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'^tVA.
ART NEEDLEWORK.
Cutf of Dress
â&#x20AC;&#x201D;
Violets,
i
ART NEEDLEWORK li\
A COMPLETE MANUAL OF
EMBROIDERY IN SILKS AND CREWELS, WITH FULL INSTRUCTIONS AS TO
STITCHES,
MATERIALS, AND
IMPLEMENTS.
CONTAINING ALSO
A LARGE NUMBER OP ORIGINAL DESIGNS AND
.^
]glant(Some (gfolouretf
^estsn
for ©"reixiel
"5^orft>
LONDON:
WARD, LOCK, AND
CO.,
WARWICK HOUSE,
SALISBURY SQUARE,
NEW YORK:
lo,
E.G.
BOND STREET.
AT?
i
f^-%^^j^"/'â&#x201A;¬^ "-^^
THE WILD FLOWER DESIGN FOR EMBROIDERY IN CREWELS, SILKS, &c., SUITABLE FOR CUSHIONS, ANTIMACASSARS, AIjTERNOON TEA-CLOTHS, MUSIC-STOOL COVERS, FOOTSTOOLS,
&o.
^f^9i
bgy
PREFACE The
Needlework" for
a
of
popularity
very
supplying
practical
attending
a
elucidated
by diagrams.
material
are
clearly
implements, and the
Art
clearly
explained,
and
given
every that
can
will find fresh
colour
are
been
has
to
as
The
modes of
various
mode of working
are
transferring
assist
the
obviate
as
true
so complete as to
to
make
it
We
last
as
At
necessity
for
and
to
to
materials,
the same
time,
designs and fresh ideas in the following
calculated
nature.
to
from paper
designs
the learner.
likely
described
fully
given
is
"Art
as
with a view to
prepared
stitches
information
is
to
be
of
use
both
while the accuracy of the drawings of flowers and leaves
depended upon
work
so
Needlework.
The
The remarks on
proficient,
the
of
volume
present
instructions
more experienced worker
pages.
be
The
time.
school
known
popularly
with every year, and the rage for Crewels
increases
long
Embroidery
of
kind
that
have,
in
fact,
to
may
endeavoured
novice
and
thoroughly to
render
an indispensable adjunct of the work-table.
CONTENTS. CHAPTEB.
Introductory
I.
.... ....
1 I
Materials for Art Needlework
II.
III.
Implements
IV.
Tracing and Transferring Stitches and
V. VI. VII. VIII.
IX.
TAQE.
Mode
of
23
29
.
Working
32
Colour and Design
36
Articles suitable for Embroidery
44
Description of Engravings
53
Description of Folded Supplements, consisting of
No.
I.
Sheet of Crewel Designs Dress-Yoke
No.
II.
No.
III.
Description
Design
for
Embroidery of
—Bodice
for
a
—Plastron—CufF—Pocket—
and Parasol-Cover
Five-o'clock
—
Tea-Cloth
.
Tight Summer Jacket
.
.
.
.
.
,
.
.
99 100
.
.
.
.
lOI
Folded Coloured Supplement, to be
Silk, Satin, Plush,
or Velvet
Collar
Worked on 102
"'«
LIST
OF
ILLUSTRATIONS. PAGE.
Work-Basket Hop Leaf Waste-Paper Basket Work-Basket
14 14 14 15
Penwiper Sachet
15
Work-Box
24
Toilet-Cushion
25
Work-Basket
25 26
15
.
Music-Stand Chair Design for Sofa-Cushion FOR A Necktie „
27
.
Embroidery for Dresses
34 35 37 38
Sofa-Cushion
38
Lamp-Mat
39 40
Lamp-Mat
....
Pelargoniums Pansy Fuchsia
.
41
41
.
Convolvulus
41
Writing-Mat
46 46 46
Reading-Desk Design for Sofa-Cushion Saddle-Cloth Waste-Paper Basket
47 47 47
.
Work-Basket Medallions
5°:
.
Box for Writing Materials Garden Basket .
Occasional Table
51
54 54 54
LIST OF ILLUSTRATIONS.
io
PAG£.
Duster-Baskei
54
Card-Rack
55 66
Footstool Sofa-Cushion Cushion Medallions
Mat
67 68 68
69
.
Work-Baske'
69
Fan
70
Screen Antimacassar Table-Cover
72
Band for Window-Drapery
76
71
.
73
Mat
Tapestry
77 77 78
Mat Tapestry
Mat
Sofa-Cushion
79 80
Chairback Toilet-Cushion Embroidery Design
81
Prayer-Book Cover Case for Letter-Faper Table-Cover Photograph-Stand Table-Cover Basket Workstand Reading-Desk Chairback Chair
83
.
81
84 84 85 85 86
86 86
Almanack
87 87
Toilet-Cushion Foot-Rest
90 90
Chairback Garden Furniture
91
Work-Basket Dust-Brush Holder Pompadour Bag
93
.
.
Whatnot
92 93
93 95
ART NEEDLEWORK. CHAPTER
I.
INTRODUCTORY.
THE
recent fashion for "art needlework" has given an impetus to one of the most ancient of
From
feminine occupations.
for the tabernacle,
dawn of
history
women wove and
to the present time,
needlework has been a woman's
come down
of
the art have
needlework exhibited
at
South Kensington shows.
years
advocates
the Israelitish
of
ago
was
it
rather
the "higher
the
is
again taking
fashioi
education" for
its
decry this
to
women
as
The
era
place
was a reaction from the excessive
when
it
was held up
as
an ideal epitaph,
the whole Bible in tapestry."
century which concludes,
importance
There
"She
is
"She
said
to
among
present exhibition
work
the ornamental
arts.
accomplishment,
they trusted a day was
that in
very-
and favourite
of Berlin wool
formerly popular
openly stating
â&#x20AC;&#x201D;from the
special
the
to us,
coming when the needle would no longer be a familiar implement this
decorated hangings
and Grecian princesses did not disdain to embroider garments
has happily passed away, and needlework
Some
when
Beautiful specimens
occupation.
of ancient
down
the days
female fingers.
Probably
attached to needlework in the last century,
died at a good old
be an
excelled in needlework,
inscription
age,
having wrought out
on a tomb of the eighteenth
â&#x20AC;&#x201D;of
she painted in water-colour
such
is
the kingdom of heaven."
Addison, fingers alone
time to
is
read
in
the
by the
so devoted
or write.
Spectator^
story of to
playfully
some young
working "
Yet
even
sets
rebukes ladies
this
excessive
devotion to the
educated by a "notable" mother, whose whole
of hangings" and cushions
Addison waxes
work of the
eloquent
in
praise
that
they have never learnt
of "the delightful
art
of
needlework," and devotes a whole number of his periodical to its praise. If once too highly valued, needlework has certainly been unjustly depreciated. Queen Elizabeth and Mary Queen of Scots were undeniably highly-ediKated and accomplished women, but
ABT NEEDLEViOUK.
12
the mastery of
Greek and Latin
not prevent both finding time to acquire the humbler art of
did
Beautiful specimens of their handiwork
needlework.
The
the best friend of her dreary hours of captivity.
been intolerable save for the solace found
needlework was considered a
days
amusement, and her correspondence
Norman Conquest
a history of the
left
accomplishment
fitting
vestments
century yet extant
tv/elfth
over
all
the
a
for
it
of
From
skill.
and the
work
a piece of
Queen Matilda has
Englishwomen were celebrated
"opus Anglicanus" being sought
at Hastings, the
When we
continent.
full
is
princess,
Many
art.
has been sung by Homer.
good preservation
in
this
in
the Bayeux tapestry.
in
William landed
as embroideresses long before for ecclesiastical
web
Penelope's famous
of specimxcns of her
gifts
higher the rank the more the lady was expected to excel has become historical.
queen found her needle
latter
long years spent in prison would have
of materials for work, and
allusions to various purchases
the earliest
in this
and the
still exist,
see specimens of
speaks well for the
work of the
of the worker and
skill
the goodness of the materials employed.
The
of these
excellence
needlework
collection of ancient
appear as bright as in
embroideress
of a
left
at
the
and
results
orphanage of
in
drawings
all,
There
much
although
and
possession
to
her
is
Scattered
at
there,
the
Many
of the
descendants. left
(and
pleasing
as
a satin dress exhibited at Kensington,
intervals
over
the
a
are
satin
by an
One
needle instead of a paint-brush. injuring,
so
beautiful
specimen of
a
artist
who
artistic
worked
with smoke issuing from the chimneys, ruined
reminding one of the lady of the
embroidered with product
actual
the
of
seven
the
that they
liking
to
wear, and risk
the same date were
Much
among other
Nearly there
Is
all
Hence we
wide diversity
month
doing;
now
Many
appear to
century, found
;
In
own find
such
needlework was
Ancient
generally
are.
the effect
to
diversity in
the
specimens
regular employment a
woman
despise
the
amusement
in
Some of
produced.
perpetuate
more the
Nearly every lady
have come
that
that
such
the dresses and
monstrosities.
Perhaps
may have cheered many
Mrs. Delany,
diversion in
her
is
down
to
us.
concerned, but
hangings would be
one marvels that any one could work patiently
in
one of the best
needle
during
the
a dull hour,
has found refuge from her troubles art.
far
petticoat
and the work thus took the Impress of the worker's
patterns,
some are so hideous
month,
after
the quiet,
heart-ache.
architecture.
cottages
things,
by way of a novelty, ordered a
are equally well executed, as far as the mechanical art of stitchery
beautiful as pictures on,
of
patient
and various other equally clumsy designs,
worker than modern embroideries
invented and designed her individuality.
century, who,
last
orders
castles,
an
work with a
to
not equally tasteful, as an elaborately-worked costume in the next case shows. labour has been expended on this dress, but the pattern includes,
at
exquisitely -worked
tiny,
All embroideresses of
toil.
old
prize In any exhibition
preferred
can only wonder at any one
patient
almost as
sprays of flowers, pansies, violets, jessamines, so delicately coloured, so deftly shaded,
must certainly have been copied from nature
the
and seventeenth centuries
displayed
the eighteenth century, which might fairly compete for
of flowers.
surveying
in
time was doubtless employed
curtains
does his pencil, and
artist
occur
that
ideas
first
Silks of the sixteenth
After
beautiful
of their labours.
the
counterpanes
elaborate
lasting
of
Kensington.
workers handled their needle as an lasting)
one
is
worked yesterday.
if
some
executing
latter
the
reward was
In
the
and eased many a
needlework, although some
workers of the
eighteenth
dreary years of the
loveless
—
ABT NEEDLEWORK. marriage
chronicle of needlework, of in
good stead even
imprisonment with the
Queen
blameless
are
which she was so indefatigable a professor, and the
art
old
into
her
of
Marie Antoinette
temple by similar means.
It
is
her.
As we have
age.
labours
—poor
Her
"Letters"
which her friends had forced
into
13
needle
—whiled
C)ueen of Scots
another
Madame
perfect
stood
her
lightened
her
more
but
incarceration in the
young
Elizabeth, and the
princess
needlework.
to
woman
seems strange to add the name of an emphatically strong-minded
It
a
unfortunate
equally
away the dreary hours of
recorded that she,
regularly devoted certain hours of the day
Mary
said,
and
;
interesting
to the
of
list
Yet Harriet Martineau was an adept with her needle, and had indeed
celebrated workers.
supported herself by her beautiful fancy work, long before her books could find a publisher.
To
the
her
skill.
end of her seems
It
consigned to oblivion of
training
a needle
their
;
but
in
tasteless
to
visit
" plain workers' " spinning-wheel exercise
;
occupation,
but
Kensington
seems a pity to
it
show
will
are
labour,
that
fingers
and
The
indeed
decorative
for
steam
have abolished the
spinning-machines
tasteful
Without
inventions.
hideous worthily
totally neglect
these days of elaborate domestic ornamentation there
in
nimble
of
the
as
girls' brains,
art."
is
the
purposes
The sewing-machine may have swept away
no despicable instrument.
is
specimens of misdirected
educating our
A
fingers.
pleasure in the exercise of
needlework should ever become a "lost
a pity that
wool-work, and kindred
Berlin
the
she was a skilful needlewoman, and took
life
the
deft
and
distaff
ample scope
encroaching
on
the
for
time
required for a high-class education, girls might learn the art practised by their ancestresses in ages,
all
book in
an art not to be despised
fails
the
they
left
days of sickness or
trouble,
when even
the wearied attention, and the sad heart cannot rouse
to fix
Then
accustomed study.
resource.
in
Even the
the
itr>elf
the
to take
pleasure
mechanical occupation of the fingers becomes a valuable
Norse kings recognised the good of some such amusement,
old
favourite
for
though
the labours of the loom and the needle to their wives, they did not despise " Twisting of collars their dogs for to hold,
And combing
the
mane
of their coursers bold."
As Addison
remarks,
"These hours thrown away
work
and beds
for
chairs
pleasing memorial in the
things entitled "fancy into disfavour.
Alum
the
work" some
nineteenth
century as
in
Loan
generations?
of the " survival of the fittest."
The
handiwork
wax
suffice
to
employed would leave a
so
We
remains
still
Some
flowers
believe that the terrible
One
—would
any of these serve
and
fresh
of the
or Elizabeth's court has long passed
grateful pupil
ornamental in
untarnished,
the
patient workers of samplers appear
have realised the enduring quality of their handiwork and foot.
would
exhibitions of needlework preach the doctrine
dame of Henry
fair
the sixteenth.
fame by adding them at the
it.
visits
years ago served to bring ornamental needlework altogether
baskets, cardboard constructions,
but her beautiful
time
least,
shape of ornamental objects behind
to delight future (or present)
away,
At
whole family."
and
play,
dress,
in
secured
commemorates
their
to
names a temporary
that of her teacher also,
"Instructed by Alice Underwood."
Few
people,
elaborate designs
the
daughter
in
these
of our ancestresses,
taking
and bustle, would have patience
days ot taste
up the needle
when as
several
the
generations
mother
laid
it
toiled
down,
at
a
undertake
to suite
and the
the
of tapestry
great-grandchild.
—
ABT needl:ework.
u
I.— "Woek-Baseet. 2.
3.— Embeoideey rou Woek-Basket No.
4.— WASTE-PArER Basket.
Hop-Leat.
i.
5.
Embeoideey foe No.
4.
ART NEEDLEWORK.
15
6.— Woek-Basket (Open\
7— Embeoideey
8.
foe No.
Penwipee.
9-—Embroideeed Sachet. 10.— Woek-Basket
(Shut).
8.
16
ART NEEDLBWOEK.
'
But
perhaps, completing the task.
were content pile.
much
Still
revival of a
out
lay
to
a
in
it
ought to
Harriet Martineau found
(as
"
executed in
Builders of cathedrals
others
may
it
The meclianic
some
cases
serve,
like
in
and the present
brief space,
fairly
of domestic decoration.
woman, and
in
it),
may be
rejoice lovers
a desirable accomplishment for every
went gradually.
all
and wait for successive ages to complete the mighty
plan,
vast
beautiful needlework
taste for
those times
it
Skill
may prove
needlework
in
is
actually profitable
the poet's rhyme,
exercise
Like dull narcotics numbing pain."
Lady Jane Grey, who was
eight
men of her day, was Thomas Challoner, who wrote
prodigy by
mind.
of
mistress
learned
all
Sir
poem
Latin
a
as
quite
a
with her needle as she was learned in
skilful
as
was looked upon
and
languages,
her
in
praise,
in
specially
1579,
records that, " Inimitably fine
Her
With such an example,
there
is
needle wrouglit."
fear
little
the revival of
that
a
needlework
for
taste
need prove an obstruction to the higher education of women.
Once more
grandmothers has come into vogue, and our leisure
the tapestry-work of our
The
hours are busied with tracing, designing, and crewel-work. as
Nature
is
to
count the stitches
say,
the model, in the other
crewel-work or
and a
as
As
anything.
To
—
to
Berlin wool-work.
For some time past a very
to
the needle and
productions.
its
This
boon
a
taste,
In
in
freshly-plucked flower
a
that certainly never belonged
has been given
sort of attention
superficial
is
ingenuity,
of the
no doubt, owing mainly to the advent
is,
that
do Berlin wool-work.
that
carried
of colour
faithfully copied in its every gradation
—
embroidery may be purchased
this
this
is
can
be possessed of some
to
used in
such a charming extent
—one
is
In the one
conceive.
to
one can follow a pattern
as
match the wools required
The wool
possible
is
it
long
embroidery the worker requires
art
any shade.
may be
and
—
knowledge of drawing.
slight
almost
Berlin wool-work
old-fashioned
superior to the
crewel embroidery of to-day
sewing-machines.
Let little
it
On
articles.
women
the
encouraged is
not be supposed for one the
contrary,
we
moment
are obliged
boon they have been
great
— amongst
our young
girls
that
to us,
especially
we would to
and
— an
say one
word
hundreds
acknowledge with are
;
against
these useful
of
English-
hand, they have
but, on the other
indolence with regard to plain sewing
that
not likely to benefit our fancy works.
To sewing,
gain a thorough
and
then art and
make
straight
make
the picture
lines,
Embroidery
worn by the
ovals,
proficiency
fancy curves,
with
the
needle
is
it
needlework follow, just
as
necessary in
to
drawing one
practise first
plain
learns
to
and perspective which
&c., before venturing on the shading
itself. is
one of the oldest of the
ancients.
arts.
We
In the ornamentation of the ark
read of
we
it
"Upon
the
hems pomegranates
of
blue and
in
the Bible as used and
read that the
adorned with "cunning work," and the priestly robes of Aaron and embroidered.
first
his
veil
of the ark was
two sons were
richly
purple, scarlet and twined linen."
ABT NEEDLEWORK. 17
Irt rtiy' saik sa,Ia
'"'
°'
""
^°"' ^"' •'«
T ""' "'',"
T^t'7
of the slave-sh.ps were worked
^^^P' upon.
*^
'°''
"^^"^
"^^
'^"^'" ^"^ f"™'^"-
P-granates on It
The gods of Eg,pt had
II.—Embeoideet poe Sachet No.
embroidered, and
^^'--
had many "changes," according to the
Egyptians that the Israelites gained their knowledge of material help to them in building and decorating the
- -id
the
he.
that even
their vestments
rii
9.
different
seasons.
embroidery, which
was from the knowledge was of It
ark.
B
.h^
8
ART NEEBLEWOBK.
1
Dedau,
Syria was famous for the richness of her embroidery, as were also Tyre, Asshur,
.
.
The Greeks
Sheba, Chilmal, &c.
and used much embroidery
in
was a "studio"
for
work
We
perfect.
luxurious
their
in
industrious
apart
set
weaving and
indulged
largely
Embroidery flourished mostly Saxons the
portion did
tendencies of
artistic
was
embroidery
for
two
and
a
carried
Edward
the reign of vests
some
of
green
pelicans,
velvet
do perfected themselves
to
the Church.
long
since
it
in
The
made
show
which
of some
of the
principal
embroidered
with
gold,
a
white
Middle Ages.
Women The
too.
the
In the
race diminished so in
time was
this in
extent
the
are
given
artists
made
to
robe
worked
called
trade
Colonia
with
pearls,
royal
who had
in
In
us.
John de
and men both made
great ladies
pro-
the convents and
Also to William Courtenay for a gold.
ever
too,
though, unlike
what
to
Romans,
stuffs,
people.
robe
this
art
little
else
nearly every branch of fancy work, often making extensive offers
is
once more apparent among us,
Our
There
is
crewel-stitch
will
be found very
such a deliciously antique look about a
or curtains are handsomely worked, that our readers, taste
as the
make the
spared to
we___ shall,
no doubt,
find
our lumber-rooms and wardrobes specimens of samplers, &c., worked by fingers
cunningless.
copying them.
from the East.
fancy
recorded that payment was
is
the " rage" for embroidery in
it
proved a remunerative one
it
to
hidden away
embroidery and
images, and tabernacles in
a perfect business, and
Now
in
embroidered with gold.
robe of velvet
worked with
The names
Third
the
pains were
The embroidery of done by religious men and women the
are
allusions
on.
