careful not to go beyond your basting stitch on the right, and line up the last letter of each line with said basting stitch if need be, allow two spaces between letters on a particular line. On the left side, each line is indented as needed to match the basting. VI. ALTERNATE DESIGN If you wish to skip the three rows of figures marching through the synagogue, I would suggest finishing the columns with a band of mosaics as is the case in the original structure. To this end, I made some changes in my original design, as per “mosaic” printout. All arches and capitals remain the same, in location and design. The only change is the length of the columns and the addition of mosaic patterns at their base. To lengthen the columns, draw a horizontal line 63-65 rows below the left-most column’s capital. Draw a basting stitch line from left to right so that it is behind the front columns. Then, at its lowest point, the left-most rear column should end 8 rows below the line; the middle rear column 5 rows below the line; and the right-most 4 rows below the line. The front columns end at the same points as on the original design. Use either Holbein or cross stitch for the mosaic patterns. A single ply in a color matching the suede cloth will do nicely. If you do not wish to use suede cloth, the pattern shown on the mosaic detail page can be used most effectively and may even be done in a shade darker than the mosaic patterns. As for the writing in the upper right-hand corner, I would try not to skip it, as it is an integral part of the overall design. You might be able to do some research on the history of this particular synagogue and plan to make it fit in that particular space. The following is condensed from “The Story of the Synagogue, A DiasDora Museum Book,” by Geoffrey Wigaler Harper & Row, 1986, pages 59-63: The oldest of the four surviving synagogues in Spain is the one in Toledo, built about 1200 and now known as Santa Maria Ia Blanca, Saint Mary the White, the name of the convent for repentant fallen women into which it was converted in the sixteenth century. From convent it went to being a church and in the XVIII century it became an armory, but in the mid-nineteenth century it was declared a national monument and restoration was begun. Its area is only 5.270 square feet, but with the octagonal columns and Moorish-inspired arches, it creates the feeling of greater space. The capitals of the pillars are decorated with pine-cones.

Madlain Yunkers A symbol of childhood memories Santa Maria La Blanca cross-stitch blackwork I. INTRODUCTION One day in the fall of 1998, while surfing the Internet for a particular book on Judaica, I came across Rita’s name RitaNeedle and her search for contributors to a book she was planning on the Holocaust. Not yet knowing what she had in mind, I sent her a little biographical story I had written. Her swift and prompt reply was: “I want you to use this story in a design for our book.” The story is reproduced at the end of this Manual Thus the idea of representing the story symbolically began to germinate in my mind. Granted that it is a very personal expression of some of my childhood memories, the basic design, without the lettering, will stand on its own. I am suggesting an alternate design at the end of this manual for those stitchers who do not wish to include the three rows of ‘marchers.” I wish to thank my good friends Regine Stossel and Nancy Bruce: the first for having “suffered” through the germination period, and the second for her invaluable proof-reading and constructive suggestions.

Upper left section II MATERIAL & EQUIPMENT LIST A. Yardage 13 ½” x 15” 22 Ct light ecru Hardanger design area: 9 ½ x 11 ¾ yd suede cloth royal blue — actual requirement: 5” x 8” 2 yards 5/8 in. “Seams Great” to finish edges of Hardanger piece. Sew on by machine, using a medium to large zigzag stitch. B. Threads 1 ball #12 pearl cotton DMC #310 coton perle 1 skein Flower thread DMC #2310 fil fleur 1 skein Rayon floss DMC black ½ skein 6-strand cotton DMC #317 ½ skein 6-strand cotton DMC #415 ½ skein 6-strand cotton DMC #310 Black and blue to match suede cloth sewing thread 1 package pre-blended thread #TH30009 by True Color International, Auburn Hills, Ml could substitute one strand each of black DMC cotton and Kreinik blending filament 021 HL C. Tools and eguipment I Oxi 2 Stretcher frame is recommended or 1 lxii Q-Snap frame remove work from Q-Snap frame when you are finished stitching for the day Brass tacks or staple gun, if you will use stretcher bars Size 24 & 26 tapestry as well as a 24 chenille or embroidery needles 1 pair scissors for cutting threads, and 1 pair scissors for cutting yardage or suede cloth D. Stitches Holbein double running Backstitch Scroll stitch Stem or crewel stitch Cross stitch All of the above stitches are described on pages 19 and 20. The long stitches above and below the capitals are couched with