EMBROIDERY THE
RAFT
W n PAlll SOM TOWMSFMH
SrtVJA N G
AND FRANQNE CLAIUC ART INSTITUTE LIBRART
EMBROIDERY OR THE CRAFT OF THE NEEDLE j& j&
Digitized by the Internet Archive in
2015
r
https://archive.org/details/embroideryorcrafOOtown_0
Quilted
Coloured
Linen Silks.
Coverlet. Embroider'ed in English late 17th Century.
EMBROIDERY OR THE CRAFT OF THE NEEDLE m m By
W.
PAULSON TOWNSEND
G.
at the Royal School of Art Needlework " Measured Drawings of French Furniture " Plant and Floral Studies," etc.
Design Master
Author
of "
Assisted by
LOUISA
F.
PESEL
WITH PREFACE BY WALTER CRANE
CONTAINING
86
ILLUSTRATIONS
LONDON TRUSLOVE & HANSON, Ltd. 1907
I'RINTED
AND BOUND BY
HAZELL, WATSON AND VINEV, LD.
LONDON AND AYLESBURY.
—
PREFACE. In that remarkable revival of the arts and handicrafts of design, which has, curiously
enough, characterised the close of a century of extraordinary
mechanical invention and
commercial development, that most domestic,
and charming
delicate,
of
them
all,
perhaps,
the craft of the needle, holds a very distinct position.
In
various
its
covers
an
needlework and presents design and crafts-
applications
extensive
field,
abundant scope both for manship, from the highly imaginative kind represented by such designs as those of Burne-Jones to the simplest and most reserved ornamental hem upon a child's
—
frock.
indeed,
—
The is
true order of
rather
from
its
the
development, child's
frock
to the imaginative tapestry-like hanging
from the embroidered smock of the peasant and ecclesiastical
to the splendour of regal
— vi
Preface.
,
robes, with all their
pomp
of heraldry
and
symbolism. In the history of needlework, no less than in that of all art,
human
one
may
follow the course
upon which it is the decorative commentary and accompaniment, just as the illuminated initials, borders, and miniatures are the artist's commentary on of
history
the books of the Middle Ages.
can be said to be of more import-
If taste
ance in one art than another, all
important
at
every
design,
stage
in
—
choice
in
materials, and, above
It enters in
planning
of
scale, all,
certainly
it is
needlework.
in
appropriate choice
in
of
of colour.
Embroidery is essentially a personal art, and this, perhaps, in addition to the fact of its
adaptability, not only to daily domestic
use and adornment, but also to ordinary conditions
—not
requiring special workshop
or expensive plant for
its
production
contributed to the success of
its
—has
revived
which is due to the enthusiasm, and patience of our countrywomen. Even considered as an art of expression over and above, although of course never
practice, taste,
dissociated from,
work
its
decorative value
of the needle within its
own
— the
limits,
and
Preface.
by
its
own
Vll
means and
special
quite a distinct value surfaces, such as the
materials, has
certain textures
;
plumage
of birds
and
and the
colour and surfaces of flowers, being capable
rendered by the needle with a
being
of
beauty and truth beyond the ordinary range of pictorial art.
In the retinue of beauty, crafts of design,
among her
sister
Embroidery, then, seems
likely to hold her place.
Revived at first by a few ladies of taste and skill, important schools, such as the Royal School of Art Needlework, have since been founded for the study and practice of the art, the subject being their
by the Technical Education Board London County Council.
The foundation-stone has the
included in
list
of the
is
now
new
building in
to house the
been laid of Exhibition Road, which just
Royal School
in its
new
de-
velopment, and under such able instructors
and
lecturers as the author of this work,
needlework, as an
art,
portant future before Mr.
W.
G. Paulson
should have an im-
it.
Townsend
deals with
the subject mainly from the practical point
unmindful of the hisview of the great interest
of view, although not toric side
;
and
in
VIU
Preface.
now taken
in the craft,
and
its
many
fol-
lowers, such a work, with its reproductions
examples and its practical diagrams of stitches, will be both timely and of existing
useful.
WALTER CRANE. Kensington,
June
2gth,
1899.
EXTRACTS FROM AUTHOR'S PREFACE TO THE FIRST EDITION. In response to the inquiries repeatedly ceived from students
for
a
re-
handbook on
have endeavoured to place before them the following hints and suggesto supply a want, and fill a space at tions embroidery,
I
;
present unoccupied.
My
first
duty and pleasure
is
to
thank
Mr. Walter Crane for the Preface which he
has kindly written.
For the practical Plates No. 58, 59, 62, 63, 64, 65, 66, and 67, for description to same, also for figs. 23 and 24 on Plate No. 61, I
am indebted
and
for
valuable help in numerous other ways.
I
to Miss Louisa F. Pesel,
have also to thank Miss C. L. Pickering for the practical notes on gold embroidery, and for Plates No. 69 and 70. Perhaps it is hardly necessary to refer to the source of each item of information. ix
I
;
Ailtkors Pi^eface
X
have
used
freely
Fabrics "
to
Dr.
First Edition. Rock's
" Textile
South Kensington Handbooks, both by Sir G. Birdwood and Sir R. Murdock Smith Mr. Alan Cole's " Ornament in European Silks " Mr. Walter Crane's " Bases of Design " Miss A. Strickland's " Queens of England " and the
;
;
;
;
;
the writings of Messrs. Audsley. I
have
thank the Right
to
Hon. the
Viscount Falkland for kindly allowing
me
to
Plate No. 27 Mrs. Pesel for pillow case, Plate No. 30
reproduce the Sir
W. Drake
pillow case,
for altar-frontal, Plate
Royal School
No. 8
;
;
;
Needlework for Plates No. 3, 23, 24, 25, 26, and 41 to Mr. Selwyn Image for Plate No. 25 Mr. Walter Crane for Plates No. 23, 24, and 26 and the South Kensington Museum Authothe
of
Art
;
;
rities for
the assistance given in reproducing
the examples from the National Collection also to Mr.
W.
G.
Thomson
the preparation of this book.
W.
G.
PAULSON TOWNSEND.
South Kensington, June, 1899.
;
for his help in
AUTHOR'S PREFACE TO THE SECOND EDITION. The
first
pubhshed
edition
this handbook was when no text-book of
of
at a time
production on the subject of em-
recent
broidery was to be had.
Since then, several
books on needlework have appeared, but I have reason to believe that this revised edition will not be altogether excellent
unacceptable work.
It
how
is
to
those
interested in
the duty of every
woman
the to
and decorative needlework appears to be the natural outcome of the practical occupation of the needle, on the heels of which it follows so closely. Some of the best stitches used in embroidery learn
to sew,
serve a practical purpose in plain sewing.
The two English smocks illustrated on Plates No. 70 and 71 may be looked upon as the seamstress's early steps in decorative needle-
There is ample scope for the art in the adornment of costumes and, in a modest work.
;
xii
Author s Preface
way,
for
the
to
Second Edition.
beautifying
household
of
Hnen. It is hoped that the notes on design will be of some assistance to those who have had no practice in this branch of the subject. If
they only make the embroideress stop to think a little about the pattern before she
commences
to embroider,
these notes will
have served one good purpose. To Miss Dorothy Lane my thanks are due for preparing the coloured drawing for the frontispiece, also for the drawings of at least
subjects on page 4 and Plate No. 71 to Miss Ella M. Carr for the examples of lacis work ;
in
Plates No. 45 and 47
Statham for the work " and for
;
to Miss Mildred on " Bargello
illustrations
help
with
the
practical
work and to the Fine Needlework Association for permission to illustrate the two English smocks on Plates No. 70 and 71.
description of the
;
W. October, 1907.
G. P. T.
CONTENTS. CHAP.
Introduction I.
......
Design as applied to Embroidery
7
....
22
III.
IV.
Description of Designs Illustrated
Utility
.
.
.
V.
Implements, Appliances, and Materials
VI.
Ecclesiastical and Heraldic Needle-
USED
in
work VII.
Stitches
Embroidery
.
.
.
36 54
.219
....... .......
xiu
i
.
—Method and Material Adaptation — Symbolism
II.
PAGE
235
240
LIST OF ILLUSTRATIONS. Frontispiece. Quilted Linen Coverlet, embroidered with
Coloured [532
seventeenth century Reproduced from a prepared by Dorothy
Silks. English, late
— 1897, V, & A. M.*].
water-colour
drawing
Lane.
Line Cut. Fragment
of
Tapestry
and
Needlework.
Christian Coptic, fourth to sixth centuries, page 4 PLATE NO. 1.
2. 3.
4.
Symbolical Signs (Crosses) page 41 Sacred Monograms and Symbolical Signs ,, 47 Bedspread, Modern, in the Style of English Seventeenth-century Crewel Work. Embroidered at the Royal School of Art Needlework page 56 English, seventeenth century. Cotton Hanging. Embroidered in coloured wools with leaf forms, small flowers, and birds page 60 Detail of Cotton Hanging. English, seventeenth century. Embroidered in coloured wools page 63 Leaf in Coloured Wools, from a Linen Hanging. English, seventeenth century [1392, V. & A. M.] page 66 No. I. Orphrey. Spanish, about 1550 [248 1880, V. & A. M.] page 69 No. IL Orphrey. Spanish, about 1530 [246 1880, V. & A. M.] page 69 No. III. Orphrey. Spanish, sixteenth century [261 1880, V. & A. M.] page 69 .
5.
6.
7.
.
.
.
.
.....
—
.
*
victoria and Albert
XV
.
Museum
.
— —
XVI
List of Ilhtstrations.