In nearly every house there
particular.
this
reached a very high perfection, and
it
history
In
in
kinds of ornamentation,'
all
England about the time of the
in
"opus Anglicanum," and was mostly abbeys.
No
embroidery.
should do well to copy them tastes,
of
lovers
and religious ceremonies.
their dress
Greeks, they imported most of
time of the
were great
especially
and industry may have
at
least
if
one asfbe/ic room
similar
room
and in
well
adapted
which the furniture
not possessed of ample means, in
their house.
for
by good
CHAPTER
II.
MATERIALS FOR ART NEEDLEWORK.
MATERIALS
that
may be worked upon
are so
exaggeration to say that almost any material
like
to begin upon. it
_
It
gets spoiled
not difEcult to work, and as
is
in
the
first
it
Children should
attempt.
also
be given
makes very good antimacassars, table and toilet mats, d'oyleys, &c, " Crash" is as much used as any material for crewel-work, and items, such
we should certainly not recommend it may be made from v>~hite linen. This can be
mats, &c., though
as
Pretty tea-cloths
width, and looks really well, especially fine
linen
is
is
to learn upon.
it
very useful
It
small
for
for curtains or portieres.
obtained of a very good
and looks well
frequently used for coloured silk embroidery,
linen,
not very great
is
the design be a close one and not too
if
hardly seems
a capital material
is
very cheap the matter
is
it
may be embroidered upon, from
Towelling of a loose texture
serge, &c., to the richest satin and velvet.
if
numerous and varied that
small.
Extra
nearly the whole
if
surface has to be covered.
Twilled linen, which this
material
is
so
is
very stout
narrow that
this
is
in
make,
about the
much used for borderings. only use it may be put to.
Cotton materials, such as workhouse sheeting, muslin, embroidery.
Children's
dresses
worked with crewel wool, and and washing Muslin
â&#x20AC;&#x201D;always
floss
silk,
a
are
strong
sheeting
twill
have
cotton, &c., are a
veiy
good
much used
appearance
for
when
and useful, with the additional merits of cheapness
well.
Scarves, aprons,
only need
of workhouse
The width of
is
a pretty material
fichus,
&c.,
minimum of
of this
skill
â&#x20AC;&#x201D;
looks charming
material
make
and industry to
when embroidered with
elegant
eifect.
little
India
additions
muslin,
if
to
silk
our
worked
in
or crewels. toilet,
and
gold
and
This
may
looks quite Oriental, and could not be purchased for a light sum.
Twill cotton
be obtained
in
is
a very
several
strong material, and mostly used for covering furniture.
shades.
When
a suite of furniture
is
faded or in any
way
dilapidated
â&#x20AC;&#x201D;
ART NEEDLEWORK.
20
and unsightly this material
well
to renovate
possible
is
It
worked with
by covering the
it
lounges, ottomans, &c., with
chairs,
the curtains, hangings, and portiere should match
crewels, while
pattern.
in
Among These may
the woollen materials serges, cloths, merinos, and cashmere take a prominent part.
be obtained
all
either in silks or
crewels.
pink cashmere worked
Imagine a robe of pale
and there with yellow and This,
leaves.
worn by
if
The
suitable for a garden party or
drapery round
pink satin
pale
would produce about
be edged with narrow cream Serge
and shows in
to
it
fullest
its
finer
cloths.
than the thicker, softer
Every kind of grain
The
embroidery.
possible.
is
hat to match should be
edged with narrow cream similarly
autumn
leaves.
ribbed
surface
lace.
the dress, and
to
This drapery should
a rather better foundation than the more
harsher
the
that
work
takes the
Cloth can also be used for the same
frequently happens
It
effect as
lace.
advantage.
is
The
crown should be worked
the
foundation for
capital
the rougher pile
this
the
a
is
touched here
leaves,
charming an
satin,
fastened off at the side with a bunch of white violets and also
as
picnic.
shade the face, and lined with pale pink
so as to
ruddy autum,n
with
and interspersed with small sprays of white wood-violets and
silver,
a brunette,
Such a costume would be large,
may be worked
a charming diversity of shades and colours, and
in
well,
purpose, though
glossy smooth surface are
materials
of
work upon
better to
stuifs.
may be embroidered, from
silk
the
thinnest sarcenet
the
to
richest
gros-
silk.
Of
beauty and
used
materials
all
embroidery there
for
The shimmering
softness.
To
harmonises the most opposite colours.
We
materials.
Blue
surface
its
the complexion
It
should strongly recommend ladies to patronise a rule a satisfactory colour to use as
not as
is
upon
light
none to
is
too harsh and cold
;
but
in
satin
be compared with the
softens is it
for
satin
shades and
harshest
one of the most becoming of freely.
a foundation
and serge any colour may be used,
for
embroidery
;
It
is
the play of light and
as
shade on the surface of the one and the hairy, ribbed surface of the other carry off the usually crude effect caused by a large expanse of blue.
Velvet
Is
a
good deal used
crewel-work, both in cotton and
for
There
silk.
a ribbed
is
velveteen which makes a good foundation for crewel-work, and well adapted for mantel-hangings
and
Utrecht velvet may be used for the same purposes.
portieres.
viz.,
that
in
which the
pile
together with thick rep
The embroidery Is
a
kind
itself is
silks,
principally executed
the tints and shades that
in
Its
a
plies
to
is
This
best adapted for crewel-work.
in
painting.
in
texture and
colour.
a touch of harshness, and there
using this wool
Crewel wool
only, the loose twist
in
it
is
is
possible
much
to
make
thinner than
of which in working causes
it
to
It
material,
embroidery.
Crewel wool
crewels, silks, chenille, and plush.
Berlin wool
brilliancy without
In
"shadings" as a
â&#x20AC;&#x201D;
expensive velvet
should always form the foundations for ecclesiastical
of worsted very different
obtain a colour of great
with two
the shortest
is
The most
possible
Is
so great a variety
is
one's design
as
artistic
Berlin wool, being
form
to
lines
like
made
those of
copperplate engraving.
The
silks
used
in
the embroidery
come under the head of Dacca, Mitorse,
filoselle, floss,
and
ART NEEDLEWORK. purse
Sewing
silks.
silks
when
thick
and
soft
may
also
21
be used;
kind
this
is
usually sold in
skeins. Filoselle
is
the raw material from which spun silk
is
made;
it
is
more easy
to
work with
,:'}giMi!l^
1
than
floss,
The French
and on that account more popular.
from those cocoons of are
2.â&#x20AC;&#x201D; Embeoideex foe Wobk-Basket Nos.
known by Mitorse
is
the
silk
6
&
call
io.
it
bourre de
from which the moths have been permitted
name of "waste cocoons,"
much used by
the
Japanese
it
in
is
sole.
to emerge,
It
and
is
made
as these
cheap as well as durable.
those
exquisite double
embroideries
executed
ABT NEEDLEWORK.
22
by them, but keep
to
the
we
as
Berlin
English are
less
skilled
in
the use of our needle
which makes an excellent
silk,
substitute,
and
would be better
it
does
not require
to
much
so
care in handling.
Floss
is
the most
difficult
of the readiness with which
Gold and
silver
silks
it
to
silk
can be
are
work
with,
Dacca being more
mostly used
for
church purposes
It
material coming
up
is
used
present,
though there
is
much
in
vogue
for embroidering the
not so frequently used now, though there seems a hint of this pretty
again.
Embroidery over cardboard â&#x20AC;˘Dccasionally
at
toilets.
Chenille used in combination with silk was formerly stuffs.
on account
into fragments.
split
every probability of our ultimately using them in our
most costly
UDlversally used
in
the
home
very
is
for
little
working
used devices
except or
for
church
purposes, though
monograms upon mantel
it
valances
is
or
curtains.
The
design should
sharp
penknife or
There
is
first
scissors.
a thin kind
be drawn upon the cardboard
Then
place
it
in
pencil,
and then cut out with a
on the material, and secure
of m.ounting-board which
is
the best for
this
it
with strong
purpose.
thi-ead.
CHAPTER
III.
IMPLEMENTS.
THE
used
implements
on that account.
important
most-needed tools
The
Art Needlework are not many
in
Needles,
nor must
;
we
size to take
the wool easily, or in drawing
rendered thin and poor.
If a needle
which process can hardly be said of the worker
improve
to
way
The
pieces
article
too
is
fitted
relieves
insufficient
your wool
will find
appearance, besides trying the patience
long
too thin, too
the
to
requires to be dragged through the stuff,
it
general
its
left
be too thick, nor the eye of
Therefore take care that
and giving her a great deal of unnecessary trouble.
next
;
and must be
for,
too short, and
nor
the eye be in
let
sans reproche.
embroidery
otherwise
to
gum.
needles or the long-eyed embroidery
backwards and forwards you
it
too short
is
your needle be neither too thick nor
large
forget to mention the useful paste or
Never allow your needle
less
and a piercer comprise the
stiletto,
This depends m.ostly upon the material they are used
discretion of the worker.
hoops
a
needles should be either the ordinary round-eyed
needles.
every
frame,
a
number, but are none the
in
well
closely the
is
in
the worker,
is
frame
a
the
people
other,
imagine
is
liberty,
The
more scope
keeps
the
for
work
the
as
more
her
free
the
four-piece
tambour-frame, suitable
that working
most cases a mistake, for her
ordinary
the
;
need description.
to
one within
gives
leaves both hands at
category
known Some
of work. this
our
in
for
a frame
at
frame
from puckers, and,
an if
used
consisting
of
in
two
any other
dresses or
more tedious than
is
effectually
proves
postures,
frame
holds
enemy
the work,
back-ache,
to
anything,
it
is
easier to
work with than without.
The
use of the
stiletto
is
taken in embroidering a pattern.
of
the
this
to
make
The
the
holes
holes
through which the cord-edging has to be
should never
be made too
large,
and the whole
process effected with the utmost neatness and precision.
The
piercer
is
work
either
in
invaluable for laying the threads in gold or silver embroidery, and in raising
crewels
or
silk,
In church embroidery
it
is
used
for
working
silk
over
—
ART NEEDLEWOBK.
24
This
cardboard.
resembling a
little
stiletto,
instrument
and
flat
is
made of
steel,
which
is
about, as
a to
one end,
Detail of Woee-Box.
—WOEK-BOX.
15.— Embeoideet for Woek-Basket No.
Now
at
at the other.
14.
13.
round and pointed
word its
for
the
paste
or
17.
gum, which, perhaps, my readers have been wondering
connection with Art Needlework,
When
the material used for the foundation
—
—
—
ABT NEEDLEWORK. of the embroidery
with paste or
is
thin,
gum and
it
customary to
is
pressing
it
down upon
and easy to work upon, besides preventing
16.
frame
is
its
it
with linen or paper by smearing
This makes
the material.
17.
Embeoideey foe Aem-chaie No.
positively necessary
when
it
more
it
lightly
substantial
getting dragged or torn.
Toilet-Cushion.
18.
A
line
25
the embroidery
is
Wokk-Basket.
Foe Detiu see No.
15.
20.
executed over cardboard with
floss
â&#x20AC;&#x201D;
ART NEEDLEWOEK.
26
The
silk.
process
woof ends
is
follows
as
:
â&#x20AC;&#x201D;A
strip
of strong linen or tape should be stitched along the
the material, which must then be sewn firmly with strong thread to the webbing
ot
When
on the frame.
It
done the
of the frame are to be slipped through the mortice-holes of the other pieces,
laths
and the
pegs
better
is
fastened
tension
appears
twine.
A
threaded with
packing-needle
till
be done
in the
When
corner
them
of
with
the
the portion
tissue-paper
work
precious velvet this
:
is
in
it
of
the
work
is
In this
may be sewn on
it
Foe Detail see No.
Mtjsic-Stand.
finished
is
rolled
may be managed
in
this
is
in
and tack
finished,
way
it
take
down it
but also perfectly smooth.
The
it
put
may be
observe
that
wc
prevent
to
the bars the
and
rolled
of
creasing
it.
2r.
till
the stuff to be wrought upon be
is
fresh
in
and
fine
thread.
When
holland,
and
spread
another
stitches
covered very easily and well. really
her
large
very seldom necessary.
hands
will
A
are
not
only
scrupulously
be found to tease and roughen
should be smoothed with pumice-stone before commencing operations.
are
so
catch in the work, and in
if
small
roughened forefinger
dress must next engage the attention, and
with which
be washed
A
to
to
round the opposite bar, and so on
way,
v\^ith
out,
large surfiices
Every worker must be careful
and
the other side must
the frame, and then carefully place a portion of the
frame adds greatly to the fatigue of the worker, and
the wool,
twine must be sewn over
and cut off;
securely,
it
the holland,
portion of material.
clean,
The
securely.
and wadding between,
a piece of fine holland
satin
piece
Or
finished.
â&#x20AC;&#x201D;Brace
or
the frame
in
than the frame
larger
is
19.
When
fine
same manner.
the material
round one
reached, knotted
is
the
must be drawn through the upper right-hand
twine
or linen, and the end tied most
lower
the
the lath
has been
this
The strain should be increased gradually and cautiously till The v/oof ends must now be braced to the side-pieces with
in.
sufficient.
comer of the tape
use the thread double for this purpose.
to
fond of
pendants of
all
kinds, bangles, rings, Sec,
adorning ourselves, be rigorously excluded.
frequently occasion serious mishaps.
In
the winter
These are apt the
oatmeal and carefully dried, so that no erasure of the skin ensues.
to
hands should In the
summer
ABT NEEDLEWORK. it
would be well
damp,
especially
wash them often
to
engaged
if
in
delicate
in
warm
water,
I'j
so as
to prevent
their getting moist
or
work.
of the worker be not perfectly clean and fresh, a bibbed apron and sleevelets should be kept as part of the worker's to keep all pure from dust, and hold If the apron is made with large pockets, they will be found useful to
If the dress
be fomid
will
paraphernalia.
even
an ample supply of materials, or
engaged upon be it
affords an
hold
end of the
one
support to
20.— Embeoideeed Chaie.
of
be perfectly willing to
to
show the
towelling will
Paste— every one
my
a few of in
a
readers
saucepan,"'
mixed
it
sacriiice
Every kind of work
her work.
small
needs
between
difference
Foe Detail see No.
personalities
and
care
careless
of work
piece
the
may
not
know
add a pinch of it
the recipe,
resin
on the
Thus
we
fire
or
and
we
alum
to
stir
till
attired
should imagine an anxious
i8.
the sake of the spotlessness
for
handling;
delicate
the
even
coarsest
and dainty manipulation.
can miake paste, you will say.
smoothly, put
if
and leaves the hands and arms unburdened.
it
the worker will not be particularly vain of her reflection, though
worker
stuff
This prevents the weight of the material from proving a fatigue, as
large.
effectual
to
This, however,
give
it
here
handful
every quite
thick.
:
is
—Mix of
A
the case, and as
not
flour
and water
When
you have
some
flour.
wooden spoon
is
the best
for this purpose.
Paste material
it
overlooked.
should is
not
be kept more than a week.
better to use the fingers
When
the
material
is
In
spreading
it
upon the back of
rather than a brush, in order that no
especially
thin,
like
sarcenet for
instance,
little it
a
lumps get
may be
first
ART NEEBLEWOBK.
28 lined and then
afterwards.
The
When "When
When scissors, little
A a
is
it
paste
is
this
edging the embroidery
first
material
the
surrounding
it,
at
a material of
upon first
some
the outset saves a deal of time sets
to
the use of a frame becomes essential. linen,
and afterwards applied to more costly
be worked and then be backed by paper.
applied to the velvet and tacked on
is
A
effect.
trouble
work through
the linen round the embroidered part.
gold or silver cord run on wdth sewing to
easier to
be removed from the frame and cut round with a pair of sharp
should
leaving a narrow edging of
richness
little
done, the design should
is it
much
substantially lined
occasionally executed
this
done
thus
is
so
is
be allowed to dry thoroughly before the embroideress
should
a material
Embroidery stuffs.
It
than through a flimsy one, that
stability
work;'
backed with paper.
and
in
handsome this
silk
piece
case
it
will
of
may,
By means
of this
strongly with tiny stitches.
hide the bare edge of the design and add
embroidered w^ork of
course,
will
often
be transferred
if
outlive
necessary
the to
half-a-dozen materials in succession.
When
a piece of
work
is
finished
our paste
the back, after the linings have been removed. silk
is
brought
into
requisition
to
smear over
This prevents the ends and fastenings of the
or W'Ool from coming undone, and effectually keeps the w^hole "tidy."
Collar, Cuff,
and Pocket of Dress, with Crewel Embroidery of Violets, Leaves, and
Marsh Mallow.
i2i
—
CHAPTER
IV.
TRACING AND TRANSFERRING. programme
part of the
THIS To
a somewhat wearisome one, and requires careful consideration.
those ladies whose knowledge of drawing enables
upon the material we a tedious process
—while
draw
we
accurately,
To
is
may
freedom of
is
skilful
we must
just give a
by drawing
certainly gained
—
design, however,
worked upon be a
really cannot
word of advice and encouragement.
And
it
For such
costly one.
or
greater
we
for herself.
such as an ornamental to
a
as
design straight off upon the material,
one's
attempt
at least
little
scroll,
effect
the case
this
is
without
alternatives, therefore,
different,
help,
we
and even a
especially
will give
the
if
instructions
and transferring.
for tracing
The
who
exactitude of form and size, and a lady with
little
draughtswoman might lack the courage
material
up
lack the courage so to do, or
them with the barest knowledge of drawing.
effect
should advise every worker to In a set
once to draw their designs
tender this chapter of instructions.
easily
effect
who
to those workers
these last-named, however,
talent
at
our sincere congratulations that they are thus enabled to escape
offer
Flowers, ferns, leaves. Sec, require
no
them
design should
to the
of a
glass
first
be traced upon cartridge or drawing-paper by holding the design
window and
tracing
it
upon the drawing-paper by means of a
pencil
or
pen.
Another way it
to
this
the case
is
to place tissue-paper
drawing-paper by means of transfer-paper should
move
is
to
lay
the
now be pricked
removed the material
The
style.
it
through, then to transfer
the two.
The
design in
design upon the drawing
pricked carefully and evenly with a pin or steel point. design
pounce or pouncing-powder through has been
placed between
be carefully gone over with an ivory
or cartridge paper should
next
above the design and trace
will
the
The
on the cartridge-paper upon the material and rub holes.
When
this
be found covered with
is
done and the cartridge-paper
little
dots
in
the
shape of the
â&#x20AC;&#x201D;
ABT NEEDLEWOBK.
30 design.
The pounce
to soil her hands,
should be rubbed on with a
the finger
is
not at
21.
of a to
design
fold the
all
brush,
a bad substitute.
Embroidery
correspond with each other,
little
the
Music-Stand tor No.
quickest
or,
if
When
the worker doesn't object the halves or four quarters
19.
and most accurate mode of drawing
paper into two or four divisions and draw upon the upper side only.
The
is
holes
ABT NEEDLEWOKK. may
be
then
pattern
correct
"Bank to fold in
A
through
pricked
obtained than
is
post" paper
is
and thinner than cartridge-paper, which
cheaper
made from
dark pounce
a capital
the material so that no second
last
too thick
is
pulverised pipeclay, or powder-blue, pipeclay, and
the material to be traced upon be a light
if
trial
For
needed.
is
A
by means of weights.
place
its
means a much more
this
pouncing the design great care must be taken to place
In thus
in
and by
once,
at
manner, so we should recommend the former to our readers.
this
make
divisions
the whole were gone over separately.
if
very good pounce can be
charcoal
four
all
31
second
reason
this
usually
trial
it
one.
exactly in the centre of
it
better to keep the whole
is
dotted
the
m.akes
impression
blurred and indistinct.
When
â&#x20AC;˘
pricked
the
outline
been removed the design
has
This
material with paint or Indian ink.