black sewing thread over #12 pearl cotton. Suede cloth is appliquéd with a whipped stitch in matching color. The original design contains approximately 9600 stitches. E. Wordings Upper right hand triangle: “LEST WE FORGET” THE SYNAGOG SANTA MARIA LA BLANCA IN TOLEDO, SPAIN, WAS FIRST REBUILT IN THE XIII C. FOR ME IT IS A REMINDER OF JEWISH REBUILDING AND SURVIVAL BEFORE AND BEYOND THE HOLOCAUST. THE UNIFORM WAS IDENTITY AND POWER; I SAW THE HITLER YOUTH MARCH IN ‘33 AND SHIVERED; AS A PIONEER IN SPAIN I WITNESSED AGONY FROM ’35-‘38 BY WHICH TIME THE CREAM OF THE MILITIA AND FOREIGN BRIGADES HAD FALLEN- LEST WE FORGET! Next to the last column on the right: Marching Hitler Youth EIN VOLK EIN REICH EIN FUEHRER ... “one people, one nation, one leader” —Motto of the Third Reich Saluting “Pioneer” — Komsomol L’INTERNATIONALE + KOMSOMOL .... “L’Internationale” was the most popular marching song of the times and the Komsomol was the Russian equivalent of our Girl and Boy Scouts, as conceived by Sir Baden Powell Marching Militia & Foreign Brigades NO PASARAN… “they will not pass”- Motto of the Militia & Brigades when Madrid was under siege for three years. Ill. PATTERN PRINTOUTS Overall design- Detailed stitching of the overall design — These pages are in two rows, three patterns to a row. There is no overlap of the design either from left to right or from top to bottom. Capitals and walls- Under “Alternate Design” you will find the overall design, and two detailed suggestions for the mosaic bands one in Holbein stitch, the other in cross stitch

Story of the Project: written by Flora Rosefsky, artist/designer The Jewish wedding has always been one of life’s most joyous life cycle events, insuring the continuation of new generations. It is this strong sense of continuity that I hope is somehow embodied in this “Handkerchiefs for a Jewish Wedding” piece. Jewish weddings, as testimonies to life, are an antithesis to the tragedy of the Holocaust. I strongly felt that the Jewish wedding was a direct counterpoint to the destruction of our people and that they symbolized a universal hope for a good future. My first sketches had been for a traditional applique quilt wall hanging design incorporating Jewish wedding themes. One day while visiting my friend Barbara Rucket, she talked about all the handkerchiefs she had from her mother’s collection, It was that day that I realized that handkerchiefs would be the main catalyst for my “Jewish wedding” piece. I still wasn’t sure that day just how I was going to use them. I searched in a few local Atlanta antique stores looking for used handkerchiefs, perhaps ones that could have been used by a bride. They had to be white with little embellishment but I did not mind if they looked worn or used. White is a traditional color of purity for a wedding dress as well as the color of the groom’s traditional kittel. After some browsing in several shops, I finally found the handkerchiefs in a Chamblee antique store, two with lace and two with more tailored trim. I thought of handkerchiefs as symbols for both joy and sadness. Joy for the times when the bride and groom hold onto one during the special dance when they are held up on chairs, sadness when we use them to wipe away tears or when used to wrap the glass that the groom breaks as a final gesture under the canopy. Memory is such an integral part of our Jewish souls. Handkerchiefs, that were old and used, did they have their own stories to tell? What were stories that I or others could imagine? I developed a quilt layout design using the four handkerchiefs. Coincidentally, the handkerchiefs also represented my four children, a personal affirmation of the continuation of generations, and of life itself. I remembered the story of God promising Abraham that his seed would be replenished forever, symbolized by the evening stars. I knew that somehow I would find a suitable fabric of a starry night to border the piece and I did. The sky motif also represented God’s protection for us today and for the future. Behind the thin white handkerchiefs, I found a lovely white on white fabric with musical notes that for me symbolized the joyous musical celebration at a Jewish wedding. Many years ago, when I lived in upstate New York in Binghamton, the local Hillel Academy Day School sold six yellow tulips in April during Yom Ha’Shoah to raise consciousness about the Holocaust. The day school started the idea of selling the tulips after a parent read a MOMENT magazine article written by a conservative Rabbi who suggested people plant yellow tulip bulbs in their gardens that would bloom around the time of Yom Ha’shoah. The symbols of using six yellow tulips included the number six for the six million, the yellow color for the yellow star the Jews were forced to wear, and tulips for the Dutch, and all the righteous gentiles. In designing this piece, the stems of the six tulips loosely form a