PLATE NO. 8. Altar-frontal,
Green Silk, ornamented with an Applique Pattern. Spanish, sixteenth century. The property of Sir W. Drake page 72 Spanish, sixteenth century 9. Border of Blue Satin. [1162— 1877, V. & A. M.] page 75 10. Wall or Pilaster Hanging, Applique. Italian, sixteenth century [841 1847, V. & A. M.] page 78 11. Hanging of Silk and Velvet Patchwork, Applique. Spanish, sixteenth century [266 1880, V. & A. M.] page 81 12. Portion of a Hanging, Patchwork Applique. English, fourteenth century [V, & A. M.] page 83 Inlay Panel. Persian, eighteenth 13. Patchwork century. page 87 [858—1892, V. & A. M.] a Hanging of Linen embroidered with 14. Part of Coloured Silks. Spanish, seventeenth century page 90 [342—1885, V. & A. M.] 15. Altar-frontal, White Satin, embroidered in Coloured Silks and Gold Threads. Spanish, sixteenth page 93 century 16. Coronation Robe of His Majesty King Edward VII. page 96 Groups of 17. Letter-bag, Gold Embroidery, with Pearls for the Flowers page 100 18. Figure from an Orphrey, embroidered in Coloured Silks and Gold Threads. German, middle of the fifteenth century [8670—1863, V. & A. M.] page 103 19. Portion of an Orphrey from the Premonstratensian Abbey of Tronchiennes, near Ghent. Early sixteenth century page 106 20. Portion of a Carpet. Persian, early eighteenth century. page 109 1876, V. & A. M.] [859 English, date about 1250 [83 21. The Syon Cope. page 113 1864, V. & A. M.] English, date about 22. Detail from the Syon Cope. page 116 1250 [83—1864, V. & A. M.] 23. Screen Panel, " Spring." Designed by Walter Crane, .
.
.
.
.
—
—
.
.
.
.
...... .
.
.
....
—
.
.... .
.
—
List of Illustrations.
xvii
PLATE NO.
24.
25. 26.
and worked at the Royal School of Art Needlepage 119 work Screen Panels, Four Figures representing the Senses: "Seeing," "Smelling," " Hearing," and " Tasting." Designed by Walter Crane, and worked at the Royal School of Art Needlework page 122 Altar-frontal. Designed by Selwyn Image 125 Portion of a Frieze, " The Seven Ages of Man." Designed by Walter Crane, and worked at the Royal School of Art Needlework page 127 English, sixteenth century. Linen Pillow-case. The property of the Right Hon. the Viscount Falkland page 130 Embroidery from a Linen Jacket. English, six,,
,
27.
28.
29.
..... .....
teenth century page 133 Corner of a Linen Coverlet, embroidered with Swiss, dated 1580 [851 Coloured Threads. page 136 1884, V. & A. M.]
—
....
30.
31. 32.
Embroidered Pillow-case. From the neighbourhood of Trieste. The property of Mrs. Pesel page 1 39 Borders for Edgings of Costumes. ,, 143 Cross-stitch Border, embroidered on Linen in Red
—
Italian, sixteenth century [863 1897, V. & A. M.] page 145 Portuguese, second 33. Corner of a Linen Coverlet. half sixteenth century [326—1898, V. & A. M.] Silk.
37.
page 148 Border of a Petticoat. Turco-Greck (?), eighteenth century [2048 page 151 1876] Border of a Petticoat. Turco-Greek (?), eighteenth century [2084 1876] page 154 Carpet (Prayer). Persian, eighteenth century page 157 [950—1889, V. & A. M.] Border of Cut Linen, embroidered in Coloured
38.
and Silver Threads. Italian, late sixteenth century [225 page 160 1890, V. & A. M.] Detail of Cut Linen, embroidered with Coloured
34.
35.
36.
— —
.
.
.
.
.
.
.
.
.
Silks
—
.
b
List of
xviii PLATE NO. Silks
and
Silver-gilt
late sixteenth
39.
40.
41.
IIInstigations. and
Silver Threads.
century [loo
— 1891,
V.
Italian,
&
A. M.] page 163 Door-hanging. Saracenic, seventeenth century [53—1898, V & A. M.] page 166 Back of a Chasuble. Italian, seventeenth century [58— 1891, V. & A. M.] page 169 Embroidered Panel, " Pomona." Designed by the late Sir E. Burne-Jones and William Morris, and worked at the Royal School of Art Needlework page 172 Corner of a Chalice Veil, Cream-coloured Silk, embroidered with Silk, Gold and Silver Threads. Italian, seventeenth century [573—1894, V. & A. M.] page 175 Border of Brown Square-meshed Net, embroidered with Coloured Silks. Italian, seventeenth century [686 page 175 1891, V. & A. M.] Embroidery on Brown Silk Net. Italian, late sixteenth century [631 1893, V- & A, M.] page 178 Portion of a Curtain, Black, Square-meshed, emItalian, late broidered with Coloured Silks. sixteenth century. [5064-1859, V. & A, M.] page 181 Border for a Chair Back, Lacis Work on a Netted Foundation, by M. Ella Carr page 184 Enlarged Detail of Lacis Work on a Netted Founpage 187 dation Example of Lacis Work on a Mesh of Linen 190 Italian, sevenChild's Linen Cap, " Reticella." teenth century [7522— 1861, V. & A. M.] page 193 Detail from a Muslin Collar in Drawn Work and White Embroidery. French, early nineteenth page 196 century [547 1903, V. & A. M.] Leaf and Flower Forms from Embroidered Apron. English, early eighteenth century [701 1902, V. & A. M.] page 199 2or Flower from English Eighteenth Century .
.
.
.
.
.
.....
42.
—
43.
44.
45.
.
—
.
46.
47.
48.
49.
......
,,
—
50.
51.
.
.
—
List of Illusti^ations,
XIX
PLATE NO. 52.
53.
54.
55.
56.
Cut. Cut.
Cut.
Cut.
Bargello Work (sometimes called of " Florentine "). Italian, seventeenth century
Example
page 203 Cushion and Satin Stitches. Italian, seventeenth century page 207 French, second half of the Portion of a Coat. eighteenth century [639A 1898, V. & A. M.] page 210 An Old Nottinghamshire Smock. From reproduction by the Fine Needlework Association page 213 An Old Oxfordshire Smock. From reproduction by the Fine Needlework Association page 217
Example
of Bargello
Work
in
—
Embroidery Frame
,,221 Tambour Frame 222 Drawn Thread Border, from an Old Egyptian Example page 232 Stitches for working the Edge of the Drawn.
.
.
.
.
.
.
.
'
...... .....
thread Border 57.
Stitches
:
Stem
Split Stitch,
Stitch,
,,
.
page 233
Rope
Stitch,
Buttonhole Stitch, French Knots, Bullion Knot, Tent Stitch (Opus Pulvinarium), Cross Stitch page 244 Cut. Back Stitch 246 Cut. Tailor's Buttonhole Stitch 247 ,, Cut. Rose in French Knots 249 .
.
.
.
58.
Fancy
.
.
.
.
.
.
.
.
.
Stitches
252
and veined in Chain Stitch. 254 Chain Stitch, Square Chain (Open and Closed), 59. Herring-bone, Overlapping Herring-bone, Satin Stitch page 255 Cut. Rose in Satin Stitch. From a Chinese Silk Cover page 259 60. Single Coral, Tied Coral, Bead-edging or Braid Stitch, Snail-trail, Darning page 261 61. Cable Stitch, Cable Stitch with Knot, Embroidery Stitch, Long-and-short or Feather Stitch (Opus Plumarium) page 266
Cut. Leaf outlined
,,
.
.
XX
List of Illustrations.
PLATE NO. Cut. The Seamstress's Feather Stitch 62.
page 268 from Portuguese Piece, given on Plate No. 33 page 270 Different Forms of Brick Stitch 274 .
63.
.
65.
Fancy Fancy
66.
A
67.
Examples from Chinese work
64.
.
A Variety of Stitches,
.
.
.
.
.
,
Stitches Stitches
.
.
.
Variety of Borders in Counterchange .
,,278 ,,281 285
,,
.
,,288
Gold carried over String, Diaper Couching, and Basket Stitch page 291 296 69. Four Borders in Gold Passing ,, also 70. Examples in Tambour Gold over Cardboard the Use of Purl page 299 Leaf in Gold Thread Cut. Fig. 65 A. 303
68. Plain Couching,
,
.
.
.
.... .
71.
Tambour Gold and
;
.
Purl, Cushion Stitch,
.....
Burden
Japanese Stitch, and Fancy Diapers for page 305 Background Stitch,
EMBROIDERY. INTRODUCTION.
We may
say the art
though
lives,
its
which has beaten a
employment is little
and
is
now
those
is
retreat.
still
that of an art Its
sphere of
a cramped one, and there
likelihood of
filling
embroidery
of
position
its
ever regaining sway
serious
and responsible
functions which were once the very essence of its being.
To-day
it is
treated
more
graceful diversion or accomplishment,
there of
it
is little
as a
and
or no diligence in the pursuit
as a great art, although in the present
revival of the artistic handicrafts there
is
a serious attempt to reanimate the long-
neglected
art
of
embroidery.
The most
promising feature of the movement
is
the
very common-sense view adopted, of turning
the
work
to
practical purposes.
We
have begun to see the uselessness and ugliness B
— Eiiibi'oidcry.
2 of the
" fancy work."
so-called
covery of an ugliness
crude colours
—
is
—ungainly
the
first
The
dis-
forms and
step towards a
proper appreciation of beauty.
This book
may
be of some assistance to those
who
lieve
whatever
is
any pains
to
is
do
worth doing well.
at all
One's fingers had far
better be employed than idle, and result
be-
worth
if
by the
occupation something that
of such
is beautified and made insame time not deprived of expression of use and comfort, one is
already useful
is
teresting, at the its
fully repaid for the
Embroidery needle— which
is
time so spent.
the art of working with the replaces
the
and
pencil,
variously tinted threads take the place of
pigment fruit,
— some
kind of decoration, such as
flowers, figures, symbols, etc.,
already existent material.
It
on an
has no organic
connection with the " stuff " serving as
foundation
;
it
its
might justly be called a
gratuitous addition to
it.
Needlework takes precedence
of painting,
method of representing figures and ornament was by the needle depicted upon canvas. Sacerdotal vestments, and as the earliest
other objects of ecclesiastical use, were
from the
first
days when such
articles
were
1
Introduction.
employed
for religious service
— embroidered
and scriptural subjects. Babylon was renowned for its craft of the needle, and maintained the honour up to with
the
symbolical
first
century of the Christian era.