Make
and
stiff
should occur
remove the paint
to
to
is
rub the material briskly; advise
Do
workers
all
the
it
this
â&#x20AC;&#x201D;and
put
a
quite
will
however,
this,
;
There
the
ruins
A
transfer.
the
design
been done, traced.
is,
The
that
saucer,
If in
â&#x20AC;&#x201D;
happens
way
of
We do
to
the
way
easiest
should, however,
more than
it
obtain
to
all
upon
painting
and with a piece of rag
of the paint.
by no means
quickest
design,
white
;
pattern
a
once. oil
to
is
and then to carefully tear away
stitches,
which would otherwise perhaps come
believe,
I
over with
traced
a
a very excellent is
in
again
blue
is
suitable
for
month, well
natural
by the or even
as
inventor.
two,
draw one's
flowers,
to
A
lady
learning
patterns,
light
pencils,
who
supplied
The
materials,
a
the
gives
much It
is
the
we
if
is
When
purpose. will
prepared
in
full
directions
this
has
be found perfectly
two
A
white for dark.
an excellent thing
very fascinating
which may afterwards be "painted
never have a real "taste" for drawing
tracing and
for
colours,
white
piece of cloth
use,
are supplied
time to embroidery will do well to devote
in
amusement
There
is
Of
worsted."
knowledge of drawing and some ingenuity of imagination.
especially
for
cloth
together with
drawing.
while
mode of
the usual
placed between the -material and the paper pattern and
of pouncing.
the trouble
all
Tottenham-
Hanway-street,
16,
and the pattern and cloth have been removed, the design
The
6d,
Francis,
substitute for
hard lead pencil
of each colour, and blue and white for 2S.
by Mr.
invented
piece of prepared cloth
This saves
and blue.
apparatus
tracing
a
is
which
court-road,
as
a
into
and
doing,
easily
traces
all
performance.
design will be
the
or
possible,
the best kind of
is
a similar matter.
for
a
turpentine
so
in
know how
remove
as
inferior
and follow the outline with
to the material
pattern
and bold
free
all
little
be cautious
to
we
be found suitable for these.
paint will
tack
as
sable
stiff
pouncing powder with hairy materials such as serge or woollen goods
use
not
should be always used in the case of white linen,
and the embroidery consequently an
feeble,
a mistake
outline
sweep of the brush
each
_
For painting the outline a
and can best be put on with a pen. brush.
last
must be gone over upon the
are
to
be able
to
copy a bunch of
course
this
to design
requires
a
some people who would
they were to learn for a dozen years, and to these
give the above instructions for tracing and transferring.
—
—
CHAPTER AND MODE
STITCHES
ONE
of the
among our grandmothers
fashionable
we used
reason
how
has
it
adapt
to
effect
hope, in
fancy
in
than
if
DiAGEAM
I.
and most fascinating of
oldest
its
work, a
fullest perfection.
charm
peculiar
the
to
it
for
particular
knot the
being
an
half-way
from
the
Diagram
i.)
quarter
The will
practice
its
is
left
she
engaged
is
upon,
among
revived again
the
to is
the stitches
For
this
know
just
worker.
skilful
and
all
thus
us,
will
obtain
a
better
it.
StITCH.
made
surface,
of
a
in
now
and
decidedly the least mechanical of
a settled rule only were applicable to
CeEWEI
the crewel or long stitch once so
is
3.
— W0EK.ING
AN OtTTLINE.
DiAGEAM 4.— Shading.
following are the instructions for the popular " long stitch :"
The to
is
design
DlAGEAir
linen
stitches
most workers, while one who
DiAGEAlI 2.— WOEEIXG AN OUTLINE.
A
OF WORKING.
for tapestry-work,
It
and much discretion
V.
length
make them
abruptness
of
destination
of the
then inch
first
of the longer
the
in
the worsted
needle
the
distance,
point
curves,
must be
shorter
the
work when
more
or
left
according
coarseness finished,
&c.
brought from the under side of the cloth or
passed
and carried on
stitches
or
is
is
it
back
less.
at
to
It
about
entirely
the
from the upper side
again
again
is
as
to
the judgment
extent
of
surface
or fineness of the material
at
about
second.
(See
brought
beyond
far
up
the
about
at
of the worker, to
wrought
be
who
covered,
the
and
the
upon,
Naturally a closer stitch and more solid work are
required for antimacassars or sofa-cushions, which are always coming in contact with fidgety and restless
human
beings, decked out with every kind of ornamental
excrescence likely to pull and
ART NEEDLEWORK. catch
worsted- work,
at
than
needlework,
of
frieze
a
for
33
under
immediately
nailed
the
ceiling.'^
The
In working, the
terminates
then
the veins are put in
of stitches
are
The
towards
the
be avoided. taking
care
them of
direction
thin
places in
executed is
studied
in
of great
plant
a
in
II'
'I.
I I
I
•
floss
'1,1.1
DiAGEAii
should, in
different
and
outline
will,
carefully silks
;
is
going
edge of
inner
angles
in
stilj
this
line
stitch,
of the object
be worked
across,
as
we
recommend our readers
not
if
she
instruction.
it
laid with
keeps
It is
the
the
her
loves
always
art,
piercer
;
this
in
floss
little
to the
have her
very necessary to
Embroidery
fibres
as
fill
silk
up is
implement
open and broad, whereas
1
1
'
!'
1 '
I
-'5;iii^ \i i^'ij.
'..^I'W'i
'
'1
'
I
1
1
V
H
f"
'^
•-==.
i'"l'I.IJu'jil'-i3a.|i!^
5.
DiAGEAM
Satin Stitch.
constantly
lost
treatment,
call
6.
French Knot,
Before the
twisting.
which the French
good embroidery, be
which require a
the
stitch
engravings, too, will often afford useful hints
should be passed over and spread on the stitch,
same way, and
the
|ih[-.*w,.'
r
I
,|i-,
|l
.
I
'I
This kind of
filled
is
fS
'ji.ll'ii
I
\i Jjl
they would be
do
being
1 I
we
stitches
I
i
it
stalk
or grain
fibre
should never
any appearance of patchiness.
Hi
^
stuff",
in
curves and
without
,„ie??'iJ,j|-|r'.i
it
make
though
respect,
embroideress
working with
I
the
till
Old-fashioned pieces of pictorial embroidery
:'^|TO'|I:-
without
outline
beginning on
first,
easy to
and ready to find
alert
way, the
this
use
of
stalk
line
Indeed, an
stitch
this
a leaf,
and work back again to
side
the
inside
by
crossed
is
it
of a
stalk
one another, and a sharp, hard, defined
into
quite
is
this
in
Good
and her mind
open,
dovetail
It
4.)
others.
in
stitches.
eyes
till
take all the stitches right up to the
done, but invariably lengthwise.
it
advantageously
to imitate
outline
are treated diflerently, though the
worked
is
not to
Thus the
needlework.
frequently see
in
the lines of stitches follow the direction of the
that
imitated in
may be
careful
Diagram
(See
colour
two shades may
the
that
so
colour,
edge of
Be
centre.
working the
instance,
satin.
(See Diagram 3.)
last.
outer
for
one colour are worked
all
Variegated leaves and shaded flower-petals the same.
;
the needle to the other
pass
Leaves that
2.)
first
and work on the
first
then work another line
;
(See Diagram
up.
end
lower
and should resemble the woof of
laid
be covered
to
is
flower;
a
in
lower end
the
outline
begin from the
flower or
be smoothly and evenly
stitches should
flat
silk
end of the
is
is,
pulled
right
through the
piercer.
point perdu, because
and undefined,
i.
its
beginnings and endings
of course, not available for twisted
and point passe, or
satin
stitch,
must be adopted.
silks,
This
* In spealiing of Paolo of Verona, Vasari mentions with. api>robation the fact that he worked with the old-fashioned close stitch, which besides greater solidity " This manner of working," he goes on to painting.
has been adopted which
is less
had the advantage of producing an effect more like say, " is now nearly forgotten, and a longer stitch
durable and less agreeable to the eye."
C
â&#x20AC;&#x201D;
ART NEUDLEWOBE.
34 consists
m
passing
the
and Chinese embroidery, with the right and wrong right
sides'),
keeping the the work;
wrought
are
stitches
Diagram
to
be raised a piece of
This
5.
stitch
should,
if
The
it.
known
strengthen in
the
take the
it
coral
Design
roii
with
common
between the
stitch,
taken over the
and
as
pattern, it
materials.
usefully
pattern
is
cardboard, and the silk
fern
to
enrich
some
skill,
to say, they
all
of which are
then
principally to
Sec,
stitch.
is
material.
applique-work, and
in
and thumb of your
has
for
certain portions of
The French knot
it.
we recommend our
needle
left
hand,
round
been drawn through.
at
the
The
a
is
used
readers
needle being on the right side of the
work, with your right hand you then twist the silk
stitch,
and
requires
The
two
padding, as illustrated
warp or the woof of the
chain stitch, knot
makes the
finger
the stuff near to where the
raise
Indian
SorA-Crsuiox, &c. ^
need description, are only used that
to
of
indeed,
in
should always be taken in a slanting directionâ&#x20AC;&#x201D; that
of embroidery,
first
silk
to
material
most kinds
practise
stitch,
silk
comes
again
desirable
pieces
(making,
alike
the centre of the
in
possible, never run parallel to either the
Buttonhole too well
sewn
should be
string
stitches
is
it
beautiful
used for embroidery over cardboard, and when the
is
22.
taken over
here
piercer
and the
cotton,
exactly
sides
Sometimes
even and smooth.
in
The
manner.
this
in
may be done with
this
Those
from one outline to another.
silk
stuiF,
to
you
short distance from
silk,
and then
insert
the it
in
needle must then be pulled
â&#x20AC;&#x201D;
ABT NEEDLEWORK. through,
and
needleful
must pass
the
wound
silk
and be
round
it
drawn quite
will
form a
a frame, you do this stitch somewhat diiferently. is
then thrust quite
it
carries
first
put
also
is
drawn through,
23.
it
must be re-inserted filling
is
finished,
which the whole
will
form the half of a
6.)
In working without
Diagram
small portion of the stuif being taken, a needle
up the
in
the
stuff
silk,
at
and when the thread
the point where
it
was
centres of flowers.
Embeoideey ros the End of a Necetie.
Edging cords and gold are fastened down by the outline
tube
through the tube formed by the twisting of the
French knots are used for
in.
A
little
(See
sphere, and should be as smooth and round as a bead.
through
tube
little
The
tight.
35
a hole must be
made
fine
in the
sewing
stuff
silk
with a
taken
SLiletto,
over
them.
When
the cord cut off and
the end threaded on a large round-eyed needle, taken through the stiletto hole and fastened off securely at the back.
This Stitch,
is
merely the
stitch
point russe, satin, &c.
proper;
many
others
are
used
in
this
work,
such
as
feather
—
«^^K^^^S*S»^^^^S^^^^!Se«9«»aieS^S!5S^^S«S^SS««^»s«)
CHAPTER VL COLOUR AND DESIGN.
WE
English are a colour-loving race, and our
but for that details
fault to
we
is
make
in a
subdued and decorous way
taste in the
appointments of
in the
to abuse them, but the greatest
In Art
in this particular.
a difficult matter to lay
and leave the
down
rest to the natural taste
we have
;
Needlework colour attention.
we
rules as to colour;
—
if
the most prominent feature,
is
she has any
—
can only warn, advise, and suggest,
of the worker.
Ladies
any symptoms of colour-blindness should by no means attempt embroidery. will not
know when
hopes, however,
cesthetic aspirations of the present generation will result
and should be studied with the utmost care and
do not or
outward seeming
the use of a crude, harsh tint instead of a good, cheerful tone of any colour
numerous "dress reforms" and
is
is
a great mistake in the use of colour in their dress
some improvement
It
in
In our dress, too, no exhibition of crude colour should ever be allowed to appear.
employ.
English ladies
in
may be used
use these or any other colours injudiciously
be avoided
that the
would be monotonous
Flaming reds and gorgeous yellows, forbidden us by good
fact.
of our dresses,
To
our houses.
lives
they lack the
artistic quality,
who
experience
Unfortunately people
and cannot understand why a scheme
of colour which appears rich and harmonious enough to them should offend the eye of other In a choice of colour
people.
A exist
in
great authority on colour
orange, 13
of orange and
green),
integrally
It
II
64.
neutralised
19;
follows,
purple, russet
11
their prismatic
—
and
that each in
—
integrally 16.
integrally 32.
purple)
21;
the same proportions
intensities
;
Of
The
(green
secondaries in the citrine
and
8 of
(compound
purple)
compound of two
— thus The
The
tertiaries,
olive
secondary, being a
of purple by three of yellow.
the secondaries in the same proportion. in
green
(orange
therefore,
13
consideration.
says that, to be harmonious, primaries of equal intensity must
by the remaining primary
of green by 5 of red,
be used
first
the proportions of 3 yellow, 5 red, and 8 blue
proportions of 8
is
harmony must be the
24
primaries,
orange by 8 of blue,
tertiaries arc
neutralised
by
course the above proportions suppose the colours to
but as hundreds,
we may
rather say thousands, of shades
n
ART NEEDLEWORK. and tones are
in
our individual
taste,
This
latter quality teaches
breaking
up harsh
also
possess
much tempered by more subdued
this
In the arrangement
quality
;
if
â&#x20AC;&#x201D; E.MBEOIDEEED
used
subdued,
surroundings.
back upon ourselves,
light falls
at
Greys and browns are invaluable
Black and white
used
in
judicious
Lamp.Mat.
injudiciously,
however, they frequently act entirely
glaring.
of a room one will occasionally see a brilliant antimacassar placed just
upon
it,
rendering
their intensity, while if the said antimacassar
have been
tints.
and softening crude colours.
lines
by contrary, and make a decided colour even more where the strongest
all, fall
us that blue and orange are harsh colours and must be used in
24.
quantities
after
and our experience.
small proportions and in
and decoration, we must,
daily use in dress
the
its
otherwise good qualities almost hideous in
had been placed
in
some
cool,
dark corner
same time appearing a pretty spot of colour amongst
it
its
would dark
ART NEEDLEWOBK.
38
In dress, "tells,"
An will
and renders the embroideress
be compelled
have on
arrangement of a home, and especially
the
its
to
good or
effect
who
twig or branch, for instance,
â&#x20AC;&#x201D; ElIBEOIDEEY
roil
will
not do in embroidery
the under part somewhat added
not seem natural. a
grey,
cream,
if the surface
A
or
in
nature will sometimes
to, or,
;
is
bare and
CniLDEE^'s DeESSES.
26.â&#x20AC;&#x201D; EilBKOIDEEED SOFA-CUSHION.
This
making her sketch, that she
of leaves and flowers, while the under side
cluster
trifle
indifferent.
A
add or diminish.
upper side a thick
leafless.
embroidery, every seeming
copies fi-om nature will often find, in
25.
almost
in
FOE DETAIL SEE No.
59.
the upper side must be considerably thinned, and
strange to say, though copied from nature, the effect will
Another hint may be
beneficial to the anxious worker.
In embroidering
upon
any neutral-tinted ground the colours used may be much more vivid than
be pure white.
White
worker who would be an
materials are usually embroidered in
artist
at
silk.
her work must remember that she does not possess
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
ABT NEEDLEWOBR. all
an
artist's
In obtaining his colours
privileges.
he may
39 alter
or produce them
mixing, &c., but the embroideress cannot do this with her wool or
silk,
by unlimited
and must take care to
use just the right tint of colour she requires, or the effect, from an artistic point of view, will
27.
Embkoideey poe Lajip-Mat. Ko.
Lamp-Mat.
28.
be a
failure.
In subduing and somewhat altering the shade ot a colour, too, the artist has the
advantage over the embroideress, gain this end for herself. so that
if
28,
the worker
has
who
must, by the juxtaposition and proportion of her colours,
Crewels and
" an
artist's
silks
are
eye"
now made
for
colour
in
every shade and
she will
know
tint
exactly
of a colour,
what shade
to
ART NEEBLEWOBK.
40
choose
so
as to render her
wool, in which
it
work
was not possible
the harmony of the
work was
attractive
useful.
To
fill
This
is
another advantage over Berlin
and for
this
reason
frequently destroyed.
drawing a design no empty
allowed to appear.
artistic.
to obtain sufficient gradation in a colour,
29.
In
and
â&#x20AC;&#x201D; BUNCU
little
OF Pelaegoniums.
spaces
up a bare space a
should be little
bird,
left
and
yet no unnatural crowding
bud, or butterfly
will
often be found
ABT NEEBLEWOBK. The
Japanese have the art of "
ordinary Japanese a useful hint.
screen
We
this
English are
31.
clusters,
is
too
up" with very
fond
of
size.
We
necessarily
and
leaves,
rather
than
—
as
and should be adopted
to
be made up of
the
In studying an
think
things
as
mean when
z.— Cojs voLvuitrs,
merely composed of a vast concourse of atoms.
large flowers
perfection.
to
are apt
3
much must
little
to impress the observant,
fail
Fuchsia.
they are small, forgetting that
mountain
cannot
filling
41
For
Japanese
little,
this
and that the highest
reason
—merely
we
covering
choose thick the surface
â&#x20AC;&#x201D;
ABT NEEBLEWOEK,
4^
with as
little
that
avoiding
in
as
Judgment
possible. this
required in
is
thus arranging
heavy crowding our work does not
fall
designs
into
the
for
embroidery, so
opposite
extreme of
meagreness.
To
to light, and stands
warmth and
light,
:
it
is
composed of the other two
well known, has a complementary colour,
thus, green
is
the complementary of red, purple of yellow, and orange of blue.
their
its
complementary form a
complementaries
in
harmonics
its
intensity,
repeated
Where you want
respect.
is
sounded,
and
this
the colour the most akin
well to m.ake your prevailing colour yellow.
33.
is
in
is
as
primary and
reflect
Yellow
about midway between yellow and blue
there
Each primary, primaries
and secondaries.
return, however, to our primaries
in
and harmonious
full
Ejibeoideey toe Weixing-Mat Xo.
also.
The
small
quantities,
the
eflfcct,
yet
proportions
relative
primaries, indeed.
when
a fundamental note
however well proportioned
primaries,
do not produce an harmonious
The
35.
acoustics,
a certain proportion; as, in
sound
contrast.
if
A
in
quantity
the contrasts are multiplied
by being
being
observed,
black
and
white
being
added, and distance and light helping to blend the component colours, a very agreeable result
may be produced.
the decoration of. their temples
The
Egyptians
not
by any means depend on
in
made use of
this
system
of colour. Brilliancy does
proportioned will appear dull
heavy
tertiaries
and heavy,
may, on the other hand,
Alwavs remember
that
when
a
as well if
as
the
primitive
colours,
which
if
gaudy and discordant, while the
not dull
well
and
well arranged, produce an effect almost brilliant.
primary
is
tinged with another primaiy, and contrasted with
;
ABT NEEDLEWOEK. a secondary,
43
For instance
the secondary must have a tinge of the third primary.
may be used with pure green; but
scarlet,
which
is
:
Simple red
red tinged with yellow, must have a blue
green; and crimson, or red tinged with blue, must have a yellow green. Colours other.
grey,
placed
in
Neutral colours for
example,
reflect
react
upon one another, and acquire each a tinge of the
the complementaries of colours on which they are placed.
Neutral
on an orange ground, acquires a tinge of blue, of which orange
On
complementary colour.
on a blue ground, effect
juxtaposition
orange
a green ground the grey becomes reddish ;
while
on the colours placed on
a
neutral
ground has a
very
;
on yellow ground,
subduing
is
the
violet
and harmonising
it.
34.â&#x20AC;&#x201D; Embeoideey foe Weiting-Mat, No.
35.
Perspective should not be a characteristic of embroidery, the so-called "pictorial embroidery"
seldom appearing short
of ridiculous and unnatural.
dress
and decoration
light
and shade were used, the
textile
fabrics
necessarily
real
light
Light
and shade belong to
change position and
might
fall
shadow, and the whole effect be necessarily spoiled.
upon
In
sometimes,
it
you desired to remain
In
light,
that part
so that
pictures.