six-pointed Jewish star. I decided to incorporate the idea of six yellow tulips on this wedding piece as a tangible reminder and as a testament to the survivors and victims of the Holocaust. Even in times of our greatest joy, as in a wedding, we, as Jews, are commanded to remember. Another coincidence of symbolism in this piece for the number six in the six tulips, is that Lilly Abramowitz who did the embroidery on the piece learned to embroider when she was six years old while living in Poland. This 26x 26 inch square small cloth can be a tablecloth top layer for a small table under the chuppah, where the kiddush cups are placed. The cloth can also be used as the handkerchief piece that is held by the bride and groom during their special wedding dance when they are held up on chairs by relatives and friends. After the wedding, the piece can be hung as a wall hanging. It can also be used for future family Jewish life cycle events where a small table is needed. examples: Brit Milah, Baby girl’s naming ceremony, Bar Mitzvah and Bat Mitzvah I asked two friends who are expert sewers to help me complete the sewing. Lillian Lilly Abramowitz, a survivor of Bergen Belsen concentration camp, embroidered the six yellow tulips and Loraine Sher, originally from South Africa, pieced it all together and completed the applique, sewing and quilting. I hope that those who wish to create a similar “Handkerchiefs for a Jewish Wedding”, will use my piece as an inspiration for their own interpretations. I only wish I had saved the lovely handkerchiefs of my own mother , grandmothers, and aunts who proceeded me; but finding the handkerchiefs in the antique store, although perhaps not as meaningful , still work as metaphors for memory. Options for other sewers: On the handkerchiefs or on the border, one can embroider the names of children or family members who may use this cloth in their weddings. The date of the weddings can also be included. I almost embroidered a quote around the border from the Zochar which reads “God continues to create miracles by causing marriages to happen” but decided against it, as I thought that by not including it, the piece could be more multipurpose; however someone else might want to add that quote around the border with gold or white embroidery thread, using an outline stitch. This “Handkerchiefs for a Jewish Wedding” is an example of how we, as Judaic needle workers, can find new expressions of hiddur mitzvah for life cycle events. Flora Rosefsky An artist whose work is primarily in paper cutout assemblages and mixed media, community quilt designs, as well as FLORAGE® folk art pen and ink illustrations, Flora most recently designed and was the project coordinator for three large community quilt projects: The “Threads of Tradition “quilt of Jewish holidays, symbols and rituals for the Jewish Community Center of Binghamton, NY. The “Shelter Us Beneath Thy Wings” quilt for the Atlanta Jewish Family & Career Services. The “Yom Ha’Atzmaut” quilt for the William Breman Jewish Heritage Museum in Atlanta and was commissioned to create a “Threads of Tradition II” quilt for the new wing of the William Breman Jewish Home in Atlanta. Flora also is an artist educator at the High Museum of Art and at the W.B. Jewish Heritage Museum. She and her husband are the parents of four children, and three grandchildren. Lillian Abramowitz A retired AT&T employee, Lilly is a very active volunteer with her synagogue, B’nai Torah, working in their gift shop, chairing programs for the Sisterhood, and doing outreach mitzvah work for those in need. Her dependability and positive outlook on life inspire those who work with her. She actively participated on the William Breman Jewish Heritage Museum’s Yom Ha’atzmaut Quilt. She has generously shared her embroidery and other sewing skills with members of the local Pomegranate Guild at their meetings. Lilly said while living in Poland, she learned to sew when she was six years old. During World War II, Lilly survived the Bergen Belsen concentration camp after having survived several labor camps before being placed there. She vividly recalls how her sister Rose died only five days after the concentration camp was liberated. Rose had died from typhoid fever after she had contacted dysentery in the camp. Lilly is now a widow. She has a daughter and a son, and six grandchildren. Loraine Sher Currently, Loraine Sher works with infants up to two years old at a Hebrew Day School in Atlanta. She and her family left Durban, South Africa about ten years ago and settled in the Atlanta area. Loraine is an accomplished quilter who has her own sewing studio at home, where she creates quilts for her family and friends, as well as for the recent Atlanta community quilt projects. She was the applique coordinator and teacher for the JF&CS and the W.B. Jewish Heritage Museum quilt projects. She and her husband have two grown daughters and a son.