The Egyptians, with whom the art of embroidery was general, and from whom the Jews are supposed to have derived their skill in needlework, produced figured cloths by the needle and the loom, and practised the art of introducing gold wire into their work.
To judge from a passage
in
they even embroidered
the sails
galleys
which
they
Ezek. xxvii.
exported
of
to
7,
their
Tyre
:
Fine linen with broidered work from Egypt
was that which thou spreadest forth to be thy
sail."
The reproduction on page 4, prepared from a fragment of woven tapestry and needlework found in the ancient tombs of AkhmimPanopolis, in Upper Egypt, is believed to be Christian Coptic, and executed at some period between the fourth and the sixth centuries. of
Originally
it
formed part
an octagonal panel for a tunic.
worked
in coloured
It
is
wools and flax threads.
In the centre on a white ground
is
a purple
amphora-shaped vase, with ornament
in a
4
Embroideiy.
white outline,
from which springs a con-
ventional plant with balanced foliage, partly encircling a bird.
Fragment
of Tapestry
As an early example
and Needlework.
of
Christian
Coptic, 4th to 6th Centuries.
patterned fabric produced by the
needle
and the loom it is of very great interest. The embroidery is simply in hem stitch, and is employed to define the weaving in places. We read that in Greece the art was held
Introduction. in
5
the greatest honour, and
invention
Phrygia became
ascribed to Minerva.
brated for the beauty of
The
its
its
cele-
needlework.
" toga picta," decorated with Phrygian
embroidery, was worn by the erals at their triumphs,
when
they
broidery
and by
games.
the
celebrated
itself is
Roman
gen-
their consuls
Em-
therefore termed in Latin
" Phrygian,"
and the Romans are said to by no other name. said Pope Paschal (fifth century), an
have known It is
ardent
it
lover
of
needlework,
made many
splendid donations to the churches. of
his
On
one
vestments were pictured the wise
virgins, wonderfully
a peacock, in
all
worked
;
on another,
the gorgeous colours of
its
plumage, on an amber ground. In
mediaeval
broidery,
times
spinning
from the palace to the
were the occupations of
and a sharp
women
and emcloister,
of all ranks,
strife for superiority existed in
the production of sacerdotal vestments.
In the eighth century two of Valentina in Belgium,
sisters,
abbesses
became renowned
for their excellence in all feminine pursuits,
imposing needlework upon the inmates of their convent as a prevention of idleness, the
most dangerous
of all evils.
6
E77ibi^oidery.
Long before the Conquest English were
much
skilled
with
the
ladies
needle.
anecdote related by Mathew of Paris proof of the
He
tells us,
excellence
of
An is
a
English work.
about this time (1246) the Lord IV.), having noticed that
Pope (Innocent
the ecclesiastical ornaments of some Englishmen, such as mitres and chorister copes, were embroidered in gold thread in a very pleasing manner, asked where these works were made, and received as answer, " In England." Then said the Pope, " England it is is surely a garden of delights for us truly a never-failing spring, and there, where many things abound, much may be ;
extorted."
as
The Countess of Shrewsbury, better known Bess of Hard wick, was in her day a
famous embroideress also Scotland's queen, whose w^eary hours were beguiled by work ;
with her needle,
Penshurst, Hatfield, Knole,
and numerous other English palaces filled
are
with similar souvenirs of royal and
noble ladies.
(7)
\
CHAPTER
1.
DESIGN AS APPLIED TO EMBROIDERY. All branches
of
handicrafts
artistic
are
closely linked together in the arts of design.
Material
and method
production only
of
separate them, and then the division
some
instances,
technical
line
very subtle indeed. of
is,
in
The
between
demarcation
tapestry weaving and embroidery
is
With
not so de-
fined,
lace
and embroidery
although there
is
it
is
distinct.
a great difference
between embroidery and the fine kinds of lace these crafts do considerably overlap in parts. To embroider is to apply some kind of pattern to an already existent
—
material, to express form is
by
stitches,
and
it
the business of the worker to so arra.nge
the stitches as to indicate
by
their direction
the fibrous growth of the plant,
and the
varieties of the surface of the objects repre-
sented.
The
stitch
method must not be con-
Embroidery,
8
cealed or disguised, but acknowledged and
accepted as the principal factor, which can,
not be separated from the art of embroidery.
The designer
for
embroidery has a com-
paratively free hand compared with the one
who
designs patterns for
woven
fabrics to
be executed by the modern power-loom.
He
is
evidently working in the wrong direc-
when he attempts to produce designs hand work which can easily be imitated and the effect obtained by mechanical tion
for
means.
The monotonous filling of little squares and geometrical forms in repeat, on specially prepared canvas with certain fixed colours,
no longer satisfies the intelligent worker. The tameness of its appearance when finished tires one, the very smoothness and regularity Such work should be left to the is a defect. machine to produce. There is an embroidery machine invented of a most ingenious kind, which enables one person to
embroider a repeating design with eighty
and up
to one
hundred and forty needles.
Several of these machines are
now mounted
Germany, and Switzerland, and, some modifications, in Manchester, Those Bradford, Glasgow, and Paisley. in France,
with
Design as applied persons
who
to Enibroielery.
work
control the
for
9
machines
are wide awake to the commercial value of machine-made embroidery that closely imiIt is theretates hand-wrought needlework. fore desirable that the designer for
hand-
work should defy the machine by varying the detail in his design, carefully observing
that such change and variety does not de-
make the work Handwork to-day
stroy the sense of repose or in
any way
has
a
assertive.
tendency,
human
labour,
machinery
;
in
all
be
to
and while machinery has not
sufficient self-restraint
of
works
departments of superseded by
of art,
it is
for
production
the
all-powerful for their
suppression.
The embroidercss
of the early
days was
doubtless the designer of her work as well.
She had no portfolio
of designs to
draw upon,
but diligently studied the book of nature for her material. Not being hampered by whims and fashions as in the present day, her taste was original and pure. ?7^^consciously principles of order, balance, and construction were followed. The first thing we of to-day have to do is to learn to see and appreciate the beauties of nature, get a sound knowledge of plants and flowers, and by degrees
Embi^oidery,
lO
we shall begin to see the beauties of art. Our taste has to some extent been handicapped by our association with badly designed
patterns, furniture,
difficult to
etc.,
and
is
it
avoid being brought into contact
with these things
in
our daily journey ings.
Comparatively few modern embroideresses design their
own
They
patterns.
are
fre-
quently obliged to select a design that has interest
little
quently
they
interests others.
for
themselves,
fail
to
There
and conse-
produce work that is
no denying the
some knowledge and practice
that
of
fact
the
principles of design are needed in order to
The embroideress
ensure success in the work.
make
ought, at least, to
herself acquainted
common-sense conditions which govern the making of good ornament in order to be better able to render by the needle the with
the
ideas of the person
who prepared
the pattern.
It is
not a very great and serious undertak-
ing
the worker
;
elementary she
is
is
merely asked to learn a few
principles.
She
may
asked to make a design.
be scared
if
But possibly
after a little intelligent study in the direction
indicated, even the
making
of a design will
be found comparatively easy.
The advantage
offered
by our museums
1
Design as applied of being able to
embroidery
is
to
Embroidery.
1
examine old specimens
of
not sufficiently appreciated
by the modern needleworker. From these masterpieces we can learn all that is required Moreover, we to make good, sound design. can also see what to avoid, and the student is warned against blindly copying embroidery merely because
another danger, and that
fragments of ornament from trying
to
scheme.
stick
This
old.
it is is
of
all
is
is
collecting
periods and
them together
practice
There
into
obviously
one bad.
no reason why an ancient pattern should not be adapted to modern requirements it is the mixing of material that is The adapting of a beauto be condemned. tiful piece of decoration may prove a more compensating occupation than to spend time in making new ornament which might
There
is
;
be only of moderate merit.
The artistic
ideal condition in the production of
handicrafts
that
is
each
article
should be conceived and carried out by the
same person.
Embroidery is a very personal art, its charm lies in the individuality expressed by the worker and to get design or adaptation, colour scheme and embroidery from the same hand and brain ;
Embroidery.
12
ensures a certain unity, whatever the grade of excellence is
may
Furthermore, there
be.
evidence of the application of the mind to
the material, an expression of the worker's interest
and
intelligence.
endless scope
Embroidery
and freedom
of imagination.
offers
to every degree
Unfortunately, the purest
want of the and appreciation, while
fancies often die unexpressed for right kind of help
the strongest are allowed to ran wild for
want of proper guidance and control. The first thing necessary to be taught is to see. The late William Morris said, " There are two things to be done by the the first is to show seers for the non-seers them what is to be seen on the earth the next is to give them opportunities for pro:
;
ducing matters, the sight of which will please themselves and their neighbours, and the people
them,
that
come
and incident." be
after
them
— to
in short, in the observation of
made
to see
train
beauty
The sooner the worker can how wrong it is to try to
imitate the natural appearances of flowers
and plants
in
height
the
workers
of is
embroidery, the better.
ambition
of
many
The
needle-
reached when they are able to
render pictorial representations of flowers,
Design as applied
to
Embroidery.
13
by forcing the light and shade in such a manner as to make the flower resemble a natural one resting on the surface of the
Such work does very
material.
than betray a desire to show
little
off
more
dexterity
and ingenuity which may have been
ac-
quired at the expense of everything
else.
Vulgarity and bad taste in this form exist
among
all classes
called
educated,
expect to find
There
;
it
is
favoured by the so-
where
would
one
least
it.
a natural convention which ap-
is
pears to be part of the process of adapting
The worker
flower forms to embroidery.
should
aim
of the
simplicity
There
plant form.
any
at
is
representing
in
no necessity to
sacrifice
beauty of the natural object.
If
she will be content with a hint, from nature rather than a photographic fact, she will possibly be able to invest her
work wdth a and free-
little
of the spontaneous simplicity
dom
of the earlier work.