CHAPTER
VII.
ARTICLES SUITABLE FOR EMBROIDERY.
number of THEample
which embroidery may be applied are very numerous, and afford
objects to
scope for ingenuity.
the most useful
of
mats
toilet
appropriately
on the ugly
of the
made
in
hnen, towelling and
crash,
among
to
are
we have been doomed
&c.,
may
be made
all
those
also
little
curtains
until lately to
embroidery, and are screens,
Large standing-screens,
embroidery.
in
and are admirable for decorating
open shelves of
placed at the
occasionally
are
that
Cushions
use.
hand and banner
Curtains, both in
consisting
These are most
&c.
the most prominent place in
antimacassars,
executed, look almost as well as pictures,
if skilfully
as
may be made,
suites
among
and are an immense improvement
cretonne,
the luxuries of our rooms.
mantelpiece valances, friezes,
room,
For bedrooms whole
crochet or dimity mats
Httle
always to the fore
a
number.
and covers, night-dress-cases, bed-covers, watch-pockets,
and footstools occupy, next
frames,
Antimacassars, screens, sofa-cushions, and portieres are
cabinets, &c.
Articles
suitable
among them bags
;
are
penwipers,
:
may be
which
bazaars
for
satchels,
made
needle-cases,
embroidery
in
not forgetting tobacco-pouches, cigar-cases, smoking-caps, which
of designs and
stuffs.
It
is
such
a
difficult
thing
to
get
Aprons
to the finest
put
on
muslin,
dresses,
If
tablecloths
silk,
not or
as
mention
suitable
when
in
hundreds
present to a
to
birthdays or Christmas
scent -bags,
ticket -cases,
and money.
tea-cloths,
&c.,
upon, from coarse white linen aprons with
&c. bibs
or satin.
the
done
to
may be embroidered
when of crewel-work, should always be worked
the trimmings,
afterwards,
foundation. their
must not forget
every material
in
For
We
may be made
anything
gentleman, that ladies will hail these last-named as a welcome boon
draws near.
purses,
d'oyleys,
tea-cosies,
numerous
very
are
material in
this
way,
window-curtains.
and, indeed, whole dresses, are
is
apt
to
get
dragged
if
the
pattern
they have a habit of looking Trains,
ladies'
waistcoats,
now much trimmed with
as
if
cuirasses,
needlework.
is
separately and
worked on the
ladies
had donned
petticoats,
Children's
bodices,
dresses
look
ART NEEDLEWORK. when embroidered
especially well
are not
Aprons
carriages
for
twill,
another
is
round the
should run
design
workhouse
crash, merino,
in
way.
this
It
is
item
and these
edges,
should
colours
may
dresses
or holland.
army of embroidered
the
join
to
These
like trimming.
serge,
satin,
silk,
many
best for even these that too
and that the embroidery be put on separately
used,
be made
in
45
be bound with
afterwards
The
articles.
braid
or
ribbon to match the colours used in the embroidery.
A
brilliant
and
leaves
vine
also
will
design
somewhat out of place
is
are the
tendrils
of designs most suited to
sort
be found of greater use
the white
dark colour, as
of a
if
These carriage-rugs have the advantage of
when
Hanging pockets,
silk.
the
needle.
These may be made
indispensable in a lady's
Embroidered
and cravat-ends
sashes, fichus,
scarves,
in
gauze
silk,
crepe,
and looks
driving in the heat and
are
likely
all
subjects
for
and are almost
cashmere,
or
tulle,
soils
may be embroidered with
Mittens have of late taken very much the place of gloves, and fine
crash used
looking cool.
well as
lightness as
quickly
or hops,
ivy,
The
purpose.
this
taking off that cool appearance so delightful
glaring in the sun, dust.
Variegated autumn leaves,
here.
toilet.
girdles
and
suspenders
are
a
improvement when used with
great
hanging
pockets.
Utrecht velvet
a very suitable
is
and should be finished
course need lining,
When
thick silk lace.
material
room
a
for
by a deep
off
chenille or
Rooms
colour both with each other and the rest of the furniture.
we hope
indiscriminate use of inartistic decoration, that
There
is
another material that
also
with crewels
looks
and decided
the
;
especially rich
material
bags are frequently worked or
name of the owner.
her bag with a in
any
fanciful
fish,
thick,
is
in
and
gold,
of the china.
Gold and
more
and
soft,
pliant
The
effect
owner chooses.
to
an overdose of female admirers.
worked and have
hint will not be
fear,
little
AVe have seen
Ladies'
a
a
be bold
little
straw hand-
monogram
We
velvet,
several
and embroidered
somewhat representing the pattern
a design
in
may be worked
room which contained
which were of white Utrecht
should
our
advise
readers
this
to
adopt
makes them
all
it.
the
into account.
Why
curates should
or no time to wear them.
advise our readers to present
is
and when worked
Little dogs' great-coats
young curates who are burdened with always be
remain, a mystery, unless, indeed,
inclined to gout or corns ever
by the
It
material should
work upon.
in
thrown away.
purpose.
this
brown,
so rarely used, except for church decorations, that
I
harmonise
of an eccentric turn of mind, will ornament
if
was singularly good.
and pretty when taken
will,
little
design for this
Slippers are acceptable to every one, except popular
has been, and
should
crewels, either with a spray of flowers, a bird, or the
Sometimes the possessor,
the
it
or even with
are so often spoiled
shades of grey or
The
and pale blue or crimson threads
silver are
effective
in
suitable.
cabinets of precious china the hangings of in silver,
this
dragon, or some quaint head, &c.
design
fringe,
very handsome and suitable for
is
may be had
kind of ribbed velveteen which
silk
much ornamented with embroidery,
is
These of
or mantelpiece valances.
portieres
Gentlemen
welcome these additions
them where they
curate of a few of his fair tormentors.
will
These
it
be
presented with slippers ever
be that curates are usually over-
â&#x20AC;&#x201D; or
ladies either
to their comfort,
really acceptable,
slippers
are at
all
and we should strongly
and so
may be worked
â&#x20AC;&#x201D; who
rid the unfortunate
in either silk or crewels
ABT NEEDLEWORK.
46 in
a hundred different devices.
ladies'
dress wear.
Gloves
35-â&#x20AC;&#x201D; MiT FOE Weiting- Mateeials. JSTos. 33 and 34.
If
may
worked
also
be
in
silk, satin,
embroidered
or kid they are extremely handsome tor in
the same way.
Ladies
occasionally
Foe Details see
m
^
fettfifij 37.â&#x20AC;&#x201D; Design foe'a Sofa-Cushiox.
-Detail of EEADiNa-DESK No.
36.
embroider their parasols, and they look extremely well when so done, though this would be likely to form the occupation ot one " whose time hung heavy on her hands," for very handsome parasols
may now be
obtained at most reasonable prices.
A
very pretty as well as essential addition to
—
—
—
—
ART NEEDLEWORK. the tea-table
is
the cosy, which should
be embroidered so
47 as to
match the table-cover both
colour and design.
39.
Saddle-Cloth.
For Detail see No.
44. 40.
41
41.
.
Waste-Paper Basket.
Woek-Basket.
Emeeoideet poe Waste-Paeee Basket No.
40.
in
ART NEEDLEWORK
48
We
should advise
workers to embroider upon tolerably good materials, for
all
The work
work, time, and trouble seem as though thrown away.
Of
used.
upon crash or towelling
course in working
coarser than
upon
taking than
we
silk or
even
should a
Common
say nothing further on the subject.
not the
varies according to the material
stitches
would
necessarily
and we should embroider a serge with somewhat
linen,
satin.
the
if
be much
less
sense will put this forth to every worker, and
pains-
we need
In former times the bed-curtains and hangings were beautifully
embroidered, and at a Kentish mansion near Penshurst a bed that was destined for King James
The
the First cost eight thousand pounds.
hangings were of gold and
This costly room was
richly- embroidered satin.
and design, the cost of the whole amounting
in
to
up with
chairs, stools, &c.,
twenty thousand pounds.
Embeoideiit roE Table No.
43.
very proficient
fitted
There
the art of embroidery.
is
a
room
and lined with
silver tissue,
of similar materials
C)ueen Elizabeth was
49.
at
Penshurst where the crimson chairs
and couches are magnificently embroidered, and said to be the work of the Queen and her maidsof-honour.
This room was worked especially to do honour to Sir Henry Sidney.
Ages more
especially there
in
power the
decline,
and
we
work
gradually
art
reached
was
its
a rage
perfection
can only hope that, as it
up
to
its
since
its
men
then,
we
Much
as well as
the
so-called
England.
"While
the
the Middle
Saxons were
are sorry to add, there has been a general to see
the folly of our ways,
we
women.
their
richest vestments
Baycux tapestry was simply crewel-work done
in
This work was meant for the Church,
beauty and worth, would occasionally demand or seize upon
monks of Abingdon
shall
of the embroidery of oldrn times was done
decorate the walls and ceilings of their stately palaces.
from
in
we have now begun
original glory.
convents and abbeys by religious
though Royalty, struck by
;
for embroidery
In
Queen Matilda as in
a present
to
is
said to herself.
long stitch on linen.
it
to
have extorted
The famous Qiieen
Matilda
^an I'lT^-iiiiiriiiiii
mmmmm
%nM/.
â&#x20AC;&#x201D;
ABT NEEDLEWORK. bemg the author of this work, but Both men and, women pursued this art as a
there
has the reputation, of sut^ect.^
49
much room
is
and a
business,
for
great
doubt upon the
trade was
carried
on with other countries.
At
St.
Mary's Church, Oxford, there
Many
blue velvet upon a gold ground.
It
is
of
beautiful examples of ancient ecclesiastical needlework are
thus scattered up and
down
the country.
vestments wrought
divers
kinds
in
a beautiful pulpit-cloth of applique-work.
is
In Lincoln alone there are upwards of six hundred
Not
needlework,
of
We
embroidery used, but also for domestic decoration.
only
are getting
church, however, was
the
for
more
like
them ourselves
in
this particular.
Embhoideet poe Saddle-Cioth No.
44.
But
There have been
to return to the practical.
crewel-work washes well.
This
several disputes as to
bran should be placed
now and
tlien,
wring
but after shaking
to
partly dry
little all
it,
ox-gall
;
is
but
it
.
in
will not
then either
it
warm
water, and the
When
bear rubbing. so as
finish
it
to
rid
it
of as
by hanging
it
work
No
left to
much
these precautions strictly adhered to there
is
much
soap or soda must be used
;
to
render
it
clean do not
superfluous water as possible, hang
on a frame to
finish,
If the
no reason whatever
a
Press the material every
soak.
soaked long enough
used as a preventive against the colours running.
work should not be
whether the present
hardly a safe thing either to vouch for or deny, as so
is
depends upon the carefulness or otherwise of the washer. little
39.
or iron
it.
it
Sometimes a
wool used be good and
why
the washing of crewel-
entirely satisfactory.
Perambulator-aprons are
articles that
may be embroidered
;
also
counterpanes, and even the
â&#x20AC;&#x201D;
ABT NEEDLEWORK.
s<^
There
backs of pianos. wide, and costs
centre,
worked
sheeting very suitable for counterpanes;
This material
2S. 6d. per yard.
trouble expended upon If
a twilled
is
in a design
imitate peacocks'
to
a
indeed, any design,
handsome bunch
and handsome, and quite pays for any
is
quite as suitable
feathers, with
front, a
in
if preferred.
few sprays of
45.
a
bunch of large ones
would be very pretty and
it
an evening dress worked in tobacco-flowers and maidenhair
by
72 inches
is
it.
and smaller worked round for a border,
scrolls, or,
thick
is
it
fern,
Embeoideeed
to
The
fern.
Flowers,
effective.
Imagine a scarf of white
form a
satin for
pattern should be represented
and then a smaller bunch, and so on
all
Medallio:n-.
round, the smaller bunches and sprays of fern forming festoons, not running straight round, for if
so the drapery of the scarf
would be even more embroidery.
An
effective if
impossible to
it
worked on black
satin,
show the
Violets
apron, bodice, train, pocket, &c., look charming
of white and blue
violets.
and they are much used
also
come
are
full
This design
design.
always a pretty design for
when worked
in
little
bunches
Roses always form a large portion of every representation of flowers, crewel-work.
in
moss-rose buds and leaves,
Forget-me-nots
would render
is
in
A
lawn tennis dress of ecru
flannel,
with trimming of
acknowledged by most people to be as near perfection for
their
share
of
approbation,
together
with
as
possible.
myrtle,
apple-
ABT NEEDLEWORK. blossoms, &c.,
and many kinds of
topped chiffonier might modernise silk
or crewels,
be
good design
a very
Any
article is
one
thus obtained
for the embroiderer's needle,
mixed with almost any flower, and the
a
Applique-work
one
is
46.
We
dresses, dolmans, &c.
with grey applj |ue-work. cashmere. in
The
effect
hop-plant
for nearly everything.
and
always a graceful
artistic
and much more
most charmJng and
It
may
effect.
effective than
effective of trimmings for
MEDALLION'.
The embroidery was
was very
and pretty.
rich
when done
of thick velvet, and seemed to be raised from the
it
in
On
dolmans, mantles, &c.,
always looks handsome and distingue. applique-work, as well
as heavier
if
the
work
is
applied
Mantelpiece valances such as curtains,
things,
&c.
poitieres, Little skilfully
The
have seen a dress of dark blue cashmere which was richly embroidered
black velvet upon silk or satin,
look especially well
suitable
far less trouble
of the
â&#x20AC;&#x201D; EilBKOIDEEED
is
marble-
have a deep fringe.
should
trouble and ingenuity.
have
tendrils
Ottomans can be covered with crewel-work, and are Berlin wool-work.
The edge
little
and
old-fashioned
the sides of serge or satin, worked in
at
same.
by
possession of an
in
by having panels
it
and covering the top with the
Quite a modern elegant is
fruits.
51
things
are
also
embroidered
in
this
way,
slippers, cosies,
cut and carefully embroidered, generally prove satisfactory.
If
cushions,
we
sit
&c., and,
down
to our
when work
ART NEEBLEWOBK.
52
merely with the idea of gaining amusement, and no higher motive or ambition,
Needlework
Art
we
contrary,
think
ourselves with crochet
and Berlin wool-work.
worthy of a better attention and greater study, we
it
we
a void that
fills
and content
alone,
never could before
eye as the painter looks
at
his
and we
satisfy,
and handle
picture,
it
we had
better
.let
on the
If,
shall find that
it
just
shall
look upon our work with .the same
with
as
delicate
touch as the musician
a
fingers his keys.
An
old
applies
this
proverb says, "Nothing to
Art Needlework
drag the material to gain
be
cleanliness,
cleanliness is
to
and delicate handling that be rich
good
in a is
it
workers to
and never stop
that
is
picture-like effect
start till
work and
which
skill
and ingenuity are
its
;
at
that
hint will not
first
us,
called
â&#x20AC;&#x201D;
little
indeed, if
we
in
could
artistic
taste.
;
it
its
we fancy woman who is
out
us
we
fail
to
have
of that
mere
should give as our advice
only can effect this
value.
;
No woman
â&#x20AC;&#x201D;
if
difficulty,
no one can it
being
she has time,
such a one to be lacking in feminine proficient in
means of beautifying her home
beautiful in any form cannot
To
the beginning of their
at
would hardly seem worth the reaching,
indeed,
A
Time
yours.
want of
to inhabit.
steady application, and
fairly
will
Patience, harmony,
be thrown away.
gradually lifting
upon
:
it
are spoiled from the
one has not, especially
attainment which constitutes
fortune, and has always the cultivation of the
we seem
be above fancy work
and certainly
that this
grows upon
that
things
tear or
our highest ambition
is
with patience, keep pace with perseverance, outrun labour, conquer
the very striving after
â&#x20AC;&#x201D;should
we hope
least invariably follows
at
many
so
And
not worth doing well."
one's temper over one's
lose
thing, but this every
more a thing
reach perfection at a stroke
of course
There are
and careful handling.
Improvement
qualities,
smooth
at all
might sum up the rules for needlework under these heads
mechanical sphere of action that
all
To
especially.
to utterly spoil the
is
We
undertaking;
to
worth doing
patience and perseverance are needed here as in most things, and without
;
effected.
skill
is
literally
fancy at
work
saves a small
her fingers'- ends.
The
be praiseworthy and ennobling.
1
CHAPTER
VIII.
DESCRIPTION OF ENGRAVINGS.
NOS.with and turkey I
Work-Basket.
3.
red plush,
Illustration
in
and point
interlacing buttonhole stitch,
stitch,
3,
The
russe.
worked
The
silk.
worked with
are
threaded
with the gold braid.
a narrow fringe
No,
is
The
olive silk.
The
sewm round the
centre
handle
is
of the
veining
where the cane
lid,
wound round with
Rosettes and tassels of
lid.
Hop-leaf and tendrils suitable for Embroidery
2.
in
pale-green crewel wool, with thick veinings of the same shade. a
trifle
paler,
and the
stalk
is
in
twisted
silk,
is
hung
The
The
grey cloth.
the latter in a bluish
the embroidery
is
6, 10,
tint.
sewing on of the lining and straps
satin
sides, as
for the
The edge and
and 12, Ornamental Work-Basket,
sides,
and
tassels,
and
in Illustration
The are,
leaf
if
is
is
i.
in
anything,
canes
thin
covered
with
by which the basket
ring
in silks
and crewels, the former
leaves are green.
The sewing on
of
is
red
satin,
The and
basket
fitted
is
made of wood and cardboard
up with pockets
hidden by ruchings and rosettes of red
to
match.
satin ribbon.
The The
and cross-piece of the basket are of wood, and the ends of cardboard, with
shown
embroidery
open-worked,
hidden by a bronze ring.
covered with a light straw, lined with
foundation,
and
basket has a circular piece of embroidery on a ground of pale
Trace the pattern and embroider the swan. and water
in silver-grey,
Nos.
front of the
tendrils
tendrils
the same shade.
Cardboard basket with 4 and 5, Waste-Paper Basket. and wound round with black leather. At the back is a bronze up.
silk
chain
worked with
is
Crewel Wool.
Nos. canvas,
is
in
alternately with
The
shown
as
covered
For the embroidery
gold thread, and the raised spots and stamens with pieces cut out of the braid. sprays
cane,
split
and work the embroidery
flowers are
and of reseda, and the buds with pink
several shades of blue
of thin
embroidered and trimmed with gold braid.
on the plush the pattern given
trace
Work-basket
(Embroidery.)
is
in Illustration
6,
which represents the basket open.
given in the original
size.
When
In
No. 12
the design
the pattern has been drawn, the roses
ART NEEDLEWORK.
si
are embroidered with crewels or
47.
split
filoselle
in
four
shades
of
pink, and
the
blossoms with
Weiting-Case.
48.— Gabdeh Basket.
43.
SO.
white, fi
The
— EilBEOIDEEED
TABLE.
FOE DETAIL SEE NO.
43.
Ul'Stee Basket.
whcatcars are worked
51.— Detail of No.
in
chain
stitch
with maize-coloured
filoselle
50.
or crewel wool
J
—
ART NEEDLEWORK. and gold thread.
The
^
55
stems consist of gold cord sewn on with
silk
53.
54.— EMBEOliEliED CaED-EacK.
Toii,
DETAIL SEE NoS. ^Z &
55.— Detail of Dustek-Baseet, No.
leaves
and sprays are worked with many shades of green
The
of the same shade.
Detail of
ISTo.
54.
53.
50.
and brown
filoselle,
or crewels in
â&#x20AC;&#x201D;
ART NEEDLEWORK.
56
The
overcast and feather stitch, and plain and interlacing satin stitch.
and
The
quilted.
Nos. 7 and cardboai-d
handle of straw and cardboard 8.