Materials List: 1. Four handkerchiefs:in this piece, handkerchiefs measured 11,, x 11” square Optional: to use handkerchiefs without lace, to make it easier to embroider. The 4 Handkerchiefs should be of similar size, color-white or shades of white, cream. They don’t have to be new, but can be gently used. If you have any from your family members that are suitable, they could be very meaningful to use in this project. Antique stores that specialize in old linens are another good source. Look for handkerchiefs that do not have a lot of embellishment or designs but can be compatible when placed together. This project used two with lace borders and two without any lace. 2. Border and backing fabric: two yards. enough for a 4” border all around Blue sky with stars fabric. Stars should be small and not overpower the delicate quality of the handkerchiefs. 3. Fabric used under the handkerchiefs: one yard. I chose a white on white fabric of musical lines and notes. Fabric was 100% cotton. 4. Compressed Batting: a thin batting material. Need one yard, 28” wide. 5. Applique sewing needle, one embroidery needle with long eye 6. Tailor’s thimble without a bottom or regular metal thimble 7. Embroidery scissor or a scissor with small points 8. Straight pins, about twenty 9. Embroidery threads: 2 yellows one light, one dark, 2 greens one light, one dark Used in this project: DMC726 and DMC742 yellows and DMC 904 and DMC 905 greens. * note: The threads used were part of Lilly’s collection, many which have been in her hands for many, many years. Some of these threads and colors are no longer in production, as I tried to match them at local sewing shops to get their numbers. You may select any two yellows or two greens of your own choosing, as long as one is light and the other is dark to have contrast. Available colors can be DMC 701 for dark green and DMC 703 for light green as an example. DMC 725 is another choice for the darker yellow. 10. Ruler or measuring tape and one fabric scissor 11. White sewing thread, not quilting thread. 12. Medium blue quilting thread 13. White tailor’s chalk 14. One SHARPIE® ultra fine point permanent marker 15. Optional: Light Box you can also use a window during the day 16. One number two pencil 17. One black and white drawing of the six-tulip design. See attached design. 18. One rounded dowel stick, at least 24” long and about 1/2” thick. 19. One iron 20. Freezer paper, one sheet approximately 12” square Directions: See diagrams of sewing stitches and some of the layout which are attached 1. Lay out the four handkerchiefs and pin them on top of the white on white musical fabric, being careful to overlay the edges by at least 4 inches so that you have two handkerchiefs on the top and two on the bottom, making one big square of four handkerchiefs. You will be trimming or cutting off the extra fabric later but it is better to have it be generous at this stage. 2. With a small running stitch by hand, sew around the edges onto the white on white fabric leaving a margin of 4 inches around the handkerchiefs. If you do use lace handkerchiefs, don’t sew on the edge of the lace, but rather on the inside edge between the lace and the central part of the handkerchief. 3. Hold up the handkerchiefs sewn onto the musical fabric on a window pane or use a light box, to trace in light pencil, the six tulip design on the middle of the four handkerchief piece. See diagram of the six-tulip pattern. Don’t press too hard with the pencil keeping the markings light or medium dark. 4. Embroider the design using two strands of embroidery thread, following the lines; Dark green for the stems, varied greens for the leaves and various yellows for the tulips. Use the outline stitch for the stems. Use the satin stitch as well as a small buttonhole stitch for the leaves and for the tulip flower petals. See diagram to show where certain stitches were used. You can follow this pattern exactly, or feel free to select your own pattern of yellow in the petals and greens for the leaves and stems. Where there are some uneven edges on satin stitches, do a very small button hole stitch on top of the shape as an outline to finish it off. * option: Lilly suggested not using any lace on the handkerchiefs as it did compromise which stitches she could use. She would prefer less embellishment on the handkerchiefs so that more of the satin stitch could be used, filling in more of the flowers and leaves. However, if one does use the lace as used in this piece, the buttonhole stitching works well too. 5. When you start to embroider, use the satin stitch as much as you can. This will depend if you use lace on the handkerchiefs, for if you do, you can’t satin stitch over the lace areas, but will have to use a buttonhole stitch instead. Areas that you use button hole, do it very close together, making little stitches. Some of the buttonhole stitching was more spaced out, again depending where the lace was placed. Lilly suggested to remove any small type of French knots that sometimes is found on the handkerchiefs, as they will interfere with the embroidery. She removed some of them and left others on where there was no embroidery. 6. Trim white underlying fabric so that only 1/2” of it will show past the handkerchiefs. 7. Fold under and pin the white music fabric. Carefully pin the finished embroidered piece onto the dark blue starry night fabric leaving a four inch margin of blue fabric around the handkerchiefs on all sides. Once it is properly placed, do a hand-stitched running stitch to attach the handkerchiefs with its white on white musical underlying fabric onto the dark blue starry fabric. When stitching, do not sew down the lace, but only sew right inside the lace seam between the lace and the inside of the handkerchiefs. See diagram. 8. Slip stitch also called a blind stitch on the corners to hold the corners of the handkerchiefs. See diagram. 9. Take a white tailors chalk and mark out your quilting pattern on the 4’ border area on the dark blue starry fabric. Loraine chose a simple wavy line pattern but one can choose any quilting pattern they like. See diagram. 