Let us commence with the intention of
what is already useful. To decorate or ornament an object is to enrich the surface with forms and colour, and thus to give the thing decorated a new beauty beautifying
while adhering strictly to
its
original shape
Embroidery. and character. The ornament, if it is the and properly apphed, will not in any way deprive the object of its expression of use and comfort. We may divide ornament as applied to embroidery into three classes (i) That expressed simply in outline, as in stem stitch, right kind,
:
chain stitch, rope stitch, coral stitch, cable stitch,
and
fiat tones,
stitch,
in cords.
(2)
That expressed
in
as in laid work, satin stitch, cushion
cross
stitch
;
darning, as in
lacis
work " also patchwork or applique. (3) That expressed by shading, breaking up the surface and suggesting relief, as in ordinary ;
embroidery
stitch, or long-and-short stitch.
The last-named method popular
;
while
of
giving
work
every
is
the most
facility
for
good work, it offers equal facility for bad. It has been said we look for colour in mass rather than for line work in embroidery. Colour and texture undoubtedly are charming qualities in needlework, but too few people
really
appreciate
work pure and simple. tiful results
ployment confident fillings,
as
the
use
of
line
Spirited and beau-
have been obtained by the em-
of delicate line work, or
lining
shown
in
conjunction
in the
with bold, with
line
example on Plates
5
Design as applied No. 27 and 29.
The
to
E^nbroidery.
1
four screen panels and
by Walter also worked
the portion of a frieze from designs
Crane (Plates No. 24 and 26) are entirely in outline
;
a slight tone
is
produced
by open darning. In the sixteenth-century Spanish border, reproduced on Plate No. 9, the combination in the arcading in the frieze
of classes (i)
and
(2),
tone and
shown by coloured
line, is
the masses of colour are effected
;
and these are nicely connected with cord. In this example the cord plays a very important part, and it could have been more effective if it had been made to run in double lines in joining up the main pieces of ornament however, the result of the whole is extremely good. This character of work would be perfectly in its place on satins, applied,
;
mantelpiece borders, curtain borders, bedspreads, and for church work, etc. The panel (Plate No. 41), " Pomona,"
the late Sir
by Edward Burne-Jones, and back-
ground ornament by the late William Morris, is an example of the third class of work. The drapery of the figure and the small flowers are in embroidery or long-and-short stitch, and the big leaves in laid work with gradual blends of colour.
For other
illustrations
of
solid
shaded
i6
Embroidery.
embroidery the reader
is
referred to Plates
No. 40, 42, 43, 44 and 45, back of a chasuble, corner of a chalice veil, and the specimens of crewel work. These will serve to show that the range of choice in treatment is very
The
extensive in this class of needlework.
worker
much
is
warned
in
shading not to suggest so
relief as to lose
a characteristically
the sense of flatness on
flat
surface
;
it
should be
quite clear that such methods, to any one
who
stops to think, are wrong.
sort of deception at best,
to
try
silk or relief in
by means
It is
art,
shading in
laborious
of
a poor
and very bad
wools to produce an appearance of needlework.
The reader cannot do better than look at the Chinese and Japanese needlework for good flat treatment of plant forms. They are supreme in the way which they produce their effects in embroidery, often with one
or
two shades, purely through
placing the
their skill in
Constantly changing
stitches.
the direction, they work for a pleasant play of light
and shade, acquired by the
placing of the
silk.
If
they shade,
different it is
with
the definite intention of showing where one
shade ends and the other begins. very fond of voiding
— that
is,
They
are
leaving the
Design as applied
to Enibi^oideiy.
i
7
ground to show between the petals of the flowers and leaves in a manner which is rather similar to the use of ties in stencilling. It is
probably because of their love for the
stencil,
and
that this
their skill in its manipulation,
method has crept
into their
em-
broidery (see Plate No. 67).
To
and fruits we are more indebted for material and suggestions in design than any other source in the whole The best convenof nature's category. tional and aesthetic ornament, the Persian aster, the Egyptian sunflower (the lotus), the Greek honeysuckle or anthemion, are full of vitality, fulfilling as ornament their various places and uses, while combining the main and best qualities of plant -growth, embodied with vigorous life and beauty. The old designers pillaged the gardens and vineyards, and, with the plunder of pomegranates, apples, vines, lemons, and olives, the forms of which they simplified with right perception of what detail must be kept and what can be left out, they introduced them into their designs. Every embroideress should be able to draw, and though the process of acquiring the power of drawing is slow and tedious to flowers, plants,
c
.
1
8
.
Embroidery
many, the student is well repaid for the time and trouble bestowed in the practice of this branch of her work, as no embroidery can be perfectly satisfactory without good drawing. In order to become a proficient designer will be necessary to make careful studies from nature of flowers, buds, leaves, etc.
it
Learn the characteristics
of the plant first
:
the joints of leaves and flowers are of vital
importance
— note
from the stem
;
the
way they
spring
and draw carefully the
calyx of the flower, and the buds in their various stages of opening. stances where
There are
the embroideress
—who
in-
con-
fesses that she is quite ignorant of design
and the construction she
has
never
of pattern,
studied
plant
and that form has
—
been afraid to add a stem and connect the leaves which had been omitted by the transferer,* and the most stupid mistakes * The transferer is very often one employed to put the designs on the material, not the designer the embroideress merely embroiders what is marked on the stuff, when she has had nothing to do with the transferring and just as a school-child forgets its copy, and every line becomes a caricature of its predecessor, so the poor design gets knocked out of shape by the number of hands it goes through, the number of times it is used, that the spirit has quite left it by the time ;
;
the work
is
finished.
Design as applied
Eiubroidcry.
to
19
occur, which could, with a few hours' study,
At the same time the emwould take infinitely more broideress pleasure in her work if she would take a common-sense view of the subject. After learning the plant and its possibe prevented.
a motif of
as
bilities
the planning of the
design,
work by
commence
selecting the
positions for the chief features in the designs,
and
where the masses
be
placed,
they are nicely distributed
that
see
shall
over the surface you have to cover.
panel that
is
with other panels
complete
in
In a
not to be used in association
— other words, — the design should in
if
it
itself
is
be
and not look like a piece of ornament that might go on for yards indefinitely. The masses should be connected by harmonious lines complete
in
the space
it
has to
fill,
;
insist
on simple,
always bearing
in
straightforward
mind the
growth,
principle of ex-
—
haustion the vigour with which your plant grows from the root, each branch throwing off
Never stems and branches coming from
smaller ones the further
have large
it
goes.
smaller ones.
The
detail
is
altar-frontal or
the next to consider.
any work to be placed
If
an
at a
.
Embroidery
20
and
distance, the treatment will be broad
simple
a table cover,
if
;
a garment,
of
book cover, hem
anything to be viewed
or
closely,
the details must be treated with
greater
delicacy.
The
rendering
the
of
plant must always be truthful to nature's principle.
The
to get as
much
them
may
be turned about
variety and interest out of
as possible, although the masses
when
repetition
and
colour
vided
is
detail
demanded, change of should be made, pro-
does not destroy the sense of re-
it
Recurrence
pose.
may
In designing for embroidery
be repeated.
and
flowers
in art expresses repose,
frequently required, as in a border
is
Very few workers appear to realise the added sense of completeness given by a border, even though framing a panel or a curtain.
it
may
be only a few nicely spaced
lines.
Usually the simpler the border the more effective.
of
Always remember
your work, so Simplicity
very ciate
last ;
in
let it
it is
be subordinate.
ornament
is
for
perhaps the
thing even the educated appre-
as a rule the
most
florid
plicated patterns please best.
plan
the framing
and coma good
It is
the designer to put a piece
tracing-paper
over
the
drawing,
if
it
of is
Design as applied becoming
at
all
to
Embroidery.
crowded
or
how much
\
overloaded
with detail, trace the best parts only, see
2
and
can be dis-
of the pattern
The highest art is that which the power of restraint, to know is simplest the value of a space, are most desirable qualities. Always remember that it is better to put too little ornament than too much. These hints and suggestions on design pensed with. ;
as applied to embroidery are merely intended to assist those in
this
practice
branch of the subject;
and more
stimulate
who take
especially
to
up embroidery in
who have had no those
as a useful accomplishment,
the hope that they
designs for their
may
try to
own needlework.
make
(22)
CHAPTER
11.
UTILITY— METHOD AND MATERIAL. Early
decoration in many cases was actually adopted to increase the usefulness of the
object
;
the savage,
by the notching
paddle, not only ornamented
a firmer grip as well
;
also,
it
of his
but ensured
by the roughening
of the sword-hilt with a relief pattern, the
same result upon points
We
obtained.
is
should seize
construction and heighten
of
by suitable decoration. The ornament must not be an encumbrance to their interest
the object
it
is
supposed to adorn.
For
example, a design in raised bullion on a cushion
is
essentially
could not rest against comfort.
The
aim
out it
of
of
place
;
one
with any degree of the
embroideress
make a decoration that does any way take away from the useful-
should be to not in
ness of the cushion.
A
good example
of utility in decoration
the use of the herring-bone stitch,
is
by which
Utility
—Method and Material.
23
over an ugly seam the adding of this stitch renders the junction of the two edges of cloth
more secure and the
buttonhole
practical
The use
less unsightly.
serves
likewise
stitch
and an ornamental purpose
of
a as
Fringes arose out of the ravelling of
well.
the edge
of
At
fabrics.
first
the
frayed
ends were tied into bunches, and by degrees regular
these into
handsome
tyings
became elaborated and now these
patterns,
fringes are considered indispensable as decoration.
edge. of the
They are very useful in finishing an The worker can either fray the edge material and knot the ends, or make
the fringe separately and attach material.
The
first
it
to the
duty of quilting
is
to
in its place and the and perhaps the most serviceable pattern is the one employed on the subject which forms the frontispiece to this book. Many beautiful quilted patterns are to be seen in the Victoria and Albert Museum. The ornamenting of book covers by clasps and corner plates was done to strengthen and
keep the padding
;
simplest,
protect them.
They
are
now
successfully
used purely as ornaments suggested tooling of leather, covers.
and
in
in the
embroidered book
Evilwoidcry.