Penwiper.
the
centre,
is
that
sewn a square it
silk,
in
of
only measures
blue satin, on which or
of
foundation
this
is
the pattern
sewn
a
given
in
Embeoideey roB stiffened
2] there.
CuA1E-Ii]dGÂŁS,
muslin
No.
7.
wadded
4
inches
flannel,
is
satin.
made of
silk braid.
On
c'v.C.
in
diameter,
(See Illustration 8.)
piece of fine white
slightly
penwiper
4 inches long by 2| wide, and bound round the edge with black
cord so
is
covered with a leaf-like pleating of red
The
(Embroidery.)
56.
to
is
lining
It
is
rounded towards the covered outside with
embroidered with coloured crewels
Trace the design upon the
flannel,
and "work
the;
â&#x20AC;&#x201D;
ART NEEDLEWORK.
57
flowers for chain stitch with red, blue, and pink silks, the tendrils and foliage with olive silk in satin
and overcast
Then
stitch.
down
turn
the blue satin, and
line
of gold thread with overcast stitches of blue
the
embroidery.
A
form the handles.
cord
thick
The
of blue
ends are then
57.
silk
is
A
silk.
sew round the edge a double
white
silk
fringe
is
sewn on under
sewn round the foundation and continued
up with loose-pleated ruchings of black
filled
to
cloth cut
Design toe Table-Coyee Boedees.
round the edge with small Vandykes.
Similar
cloth
is
then sewn on underneath the cardboard
foundation.
Embroidered Sachet.
Nos. 9 and 11. taffetas,
and coloured
12 inches.
On
with silver-grey
the
silks
or crewels.
wrong
side they
taffetas.
The
The are
outer side
Materials required:
cardboard
wadded and is
is
Cardboard, cotton wool, grey
cut into
two
squares, each measuring
scented, and then covered on both
embroidered,
the illustration of which
we
sides
give
m
ART NEEDLEWORK.
5-8
/No.
/I I.
.
After the pattern has
been traced upon the
5!!.
three
shades
of
silks
or
crewels,
â&#x20AC;&#x201D;EilBROIDEBY
(
taffetas
the
rosebuds are worked with
rOR CaRD-TeAY.
and the ivy-leaves
in
green.
The
stems
and sprays are
ART NEEBLEWOBK. embroidered with green and brown
59.
in
grey of
diflferent
silks in
â&#x20AC;&#x201D;ElIBEOrDEEY
59
crewel stitch and point russe.
FOE SOFA-CUSHION No,
stitches.
A
strip
border
is
worked
26.
shades in knotted stitch and point russe, and
sewn on with black
The
is
of grey taffetas i% inches
relieved with fine gold cord
broad
is
then gathered at
â&#x20AC;&#x201D;
ART NEUDLEWOBK.
6o
each side arid used to join the two halves of the sachet, one side being of handkerchiefs, laces, &c., being placed within them.
grey
silk
and 14.
Ornamental Basket with Embroidery.
60.â&#x20AC;&#x201D; Box roE Weitikg Mateeials.
61.
10 inches high, including the handle. white cloth placed round the frame. pattern cerise stitch
It
is
Foe Detail
open so
then
as to admit
off with
finished
fasten.
Circular frame of bronze standing
SEii
Xo.
64.
Cakd-Basket.
has a strip of cardboard covered with
No. 14
gives
the design
in
its
original
satin
and
When
the
lilac
size.
has been traced upon the satin the blossoms are embroidered with white, yellow, in
;
sachet
Button and loop to
cord and a ruching of grey sarcenet ribbon.
Nos. 13
The
left
chain
stitch
and point
the stems and sprays
russe.
are brown,
The buds
are
and worked
in
pink
and green, and worked
feather
stitch
and point
russe.
in
and satin
Along
ABT NKEDLEWOBK. the scallops
is^ewn a
light blue silk braid
and gold cord; the cloth
A
basket finished off with ruchings of blue satin ribbon.
Nos. 15 and 17.
The
Work-Basket.
material
62.â&#x20AC;&#x201D; Embhoideeed Footstool.
6y rests
on four
feet
and
is
fitted
â&#x20AC;&#x201D; Hakd
the open-work of the canes.
Screen.
On
blue
silk
selected
is
Toe Detail see No silk,
inside
these pieces
then cut uway and the
black polished cane;
the basket
69.
63
and
is
finished
on the outside with ecru-coloured
the
is
cord and tassels trim- the handle.
Fob Detail see No.
with handles of red
lined with pieces of cardboard covered
61
are
silk,
ofi
by
tassels.
It is
which shows through
covered with scarlet
silk
which
ART NEEDLEWORK.
62
has
been previously wadded and quilted
design for the grey cloth with silk or crewels red,
cornflowers
the
knotted
stitch,
blue,
and the
and the wheatears
asters
in
finely
in
No. the
16.
centre
is
straw
split
Square cushion,
five
silk,
silk,
in
chain
in
crewel
and knotted
and overcast
stitch.
are
pattern
work
a
silk.
:
crewel
The
stitch.
give the
worked
In
yellow in
buds,
leaves,
The sewing
wide, covered -.
â&#x20AC;&#x201D;The
with
flowers
blue
satin; in
with white and
Co.
;
the
leaves with
two shades of
olive
For the open-worked pattern draw out every 10 threads
row of buttonhole
worked with the same
in
inches
and point russe
one way, and cross every 4 of the threads this
poppies; are
stamina are worked with
gauze embroidered as follows
stitch
we
gimp.
64.â&#x20AC;&#x201D; ElTBEOlDEET FOE BoX, Ko.
blue
The
crewel stitch and point russe.
in silk
a square of linen
In Illustration 17
stitch.
The
white.
hidden by red
is
Toilet-Cushion.
crewel
for
and branches are worked with green and brown
on of the embroidered portion
diamonds.
small
into
Then
with blue
stitch line
standing with
left
the
silk
;
grey
silk.
Round
the edges of
the cross stitches on the outside
embroidery with blue
satin,
so
that
the
satin
forms a narrow band round the linen gauze, and add the bows of blue satin ribbon, folded as
shown
in
our
ilkistration.
Nos. 18 and 20. crewel
stitch.
The
Low
Chair of Fancy Straw, upholstered with
chair itself
measure 4 inches high.
It
is
is
gilt
of a dull
tint
silk
plush embroidered in
of gold, and the cushion for the seat should
loose from the chair, but the cushions for the back and sides are
â&#x20AC;&#x201D;
ART NEEDLEWORK. way with
upholstered, in the regular plush,
buttons.
A
63
coloured braid, with
and a cord of the corresponding colour round the cushion.
the embroidery, which
is
worked on the plush
in
tassels,
No. 18
is
sewn round the
gives the design for
crewel stitch with coloured
silks.
The
small
covers for the arms are embroidered to coiTespond.
Nos. 19 and 21,
Ornamental Stand for Books, Music, Pictures, &c.
65.
polished cane has an oval is
Detail or Bag No,
satin
with purse
silks
and
fine
is
shades of red chenille, the asters white chenille and white
chenille of various
worked with
tendrils
violet
and ^blue
are embroidered in
chenille,
silk.
with stamens of yellow
brown and green,
partly with
The
given in No. 21.
of the embroidery being executed in crewel, feather, and knotted
are
of
80.
embroidery, the original size of which
worked on a design of white
The framework
stitch.
The silk.
chenille,
violets
The
The
design
colours, part
rose has four
and forget-me-nots leaves, sprays,
partly with
silk.
and
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
ABT NFEDLEWOBK^
64
No.
2 2.
Design for Embroidery
in
66.
67.
sofa or carriage cushion,
waste-paper basket.
or
it
Either
Crewel
Stitch.
Detail of No.
This
is
intended for the centre of a
47.
Embeoidery roE Smoking-Cap.
may be employed for silks or crewels may be
a wall-pocket or blotting-book, used.
The
poppies
a
or even
a.
deep bright red,
ABT NEEBLEWOBK. 65
forget-me-nots
pale
blue
with
yellow
centres,
the
leaves
69.â&#x20AC;&#x201D; EiiBBoicEiix FOE Foot-Rest No,
62
of one
or
two well-chosen
shades
ART NUEBLEWOBK.
66
The two
of green. entirely
in
white
circles
cotton
in
this
the
centre of
design
the design should be in old gold.
very elective
is
as
an
ornament
for
a
If
worked
nightdress
or
pillow-case.
No.
23.
Design for the End of a Cravat.
70. /
71.
is
embroidered with coloured purse
â&#x20AC;&#x201D; Loiris
It
may
ears of
also
silks
com.
The
embroidered
give the original
in
size.
jz.
on crossway pieces of white grosgrain
for a cushion or sachet.
latter are
we
Seize Footstool.
silk,
the
stitches
stitch.
Embroidered Screen or Lamp-Mat. be used
design, of which
Detail op Cushion No.
used crewel, overcast, knotted, and feather
No. 24.
The
The
This screen
is
embroidered on black cashmere.
pattern consists of a bunch of cornflowers and
satin stitch in
two shades of yellow
silk,
or in crewel
ABT NEEDLEWORK.
The
long stitches are worked with gold thread, as also are the stems.
flowers consist of one white stitch and
gold thread.
The
The
with crewel wool.
stitch
The cup
two blue
in
satin
stitch,
with red
72.â&#x20AC;&#x201D; Embeoideeed Cushion.
7 3.
with yellow
silk
stitches.
The
veinings
are
worked with
has an outline of gold thread, with a green and wood-coloured framework.
poppies are worked
stitch,
67
silk
In
the
petals,
Foe Detail see No.
â&#x20AC;&#x201D;Detail of Cushion
and point d'armes
for
No.
the centre in buttonhole
71.
74,
wood-colour.
The
The small flowers The pattern consists
foliage
Is
worked
in
different
The
shades of green, the stems with gold thread.
are yellow, red, and white.
octagon border imitates a brocaded braid.
of yellow stars and red diamonds,
with gold centres. screen
is
The
long stitches between the diamonds are worked with white
mounted on bamboo, and ornamented with
tassels
of different colours.
silk.
The
—
—
ART NEEDLEWOBZ.
68
No. 25.
with turquoise blue in
buttonhole
ice
wool
in
chain, overcast,
and feather
—EilBEOIDEEED SEE
CrSHIOK.
76.
Nos. 26 and 59. Sofa-Cushion. satin
centre the cushion is
is
worked
Foe Detail
Medaliion.
with bronze
worked
N'O. 73.
77.— Detail of Fan No.
satin
stitch.
is
stitch.
74.
75-
The pattern The outer edge
Ground, White Pique.
Border for Children's Dresses.
is
quilted
82.
(Crewel Stitch and Point Russe.)
merveilleux, with embroidery
down with
arranged in reversed pleatings.
The
Square cushion covered
worked on a ground of bronze
small buttons
Medallion.
of brown
satin,
velvet.
In
the
and round the edge the
design for the embroidery
is
transferred on to the
—
—
;
ART NEEDLEWOBK.
69
from No. 59, which represents a section in the original size. The asters are worked with two shades of rose silk in crewel stitch the stamina in knotted stitch with gold silk. The velvet
;
outer leaves of the cup-shaped flower are
worked with three shades of
olive silk in
chain stitch
w/w\w|lfs
iSiiiiij:JJiillilUJiilte^^^^^ 78,— Mat.
79.
Foe Detaii see No.
81,
—WOEKSTAND.
Woek-Bag. Foe Detaii see No. 65.
80.
81.
Detail of Mat No.
78.
the other petals in different shades of heliotrope, outlined with the same colour in overcast stitch.
In the centre of this flower lines
meet with brown
silk.
The
of yellow
sprays
silk
of leaves
are are
worked
diagonally, and crossed
where they
worked with two shades of blue
silk
in
ART NEEDLEWORK.
70
overcast
stitch
knotted
stitch
with to
old-gold
;
the tendrils are
with yellow
the design
Round
is
finished
No. 26, and
leave the square represented in
the cushion.
overcast
in
the outer edge
with olive
stitch
and the blossoms
silk,
in
buttonhole stitches round the scalloped edges are worked
The
silk.
When
silk.
worked
is
a
frill
the velvet
after
it
away from the work,
cut
is
wadded
has been slightly
sewn
is
it
so as
of satin 2 inches wide, and at each corner a
to
bow
and ends of the same material. Nos. 27 and 28. fine
and blue cashmere for
small
diamonds with blue
lining, silk.
The
border, of which
is
FaIT,
worked with
centre
blue, white, and green silks
in
is
No. 27
satin,
with a border of
cut out of satin,
diameter.
FoE DeXAIL SEE No.
white flannel, and vandyked round the outer edge.
are
The
and measures 10 inches
8Z.â&#x20AC;&#x201D; EilBEOIDEEED
in
mat of blue
Circular
white flannel and ruching of blue satin ribbon.
net, in
Embroidered Lamp-Mat.
The
centre
gives a section,
is
stiffened is
quilted
embroidered
77.
cornflowers, forget-me-nots, and sprays
The
and crewel
respectively in chain
Round
then sewn on, and the mat strengthened with a ribbon wire.
The
stitch.
the centre
is
border
a pleated
ruching of blue satin ribbon.
No. 29 shows a bunch of pelargoniums, which, when worked a
handsome centre
should be worked petals white, with
buds
at
the
for a
sofa -cushion,
in faint
are
No. 30. Pansy
worked
for
antimacassar,
&c.
pink shades, while the darker ones are
deep purple shadings.
left side
music-stool,
in
in
leaves are
worked
in
The
silks,
petals
deep red, or
would form
of paler
tints
the
light
else
shades of green, and the
little
pink and white, just tipped with dark red or purple shadings.
Embroidering a
the darker shadings deep purple,
The
in
crewels or
little
The paler petals worked in marone, The leaves and stalk are green, with
Hand-Bag, &c.
and the centre yellow.
deeper-coloured vcinings.
Nos. 31 and 32.
Fuchsia
and Convolvulus for working the corners of an Antimacassar,
â&#x20AC;&#x201D;
ART NEEDLEWORK. The
Sofa-cushion, &c. (pink
of the fuchsia are worked
petals
covered with white, would
almost
silk,
paler
The
red anthers.
be
The
the darker parts are in purple.
obtained),
71
suitable
if
desired
with dark veinings.
The
stamens are yellow.
colour could
be worked
should
stamens
leaves are pale green,
with white shadings inside the cup.
the
a shade of pinkish white
in
with mauve for the light shadings, and the leaves and tendrils are in green
Nos.
round
loped
Mat
34, and ^S-
o^T^,
edge, and
the
may be taken
with
lined
from No.
either
from No. 35, a narrow black
o^'
2)2)
The double
pattern.
and the
stitch,
are
braid in the centre
silk
purple,
silk.
olive-green cloth, scal-
If the pattern
arranged
down
is
taken
the centre of
Embeoideeed Screen.
worked with fawn-coloured
The
silks.
in
silk
interwoven
The
silks.
pattern in
No. 34
is
buttonhole
chain stitches
worked on a
the chain stitches are worked with several shades of olive.
;
and blue
across with three shades of pink
worked
is
is
up with vandykes of fawn-coloured
intervals are filled
ground perforated with small holes
The
silks,
almost
blue,
border, the design of which
worked round the edge.
^^
worked with two shades of fawn-coloured
are
A
material.
woven with coloured
braid,
lines
same
the
34)
83.
the
Oblong mat of
for "Writing Materials.
pale
is
be
pink with
in pale
The convolvulus The little bud is
not
silk,
so as to
form a diamond pattern.
Nos. In the design
and
2>^
centre
given
in
is
The
inner
worked in
in
an
the
ground the design
Reading-Desk.
38.
oval
original is
size
worked
part
of the
satin
stitch In
several shades of
filled
flowers
in
No. 38.
crewels
in is
or
worked
When silks.
in
olive
dark polished wood and
of
dark green
up with
pale olive,
maize and
Reading-desk
velvet
the
The silk
on which
pattern has been
and crewel
embroidered traced
in
knotted
stitch
stitch.
The
and point
The
foliage russe.
the
upon the
the buds pink.
flowers in white and
crossed with a darker shade.
olive in satin
is
cane.
gilt
is
calices
are
embroidered
ABT NEEDLEWORK.
7^
When
embroidery
the
completed the oval
is
is
lined
with cardboard and a bright green
lutestring.
No. ^y. Designs worked paitly in satin
and partly
stitch
The
one within another.
Arm -Chairs,
Crewels for Sofa-Cushions, Settees,
in
materials used
in
the
are
is
long or crewel stitch placed in rows
so-called
crewels and
This pattern
&c.
filoselle
of different shades.
silk
Nos. 39 and 44. Saddle-Cloth. (Embroidery.) Saddle-cloth of navy blue cloth lined with black felt, and embroidered with three shades of grey-blue silk in chain and interlacing buttonhole
The
stitch.
small
pattern
long chain stitches are crossed with gold thread.
worked with the same
at
original
size.
The
letters
worked with
are
84.
gold cord.
The
W
leaves
in
acorns are
is
worked with
The monogram
of gold thread.
stitch.
Nos. 40 and 42. plates.
on the outside
and
olive
tendrils
The in
crewels
in
is
design
is
a thin sheet
the
in
the
and are edged with
stitch,
IN Outline Stitch.
silk,
tendrils silk,
with brown
G
and the
silks
knotted stitch
in
crewel
the
;
stitch.
The
and the cups with two shades of brown,
embroidered with blue-grey
in
silk
in
crewel stitch edged
given
Basket of osier and polished cane, studded with
and covered with very dark red
No. 42.
in
stitch
;
the
with buttonhole, overcast, and feather
lined with
satin
a
In
No. 44 shows the former
blue- grey silk in
is
overcast stitch with silk of the same colour.
lined
buttonhole
the same design as the border.
are worked.
and
Waste-Paper Basket.
basket
the
in
corners
fi-ont
intermingled with a spray of oak-leaves and acorns
is
The crown
with gold cord, and sewn on
ni
feather-stitching of coloured
crewel stitch with olive
in
crewel and knotted
bronze
â&#x20AC;&#x201D; TowEi
three shades of olive, the stems
worked
and
monogram and crown
the back a
corners
colours
In the
The
smaller
larger with stitch of
cloth,
flowers
are
lid.
The
olive.
sides
are
embroidered
is
worked with blue
two shades of pink
two shades of
of wadding, and sewn on to the
which
;
the
The
leaves
cloth
is
and then
embroidered with
â&#x20AC;&#x201D;
ABT NEEJDLEWOBE. Round each
a similar pattern in the same colours. of dark red
No.
blue
Work -Basket.
41.
The
silk.
small
packets
folds
of blue
embroidery
section of the embroidery
is
a twisted cord
and ivory wool.
open-work part of the basket of
73
of
oval
is
fancy
of
straw
and
of
the
Above
lid
these
is
covered of
packets
with blue needles
and trimmed round with pleatings of the
worked on
a
ground of white
feather stitch with pink and olive
and
silks,
Blue
has a similar kind of border.
black
polished
The
cane.
threaded with blue satin ribbon, on which are sewn droppers
surface
needles.
satin,
Basket
in
same
fitted
with
covered
with
is
cushion
a
is
The embroidery
cloth.
and
satin,
material.
worked
is
has
also
chain
and
It
in
The
knotted stitch with gold thread.
lower
lid
cord and tassels and bows and ends of blue satin ribbon
silk
are then added.
85.
Embroidebed Table. Coteb.
Nos. 43 and 49. Occasional Table. (Embroidered cover.) with dull crimson satin embroidered from the design given
The
stitch.
blossoms
of
centre
being worked with
calices
are
brown
filoselle.
in
satin
edelweiss
yellow
silk,
worked with grey-green
The
leaves,
and overcast
stitch.
are
silk
Low in
trefoil-shaped table covered
No. 43
embroidered with white chenille crossed in in
satin
overcast stitch,
stems, and tendrils are
The embroidery
is
stitches
then
brown
of
various
in
and overcast
satin
in
and the grasses
worked with
satin
in
stitch,
The
filoselle.
russe
point
shades of
the
with
olive-green
edged with a heavy cord and fringe of
the same colour as the satin.