10. Take the compressed batting and put a thin layer between the dark blue starry fabric and the handkerchief piece that is now attached to the white musical note fabric. In quilting, this is sometimes called “sandwiching”. Carefully use straight pins to put the sandwich together, being careful not to leave holes in the delicate handkerchiefs. 11. With a quilting needle and medium dark blue thread, make small quilting stitches following the white tailor chalk markings on the dark blue starry fabric. 12. Cut binding material from the dark blue starry fabric, cut four strips that are 2” wide and 12” long. you get this measurement by measuring each edge of the quilt and then add 3’ to the edge. . Fold each long strip in half. Put wrong sides together and press with an iron. Use a 1/4” seam allowance and then sew on the right side of the quilt. Trim the binding edges so that they are even with the edges of the quilt. Fold over to the quilt back and pin the pressed edge in place so that the stitch lines are now covered. Press and blind stitch the binding to the back of the quilt. Repeat these steps again for the opposite sides of the quilt. Do the binding that goes on the top of the piece last, after you have put on the hanging sleeve. 13. To make the hanging sleeve on the back: do this before the final binding is completed Measure the quilt’s width and then subtract one inch. Cut a 7” wide by your measurement. We used a 24” long piece of the dark blue starry fabric. Depending upon your measurement, the 24” could become a different length. Press the fabric’s short edge 1/4” to the wrong side. Repeat and using a small running stitch on your machine, stitch in place. Take the wrong sides and match them together, folding the piece in half lengthwise so that it looks like a long tube. Matching the raw edges, baste the sleeve to the center of the top edge on the back of the quilt. Bind the quilt as you had done on the other three sides, so that the sleeve is now part of that backing. Blind stitch the bottom of the sleeve in place. Be sure your stitches don’t show on the front of the quilt. Insert the dowel stick when you are ready to hang it up. 14. Option: to make the documentation label on the back - Cut a piece of the white on white musical note fabric, 10,, x 4”. Lay the good side up on the freezer paper. Take the ultra fine point black marking pen and print the title of the piece, the date it was completed month and year and who worked on it. In this case, there were three names. I also included the city and states where they lived. Cut the fabric leaving about a 3/4” border around your lettering. Fold over 1/4” and press with an iron. Pin the label on the bottom centering it on the back of the finished quilt. With white thread, blind stitch the label onto the dark blue starry back of the quilt. Remove the pins. 15. When used as a wall hanging, insert wooden dowel stick in back and hang. Finishing and care: Once all the sewing is completed, carefully iron the top layer with a warm iron to take out any wrinkles from the handkerchiefs. If one needs to wash this someday in the future, hand wash with cold water and a gentle soap. Air dry and gently iron out any wrinkles. Skill level: Intermediate Resource books: For the beginner, I would suggest going to any good fabric store, book- store, or the library to read up on basic applique, sewing and/or embroidery stitches and do some sample stitching. Diagrams are attached to these instructions as well. I don’t have any one favorite book, as the stitches are very basic and all the “how to” books should have the same stitches with little variation.

Please remember to donate $1.00 for each set of directions you copy to the United States Holocaust Memorial Museum in memory of Rita Lenkin Hawkins. The United States Holocaust Memorial Museum\'s address is http://www.ushmm.org/ Go to the lower right corner and click on Join and Donate. Thank you.

Title: Beaded Mizrach Artist Barbara Rucket As a bead addict I wanted to design a piece that would be small but that would show off the beauty of beads. I also wanted to design a piece that could be easily adapted into other media such as needlepoint or cross-stitch. Story of the project: I have always loved the fiber arts and have been a knitter, needlepointer and weaver for many years. When I retired from a full time job two years ago I took a beading class and have been hooked every since. I wanted to do a beaded piece to expose people to beading. I decided on a mizrach so that it would be seen at all times. As this is done from a graph 1 wanted the design to be simple so a beginning header could follow it. I designed the piece in three colors, white, blue, and gold. A mizrach is mounted on a wall and shows one in which direction one should pray. The only rule for a mizrach is that the Hebrew word mizrach must be on the piece. I decided on the square stitch as it is a simple stitch and makes the piece firmer than other stitches. This pattern can also be done on a bead looni. One can easily adapt square stitch to needlepoint and cross-stitch as the graph is the same. The size of the mesh of the canvas would determine the size of the piece and the yarns used. References: I would like to thank Carol Wilcox Wells whose book Creative Bead Weaving is a wonderful book for all levels of headers. Her instructions and projects are excellent. I would also like to thank Kristi Daniel whose Hebrew alphabet graphs for several bead techniques are available on the Internet from the Mining Company. Beaded Mizrach This is an off-loom-beaded piece. Skill level- Beginner Matcrials: Size 10 bead needle. Size 12, optional Nymo D white thread Round Japanese cylinder delica beads~ DB# 203 cream 8 grams DB# 47 blue 6 grams DB# 410 gold 4 grams Beeswax or Thread Heaven thread conditioner, optional Instructions: Read through the entire instructions before beginning the piece. Refer to the illustrations and instructions on square stitch in Creative Bead Weaving by Carol Wilcox Wells,pages 82 & 83. 1. Thread needle with 2 yards of Nymo D white thread, put on a blue bead and pass through this bead two or three times leaving a 6” tail. This bead is your stop bead and prevents your beads from falling off. 2.For row I string a total of 70 blue beads including your stop bead Row I correlates to the top of the graph. 