 

he National Tapestry which hangs in the House of Parliament is an 
artistic study of Rhodesian history. The work had its origin in 1946 in a 
suggestion by Lady Tait, wife of the then Governor of Southern Rhodesia, that 
the Women’s Institutes of the country should combine to create a tapestry which 
depicted the cardinal events in Rhodesian history on the lines of the famous 
Bayeux Tapestry.
 he suggestion inspired a group of members to discuss the matter. After 
much consideration a committee was formed to undertake the project by 
co-ordinating the work of the various Women’s Institutes throughout Rhodesia. 
The finished product is thus truly a national evocation of the Rhodesian 
past.
he suggestion inspired a group of members to discuss the matter. After 
much consideration a committee was formed to undertake the project by 
co-ordinating the work of the various Women’s Institutes throughout Rhodesia. 
The finished product is thus truly a national evocation of the Rhodesian 
past.
 n all, forty-two panels were designed and embroidered on linen. The 
Committee stipulated that these panels should show a harmonious uniformity of 
design, of materials used, of colour shading and of stitching techniques.The 
different Institutes were first asked to submit sample sketches of an historical 
event in their districts from which preliminary drawings could be 
prepared.
n all, forty-two panels were designed and embroidered on linen. The 
Committee stipulated that these panels should show a harmonious uniformity of 
design, of materials used, of colour shading and of stitching techniques.The 
different Institutes were first asked to submit sample sketches of an historical 
event in their districts from which preliminary drawings could be 
prepared.
 collection of drawings was accumulated, and several artists redrew them 
to make a congruous whole. During this part of the exercise historical facts 
were carefully checked from old diaries combined with research in the National 
Archives and the Department of Antiquities. Great care was similarly taken in 
obtaining likenesses of the figures portrayed and in depicting the colour of 
their clothing. The drawings then had to be translated into embroidery designs, 
while border patterns and motifs were collected and accurately delineated.
 collection of drawings was accumulated, and several artists redrew them 
to make a congruous whole. During this part of the exercise historical facts 
were carefully checked from old diaries combined with research in the National 
Archives and the Department of Antiquities. Great care was similarly taken in 
obtaining likenesses of the figures portrayed and in depicting the colour of 
their clothing. The drawings then had to be translated into embroidery designs, 
while border patterns and motifs were collected and accurately delineated.
 he finished designs were now traced onto linen, and the appropriate panel 
was sent to the Institute concerned together with instructions regarding the 
stitching and shading required, and with a supply of embroidery threads of the 
correct shades. It was stressed that the panels must show a conformity of 
design, and that the materials and embroidery forms used should not vary.
he finished designs were now traced onto linen, and the appropriate panel 
was sent to the Institute concerned together with instructions regarding the 
stitching and shading required, and with a supply of embroidery threads of the 
correct shades. It was stressed that the panels must show a conformity of 
design, and that the materials and embroidery forms used should not vary.
 inen for the panels was especially woven in Switzerland and donated by a 
Rhodesian firm. No less than 1 500 skeins of Swiss embroidery cotton, dyed 
according to the artists’ instructions, were imported.
inen for the panels was especially woven in Switzerland and donated by a 
Rhodesian firm. No less than 1 500 skeins of Swiss embroidery cotton, dyed 
according to the artists’ instructions, were imported.
 he Institutes now proceeded to embroider their panels, and although some 
particularly skilled needlewomen bore the greatest part of this work, the fact 
that all members of the Women’s Institute contributed to the cost 
of materials on a pro rata basis allows it to be correctly stated that 
every member had a share in the project.
he Institutes now proceeded to embroider their panels, and although some 
particularly skilled needlewomen bore the greatest part of this work, the fact 
that all members of the Women’s Institute contributed to the cost 
of materials on a pro rata basis allows it to be correctly stated that 
every member had a share in the project.
 he finished panels were meticulously scrutinized for harmony and accuracy; 
many of them had to be unpicked and embroidered again; thus the original panel 
of the Mazoe Patrol showed Mr. Pascoe sitting on the wagonette clutching a 
revolver; to ensure verisimilitude a rifle had to be substituted for a 
revolver.
he finished panels were meticulously scrutinized for harmony and accuracy; 
many of them had to be unpicked and embroidered again; thus the original panel 
of the Mazoe Patrol showed Mr. Pascoe sitting on the wagonette clutching a 
revolver; to ensure verisimilitude a rifle had to be substituted for a 
revolver.
 hen all the panels had been satisfactorily completed, there still remained 
a great deal of work to be done in stretching and pressing the embroideries 
before they could be mounted and framed. For it had been decided not to join the 
panels in a frieze as in the Bayeux Tapestry but frame them separately. The 
finished work measures 100 feet in length.
hen all the panels had been satisfactorily completed, there still remained 
a great deal of work to be done in stretching and pressing the embroideries 
before they could be mounted and framed. For it had been decided not to join the 
panels in a frieze as in the Bayeux Tapestry but frame them separately. The 
finished work measures 100 feet in length.
 ts design and completion had called for an enormous variety of talents: 
artists, draughtswomen, historians, archivists and, above all, needlewomen had 
all made their specific contributions. In addition members of the organizing 
committee had over the years spent freely of their time and experience in 
co-ordinating the work of the different Institutes.
ts design and completion had called for an enormous variety of talents: 
artists, draughtswomen, historians, archivists and, above all, needlewomen had 
all made their specific contributions. In addition members of the organizing 
committee had over the years spent freely of their time and experience in 
co-ordinating the work of the different Institutes.
 hen completed the National Tapestry was presented to the Speaker of the 
House of Parliament in 1963. Today it hangs in the Members’ Dining Hall where 
it can be inspected by the public.
hen completed the National Tapestry was presented to the Speaker of the 
House of Parliament in 1963. Today it hangs in the Members’ Dining Hall where 
it can be inspected by the public.
 he forty-two panels incorporate 5 000 000 stitches and they have captured 
the essence of Rhodesian history from the earliest times. They represent many 
thousand hours of work and artistic endeavour by the women of Rhodesia. It is 
fitting that this great work should have found its home in the building of the 
country’s Legislative Assembly, and that a copper plate should have been placed 
nearby which reads
he forty-two panels incorporate 5 000 000 stitches and they have captured 
the essence of Rhodesian history from the earliest times. They represent many 
thousand hours of work and artistic endeavour by the women of Rhodesia. It is 
fitting that this great work should have found its home in the building of the 
country’s Legislative Assembly, and that a copper plate should have been placed 
nearby which reads