Nos. 45 and 46.
Medallions for Note-Books, Card-Cases, Purses,
be worked on various materials,
may
also
such as
silk,
be worked upon cambric or muslin
Nos. 47 and 66.
Box
for
in
&c.
The
leather, velvet, &c., in outline stitch.
black
Writing Materials.
designs
The
may stitch
silk.
This box, which
is
intended for
holding
â&#x20AC;&#x201D;
ART NEEDLEWORK.
74 writing
together with paper, envelopes, and
utensils,
on the outside, and inside with the
The
mountings.
and monogram
has a satin ribbon
No. 48.
which covers the
satin
v/ith
same coloured
in
silks
on
se^\^l
top
a
blotter,
satin.
It
of the writing mat
crewel and stem stitch with gold in
which the writing
loops, into
Garden Basket.
Roman
Basket of
Detail of Mat Xo.
85.
flovv'ers
colours
of
is
used
worked are
crewel ^^ool
in
pink,
blue, and
in
yellow
with a lock and bronze
fitted
embroidered with a wreath
is
The
cantille.
tassels.
the lid
lining for
are thrust.
utensils
a
bag netted with ecru-
On
the basket a bouquet
straw, fitted with
coloured thi-ead and drawn up vrith ecru-coloured cord and
of
is
bronze plush
covered with
is
8^.
chain
satin,
overcast,
for
the flowers,
and
and point
stitch,
the
for
leaves
The
nissc.
shades
several
olive.
Nos. ^o, 51, and ^^.
Duster Basket.
Basket of willow straw and black polished cane,
ornamented with three plush Vandykes, joined together and finished and
tassels.
The
middle vandyke
work
it
with
is
split
the calices, leaves,
plush
is
embroidered
embroidered from silk
in
crewel
and branches
No.
from q^j.
the
design
Trace
in
the design
The buds and with olive-green. The stitch.
given
v/ith
Nos,
on
flowers
are
stamina
arc
woollen
51
balls,
and
peacock-blue pale pink and
worked with
tufts,
The
c^^.
plush pale
olive
and blue,
silk
in
ABT NEEDLEWORK. knotted side
The
stitch.
Vandykes
are
and olive-green, and bronze
sewn
design
is
outlined with gold cord sewn on
of bronze-brown plush
same
the
in
edges
the
to the basket,
style
is
with
embroidered from No. 51
A
No. S5-
as
Vandykes with
which
^-
woollen
of the
tassels
border
and
balls
of tufts
The
silk.
pink, blue,
in
heliotrope,
of peacock-blue
The embroidered
same.
ornamented with woollen
yellow
fine
plush
is
next
tassels.
^03. 52, 5;^, and 54. Embroidered Card-Rack. Gut out three oval pieces of cardboard? cover them on both sides with red satin (the centre cover must be embroidered). Sew a red
87.â&#x20AC;&#x201D; Detail of
cord round the edge and stitch them together;
back corresponding at
the
to
back and
pieces.
edge.
in
Make
The
this
is
sidepieces
^t,
show the
figures are
ground of longcloth.
when
the
;
then
cover
No. 90.
cut a
this
of double satin;
large
pleat
dry the pattern
is
side
cut
piece
red
of cardboard satin,
and
tliem at the bottom to
for
the
sew a cord
and sew them
hide the joinings of the front
designs on the lower ovals.
worked
The wrong
with
also
Ornament the bottom with a red bow
front.
Nos. 52 and
No. ^6,
shape with the front
Mat
in interlacing is
out
satin stitch, either separately or together,
on a
then brushed over with a solution of clear gum, and close
to
the edge,
and sewn
like
an
applique design
ABT NEEDLEWORK.
76
on
to a
ground of
olive serge.
The
outlines
then gone
are
over with
gold
cord,
which
is
continued to form the tendrils.
No. sy. Design pattern on the
satin
for
Border of Table-Covers, &c.
and go over the
up the space between the double
Fill
outlines with lines
Ground of
brown
sewn on with brown
filoselle
with feather stitching of fine olive
and work round the outer edge with slanting buttonhole
stitches
Trace the
old-gold satin.
of old-gold
two shades,
in
silk
silk.
worked
silk
far
.â&#x20AC;&#x201D; ElIBEOIDEEED WiNDOW-DBArEBr.
apart.
pink
up
The silk
in
in
leaf patterns
silk
in
herring-bone
olive
and pale yellow
silk,
olive,
brown, and red
silk.
plain
worked
slanting buttonhole stitch.
maize
Nos.
are
60
and
64.
stitch,
alternately
with
The brown
with dark red plush, with
for
lines
in
Writing-Paper.
embroidery
lilac,
blue,
is
filled
(Embroidery.) lid
filled
with alternate leaves of
overcast, knotted, and
worked Upon the
and
yellow,
of chain stitch at each side are
and the space between
and with designs worked
Case
two shades of
from
The the
crewel stitch with
case
is
pattern
covered given
in
I
ART NEEDLEWORK. 77
No.
of bronze
handles
The
front. sizes,
Narrow
64.
case
envelopes,
of
straps
and
is
a
of the
leather
divided inside into
post-cards,
illustration
in
satin
stitch
â&#x20AC;&#x201D;The
with
is
crossed
centre
several
bud
Mat.
Foe Detail see
sewn down with
silk
silk
respectively
to receive
on
case.
the
note-paper
sides
Two and
of different
at the top
brown
threads
of the
same
No.' 86.
Foe Detail see No.
shades of pink
calyx being put in with
with blue
of the
side
The embroidery pattern is traced upon ecru-coloured linen gummed on to paper. The pattern is then cut with careful comand gummed upon the red plush ground. For the embroidery
silk.
87.
and the flower on each
silk,
the raised spots and lower tendrils with olive blue, the
found
are
several compartments,
90.â&#x20AC;&#x201D;Mat.
:
each
&c.
89.
proceed as follows
gummed down
are
of the same metal
lock
which has been previously parison
red
the
small
The
silk.
The
linen
5-petalled
ground
The
veins
and
the
at
It
flower with
bell-shaped flowers
and the centre with gold, colour.
side of
are
are
worked
heliotrope,
worked with
the sides of these flowers
threads
stamina,
in
stems
each
and
case being tendrils
are
â&#x20AC;&#x201D;
ABT NEEDLEWORK.
78
worked with gold
all
silk
thread.
every
Lastly,
outline
edged with gold cord, sewn on with
is
of the same colour.
The tray is fitted into a light frame of gilt The three triangles are cut out of cardboard, reeds by means of blue silk cord and tassels. The cornflowers and forget-me-nots are covered with white cloth and lined with white taffetas. The heath is embroidered with blue, and the wheatears with yellow silk in crewel stitch. The sprays and tendrils are embroidered with worked in knotted stitch with red purse silk. Embroidered Card-Tray.
Nos. 58 and 61.
green and brown
in
silks
A
crewel, overcast, and feather stitch.
ruching of pale blue sarcenet
ribbon runs round each triangle, and hides the sewing on of the lining. silk
then tied at the corners and
are
91.
No3. 62 and 69. upholstered
in
Footstool.
peacock-blue plush.
among
Tapestbx Mat.
the tassels,
Oblong
the centre
is
A
section of the pattern
the ground
colour of
is
filled
silk
up
in
side of the border are
yellow
silk.
finished
of
Nos. linen.
are
and
The bunch
68. in
brown polished wood
down
it
is
at
each end of the footstool like
worked
as follows
:
â&#x20AC;&#x201D;The
pattern on
stitches
of wool or
olive wool, outlined
The Vandykes
silk.
with red-brown and
rounded and edged with a knotted fringe of peacock-blue wool, and peacock-blue
(pompons) of the same colours.
6^
No. 69, and
worked with peacock and
off with tassels of red
silk balls
in
m.
a pattern embroidered on a fawn-coloured
and partly with long single
on each
tabs
given
61.
crewel stitch with coloured wools, and outlined partly with a contrasting
in chain stitch,
The
is
of blue grosgrain
Illustration
in
footstool of dark
material resembling figured damask; and this embroidery hangs a tab.
shov/n
Fob Detail see No.
(Embroidery.)
Down
as
Bows
Embroidery
the middle
is
for in
silk.
Larger a
silk.
balls
Screen.
The
The
footstool
and
tassels are
This
r.creen
rosebuds are
in
is
then edged with a row
sewn on
is
at
each corner.
embroidered
three
shades
upon of pink,
grass
the
â&#x20AC;&#x201D;
ART NEEDLEWORK.
rounding pattern
silk,
and
cord,
and measures
satin,
satin
silk
of the same colour.
The The
applique.
point russe.
of
out
the
it
spray
satin
shades
is
then
together.
It
olive-green
Similar cord
of
flowers
and feather
or sateen
drawn up
stitch,
for
The
lutestring. It
may
rest
lined
is
The bag
point russe
in
is
with
sur-
taffetas
and
straight
cut out of a piece of
and the front part
is
Trace the pattern upon
and Vandykes below the
lines
stitch,
overcast,
and the
silk,
is
edged by gold cord sewn on with
is
crewel
half
No. 6^.
in
are
knotted
stitch,
and
and stems with
calices, leaves,
fine
worked with
colour,
cord
and
fine
and the
velvet
is
chenille.
velvet,
embroidered from the pattern
The
of the bag sewn
of olive-green
tassels
silk.
slightly
we
give in
wadded No. 6y
crewel, knotted, overcast,
in
silk
red
sides
Smoking-cap of dark blue
worked with four shades of bronze
is
the arabesques being worked in the darker and blossoms in the lighter shade.
the
70.
a
Smoking-Cap.
the same colour where
No.
canvas
folded in
is
in
same
of the
top with
at the
overcast
stitch.
in
The blossoms
silk
size.
The
The
brown.
Embeoideeed Sofa-Cushion.
with
The iowers edged with and chain
sewn on
worked
is
olive.
and lined with black the original
It
which
velvet,
is
and
No, 6y. Embroidery
in
by 23.
rosebuds are embroidered with pink
lined
the stalks
cerise.
The
palm-leaves.
the original size
in
of brown
is
cord, piquee with
silk
inches
11
92.
several
olive-green,
in
(Applique and Crewel Work.)
embroidered from the pattern given
and cut
leaves
tassels.
Work-Bag.
Nos. 6^ and 80. olive-green
yellow
in
yellow and olive
with
blue, stars crossed
mounted
worked
is
of blue, the
shades
forget-me-not in three
79
lines
The crown Footstool
stitch are
meet
;
of the cap
filled
the is
up with crossway
remaining part of the
as
of white
flower
is
silk
sewn with
worked
in
satin
embroidered to correspond with the border.
Embroidered and Made
either figure as a footstool or
lines
a music-stool.
in
Louis
The
the
Sixteenth
foundation
is
style.
This
stool
of red plush, and the
—
ABT NEEDLEWORK.
8o
wreath of roses foliage
is
crewels or or,
if
in
shades
all
different shades
in
the flowers,
is
is
in three shades
silk
should be a
the owner choose,
it
—
pink, red,
damask white,
tea,
and gloire de
of green, and the ribbon, which edges and winds in and out
To
of blue. faded.
little
may be
truthfully represent this style
The wood of
entirely
the footstool
is
all
The
Dijon,
the colours
among of the
black, with gilt tracings,
gilt.
ail^>>Iji:r>^-s>>iOj>>>^>^lT>>>;!;l!irfr>l£y»^^
93.— ElIBEOIDEEED TOWEI,
94.
Nos. 71 and 72. velvet, at
the
velvet,
edged corners.
and
with
(Embroidery.)
Sofii-Cushion.
silk
The
Embeoideey roB Towel No.
cord,
and
cover on
embroidered
in
plain
the
finished
outer
and
side
Oblong cushion covered with peacock-blue
with
off is
interlacing
9:.
pompons
turned satin
of
back en
stitch
with
coloured revere.,
faint
wool
faced colours
and
silk
with bronze of
filoselle.
â&#x20AC;&#x201D;â&#x20AC;&#x201D;
AET NEEDLEWORK. The
cushion
velvet,
left free
by
this revers
embroidered with
patterns
in
filoselle
the corner are
of the cover
in
virorked
same
the
also
of reseda
silk
stitches
in point
de
Ceewel
riz,
as
silk
The
revers.
outlines of the leaf
filoselle
and
filled
in
with
Cushio:!^.
Dbsigit.
as
shown
shows the method of embroidering a flower and bud.
with a
the
and dark reseda
Embeoideeed
96.
shades
hidden under a triangular piece of peacock-blue
with brown
55.
several
is
8i
cord of the colours used in the embroidery.
in
No. 71.
The
cushion
The same is
then
illustration
finished
off
ART NEEDLEWORK.
82
Nos.
yi,
In the centre
and 74. is
Circular Cushion covered round the
a circular
of
piece
edge with puffings of yellow
olive-green velvet, slightly scalloped
the design given in No, y^-
The
leaves with various shades of
olive-green
flowers are
made with
worked with braid,
and
between
pale
the
the
braid
of
bronze
plaited
flowers
silk
in satin,
stitch
the
and gold thread,
The
silk.
and
velvet
double
point is
cut
and
embroidered from
worked with pink, white, and blue overcast,
and
knotted
97.â&#x20AC;&#x201D; EiiLEOinjiJiY roE Basket Woek-Staitd No.
are
-
russe
in
the
centre
worked with
away and
the
space
stitch.
^ilks,
and the
The 4
lines
106.
and the knotted
lin^s
silk.
stitches
are
blue filled
silk.
between them are
also
formed
For
up with
the
with
the
patterns
old-gold
satin
â&#x20AC;&#x201D;
ABT NEEDLEWORK. edged with two rows of pearl and
stitches
filled
up
plaited
in
heliotrope, the lower with
or
stitch
crossed
The
silk.
braid
mountings.
white
floss
silk
Embroidered Fan.
Fig.
stem
stitch
and gold
cantille.
twisted
almond
Frame of carved with
It
is
satin,
Fig.
all
worked
gilt
4.
silk,
of black fretwood covered with
is
chain
in
stitch.
ivory covered with white in
and stem
crawel
and gold
cantille
black
silk,
The
fan
has
and worked
from No. yj.
stitch
cord with
tassels, finishes
embroidered
satin,
Border of gold
silks.
lace,
and
Frame of polished black wood with gold
round, and having a border in
threads of the
side
first
like
punto
Pattern).
tirato.
tassels
designs,
Square mat of
For the
an open hem, taking in
latter,
in
in
A
the
crewel and
of black
silk
covered with
six threads
worked with pink crewels
in
it
in
fine holland,
draw out a at
sufficient
a time.
6 must be taken with 3 threads of the second
the embroidery in the centre see No. 81, which represents are
cross, stitch with yellow silk.
in
silk
floss
wood covered with
Mat (South Kensington
of threads and work one side 3
worked
is
and a border of hen-feathers and gold beads.
Nos. 78 and 81. out
overcast
Embboideeed Phatee-Book Coyee.
different-coloured floss
with gold.
with
The upper figure is worked with olive silk. Round the embroidery is a
The frame
.1.
Frame of carved white
Fig. 2.
border of marabout feathers, twisted white Fig. 3.
outlined
Medallions for Note-Books, Card-Cases, Purses, &c,
98.
fan.
are
satin
lines.
black satin embroidered with silver thread and black silver
on the
patterns
brown, and the centre with
braid and netted fringe of brown,
Nos. y^ and y6. Nos. 77 and 82.
The
cord.
83
6,
stitch,
number
the other
and so on.
the original size.
buttonhole and interlacing satin
On
fringed
The
For
flowers
the stems, calices, and
â&#x20AC;&#x201D;â&#x20AC;&#x201D;
ABT NEEBLEWOBE,
84
The
stamina in satin, and overcast with marone crewels. cast stitch,
leaves are
worked
The
with two shades of green and two of red-brown crewels.
and over-
in satin
pattern
is
especially
suited for dinner-mats.
No. 79.
Work-Basket of Willow Work, mounted upon a bamboo cane
the top with straw braid.
with satin
The embroidery on and red
stitch in blue, pink, white,
the
bamboo
at
the front consists of applique of cretonne covered silk.
The bag
itself is
old-gold satin, drawn
up with
Embeoidbbed Table-Cotee.
100.
Round
and edged
Case foe Lettee-Papee.
99.
a cord to match.
stand,
stand
is
twisted a gold cord, and the fnnges and tassels
should match in colours the embroidery.
No. 83. with stalks
crewels in
olive
Embroidered Screen. and
silk.
The
irises
and brownish wools.
screen, with a woollen fringe border
A
Three-leaved screen, covered with olive velvet, embroidered are
worked
in
shaded yellow-brown
The embroidery all round. The
woollen fringe edges the bottom of the screen.
should be lined nails
should
silk,
the leaves
and
and then nailed on the
have handsome
gilt
heads.
â&#x20AC;&#x201D;
ART NEEDLEWORK. No. 84. cloth
little
worked and
blue
(Outline
embroidered with purse
below the is
Antimacassar.
landscape,
his
hat
with yellow, and
the
shades
several
with yellow
bonnet
and Point Russe.)
and crewels.
silk
with blue-grey and
Stitch
of olive
the
silk,
girl's
with pink
silk.
Ground of white oatmeal
For the sedge and
dress
A
and
silk
swan with white
the
85
crewel
the boy's
silk,
with brown
fringe
is
grass,
are
lilac
knotted on
is
The water worked with the
silks,
to each
branch
the
used.
blouse
and
and
apron
end of the
antimacassar.
1
1
.â&#x20AC;&#x201D;Photogeaph-Staio).
Tabie-Cotee.
102.
No. 85. Table-Cover. (Crewel
Table-cover of olive plush with a stripe of claret plush
Stitch.)
Lines of embroidery and separate
7 inches wide round the edge at about 3 inches from the fringe. flower-patterns
are
worked upon the
foundation of holland in crewel
pink and white yellow
silk,
silk
stitch.
The
with dark red centre
and afterwards lined
The upper
claret plush.
flowers are
in
worked
knotted stitch
in chain stitch.
The
;
holland
border
embroidered upon a
alternately with blue
the leaves are is
is
and white or
worked with
then wet with solution of gum-arabic,
and when dry the flowers are cut along the outline and sewn on to the plush with chain yellow
I
silk.
The
outer part of the flowers
is
and
olive
worked with blue and the inner with white
stitch silk
;
of
the
—
ABT NEEDLEWORK.
86 ribs are overcast with silver thread,
The
be worked upon the red plush.
separate flowers should
hoUand
The
in crewel.
convolvulus
is
the inner calices with dark olive, and the outer with yellow
colours used are several
;
112
and
The
cover
is
Emeeoideeed Beading-Desk
It
is
c6.— Basket Wobk-Stand.
The
large
(Open).
— Readixo-Desk
(Slut).
Foe Detail jee Ko.
97.
then cut out and sewn on to the plush with chain stitching of yellow
lined with claret sat'n
Nos. 86
upon
114.
I
silk.
first
Foe Details see
104.— Ckateback.
with olive
worked
the small flower with blue, and the leaves
105
^s^os.
also
shades of copper and olive-green.
embroidered with several shades of bronze
103.
These are
silk.
and edged with a fringe of the colours used
in
silk.
the embroidery.
Mat worked upon dark red cloth with gold crewels and black silk. The pattern a portion of which we give in the original size in No. 86 is very easy to execute, and most eflective when finished. and
89.
Tapestry
—
—
ART NEEDLEWORK. No: 88. consist
of
Band
Embroidered
old-gold
cloth,
velvet,
for
a
Window - Drapery
— EilBEOIDEEED
the
any suitable design.
band of the
curtain
at
curtain.
the sides.
A
The deep
Old-gold thick
The
curtain
should
worked with coloured
ChAIE.
IIO.-^EjIBROIDERT for ALjXAXACE.