3.Follow pattern graph using square stitch. To start row 2 you add 2 blue beads #71 and #72 so they are sitting next to the last two in the first row #69 and #70. Pass needle through 69 and 70 and then through 71 and 72. Add 73 and 74. Go through 67, 68. 73 and 74. 4.Continue in this manner for the entire second row, adding two and going back through. When you reach the end of the row pass your needle through the entire previous row and then through the one you just completed. You will be coming out of 140. For row 3 add two beads 141 and 142 and then go through 139, 140. 141, and 142. Please note you will be working one row left to right and then the next row right to left. 5.Continue in this manner following the color graph changing colors where necessary. When you have completed the entire pattern graph weave ends in securely by going through several beads. 6.In order to hang the piece on a brass rod make three square stitch loops two beads wide using the same method as in the body of the work. You will start each loop by weaving thread through beads and coming out the top of the piece where you want to place the loops. The length of the loop is up to you. Start one loop at each end and one in center and attach desired length of the loops to the body of the piece. Spray acrylic on back of piece to stiffen if you wish. Hints Thread needle with the end of the thread coming out of the spool before you cut the needed length. Stretch thread by pulling it to straighten it out. Wax thread if desired. Some feel that waxing eliminates the thread from getting knots while working. I would try it without waxing as you have to go through the beads several times and do not want a wax build up. To add a new thread knot the new thread around the thread in between two beads. Never cut thread near a knot. Weave end through a few beads before cutting. I like to use a weaver’s knot. If yon find an error you can cut off the entire row since your going back through the rows will have secured the thread. Keep an even tension . White thread is not as strong as black but the thread does show through. If you have trouble going through the beads several times, switch to a size 12 beading needle. A size 12 is a smaller needle

Amy Samin Israel Women of Valor: Esther Background and Instructions \"...in the court of the garden of the king’s palace: there were hangings of white, of fine cotton, and blue.. .a pavement of alabaster, marble, pearl and precious stone.\" Esther 1:5-6 \"...how can I endure to see the destruction of my kindred?\" Esther 8:6 Esther pleads for the lives of her fellow Jews. She has risked all by appearing before the king uninvited, yet she further endangers herself by revealing that she, too, is a Jew. This pivotal moment is captured here for you to stitch and enjoy. When I first thought about ideas for this project, the story of Esther immediately came to mind. While the plot to destroy Jews reminded me of the Holocaust, I liked the fact that in Esther’s story the Jews are saved from this horrible fate. The example of one person making a difference also appeals to me. This is the second in my series of portrayals in cross stitch of women of the Tanach. Materials 16 x 22 inch piece of white 28 count linen fabric size 24 or 26 tapestry needle beading needle small embroidery scissors DM0 cotton floss, rayon floss, and metallic floss in the colors listed Mill Hill Crystal Treasure #1 3013 to be placed on Esther’s crown Mill Hill Seed Beads #00777 for the jeweled floor Mill Hill Petite Glass Beads #42011 to be placed at the juncture of the two gold Xs on Esther’s vest. Backstitching Guide 310 eyes 349 blouse 350 upper lip 352 lower lip 519 blackwork backgrounds on text and design 550 dress 645 shoes 680 pants 3031 eyebrows 3772 face and hands 5282 ties on vest, crown 33371 hair The skill level for this piece is Intermediate. * This is the translation of the Hebrew text in the design. Both translations are from the Jerusalem Bible, Koren Publishers. The design is stitched on 28 count linen, over two threads, and using 3 strands of embroidery floss. Backstitch is done with one strand, with one exception: the metallic gold backstitching around the first letter of the text is done with two strands. The blackwork backgrounds are done with one strand of floss. First decide where you want to put the text, above or below the design. The text is 42 stitches high and 120 stitches wide. Be sure to allow for space between the text and the design. Place your fabric on stretcher bars; this will keep the surface taut. It is much easier to work that way. Then find the center of your fabric and begin stitching the design from the center point of the design plus the text. Note that this will not be the same as the center of the design chart. Thread your needle with 18 inch lengths of floss. Make all of your “x”s in the same order. For example, do the lower left to upper right part of the “x,” then the lower right to upper left. This makes the finished piece look much nicer. Thread ends under stitches that are the same color or darker, so that they won’t show through on the other side. Do the blackwork background next. The technique is called blackwork, though I have chosen blue for my design. Blackwork is done much like backstitching. Using one strand of floss, work over two threads of the fabric. Don’t give in to the temptation to make very long stitches whenever possible according to the chart. If you do that, the stitches will end up sagging or snagging. Work each stitch one at a time. Now add backstitching and embellishments. When backstitching between two cross-stitches, be careful not to pull the backstitch too tight. It may “disappear.” The X on Esther’s crown is not to be stitched; it is merely a marker for the placement of the Mill Hill Crystal Treasure. Stitch various colored beads from the packet listed below it contains a variety of colors on the floor in a random manner, according to your own taste. Remove the fabric from the stretcher bars and place face down on a white towel. Place a white towel on top. Gently steam iron the piece, taking care not to press down hard. Once any wrinkles have been steamed out, your piece is ready for framing. Be sure to take your needlework to a reputable framer.