24
When we is
speak of applied ornament,
often misunderstood, for this reason
suggests to some people that
it
it
:
one person
makes it, and another sticks it on, and, to some extent, that is what happens in the production of much of the modern emUnfortunately,
broidery. it
deal of
a great
gets stuck on in the wrong place.
are
many examples
Our "best"
ornament.
of mis-applied
pillow cases and table cloths,
to
be
holidays, are
all,
intended
There
on
used
high-days
at least, serviceable
;
and they
are not of the drawing-room class of needle-
work, which
made
put away. is
is
considered too good
to
use
;
only to show, and then to fold up and
The
fact
is,
so ornamented that
One
to use.
and that
is
most is
of this
work
quite impossible
we do know,
thing
why
it
it
cost a lot,
prized.
it is
Salesmen are occasionally heard to advance this argument as a reason for the high price of
trying to culties
some over-decorated sell
:
that,
which arose
article
on account of the
in
producing
it,
he
is
diffi-
they are
compelled to ask such an unusual price for the article.
In
many
culties referred to, are
trying to imitate
cases
the
diffi-
caused by the maker
some other material, and
Uiility
— Method and Mater2al.
25
'
frequently something not suitable for the
We
functions of the article.
bear in mind
it is
must always
the material, so to speak,
which gives us the lead
in decoration,
and
only right for us to follow that lead.
it is
Applique.
ornament is often used For this purpose the in applique work. design must be so constructed that both the device and the ground are identical in shape and area (see figs. 44 and 46, Plate No. 66). An economical and effective method of apCountercliange
plique decoration
No. 10.
is
that illustrated on Plate
The pattern
is
designed so that the
material ornament taken from the panel on the left-hand side of the plate
is
used to form
the dark pattern in the panel on the right-
hand
side.
The pattern
in
one appears a
little smaller than in the other. This has been caused partly by the corded outline
being in both cases light in colour.
to
For applique of almost all kinds it back the material, which is done
following
manner
is
well
in tlie
:
Stretch tightly on a board, with tacks * or *
Those that have been tinned are best
mark
the material.
;
other kinds
26
E77zbroidery.
drawing-pins, a piece of thin cotton or linen
Paste this
fabric.
all
over with a thin layer
of paste (Higgins's paste can be used with
the very best results) smoothly and pletely
;
put the velvet,
com-
satin, serge, linen,
whatever is to be used in the work, wrong side down, press firmly, and see that no air bubbles or lumps remain and leave it to dry thoroughly, over night if possible. Then, on the wrong (linen) side, draw the design, and cut out carefully the parts to be applied, with short, sharp scissors if cut from the backing, a sharper and cleaner edge or
;
;
is
ensured.
On
the foundation material, which has
been previously stretched
in a frame,
mark
the whole design, indicating where the cut-
out pieces must go and any parts that have to be embroidered. into their places
leave
until
Pin the applique pieces
and then paste again, and
dry.
These pieces should be
securely tacked into their positions before
the embroidery
is
actually
commenced.
There are a variety of ways of treating applique. It must first be stitched to the ground with small stitches taken from the
ground
into
to the edge.
the
applique at
right
Then, a couching of
angles silk
is
Utility
— Method
and Material.
27
often necessary to cover the edges before the
sewn down. Another method is that in which the edge has either a strand of sihv or very narrow ribbon couched down cord
is
instead of the cord
;
the edges can
or, again,
be worked over in satin stitch, or buttonhole
with a strand of
stitch
Admirable
silk
under.
obtained by the use
effects are
of satin stitch or buttonhole stitch to bind
the edges. the work
If
is
to be strained for
framed
panels, etc., a piece of holland pasted over
the back all
is
a good preservative
together in a firm manner.
or anything where softness in
quired, this backing
the applique greatest care
is is
is
;
it
not desirable.
worked needed
in
holds
it
For curtains, hanging is rethe
When
hand, the
in order to
keep
it
quite flat.*
In applique patterns keep to simple forms, or rather avoid elaborate serrated leaves
and
With reference to the contention as to the rival merits of frame versus hand work. As a general rule amateurs much prefer to do their embroidery out of the frame, being much easier for them to handle, whilst professionals put almost all work into a frame. *
A variety of fancy stitches, oriental, darning, chain, buttonholing, etc., cannot be conveniently done in a frame while at the same time for laid work, etc., a ;
frame
is
absolutely essential.
28
Enibi^oidery,
There
thin ornament.
is
stems, centres of flowers,
worked
no reason why thin etc.,
should not be
in silk stitching in conjunction
with
the applied work.
Applique
is
eminently suitable for posi-
where broad effects are wanted, and fine work cannot be properly seen or is too good for rough usage. A beautiful example of interchange pattern is illustrated on Plate No. ii, and other good types of applique work are shown on Plates No. 7, 8, 9 and 10.
tions
where
Inlaid Work.
The Persians use actual applique.
Sir
more often than R. Murdock Smith, in
inlay
South Kensington Handbook on Persian Art, says, A peculiar kind of embroidery his
and patch-work combined is largely made at Resht (see Plate No. 13), and to some extent in Ispahan, at the present day.
patchwork
It consists
minute pieces of broad-cloth of different colours, the seams and some other portions of which are then covered with needlework also variously coloured, the whole forming a combination of geometric of
and
floral
of
ornament.
The
colours being of
the brightest, the general effect
is,
perhaps,
— Utility
— Method and Material,
somewhat
These
gaudy.
29
Gul-Duzi-i-
Resht," as they are called, are mostly used
and showy which horse-clothing, for they are not inappropriate. They also serve for Sarandaz and Ken arch covers, and nowadays for tables, sofa, and chair covers, where intercourse with Europeans has introduced such
by the Persians
for saddle-cloths
articles of furniture."
The effects produced by the applique and methods are very similar. In inlay the
inlay
applied material
which
stuff,
is
is
cut
laid into the foundation
away
to receive the pieces
of coloured material used to
The
make
stuffs are fitted together
into the foundation
— and
the pattern.
— the
made
pattern
secure
by
an overcast stitch round the edge of each
form
;
this
stitch, or a
in fact,
ployed to
edge
by any
backing.
then finished by chain silk
couched
similar outlines to those
applique work.
in
stretch
broidery
is
cord or strands of
a piece
of
em-
It is usual, first,
holland in an em-
frame to serve as a temporary
Then
materials
the
are
cut
closely textured materials are necessary for this process, a loosely
to
fray— and tacked
land
;
woven
stuff is liable
in positon
on the hol-
then the overcasting of the edge com-
Euibj'oidery.
30
menced. The backing should be removed when the work is finished, or it can be allowed to remain, if needed, for strengthening the work. Thin ornamental forms are not suitable for inlay stems and connecting lines must be embroidered. In the Resht example re.
;
ferred to,
the light lines are rendered
rows of chain
by
stitch.
White Work. For articles appertaining to dress, white embroidery is especially suitable. Most beautiful pieces of dress decoration in white
work are
and from a muslin
to be seen in the Victoria
Albert Museum.
The
detail
shown on Plate No. 49
collar
will give the
reader some idea of the scope of treatment
branch of work. The little piercings are immensely valuable in lightening the in this
effect
;
and the varying tones suggested by
the method of stitching give great interest and delicacy. Parts are slightly padded, and the flat tone, in the banded form which connects the groups, is obtained by the use of French knots, placed close together.
Utility
— Method and
In a half-hearted
Material,
31
way white embroidery
has always been brought into service for
marking linen. Occasionally one sees nicely worked monogram on the corner
a of
pocket handkerchief, but generally the
a
lettering field
is
poor
There
in form.
open for good
white work, but in
all
lettering,
is
a great
not only in
branches of embroidery.
For white work the ordinary stitches are employed. Much of it is executed in the hand, and the material to be marked is often tacked on American cloth, or toile ciree,
during
the
tambour frame purpose.
process of
sometimes
is
From
Persia
we
working.
A
utilised for the
get
some geo-
metrical designs worked in white on a white
ground
of cambric.
the present day
is
This kind of work at
often effectively used to
decorate the edges and network visieres ladies'
veils.
reverse
side
of
most cases there is no the work both sides ?ive
In to
exactly the same.*
;
It
is
said
that
the
In Exodus we read that Aholiab, the chief emis specially appointed to assist in the decoration of the tabernacle. In celebrating the triumph of Sisera, his mother is made to say that he has a " prey of divers colours of needlework on both sides," evidently meaning that the stuff was wrought on both sides alike, a style of embroidery exhibiting a degree of patience and skill only practised by the nations of the East. *
broiderer,
.
Embi^oidery
32 embroidery
of
kind
this
is
by
executed
two persons, one on either side of the material working simultaneously with one needle.
The use
of crew^els
is
rather scoffed at,
many
for the simple reason there are not
who can handle
people at the present time
them properly
for furniture coverings
;
curtains thay could
be used with greater
The use
advantage.
and
of a poorer material
on a richer one appears to be wrong.
We
do not
but
feel inclined to
do not hesitate to use
use wools on silks
never forget that we are when we embroider.
on
silk,
Let us
linen.
enriching a material
Laid Work. " Laid
work
"
is
much more economical
a
effect
than by work-
ing the design in satin stitch.
Li laid work
method all
as
of
the silk
producing an
is
the term
on the surface implies,
of the material,
while satin stitch
taken under and over, and there
on one side as the other is
as
much effect
got from the silk worked in satin stitch,
as the run of the silk it
;
is
but a richer
is
is
in
one direction, and
thus gives a brighter appearance.
Utility
— Method and Material,
33
Gold Embroidery. The material on which gold embroidery worked should be herring-boned very evenly and firmly on to a backing of linen (never cotton), and stretched in an embroidery frame. Sometimes the gold embroidery is worked on a strong linen, cut out and applied in the same way you do applique. is
to be
For
stitches,
and
71.
see
No.
Plates
Great care
70 required to prevent
is
68,
69,
gold and silver threads from turning a bad
When
colour.
applying these metals do
not handle the threads more than can be
Cover the work as
helped.
far as possible
with unbleached backing as each piece completed, protect
and is
it
is
and take every precaution to from damp. Much of the gold
work
silver
is
lacquered
Silico varnish
finished.
directly
it
painted on thinly
preserves the colour of the metal.