109.— EilBBOIDEEY FOE ALJTAlfACK. in
or Portiere.
or satin, and the band of ruby plush
107.
silks
87
valance at the top silk
is
of ruby plush
and worked
like
cord with grenat and gold tassels loop back the
deep old-gold fringe trims the edge of the curtains and valance
;
this
AUT NEEDLEWOBK.
'88
fringe has a grenat heading
of
silk
braid twisted into some fanciful
design,
which
binds
also
the edges of the embroidered band.
Nos. 87 and 90. the design of which
work the
Mat.
we
(Embroidery.)
give a fourth
interlaced bars in crewel
III.
Stitches
of blue
with silk,
gold
and
centre
worked with reseda turned
silk
down and worked
of cream-coloured
lace.
knotted in
in
stitch
crewel
flowers stitch
in
No.
mat of white
87.
silk
FOE TaPESTEY
are
of
all
gold
and overcast
MaT
worked thread. stitch
and
open hem-stitching with blue
gauze, embroidered from
Trace the pattern on the
with light and dark brown
â&#x20AC;&#x201D; EilBEOIDEEX
The
thread.
part
Squai-e
silk,
silk,
and
working the separate
No. 9I.
in
chain stitch
The
grass,
with
leaves,
in point russe. silk.
Round
the
The
several
shades
and stems are gauze
edge
is
is
then
a border
â&#x20AC;&#x201D;
ART NEEBLEWOBK, Nos. 9 1 and
1 1 1
The
centre design
may be
No.
1 1
1
No.
Tapestry Mat, with a cross in the centre and embroidered flowers.
.
a basket of flowers, a
and overcast
(Crewel
Sofa-Cushion.
92.
of gold
stripe
jasmine flowers and buds the
stitch,
are
eacTi
side
stitch
inches long
as
shown
Chairback.
by 24 wide.
Square
cushion
of
olive
embroidered from a South Kensington design.
The
being
put in
Stitch.)
leaves
with gold
Embeoideey roB No.
of the embroidery, and the cushion
Nos. 93 and 94.
hem
Overcast
worked with bronze, and the
knotted
pompons, and passementerie
40
and
satin,
112.
cloth,
dog, or anything else the worker chooses.
little
shows the surrounding flowers.
plush with diagonal
down
89
is
with olive
silk.
A
silk
silk
crewel
in
braid
is
sewn
104.
finished off at the
comers with
tassels,
in the illustration,
(Embroidery
The narrow
in
Satin Stitch.)
Chairback of rough Turkish
hemmed an The design.
edges are
an embroidery of which No. 94 gives half the the ground, and worked with two shades of blue embroidery cotton is
knotted, and feather stitch, as well as in point russe.
in
inch deep. pattern chain,
The narrow border
is
is
Above
the
traced on to
overcast, crewel,
worked with the
— —
ART NEEDLEWORK.
93
same cotton edge of the
In chain
hem
No. 95.
and crewel
At
stitch.
each end
a crocheted lace edging.
is
Square
(Embroidery.)
Toilet-Cushion.
over half of which
114.
.
th2
brocade
and filhd up are
in
arc
with bronze
.
Detail of No.
Foot-Kest.
115.
chain stitch and point light
The niUTow silk,
Fob Detail see No.
edged with braid woven
worked with dark and
of olive-green.
covered with
cushion
The
placed a triangular part of brocaded olive damask.
113.— ToiiET-CxJSHioif.
of
a crocheted insertion, and at the lower
is
and
pink
scallops
edged with
braid as that mentioned above.
separate patterns
117.
ic_;
(Kiubroidcry).
with
dark red plush,
,
coloured
•
.
.
and
silk
-,
gold
-
.
,
silver
thread,
The
flowers
with different
shades
or
russe with coloured silks and gold thread. silks,
round an
the stems, leaves, and this
part
olive-green
Along the
triangle
sprays
of the work are worked
braid
where
woven it
in
loops
.• .
and
in
chain
with
the
stitch
same
meets the plush the two braids are
â&#x20AC;&#x201D;
ART NEEBLEWOEE. sewn on
In a
Greek border, and the cushion
and old-gold
No. 96. silk,
and with
silk
balls
is
finished
off
plush, or velvet
in
two or three shades of rather
in
pale green
in
black, dark red,
light green with
with a darker outline, and
1 1 6.
'
-
Nos. 97 and 106.
round the edge with a cord of dark red
of the same colours.
This design, which consists of grapes,
satin, cloth,
-91
'
117.
leaves,
â&#x20AC;&#x201D;ElIBKOIDEKY
Basket Workstand.
straw baskets, varnished brown and yellow.
may be worked upon brown. The vine-leaves are
tendrils,
dark blue, or
darker veinings, the grapes and tendrils are
may be executed
EMBEOIDEEED
and
crewels or silks or both.
in
CHAIEBACIi:.
FOTl
ISTo.
IIJ^
'
.
.
The stand is ot willow, fitted The upper basket, which has a
with lid,
tvv-o
willow
ornamented
is
with lambrequins of red cloth, which are embroidered from No, 97 (the original size) in crewel, The flower buttonhole, feather, and chain stitch with thick Oriental wool in pale colours. is
worked
in
pink and blue wool of several shades, the pink
soutache and spangles. stitchings
of
red
silk.
The The
lance-shaped leaves smallest
leaf
is
are
worked
worked with
leaves being outlined in
this
with gold
tea-green wool with feather
last-named
silk
only.
The
ART NEEDLE WOBK.
92
branching stems are worked connecting
the
in spirals,
with yellow
in
The round
shaded blue wool.
stems being
chain stitch of blue
in
The edging of each lambrequin
silk.
dots are formed of gold soutache silk;
the spangles are sewn on
a tea-green woollen braid, which
is
edged with a narrow gold braid, and a yellow bead galloon sewn on with cross and white
and
with red
being
satin,
of the
braid.
The
lid
is
first
the
wadded and then
lined in the
covered
is
with pleated red
satin,
are of pleated satin,
basket,
and also the handle.
them.
Tassels are
velvet
cut
it
98.
with gold
and
out
Embroidered
stitch
it
Brush over the wrong
No. 99. Case plush,
fine
available
Prayer-book gold,
1
00.
floss silk
on to the side
worked
and
in
work
then
This case
worked
lined
The
colour.
hidden by looped
122.
is
twisted round
is
it
and
design
is
embroidered
in loose
is
This
stem
on
dark
draw the design on cartoon-paper, over
stick
of wood,
it
in
crewel
and
stem
stitch.
on the book.
and covered with bronze-brown
fit
Table of
the table.
light oak, carved in Renaissance style.
It is lined
with strong calico and old-gold
embroidered after the design is
for the flowers
and
stalks.
illustrated, in crewels
The
stitch
and over-sewn with
fine
with
centre of each flower
knotted stitch with the darkest shade of colour corresponding to the flower.
tendrils are
is
the centre of the front.
in
Table with Embroidered Cover.
pink, blue, olive, and red.
First
silk.
with thick gum-arabic
Letter-Paper.
This
Cover.
velvet,
Previous to the lining the plush
â&#x20AC;&#x201D;
lining are
similar
point.
thread, and
has a cover of bronze plush cut exactly to
satine.
is
for
same
the
ornamented with tea-green and red wool, which
with a small embroidered oval
No. It
Is
hung upon every
cantille,
a
ruched at the top.
Foe Detail see No.
118.â&#x20AC;&#x201D; Gaeden Fuenituee.
No.
edges of the
is
the upper basket
Inside
with buttons of
The
of blue
concealed by a looped braid
edge of the lambrequins there
tufted
same manner.
is
also
The bottom of the The insides are lined with cloth, embroidered like the lambrequins. The upper edge of the turned back at the top to form a heading.
sides of the basket
lower basket
At
of tea-green and pink wool at every point.
tassels
inside
joining of the lambrequins to the basket
and brown moss wool.
of pink, blue, braid,
The
silk.
stitches
is
gold thread.
The stalks The same
—
—
ART NEEDLEWORK.
9.3
thread marks the ribs and veinings of the flowers and leaves.
cord sewn on with fine yellow
lined with gold
fringe of bronze wool,
No. loi.
1
02,
The
Embroidered Photograph-Stand. silks
be twisted round with gold
No.
Worked
design
then out-
is
the edge of the cover
a knotted
is
and gold wire.
silk,
and worked with crewel
Round
silk.
The whole
white pink, pale
in
and
cord,
Table-Cover.
stand
covered with
is
The ebony
and gold.
green,
olive silk serge
frame should
some metal
finished off at each corner with
Cover of
dark red velvet,
with embroidery
at
motif.
both ends.
After tracing the design on the material work the flowers with maize, yellow, and old-gold in crewel
shades
stitch,
of
the
the
leaves
same wool
1 1 g.
and buds
in
The
intertwisted.
olive crewel wool, the
and dark
pale
border
is
worked
in
stem
120.
and the waved
both
and the dots
Nos. 103 and 105. it
with olive wools.
is
of
BA(J.
wood
The
ends are ornamented
of maize, yellow, old-gold, and olive wool.
tassels
Embroidered Reading-Desk.
open and shut)
—POMPADOTJE
This reading-desk (of which
in the
The
shape of an album.
we
give
inside
polished and the outside covered with red-brown plush with an embroidered design on the
After tracing the design from No. 105, embroider
stem
stitch,
outlining the design with gold cord.
Nos. 104, 112, and 114. blue satin 25 inches long and insert
a
piece
of
imitation
with feather stitching
in
Dust-Beush Holdee.
line in outline stitch, also
with a netted fringe of olive wool, with balls and
two designs showing
in
WoEK-BaSKET.
I2I.
satin stitch,
stitch
stalks
silk
j
it
with coloured crewel
No. 103 shows
Embroidered Chairback. 1 1
inches wide.
At
is
lid.
and crewel and
open, and No. 105 shut.
For the chairback take a piece of
each end cut off 3 inches of the satin and
guipure measuring 3 inches wide.
the satin
it
silk
is
This
is
sewn on
then worked from the design given in No.
to
1x2
the in
satin
crewel
â&#x20AC;&#x201D;
ART NEEBLEWOBK.
94
and stem
stitch
water-lily
and buds of
with
No. 112
are
and calyx of the bud
leaves, stalks,
No. 114 worked
filoselle.
split
the leaves should be marked in stem stitch with
border
may be worked
back
edged with imitation guipure.
is
No. 107. dark
Embroidered Chair.
and
tufted
velvet,
olive
silver-grey,
for
and
and
the
The
border.
pink
pale
silk,
the
of several shades; the veinings of
silk
of a darker shade.
silk
pink or white, with leaves
in
small design
white,
in
and brown
olive
in
the
gives
The
design for the
The
of olive-green.
stalks
chair-
Chair of polished brovvm wood, cushioned and covered with
with
fastened
The back and seat are covered The lighter leaf designs are cut out
yellow
pale
The arms
buttons.
are
similarly
cushioned.
with an embroidered Afghan of a finer kind of olive
velvet.
of gold
are of claret
and pink
colour,
satin,
and the underpart of grey
surrounded with warm-coloured Small flowers
the appliquc-work
The
the overlying leaves of the large flowers
velvet,
the side flowers of peacock-blue velvet
the calices and the short side leaves of olive velvet.
122.
a darker cord.
satin,
in
Embeoideet foe Gaedex Ftjesituee Xo.
silk
The
cord.
lighter
and leaves are embroidered knotted, and stem stitch in
crewel,
crewel
in
applied and
all
118.
of the
parts
These are
design are outlined with silks
on various parts of
the various colours of the appliques.
arabesques are formed of two rows of gold cord connected by long cross stitches of olive
The Afghan
silk.
some contrasting colour of cashmere or merino, and
each end with a gimp-headed fringe of wool
at
finish
should be lined with
and
combining
silk
all
the colours of
the embroidery.
Nos. 108, 109, and 110.
Almanack with Embroidered Frame.
thick cardboard covered with embroidered plush
from No.
1 1
stitch.
The
worked
in
floss
silk.
o
;
it
is
flower
traced at
the
on the material corner
is
(olive).
The
in
heliotrope
several shades of blue silk, the leaves with olive,
The
figures are then outlined with fine gold cord,
design for the same frame
may be
taken
fi-om
No,
109.
made of
is
design for the embroidery
and then worked
worked
The frame
crewel, knotted, and
in
silk
;
the
5-petalled
sewn on with yellow design
is
silk.
traced
taken basket
flowers
and the branching stems
The
is
on
in
are
brown
Another coloured
â&#x20AC;&#x201D;
ART NEEDLEWORK. the edelweiss
velvet,
crossed with
small
is
and white centres
stem
stitch
with olive
No3.
113 and
four
formed of white chenille with a cream centre worked
brown
silk,
The forget-me-nots stitch. The stems and
knotted
in
from No.
117
.
yellow centres
The
stalks
there
plush arranged
satin
satin
knot of
The
A
same material.
the
stitch
in
and
crewel
in
covered with
is
Between the
plush
Veinings
point
in
silk
each
at
pink or blue,
in
of fine
gold
russe.
under-side of the
on
embroidered
is
silk.
In the middle of the cushion
olive.
The
sewn
is
The
olive.
old-gold
satin.
button
itself
and buds are worked
flowers
embroidered with
brass
cushion
may. be seen.
shades of
several
in
rounded with a narrow pleating of old-gold with
worked
the form of a Maltese cross.
satin
and knotted
stitch,
plush
olive
in
old-gold
stitch.
and leaves are worked
a
is
in
The
Embroidered Toilet-Cushion.
117.
with
stitch,
silk.
crewel or
in
crewel
in
in satin stitch with blue
leaves, are
.
of the cross pieces of pleated
arms
worked
are
stitches.
silk
of copper-coloured
pieces
95
It
cushion
corner
to
covered
is
form
sur-
is
feet
for
the cushion.
Embboideex roB a Whatnot,
1x3,
No. 115. worked
manner
part of
with
pink,
flower
blue,
and
is
worked
sewn on with
fine
brown shaded
silk
fastened
yellow
silk.
and Smyrna
down with
a gimp of olive wool and
The
olive.
in
The
lift
leaves,
long
cut
;
pink
with the
pink,
olive velvet,
on the
it
velvet,
points
of
a
Each
branching
leaves
buds worked
The
figure
are
is
Wooden
in
worked
cushion
is
balls at intervals.
pink.
the same olive
outlined with gold cord, in crewel
stitch
with
covered with puffed
olive
setting-on of the embroidered centre
with small woollen
darker
which are worked with brownish and
silk.
The
centre of
a
out and place
it
silk,
4 shades of
stitch in gold thread.
a deep ball fringe, finishes the cushion. to
pale
dark red
olive buttons. silk,
in
calico
with
inner leaves of the large flower are in blue satin
stitches of
have an overlying leaf worked
silks,
satin,
this
The
crewels.
in
and the outer with crosswise
The upper
oblong cushion,
Trace the design on white
in crewels.
then worked over the calico stitch,
An
Embroidered Foot-Rest.
A
is
hidden by
second plain gimp, with
handles, covered with floss silk and cord, serve
the cushions.
No.
116.
Embroidered Chairback.
measuring 12 inches broad by 25 long.
For
Down
this
chairback
the middle
is
take
a
piece
of old-gold
satin
a strip of imitation guipure insertion;
AUT NEEDLEWORK.
96 the satin
After tracing
illustration.
The
away from beneath.
cut
Is
in several shades of
olive
on the
it
in
satin
crewel
chairback
work the
and stem
is
then embroidered in the design shown in
flowers in white
stitch.
filoselle,
the leaves and stalks
Finish the chairback with an edging of
guipure lace»
Nos. table,
ii8 and 122.
and small
Garden Furniture.
footstool,
all
This pretty garden
suite comprises
of cane, worked in a mosaic pattern.
The
design for the antimacassar thrown over one of the lounge-chairs.
on a ground of ecru-coloured Java canvas
in
strips,
worked
Illustration
pattern
partly in crewel,
chairs, circular
122 gives the is
embroidered
chain stitch, and
124.— Centeepiece or Embeoideey eoe a Whatnot.
point russe, and partly in It
consists
of
a
cross
a plaited stitch of
seam and a double
Beginning from the middle of the of plaited
stitch
as
follows:
—
*
strip,
Pass
brown wool row of
pass over
7
interspersed with an open-work design.
threads and
the thread slantwise
high and 2 broad, and then back from right to
left
stitch,
plaited
over
from
4
with
open-work between.
work the narrow way
left
to
right
over
ro\T
threads
6
threads high and 2 broad
a
;
repeat
Miss 5 threads of canvas, and work another row of plaited stitch. Two similar rows Then proceed for the open-work pattern are worked up the second half of the centre strip. For the centre pattern leave the 4 centre threads unnoticed and draw out 4 threads as follows
from
*.
:
—
lengthwise on either side, so that there
is
only
i
strand
left.
With
the
horizontal
threads a
AET NEEDLEWORK. cross
seam must be worked with brown wool
on the right
threads
are
To
cross.
taking in the
the centre
4 threads, taking 4 crossway threads Between the rows of plaited stitch pull
and 4 canvas threads on the wrong.
side
The
out 3 vertical threads of canvas.
4
in
do
pattern
worked on the horizontal
is
ecru-coloured
pass the
this
97
thread
under the 4th and
The
and 2nd threads, and bringing them to the outside.
ist
embroidered according to the pattern given
Illustration
in
122, which
The narrow
or silks in satin and chain stitch and point russe.
threads, so that the
is
next 34 threads
worked
centre to correspond with the one above described, and edged on each side as follows
a
row of buttonhole
row back
first
row
Embroidered Work-Basket.
This basket
is
silks
of several shades of bronze and pink in point russe, stem
ornamented with a
strip
cloth are outlined with twisted braid.
upon the
a diagonal pattern across the
The
strip,
is
embroidered with crewel
and feather
stitch,
The edge
of the
looped braid (bronze), sewn on with point russe stitches of bronze
point russe stitches.
â&#x20AC;&#x201D;Work
of polished reeds and straw braid.
of coloured stamped cloth, which
middle
designs
the
as the illustration shows.
The
is
:
in
over 4 threads broad and 2 high, turn the work, and work another
stitch
again, taking in the
No. 119.
crewels
in
embroidered
are
strips
3rd threads,
strip
is
ornamented with
The same
silks.
the loops meeting in the centre.
The stamped
stitch.
This also
is
braid forms
sewn on with
handles of the basket are ornamented with a crochet chain of dark olive
Each end of the basket
wool, with balls of the same at the edge.
is
also
ornamented with
balls
of dark olive and bronze wool, connected by a crochet chain tied in the middle with three woollen tassels to finish
it.
This holder
No. 120. Dust-Brush Holder.
is
a sort of basket
of reed and willow straw, with
a bag of olive velvet sewn in even folds into the bottom of the basket. closely together at the edge,
front of the basket
and finished with a
tassel
of coloured wool,
silk,
The
folds
are
drawn
and gold wire.
covered with a piece of embroidered bronze velvet scalloped at one
is
After tracing the design on
this velvet,
work the
The side.
centre of the large flower in feather stitch with
pale blue, the petals with dark blue silk in crewel stitch, the calyx and stems with pale and dark
The leaves, flowers, and buds are worked in bronze pink and blue silks, in feather and crewel stitch. The setting-on of the velvet to the basket is hidden by means of balls of coloured wool, The inside of the top has another row of these balls, and where the rings to silk, and gold wire. hang it are fixed there is a very large ball tassel of the same materials. A bow of bronze satin olive silk.
ribbon
is
sewn
to the back.
colour and
Embroidered Bag of bronze plush lined with
Pompadour Bag.
No. 121.
worked
a piece 6 inches
in
by
2
Lay the plush and
crewels. 1
.