DMC Coates Ecru Ecru 349 2335 350 3111 351 3011 352 3008 353 3006 519 4092 552 4097 553 4104 554 5381 938 5472 3031 5579 3772 2337 3773 2336 3774 3334 5282 4303 33371 2331 3770 2876 211 754 Stitches 938, 33371 416 680 209 5272 43 60 Anchor 254 Ecru 657 13 3823 11 612 10 534 9 516 6 2 1038 5 99 56 98 58 96 328 381 113 360 613 1007 16 1008 328 778 275 1009 73 342 44 1012 330 901 Back Stitch inches 0.1 15.1 0.1 .3 0.1 0.1 .1 0.1 0.1 163.8 0.1 .3 0.1 0.1 0.1 0.1 .3 0.1 5.2 0.1 0.1 0.1 3.1 0.1 4.9 0.1 0.1 0.1 0.1 0.1 5.1 0.1 0.1 Floss Skeins Title: Copyright: Women of Valor: Esther 2000 Amy Samin Fabric: 28 count linen Design Size: 4.29” H x 11.43” W Color Key Stitch Count: Cloth Count: 60H x 160W 14 Symbol DMC / 550 519 V 552 0 5282 Anchor 0102 1038 99 Coates 4107 4092 Strands 0 0 0 0 Description violet - vy dk sky blue violet - md Metallic Gold Floss Usage Skein Length: Strands/Skein: 313.2 inches 6 Back Stitch inches 65.9 39.3 20.2 Floss Skeins 0.1 0.1 0.2 0.1 DMC 550 519 552 5282 Anchor 0102 1038 99 Coates 4107 4092 Stitches 669 357 518 122

Hebrew lettering

Roslyn Schneider .STORY OF THE PROJECT TEREZIN I have never been the same since I bought the book “I NEVER SAW ANOTHER BUTTERFLY’, art by the Children of the Terezin Concentration Camp. I had bought it as a Chanukah gift for my daughter in the ‘70’s. I was so moved by the stories, the poems and the art of these children. Imagine my disappointment when I got to Terezin last summer ‘98, went to the Museum and missed the opportunity to actually enter the Camp. Next time!! This mini is the Artist’s rendition of “Czech Central Mountains Landscape”. It is on the cover of the book as well as on P. 21. The poem “Terezin” is on the facing page, P. 20. Eva Steinova was Born: 9 - 4 - 31 Died: 10- 23- 44 Age: 13 yrs. 1 mo. I dedicate my mini quilt to her memory and to the memory of all the children who died in the Terezin Concentration Camp. 1.Bk. “I NEVER SAW ANOTHER BUTTERFLY edited Hana Volavkova McGraw Hill 1971-1976 2.1/2 yard yellow cotton-All fabric is 100% cotton 3.10” x 10” dark green cotton-mountains 4.10” x 10” Bright green- Grass 5.6 “x 6 “ sq. black cotton smoke and door 6.4”x 4” orange cotton House 7.Freezer paper - to cut patterns 8.Size 10 quilting Needles for applique and quilting 9.Yellow quilting thread -Coats and Clark 10.Scissors- sharp rotary cutter, mat 11.Omnigrid ruler 12.Batting -Be sure this is thin-Add 1/2 Inch to background size, 13 ½ “ x 8 ½” Pattern: Use freezer paper to cut this out. #1. Background- cut 2 pieces yellow one for backing, 13” x 8”. #2. Mountains-- Dk green #3. Smoke – black #4. grass- Bright green #5. roof- red #6 House- orange #7. Door #8. I did not mark these. Make 17 pieces of bright green 3/4” x 1/2”. These do not have to be perfect. Always add ¼” seam allowance to dimensions . Trace page in book using freezer paper to use as reference point. Trace background-blank sheet of freezer paper. #1 Trace mountains or use my pattern. #2- Trace smoke -pattern #3 Applique mountains gr. fabric to background yellow I cut this in 3 pieces as it was easier to handle. Needle turn under as you applique. You may cut away so that it is 1/8” before turning under. When you have completed the mountains, place pattern #3,black, on the green mountains. Applique. Cut Pattern # 6- Applique orange house to background. Add # 5 red roof -applique to orange house. Cut # 7-black door- applique to house Cut #4- long green grassApplique below the green house. Cut 17 Pcs of bright green. 3/4” x 1/2”. Applique each pc around the house. Use diagram as reference, for placement. Measure all sides and add 10”of binding tape. Machine stitch or bind by hand. Hand quilt around the grass and all other parts, approximately 1/8” off all edges of all parts.