Raised Work.
The highly padded work, and particularly the raised figures, are very unsatisfactory,
but
for
heraldry,
padding
ecclesiastical etc.,
of
in
work,
severely
hangings,
and silk, the drawn flowers and D
bullion
Embroidery.
34 ornaments
are
very
and highly
effective
appropriate.
For raised gold work, yellow soft cotton is used for the padding, grey and white for silver work, and strings and linen threads for both metals. See Plates No. 68, 69, 70 and 71. In the early work they had no resource for obtaining effects which might be considered to be foreign to straightforward and hond-fide needlework.
Later, in the fifteenth
century, relief effects were then attempted
and obtained in much of the gold thread work, and an early indication of the departure from flat simplicity of earlier work is given in the modelled feather of the fifteenth
The modelling or needlework is more pro-
century of angels' wings.
padding out of
nounced
in
the
early
sixteenth-century
and carried
architectural work,
still
further
in coats-of-arms of the seventeenth-century pouches." *
Old Embroideries are to
frequently
cut
out
and
new grounds, and then The best method
applique. *
Alan
S. Cole, C.B., "
Ornament
in
transferred
treated
like
to finish
the
European
Silks."
Utility
edges
is
to
—Method and
work
Material.
in silk carefully
colour to the old embroidery
;
matched
less
in
sometimes
cords or hanks of silks couched are for finishing the edges.
35
used
These methods are
expensive but not satisfactory.
It
is
easy to perceive by this treatment that the
work has been
transferred,
which
is
not
desirable.
Cords, gimps, braids, hanks of floss silk
were used spangles, in the
in
the sixteeenth century, and
beetle-wings,
Many admirable plished,
careful
tinsel,
and jewels
seventeenth and eighteenth centuries. results
can thus be accom-
but one must, however, be very
and discreet
in
handling the four
last-named embellishments.
(36)
CHAPTER
III.
ADAPTATION— SYMBOLISM. "
The
actual systems of building pattern,
of pattern forms,
methods
of
drawing and
modelling figures, and various handicrafts
have been discovered long ago, but
is
it
in
—
and adaptation our them and in the power of variation and expression, that modern invention and predilection tell." * The embroideress is continually being called upon to adapt or modify the designs their
re-combination
—
interpretation and use of
And when
she embroiders.
the study of
design has not been neglected, for
it
must
form part of the education of the earnest worker she will find plenty of scope for her
—
individuality
and
adapting design the
faculty
of
;
taste,
in
planning and
and she may
invention
is
also find that
there, that
it
was only dormant, and needed some such stimulus to awaken and develop it. *
Walter Crane, "Bases
of Design," p. 211.
Adaptation.
37
Natural forms must be conventionalised
make them
in order to
pose
embroidery.
of
and
flowers,
we take
and throw
fruits,
sentations of call
suitable for the purIf
plants,
life-like repre-
them on a surface, and then we make this decoration
decoration,
it
exactly like the natural object, or as like
it
we can
as
;
we
much
are obviously working
wrong direction, practising the art of deception and sacrificing our ability as needleworkers on work that can at its best be but tasteless and vulgar. Natural forms must be adapted to the materials used. For example, a briar rose is beautiful in form and colour in the garden, and if handled by in the
a skilful designer simplified
quite beautiful
is,
flat
when
surface for
Moreover, this modification of
embroidery. the plant
is
and adapted to a in a
measure, demanded by the
nature of the materials and method of proIn every
duction.
way needlework should
be adapted to the materials. imitations
in
by the needle
form and colour of flowers must be abandoned, and
only those aspects
capable
of
Photographic
of
the
plant that are
and
being easily
intelligently
represented be attempted.
The observant student
will see that plants
Embj^oidery.
38 illustrate
most
of
laid
down
which are If
we go
the in
guiding
principles
ornamental design.
we
to the standard examples of art,
can satisfy ourselves that the principles observed in nature are usually followed in the
examples we are studying when there is any departure from those principles, we must do our best to find the reason for it. ;
Principles are the consideration of things
which underlie the laws or rules. Some of the rules in ornamental design might be compared to the buoys round shoaly coasts, which may be overlooked when the mariner has learned to sound for himself. The circumstances under which works of art
are
created must
practical needs their existence.
be considered, the
and natural surroundings
of
In the East they crave for while
magnificent
colour,
colour in a
more sober
we
appreciate
sense, not
demanding
that brilliancy which the Orientals distin-
guish and insist on, intensified and glorified
with the rainbow hues of
We
life.
observe by studying works of art
how
we are endowed with the sense how variously the gifts are disor, we may say, how we differ in
differently of colour,
tributed,
the handling of the
gifts.
Even
the
members
Adaptation,
own family
of our
in their likes
and
39
are frequently at variance dislikes
the difference of
;
temper and perception has a great deal to do with one's sense of form and colour. Colour in embroidery is a matter of very importance.
great
may
It
A
well-formed design.
colour in the natural object
The colour
in nature
is
good,
a
spoil
mere copy
the
of
not required.
must be taken
as a
suggestive guide, and modified or intensified, as the case
harmony
may
be,
according
to,
and
in
with, the general surroundings.
Beautiful work can be done in one key of colour
— as several shades of blue,
of golden
brown.
Great care
is
or shades
needed in
arranging contrasting colours to ensure har-
mony.
Colour, like taste,
is
instinctive with
some, while others must be appreciate that which
is
educated
to
accepted as beauti-
and harmonious. We all know that certain forms and colours give us more ful
pleasure than others.
Symbolism. Almost religious
all art in
the early days expressed
thoughts by means of symbols.
•40
E7?ibroidery.
To
communicate
signs in this
from the crete
by emblematical
ideas
way has been
earliest times.
method
the desire of It is a
of expression
more con-
than that which
can be conveyed by the picturing of figures
istic
and
scenes.
frequently introduced
man
into
Symbols
real-
were
tapestries
embroideries containing sacred figures,
embroideress
the
will
find
the
study
and and of
Christian symbolism a very great help to her in her
work.
As a
rule these signs
tributes are very simple
The
fylfot
and severe
shown on Plate No.
be the oldest Aryan symbol.
i is
It
and
at-
in form.
believed to originally
supreme god when used by the lateral flanges added to the ends of the cross gave it the optical indication of revolving, which is supposed to indicate the axial volution of the heavens round the Pole Star later it was used as a benedictory sign or mark of good luck. It became a common emblem in all countries, for not only is it seen on the relics of the early races of mankind, but in Scandinavian, Celtic, and Anglo-Saxon work, on Roman altars and in our cathedrals. The Egyptians used the zigzag to signify Many patterns are constructed upon water. signified their
them
as a cross
;
;
Plate No.
I.
1
1
^^ufT.
also
rw^^
called
C^LVAKV
MALTESE. CK^^iS L<\TIN
CoKF'•v^lf£p;
With t^e
/\s
THE
TYPE
in^K^Ytp
E:M5L^-^l
iTY- The. u'v^iK Trit
MIfpLE.
UFf^f^
5T£F
STEP
15
"f Chi^i^)Tix\-
sTtr \'i
IS crti^KiT)
HTE.
fMTfi
Symbolism,
43
zigzag lines in Polynesian ornament, and
it
was thus used to interpret In later times, as an occupied a prominent place in it ornament, Scandinavian decoration and in Romanesque
is
believed that
it
another meaning.
architecture. in
On
Plate
combination with the
symbolising
new
birth
No.
lotus.
and
also sacred as the type of it
i
is
given
The
lotus,
it
was coming plenty, as resurrection,
appeared previous to the springing of the
crops,
and
the Nile.
directly after the subsidence of
As a forerunner
there was every reason for
of their harvest,
them
Perhaps next to the lotus
it.
in
to worship
importance
by the sacred hom, It was the date palm from which inebriating drink was first made by the Aryans. It is found in Babylonian, Persian, Indian, Greek, and Roman Its conventional form was changed as art. other plants, by fermentation, came to the front, containing what appeared to be the " spirit of life." The sacred hom or holy
is
the palm surrounded
called the " tree of
tree
is
life.''
believed to represent the tree of
spoken of as growing
life
in Paradise.
The winged globe, so frequently used in Egyptian art, is symbolical of the sun, and the outspreading wings the overshadowing
.
Embroidery
44
Ancient Egyptian art was
of Providence.
a symbolic language.
The numerous em-
blems they used were,
in themselves, perfect
specimens of severe and beautiful design.
Our museums
many examples in is
and
cathedrals
of religious
revealed by symbols, and
the
needlework
of ecclesiastical
which the expression
contain
modern embroideress
the duty of
it is
to
thought
become
ac-
quainted with these masterpieces, especially if
she
work.
called upon to undertake church Not that she is advised merely to re-
is
produce the designs, as they are not suited to
modern requirements.
The same
ciples can, however, be applied
tened reserve, and those
prin-
the chas-
;
lav/s of fitness
limitations observed which
make
and
the design
suitable for the highest purposes to
which
such embroideries can be devoted. In Christian art the cross as a symbol of Christ
is
acknowledged to be equal
in im-
portance to His other symbol, the lamb, or the symbol of the
Holy Ghost, the dove.
representations of the Trinity, where
the Father
is
depicted as a
Spirit as a dove, Christ
by the Cross alone. The Latin cross
man and
is
the Holy
at times
represents
In
God
the
imaged actual
Syinbolism.
45
which our Saviour suffered and in its simple, unadorned shape is usuahy called the Calveiry Cross.* The Greeks rather departed from the original cross, and made it more suitable in shape for ornamental purposes. When the Latin type was employed cross on
;
emblem of Christianity, it was frequently shown placed on three steps. The lowest step, which rests firmly upon the the
as
earth,
and which
will
be seen
Charity, the greatest of
is
tues
;
upper
the middle step is
is
all
is
the largest,
Christian vir-
Hope
;
Faith, in which the cross
and the is
firmly
embedded.
The forms which the
cross assumes are
almost countless. Although nearly all based on the Greek and Latin types, the cross of St.