This piece
upper piece
Then
gold cord. part, join
to
it
Next gather
the bottom of the bag.
off the corners of this
and cord (old gold).
and
satin together,
of the same
and cut them together to form
last,
For the upper portion cut and work the embroidery
For the branches and stems use darker
round off the lower corners of the embroidered
the lower piece which has been previously gathered (as
shown
in the
illustration).
the top twice, about an inch from the edge, inserting a piece of elastic between the
knot of the same 1
silk
join the plush
two gatherings so
Nos.
in crewel
make
Round
a piece measuring 9 inches by 12. for the
will
satin together
satin
as to
in the
23 and
1
24.
draw up the bag.
Add
double dark bronze cords on each
lower portion of the bag to form a
The
design which
we
side,
and make a
tassel.
give for a whatnot
is
embroidered
in satin stitch
G
with
ABT NEEDLEWORK.
98
crewels on Java canvas.
show the
It is
very easy to work, and very beautiful
sidepiece and the bouquet of
fiowers and ears of corn, which are
are
all
the centre in
worked
full
The
which
is
ears of corn are
worked
surmounted with a knotted
in close crewel stitch.
Work
silk,
white
The
silk.
Our
The
illustrations field-
petals of the daisies
the heart with yellow
in lilac, the cornflowers in blue,
stitch in
finished.
This bouquet consists of
in their different colours.
worked with white crewels and covered with white
stitch.
size.
when
silk in
knotted
with black stamens, each of
large petals of the poppies are
the stitch short, and m.ake several rows, changing the
tints
worked
from the
The stitch of one row must come between those of another, The heart is worked in green wool, the stamens last of all, so as to fill the space entirely. The ears of corn are worked in two shades of with black silk tipped with a knotted stitch. The veinings are worked last of all, and yellow, the foliage in different shades of green wool. must be embroidered in some colour forming a good contrast. The stems are olive-green and The whatnot is not difficult to mount. Stretch the dark and light wood colour in overcast. shades marked on the
illustration.
canvas on cardboard lined on both sides with it
a round shape, and sew
whatnot
is
it
against
completed with cords,
the back
tassels,
silk ,â&#x20AC;˘
or satin;
bend the
front part so
as
to give
the seams must be covered with chenille.
and bows
in
passementerie.
The
CHAPTER DESCRIPTION
IX.
FOLDED
OF
SUPPLEMENTS,
No. I.â&#x20AC;&#x201D; Sheet of Crewel
WE
will
Designs,
begin with the plastron of wild flowers, which consists of buttercups,
rye-
daisies,
and forget-me-nots.
grass,
The
The
design should be worked upon black or white satin.
buttercups in gold
silk
with green stalks and leaves, the daisies in white, with pink edges and yellow centres, the ryegrass
in
bright
green,
and the forget-me-nots
in
Carefully executed with regard to colour, this design
The
is
the pretty
should not
violets
a
next
The
be worked
all
stalk,
the two
leaves
and
stalks
are
give a
little
at
large
green;
the
leaves.
pretty and effective.
which
the same colour.
in
the
sQUpcon of pink
purple.
cuff for a dress,
little
is
and green
with yellow centres
blue,
is
worked
The two
ones at the latter
in violets
at the top
side
should
in
not
and
These
leaves.
might be white, with
mauve, and the
rest
be quite so dark
as
in
the
former.
We also A pretty is
embroidered
pocket and collar of the same design collar
pale lemon colour, the leaves
is
â&#x20AC;&#x201D;
viz., violets
and
the one with a design of briony and leaves.
green, with the veinings shaded so as to give
leaves.
The
flower
them the appear-
ance of being raised (see illustration).
The Mazarin is
collar,
or dress yoke, has a design of marsh-mallows and leaves.
a deeper yellow than a
Next on our
list
Two
for various
little
medium shade of
The
flower
green.
design consists of green ivy
tendrils.
jessamine for a parasol-cover
pretty
are a
comes the bodice for a pinafore costume.
with oak veinings and
The
buttercup, and the leaves
The
corners, one of
lilies
is
white, with green cups and leaves, and a pale
brown
stalk.
of the valley, another of moss-rosebuds, will be found useful
purposes.
All these designs
may be adapted
to other articles of dress or
furniture.
For
instance, the
forget-me-nots are suitable for embroidering a tea-cosy or the edge of a five-o'clock tea-cloth, with
a small bunch of the same in the centre.
The marsh-mallow would be
effective
as a
trimming for the edge of curtains or a portiere,
while the violets would embroider the front of a dress or jacket.
The
ivy might
be used
for
ABT NEEDLEWORK,
100
any of the purposes above mentioned, while the or
kerchief-basket
The
cigar-case.
would
marsh^iaallows
would be
corners
little
be
also
for a hand-
suitable
embroidering
for
effective
a
sofa-cushion or antimacassar.
2.â&#x20AC;&#x201D; "Alice
No..
This design
Mr. John Tenniel
most charming of
in that
Mr.
Lewis
the
author,
also
owe our acknowledgments
forms
having
Carroll,
an
Indian
drawings are enlarged from, those of
us
Adventures
permission
Messrs. Macmillan.
This
tea
delightful
As
a proof
party
that this
is
"The Mad Tea
Party"
now
known
universally
no exaggerated statement,
is
by the
of the
officers
Lancers, one
Fifth
of
whom
achieved
success in the role of
the caterpillar, in which his wi-ithings were marvellous.
of the unfortunate few
who have
not read the book,
of the hatter, the March-hare, and of sleep, like the
fat
and disgusted
at
the
their riddles.
There
boy
in
Dickens's "Pickwick."
extreme rudeness is
surely no
Alice at
we may remark
dormouse, the
the
their"
of
latter
and
them,
whom was
Alice joins them, and
she
to put the
is
trotting
dormouse
a size that the
little
after she
had eaten the cake, and had
puppy was a
gigantic creature as
in
"
as,
benefit
a chronic state
in is
much
off
Why in
is
astonished
a raven like
a pet
looks
into the teapot,
the illustration of which occupies one of the corners of our tea-cloth.
shows Alice
For the
and the unanswerable character of
manners
as
tremendous
a
that the tea party consisted
answer to such a riddle
possible
leaves
last
of
and sees the hatter and the March-hare trying
pictures
We
them.
the fact that a dramatised version of the book was acted some years ago at
station
a writing-desk ?"
Wonderland,"
in
reproduce
to
publishers,
spoken.
is
Tea-doth.
children's books," Alice's
kindly given
picture.
wherever the English language
we may mention
the
to
and central
our largest
The
o'Clock Tea-cloth.
Five
for a
is
in Wonderland''^
back
an incident
Another of our corner
consequence shrunk to so small
compared with
her.
" Hardly
knowing what slie did, slie picked up a little bit of stick, and held it out to the puppy whereupon the puppy jumped into the air off all its feet at once, with a yelp of delight, and rushed at the stick, and made believe to wony it then Alice dodged behind a great thistle, to keep herself from being run over, and the moment she appeared on the other side the puppy made another rush at the stick, and Then Ahce, thinking it was very like having a tumbled head over heels in its hurry, to get hold of it. game of play with a cart-horse, and expecting every moment to be trampled under its feet, ran round Then the puppy began a series of short charges at the stick, running a very little the thistle again. each time and a long way back, till at last it sat down a good way off, panting, with its way forwards tongue hanging out of its mouth, and its great eyes half-shut." ;
;
Alice
escapes
after
this
episode, which
by the way shows an intimate acquaintance with
the delightful ways of dogs on the part of the author, and finds herself near a large mushroom,
and on peeping over the edge of smoking a long Tea-cloth.
cannot
resist
For
hookah. their
This
it
finds
incident
is
that also
a
large blue
illustrated
caterpillar
in
a
corner
is
sitting
of
our
amusing interview we must refer our readers to the book
the temptation of transcribing
part
of the
parody on Southey's
Father William."
"Tou arc old, Father "William," the young man " And your hair has become very white And yet you incessantly stand on your head Do you think, at your age, it is right ?"
said,
on the top Five-o'Clock
itself;
"You
but
we
are hale.
—
;
—
;
—
—
'
ART NEEDLEWORK. my
" In
,oi
youth," Feather William replied to his son,
" I feared
might injure the brain; But now that I'm perfectly sure I have none, Why, I do it again and again." it
"You are old," said the youth, "as I mentioned And have grown most uncommonly fat Yet you turned a back somersault in Pray, what is the reason of that?" "
my
In
at the door
youth," said the sage, as he shook his grey locks, all my limbs very supple
"I kept By the use Allow
"You
before.
of this ointment
me
—one
box
shilling the
you a couple?"
to sell
are old," said the youth,
"and your jaws
are too
weak
For anything tougher than suet Yet you finished the goose, with the bones and the beak Pray, how do you manage to do it?"
my And
" In
argued each case with my wife. the muscular strength which it gave to
And
Has
One
our
of
being
instance
youth," said his father, " I took to the law.
Mock
Gryphon,
the
Turtle,
jaw
life."
shows the Lobster's
illustrations
the
my
lasted the rest of
my
Quadrille,
and
performers
the
Alice
remarkably well worked on yellow crash or linen with brown wool or
No.
26 inches round the
The
cloth.
shape
The
quite tight-fitting.
is
summer
and 36 round the bust.
waist,
a cut-out one, as each section of the jacket
is
It
pattern
is
jacket,
equal,
clearly outlined
joined to
Our embroidery to work,
B
to
slight
Two
the stalks.
The
best
tints
The
The
to
is
letters
be joined to the other.
inclining
if
a pure,
to
leaves.
bronze
delicacy
The
colours
or brown.
in
It is
which
The white
it
not
difficult
should be
should have a
and transparency of the natural flower can
snowdrop white were used, the blossom would look too
of brownish green will suffice for the leaves, the darker one to be used for design can be utilised for a child's dress, or a polonaise for a grown-up person.
mode of
Apparatus, costing
stem and
The extreme
not pure white.
thus be indicated, whereas thick.
and purposes, to
design consists of the blossom and leaves of the harebell.
being a flower with such
tint,
intents
all
and so on.
;
worked are white and sage green, creamy
a figure measuring
fit
and ready for cutting.
A
;
silli.
cut to
for
appear upon each portion of the design indicate where each
A B
looks
tea-cloth
can be cut from two yards of 54-inch
that is
present
E?nbroidery for yacket or Dress.
3.
embroidered tight
an
This sheet represents
The
herself.
the
in
transferring
6d,
2s.
it
This
is
to
the
material
is
by means of Mr.
so simple that the least intelligent
Francis' Transferring
person could manage
it,
provided the necessary precaution be taken of having a very hard surface upon which to draw glass front.
is
the best.
In making
in similar
We it
give a very pretty collar and cuff.
up
it
material to that
should
be lined with
of the dress.
silk.
The deeper This jacket
is
part of the collar suitable
for being
is
the
made
ABT NEEDLEWORK.
102
DESCRIPTION OF COLOURED SUPPLEMENT. This pretty coloured design
The
poppies, wheat, and daisies.
intended to be worked in crewels, and consists of cornflowers,
is
colours required are
two shades of blue
for
the cornflowers, one
very pale, the other a rich shade of ultramarine, two shades of red for the poppies, two of yellow for the ox-eyed wheat, four shades of green (two of blue-green and two of sage-green),
two shades of white
The
leaves.
plush in
design
silks
is
cosey,
also
should
be careful
in
A
five
o'clo^
sofa-cushion,
choosing
brown should be more choose, and those
and two shades of greenish brown for the shading of the
not a difficult^ne to work, and
or crewels.
priate,
a
for the daisies,
her
chair-back,
blue-green
inclined to green
who have
tea-cloth
may be
executed upon
worked with
music-stool,
not
than brown.
to
it
it
The two
velvet, or
would be pretty and appro-
footstool,
have
satin,
mat,
too
vivid,
reds
will
&c.
The worker
and the greenish not be
difiicult
to
the opportunity will do well to match the colours from the tints
of the natural flowers.
The
colour of the foundation, be
it
dark green, dark blue, old gold, or grey.
silk,
We
satin,
plush,
or
velvet,
should be either black,
should not recommend either red or brown.
INDEX PAGE 16
PAGE
Almanack, Nos. io8, 109, and no Antimacassar, No. 84 Appliqu^ Work Arrangement of Colours in a Room, The Chap. Yll. Articles Suitable for Embroidery
93 83
.
„ „ Art Needlework
37
44 44
.
Bazaars
—Ancient and Modern
.11
„
anc Addison upon as executed by accomplished women 11 and anc at S. Kensington Beautiful Specimens of still existing Harriet Martineau
„
Historical
„
Marie Antoinette
„ „
Mary Quoen
„
„
„ „ „ „ „ „ „ „ „
„
.
„ „
.
.
.
.11
.
.... .... .... ....
Mrs. Delauy
.
.
12 12 13
12 13 13
12 13
•
Brilliancy in Colour •
&c., &c.
45 91
.......
76 .
Chairback, Nos. 93 and 94 Nos. 104, 112, 114 „
„
.
.
•
.
Chenille
Close Stitch
Colour and Design Blindness „
„ „ „
.
— Chap. VI.
.
.
.
:
Gradations in
.
in Dress
•
Judgment required in Selecting a Colours, Harsh and Crude The Juxtaposition of „ .
Copying from Nature
.
.
,
.
.
•
.
.
— Chap. VIII.
.
„
How
to Fill
Up
63 71 •
a
.... .... .
An
Palpit Cloth at Oxford,
.
.
.
Sachet, Nos. 9 and 11. „ Trimming for Dresses „ Embroidery, Application of to different Stuffs Design, No. 96 „
.
Smoking-Cap, No. 67
9^
„
in Greece
„
in Syria
„ „
in the Middle Ages
40
„ „
near Penshurst, The of the Olden Times
38 40
„ „
One of the Oldest of the Arts Ornamenting Rooms with
37
„
over Cardboard
43 38
„ „
over Cardboard,
74
.
.
35 58 62
49 57 44 28
.
89 79 17
.
Egypt
18
.... .... ....
Its Variety according to the Material
upon
Perspective in
30 29
96
....
in
75
41
The most Accurate Method of Drawing a „ Drawing, Knowledge of essential Dust-Brush Holder, No. 120 Duster Basket, Nos. 50, 51, and 55 Edging Cords Embroidered Basket, Nos. 1 3 and 14 Chair, Nos. 18 and 20 „
for a
53 101
64 .
.
„
98
99 100
...
„
3* 36 36
.
.
92 87
94 22
.
80
—Plastron
Cuff, Pocket, Collars, Bodice, Parasol-Cover
74
11
.
No. 116
11
42
Card-Rack, Nos. 52, 53, and 54 „ Tray, Nos. 58 and 61 Carriage Aprons, Slippers, Dogs' Great-Coats, Case for Letter-Paper, No. 99 Writing Paper, Nos. 60 and 64 „ Chair, No. 107
85
67
.
Cushion, Nos. 73 and 74 Description of Folded Supplements, Chap. IX.
Folded Coloured Supplement Design for a Five o'CIock Tea-Cloth Summer Jacket „ „ Cravat-End, No. 23 „ Sofa-Cushion, No. 22 „ Sofa-Cushions, &c.. No. 37 „ Table-Covers, &c., No. 57 „
89
Border for Children's Dresses, No. 25 Box for Writing Materials, Nos. 47 and 66
49
13
I
.
Wash?
Description of Engravings
12
.
it
16
Requirements for
„
„
Will
11
I
of Scots
Queen Elizabeth „ Window-Drapery, No. 88 Band for Nos, Workstand, Basket 97 and 106
„ „
SI
.
—
Crewel- Work Superior to Bcrlln-AVork
.
.
Execute
it
18
48
Workec 47
47 .
48 16 45
22
How .
to .
26 43
"%.
vk
*,
'_}!'
J
Back
Side-piece.
FULL-SIZED PATTERN ov
ront of Jacket.
A
SUMMER JACKET, WITH
S^ ¥
I
S
Y
I
C
IN
O,
'f)
E^
g
I
K
"^
Ot
53
M
i^
'i?
OUTLINE STITCH OR CREWEL.
[
1)
E
'j{
Y,
INDEX.
104
PAGE
Embroidery, Utrecht Velvet for The Bayeux Tapestry „ The Flowers most Suitable for „ the Period
„
when
it
4S 48
5°
Flour shed mostly
England
18 81
.
13 21
Filoselle
Footstool, Nos. 62
.
and 69
.
. No. 70 „ French Knot, How to Make it Fuchsia and Convolulus, Nos. 31 and 32 Garden Basket, No. 48 Furniture, Nos. 118 and 122 „ Hop-Leaf, No. 2 . Implements used in Art Needlework, The Lamp-Mat, Nos. 27 and 28 or Screen, No. 24 „ .
Materials that
Chap.
77
Serges,
95 53 23
.
70 65
32 83
.
85
.
may be Worked upon
—
II.
.
Art NeedleworkCrash, Towelling, Cotton Materials, White for
19
....
73
Needle,
How
to
.
81
22
Gain Proficiency with the
Needles, Frame, Stiletto, Piercer,
»3
......
Occasional Table, Nos. 43 and 49
Opus Anglicanum
16
Gum .
.
.
Historical Allusions about „ Materials that may be worked upon for „ „ Ornamental Work-Basket, Nos. 6, 10, and 12
„
Pansy, No. 30 Paste,
How
to
..... ....
.
Make
Pattern, The Quickest
Pelargoniums, No. 29 Penwiper, Nos. 7 and
Method of Obtaining a 8
.
.
,
.
.
.
24 73 18 18
19
53 70
27 31
70 .
SS
Photograph-Stand, No. loi Point Perdu
92
Pompadour Bag, No.
96
1
2i
....
.
it
.
30
.
Cloths,
.
.
.
33
31 91
•
7'
.
92
.
36
•
7*
.
78
Cashmere,
Silks,
83
.
.
Merinoes,
.
.
Satins,
Velvet
20
Sewing-Machine, Influence of the Silks used in Embroidery,
The
Sofa.Cushion, Nos. 26 and 29 Nos. 71 and 72 „
13
16
21
.... — .... .... .
.
Lady Jane Grey „ „ Mat, Nos. 86 and 89 Nos. 91 and iii . „ „ Toilet-CushioD, No. 16 No. 95 „ .
..."
.
.
79 86
.
.
63
.
3*
•
34
.
91
•
.
.
13
.
.
.
.
—
.
.
.
.
.
.
.
.
.
92
and
16
.
16
.
85
.
86
.
62
.... .... ....
93
.
29
•
31
•
53
.
72 97
.
78
.
.
.
.
.
.
53 60 72 83
.
95 28
26
27
•
.
.
88
•
•
.
.
84
.
.
What-Not, Nos. 123 and 124 Work-Bag, Nos. 65 and 80 Basket and Detail, Nos. i and 3 „ Nos. 15 and 17 „ „ No. 41 „ ,. No. 79 „ „ No. 119 ,, „ Worker, Dress of the Hands and Dress of the „ Writing-Mat, Nos. 34 and 35 .
.
.
Nos. 113 and 117 „ „ Tracing and Transferring Chap. IV. Appai-atus, A „ Waste-Paper Basket, Nos. 4 and J Nos. 40 and 42 „ „
67
.
.
No. 92 Stand for Books, Music, &c., Nos. 19 and 21 Stitches and Mode of Working Chap. V. How to Baise „ Table, No. 100 Cover, No. 85 „ No. 102 „ Tapestry in the Olden Times
.
and
.
.
„
Linen, Twilled Linen, Muslin, Twill Cotton
Medallions for Notebooks, &c., Nos. 45 and 46 Nos. 7S and 76 „ Mitorse, Floss, Dacca
it
No. 83
„
73
Stitch, Instructions in
Mat, Nos. 78 and 81 Nos. 87 and 95 „
Use
...... ...
94
34 70
.
Long
to
Nos. 103 and 105 „ „ Rules upon Colour Saddle-Cloth, Nos. 39 and 44 Screen, Nos. 6i and 68
79
.
.
How
How to Make „ „ Prayer Book Cover, No. 98 Reading-Desk, Nos. 36 and 38 .
Fan, Nos. yy and 82 Fancy- Work, Old-Fashioued Foot-Rest, No. 115
PAGE
Pouncing Powder,
.
71
1
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