Fran Shuster 1.Graph 2.Title:The Feast of Freedom 3.Artist’s name: adapted from a design by Dan Reisinger Executed by Fran Shuster 4.This project was undertaken, initially, in response to a Pomegranate Guild challenge to create a matzah cover for a projected exhibit. The design, colors, and possibilities for use of a variety of stitches attracted me to this picture. 5.While searching for a design I looked through many haggadahs and was drawn to this picture and the saying it depicted. I followed the design, with the permission of the artist, and then added the scripture to the design to clarify what it meant to me. As the mother of three and the grandmother often, family is an important part of our lives and this spoke loudly and clearly. In essence it says, “...the prophet Elijah will turn the hearts of the parents to the children arid the hearts of the children to their parents.” Needlework is an important part of my life. I enjoy creating items for family, friends, and our community. During my professional life, it was my stress reliever. And it still is. Pomegranate Guild of Judaic Needlework opened my life to many new friends and many different forms of needlework. I had the pleasure of serving the organization as its National President for four years, and those four years were very rewarding. I met and connected with people all over the country as well as many in other countries. 6.Materials used: 15” square 14 ct. aida cloth; finished design, 149 sts h x 121 sts w DMC floss and #3 and #5 perle cotton: perle cotton for flowers, 6-stranded floss for stems; 309 — rose; 471 — light green; 727 — yellow; 826 — blue; 899 — light pink; lettering — DMC fil a chine noir, antique gold thread, art 273; door and frame — Caron watercolors- orange blossom gold; background of door — Caron watercolors — black forest dark brown-black; %“ lock charm; 1 2/3 yds-2 yds 5/8” lace; 3 men’s handkerchiefs for pockets for afikomen; needles — size 22-26; small, sharp-pointed scissors 7.Chart attached: 8.Stitches: Flowers: Leaves-Bullion Centers-French knot Stems-Chain Door: Door - Gobelin and rice stitch Door frame: Mosaic stitc Back of door: Basketweave Stitch reference- Stitches for effect and More stitches for effect, by Suzanne Howrey and Beth Robertson. SHEAR Creations, c1996. 9.Directions: aUsing masking tape, tape all sides of fabric bLocate center of fabric measure or fold both height and width to determine cMark with strand of thread dCount up and over to the left on chart and fabric to begin. Note: Lettering is done after the picture is completed; use 4 strands fil a chine now. eThread needle with the thread recommended. Note: #3 or #5 Perle cotton is used for flowers. 4 strands of floss are used for stems. ITo begin, bring threaded needle to front of fabric. Hold an inch of the end against back, then anchor it with your first few stitches. To end threads and begin new ones next to existing stitches, weave through the backs of several stitches. gDoor frame is done in mosaic stitch with Caron Watercolors — orange blossom hDoor is done in gobelin-rice stitch with Caron Watercolors — orange blossom iDoor background is done in basketweave stitch with Caron Watercolors — black forest jFlowers are done in bullion stitch with perle cotton #3 or #5. Follow the colors on the chart. kCenters of flowers are done in French knots with perle cotton #5. Follow the colors on the chart. IStems are done in chain stitch with 4 stranded floss. Follow the colors on the chart.

mLettering is done in basketweave stitch with 4 strands fil a chine noir. nStitch charm at two places on the shank. II.Measure, pin and hand stitch lace edging. Measure, pin and hand stitch handkerchiefs on back.