Anthony we
potent cross
;
in heraldry
patee, the
pommee, the
is
termed the cross
also get the Maltese cross, the
cross
botonee, the
cross
cross moline, the cross fleurie,
the oross patonce, the cross potent rebated,
and the cross crosslet. The cross is the acknowledged mark or sign of the Christian faith throughout the
world.
Li Christian art the image of the
lamb, the symbol of our Saviour, the Good *
Sec Plate No.
i
for illustrations of crosses.
Embro ide ry.
46 Shepherd,
is
frequently represented
and
;
there are various passages both in the Old
and New Testament which refer to Christ under the image of the Lamb. We find abundant symbolism in the various emblems and attributes of the apostles, saints, and martyrs. The mystic symbols of the four Evangelists, held in great favour and respect by the designer for ecclesiastical work, are the four winged creatures viz. the winged man for St. Matthew, the winged lion for St. Mark, the winged ox for St. Luke, and the eagle for St. John. St. Mark is supposed to have been buried in the great church in Venice dedicated to his name, and the winged lion has become the distinguishing badge of that
â&#x20AC;&#x201D;
city.
we
In the Catacombs
find the
Holy Sacra-
ment of Baptism symbolically represented. The most frequent symbol is a fish, often portrayed on the tombs of departed Christians.
sented,
Sometimes entwined
three in
fishes
symbolising the Divine Trinity.
No. 2 the emblem three different forms
are
a triangular
of the is
same plate a number
On
Plate
Holy Trinity
given. of
repre-
fashion,
in
Also on the
monograms
are
Plate No.
2.
SYMBOL OF THE HOLY
GHObT
MONOORAM FROM WINCH tSTLR TAPESTRY. 5^Cf^.E:D
^^^^^
NO NAME OF
LXrPsE-sSl
XKlbTOS
THE
NObTe:!^.
THREE FISHES
CHRIST IN THE
OUR LORD
CiRiLE OF tTEi^Niry
jtius chrisi
EMR>LEM OF TRINITY
5VMB0LIZ1NC BAPTISM
EMBLEM THP.FE
OF TRINITY
THE.
ETERNAL BEINCS
/N
UNITY
Symbolism.
49
shown, which were devised by early Christian artists to express the sacred
names
of
our Saviour. In the ninth century symbohcal renderings of griffins, unicorns, hons, eagles,
and
elephants appeared plentifully on chasubles
and copes. Albert
There
Museum
is
in
the Victoria and
a remarkable
chasuble of
blue satin, on the front of which are em-
broidered in gold threads and coloured silks a
number
scroll
of lions
work.
and
griffins
It is said to
On
tury English work.
enclosed by
be thirteenth-cen-
the back
a broad
is
orphrey containing four quatrefoil panels Virgin
and
Child, St. Peter
and the Stoning
of
St.
:
our Lord, the
in these are the Crucifixion of
and
St.
Paul,
This
Stephen.
is
the earliest example of English needlework in the collection in
which animals are
re-
presented.
In Babylonian embroideries
we
are told
that very fine materials were symbolical, and
stood for
the elements of the world
â&#x20AC;&#x201D;
fine
flax for the earth, purple for the sea, scarlet for the blaze of
ment al azure. The following
fire,
and blue
for the firma-
are the meanings attached
to the chief colours found in Christian art E
:
.
Embroidery
50 White
the
is
faith, joy, hfe,
Red
emblem
of purity, innocence,
and hght.
emblematical of the passion of our
is
Lord, the sufferings and the martyrdom of
His Saints.
Blue
is
emblematical of heaven.
nifies piety, sincerity, godliness,
It sig-
and divine
contemplation. Yellow
or
gold
brightness
signifies
and
goodness of God, faith and fruitfulness. Green
is
signifies
used by the Church on ordinary
and
Sundays
ferials
(week-days).
It
bountifulness, hope, mirth, youth,
and prosperity. Violet signifies passion, suffering, sorrow,
humility, deep love, and truth.
Martyrs are
frequently clad in violet or purple garments.
Black despair,
is
symbolical of death, darkness,
and mourning.
White, red, green,
violet,
and black are
called canonical colours.
Much
has been written on the symbolism
of plants
know
and
flowers,
and many workers The lily is
their various attributes.
the acknowledged sign of purity, the honeysuckle of enduring faith, the olive branch of
reconciliation
and the
and peace, the oak of strength, symbol of martyrdom,
-palm, as the
Symbolism. belongs to
those saints
all
who
51 suffered death
The pomegranate, and displaying its seeds, was
the cause of Christ.
in
burst
open
emblem of The
accepted in early times as the future
apple
life
and
of
hope
an emblem of the original
is
alludes to the fall of
the
in immortality.
man.
The
sin as
vine with
Greeks was sacred to Dionysos,
them the
represented to earth-spirit
it
and
divine, life-giving
continually renewing
itself
and
bringing joy to men.
Of the
important emblems found in
less
Christian art, the anchor might be
named
as
the symbol of hope, firmness, and patience
A
heart
;
an emblem of martyrdom.
also the arrow,
depicted pierced with
an arrow
symbolises contrition, deep repentance, and
devotion in
trial.
No.
frontal, Plate
(See the centre of altar15.)
The circle, or ring, is the emblem of eternity. The dove, when accompanied by the nimbus, is the symbol of the Holy Ghost when used alone, it is the emblem of meekness and purity when with an olive branch in its beak, it is the emblem of peace. ;
;
The evil, is
feet
griffin.
â&#x20AC;&#x201D;This
creature,
representing
winged, with bird's claws for
and
lion's
paws
its
for its fore feet
;
hind the
â&#x20AC;&#x201D; Embroidery.
52
beak
strong and eagle-likeâ&#x20AC;&#x201D; a combina-
is
and power. The dragon is the symbol of the Evil Spirit. The Devil has also been symbolised by the serpent, and with direct authority of the Holy Scriptures (Rev. xii. 9 also xx. 2). The nimbus, aureole, and glory signs cannot properly be called symbols. They are tion suggestive of terror
;
really
attributes,
as they
express nothing
when used alone. The nimbus was adopted by the Christians at a very early period it is found in the catacombs of Rome, dating ;
as far
back as the fourth century, and
appeared altogether
From
tury.
encircled the
the head
in the
it
dis-
seventeenth cen-
the earliest times the nimbus
head
like a disc or plate
behind
until the fifteenth century,
and
during the following two hundred years the disc
was replaced by an unadorned
circlet,
or ring, hovering over the head.
The
aureole encircles
the whole body
while the nimbus encircles the head
â&#x20AC;&#x201D; and
envelops
Some-
times
it
it
in a field of
radiance.
takes the form of the body, clinging
and appearing as a fringe of light, or it be removed a short distance from the body, and in this case, the luminous rays do not closely follow the form of the figure. to
it
may
Synibolisin.
53
The aureole is the attribute power and divine omnipotence. " glory "
is
of
supreme
The term
used to express the combination
nimbus and the aureole. The embroideress engaged on
of the
needlework
may
bolism, brief her.
If
find these notes
as they are, of
church on sym-
some help
to
they do nothing more, they will serve
warn her against some of the mistakes which frequently occur. Symbols are very often wrongly used, and emblems of the to
highest
dignity
and
are
most
placed
in
secondary
signs occupy upon and sometimes stood upon. The bonds of symbolism, rules of colour, and laws of fitness should aid rather than hinder the designer and positions,
holy
places where they are knelt
worker.
(
54)
CHAPTER
IV.
DESCRIPTION OF DESIGNS ILLUSTRATED. The
coloured
frontispiece
represents
the
centre portion of a quilted linen coverlet,
embroidered with coloured late
17th
century
[532
silks.
â&#x20AC;&#x201D; 1897].
English,
During
the latter part of the seventeenth century
much
of
the
design
for
English
em-
broidery was influenced by Oriental work.
The elements been
example have evidently from the Chinese. The
in this
borrowed
gaily coloured bird
is
specially characteristic.
appear in the crewel-work hanging given on Plate No. 4. The design Similar
birds
for the quilted coverlet
be seriously discussed
;
it
is is
not intended to slight, delicate,
and perhaps a little absurd, at the same time interesting and instructive. The stitches employed in the work are long-and-short, satin, and stem stitches, with chain stitch Plates No. i and 2 confor the quilting. tain symbolical signs (see chapter commencing on page 36).
Plate No.
3.
-
Description of Designs TIIn strafed.
Plate No.
57
3.
Bedspread, modern, in the style of English seventeenth-century
crewel
work.
Em-
broidered at the Royal School of Art NeedleExcellent needlework was produced
work.
in England in the seventeenth century, and some of the best examples in crewel work have been copied by the Royal School of
Art Needlework
â&#x20AC;&#x201D; in
embroidery
fact, the revival of this
due to the efforts put forward by the School, where for many years they have been engaged in kind of
is
entirely
making hangings, curtains, valances, bedspreads, and furniture covering, using the old crewel- work designs. The subject of this plate is a characteristic all-over type. The idea of the spreading branches of forms,
the
trees,
and birds
with various flowers, leaf evenly distributed
surface in this form, was, in the
place,
There
borrowed is
from
Oriental
over first
patterns.
usually along the bottom of the
design an indication of undulated ground
â&#x20AC;&#x201D;
Embroidery.
58 little
hillocks of soil, over
prance and caper. is
which odd animals
Practically no attention
given to the relative proportion of the
creatures represented.
the
same
size
as
The rabbit may be antelope
the
and the
squirrel the size of the elephant, all very
irresponsible
and
At
indulgent.
intervals sturdy tree stems spring
regular
from the
ground and meander upwards these have small branches which intertwine and carry boldly shaped leaves and flowers. The rest ;
of the surface
is
covered with small foliage,
and gaily coloured birds scattered among the branches. The large leaves are often filled with diapers (darnings), being worked solidly,
form
the
outer
occasionally
in
edge the
of turnovers, in shades of green, gra-
dated from dark to
light. Green is usually predominant colour, with touches the most of tawny yellow, reds, and rich browns to complete the scheme. The foundation of the old examples is generally of linen, or a mixture of linen and cotton. The one from which our plate is made is an ivory-coloured
twill of linen
and cotton.
Cotton Hanging-. English, 17th Century. Embroidered in Coloured Wools with Leaf Forms, Small Flowers, and Birds.
IIhist rated.
Description of Designs
Plate No. Cotton
hanging.
4.
seventeenth
English,
Embroidered
century.
6i
with
forms,
leaf
small flowers, and birds in various shades
and old gold coloured the birds are worked in rather
of olive-greens, browns,
wools
;
brighter colours than those for the foliage.
At the bottom
of the design there
a con-
is
ventional suggestion of earth, from which spring
the
The big
regular intervals.
point
of
main stems
formal
long,
over
curling
they are worked form).
These
;
rows of stem
forms are
leaf
a
main stems
when worked
stitch (called crewel stitch this
make
leaves
the
solidly in
at
in
really
groups of small leaves taking the general shape of a single curling
by the
detail
each inner leaf of
be seen
The edge of 5. commenced by an outline
is
light-coloured wool
representing
leaf, as will
on Plate No.
the
rib,
;
then a centre
is
worked
coloured
wood
rows of
stitches,
dark to
light until the space
;
then this
is
in
line,
dark
followed
by
graduating in colour from is filled.
,
62
Ernbroideiy
Plate No.
5.
Detail of cotton hanging, from example illustrated
on Plate No.
4.
This detail
given to show the direction
of
stitch
is
on
the leaves, and the system adopted in the
The treatment may be considered a little heavy compared with the method of leaf filling shown on Plate No. 6, also in the bedspread, Plate No. 3, where a large number introduction of darker colours.
of the leaves are filled with diapers.
Plate No.
Detail of Cotton Hanging. in
5-
English, 17th Century. Coloured Wools.
Embroidered
F
Plate No.
Leaf
in
6.
Coloured Wools, from a Linen Hanging. 17th Century [1392].
English,
Description of Designs Illustrated.
Plate No. Leaf
coloured
in
hanging.
6.
wools,
17th
English,
67
from
a
century
linen
[1392],
This reproduction illustrates a light method
The outer band
of leaf treatment.
The
next, in green,
is
work
of
herring-bone stitch.
in blue wool, in close
is
an Oriental stitch
â&#x20AC;&#x201D; one
long stitch the width of the band crossed a short one in the centre
Roumanian
side
is
Then
follows a
row
in green.
and outEach fang
finished on the inside
by a tooth border
made with
by
sometimes called
very open herring-bone stitch
of
This group
is
stitch."
;
in green.
three stitches which spread at
the base and meet and enter the material at the point
or fang
is
;
the space between each tooth
about a quarter of an inch.
The
stem and centre fibre of the leaf, in yellow% is formed by a double row of satin stitch worked on the slant the small veining, in ;
the
same
The diaper
colour,
is
in herring-bone stitch.
filling in green is made with loops wool held down (couched) by a stitch in the centre, thus taking the shape of a horse-
of
shoe.
— 68
Embroidery.
Plate No. No.
Orphrey, or border to an orphrey
I.
altar-frontal.
repeating
about 1550 [248 crimson velvet, with
Spanish,
Ground
1880].
7.
of
conventional
ornaments,
alter-
nated with roundels respectively containing cyphers cut out of yellow satin, outlined with
and apThe mono-
pale blue silk cord and gold thread, plied (applique) to the ground. are couched " in gold
grams
threads
;
parts of the roundels are worked with layings
and white silk cords. Orphrey of antependium, or
of blue
No.
II.
frontal.
Spanish, about 1530 [246
altar-
— 1880].
Consists of foliated strap work, ornamented
and silver thread with coloured silk, and knitted gold fringe at the lower edge. in gold
No.
III.
Orphrey, or border.
teenth century [261
green scroll silk
velvet,
— 1880].
Spanish, six-
Ground
of
dark
with conventional acanthus
and other ornament cut out
of yellow
applied (applique), outlined and veined
with gold thread.
Plate No.
7-
No. I.— Orphrey. Spanish, about iS5o [248—1880]. No. II.— Orphrey. Spanish, about 1530 [246— 1880]. No. III.— Orphrey. Spanish, i6th Century [261—1880].
Plate No.
8.
Desc7nption of Designs Illustrated.
Plate No.
8.
Altar-frontal, green silk
an
applique
century.
In
this
interesting
ornamented with
Spanish,
pattern.
The property
73
of Sir
sixteenth
W. Drake.
example a number
of
strongly contrasting coloured materials have
been
successfully
brought
together.
The
forms are edged and fibred with strands of silk,
couched, the stems being crossed at
right angles with silk cord in pairs at regular
intervals of an inch.
ing
up the
surface,
This method of breakgives,
by change
texture, value to the broader pieces.
of
Embroidery,
74
Plate No. Border of blue century
[1162
satin.
â&#x20AC;&#x201D; 1877].
9.
Spanish, sixteenth
The
large
are in yellow satin applied (applique)
details ;
these
are connected with a yellow silk cord, which
runs through, and completes the pattern.
The applied forms
are enriched
outline of orange silk, which
the
side
by a couched utilised out-
The marginal the same way, with
yellow silk cord.
bands are treated silk
is
in
threads laid in pairs at intervals of one
inch.
Plate No.
9.
â&#x20AC;&#x201D; Description of Desig7ts Illitstrated.
Plate No. Wall
or
pilaster
Italian, sixteenth
10.
hanging,
century [841
red velvet and yellow silk
79
applique.
â&#x20AC;&#x201D; 1847].
Of
mounted on canvas,
cut out and fitted together so as to form
a repeating balanced pattern of scrolls and
upon a red ground. In the example on the left-hand side of plate, the
flowers in yellow
various silk
and
forms silk
are
outlined
gimp couched.
with
yellow
The example
on the right-hand side of this plate (dark ornament on light ground) is the portion cut viz.
away from pattern
in
the example on the
red on
a
left
yellow ground.
The various forms are also outlined with yellow silk and silk gimp couched.
â&#x20AC;&#x201D; So
'
.
â&#x20AC;˘
â&#x20AC;˘
Embroidery.
Plate No. Hanging applique.
of
velvet,
and
and velvet patchwork,
silk
Spanish, sixteenth century [266
Worked
1880].
ii.
in
grey-green
silk,
dark red
small pieces of white silk, outlined
with a pale, string-coloured cord.
This
is
an interchange pattern, one band having a red velvet ground with the ornament in
and the other a green silk ground with the ornament in red velvet. These bands alternate. White pieces of silk are green
silk,
used for the berries, centres of large forms, and ties
or collars
whole of the design.
leaf
throughout the
Plate No.
II.
Plate No.
li.
Portion of a Hanging:, Patchwork Applique. 14th Century.
English,
Desc7nptioii
of Designs IllusU'atcd.
Plate No.
85
12.
Portion of a hanging, patchwork apphque.
EngHsh, fourteenth century. This method of patchwork apphque in coloured cloths admirably suited to the rendering of is broadly treated design of this character.
Experts assign this specimen to the fourteenth century, and say
English
it is
others see no reason v/hy
;
while
should not be
it
accepted as an example of French work of
an
earlier date.
In
view taken by the
fact, this latter
late Dr.
was the
He
Rock.
inti-
mates that the design mostly represents corresponding
incidents
legend
of
Sir
Guy
of
those
to
in
Warwick,
the
an old
English romance written in the thirteenth
century
but the costumes here employed are
;
considerably later.
The width
panel in the illustration
is
of the lower
2 feet 6 inches.
This will enable the reader to form some
The
idea of the scale of the work.
on
the
right-hand
side
duction, turned sideways, of place
;
arranged.
it
of is
this
piece
repro-
obviously out
was never intended
to be so
— 86
Embroidery.
Plate No. Patchwork inlay
On
Made
panel.
century
eighteenth
Persian,
13.
at Resht.
[858
— 1892]. The
a ground of ivory -coloured cloth.
whole of the design
is
tion of the stems
—
inlaid
— with the excep-
crimson, cinnamon,
in
pink, black, turquoise, and sapphire coloured
The
and stems are executed i.e. the stems have three rows in chain stitch At the bottom of chain stitch side by side. of the design is a finial in the form of a conventional flower springing from a shaped cloths.
outline
panel, ending in birds' heads regardant
device
is
embroidered in gold and
thread and coloured
silks
;
this
silver
with forms
re-
sembling peacocks' feathers, the eyes of the feather-like parts being
and green
silk.
From
worked this
in
marigold
panel
spring
branches, with flowers and leaves, with a bird perched on one of the branches.
Plate No.
14.
of Designs Illustrated.
Descj'iption
Plate No.
91
14.
Part of a hanging of linen, embroidered
with coloured
silks.
Spanish, seventeenth
[342â&#x20AC;&#x201D;1885]. The design consists conventionally knotted scrolls, from
century of
which
spring
with
foliage,
cherries
with
tendrils.
pink, blue,
stitch,
The
and
tulips,
birds
roses,
poppies, and
branches
holding
The
scrolls are
and yellow
edged with black
silk in
worked satin
in
silk
stem
stitch.
flowers are mostly in satin stitch
stems are in herring-bone in chain
stitch,
stitch,
;
the
the buds
and the birds are
broidery, or long-and-short stitch.
of
in
em-
Embroidery.
92
Plate No.
15.
White satin, embroidered and gold threads. Spanish, sixteenth century. The banded ornament, and heart pierced with an arrow (the emblem of contrition, deep repentance, and devotion in trial), worked in gold basket The foliage in coloured silk, and stitch. worked in stem stitch chiefly. Between each line of silk the ground is clearly visible. All the lines radiate nicely from the centre Altar-frontal.
in coloured silks
This
fibre of the leaves to the outer edge.
open kind of stitchery there as
is
silk
practically as
stitchery
The whole with a
silk
of
on
is
very effective
much ground
all
the
the embroidery
cord (couched).
light is
;
seen
leaves.
outlined
Plate No.
Altar-frontal.
White
i^.
Satin, embroidered in Coloured Silks and Gold Threads. Spanish, i6th Century,
Plate No.
Coronation Robe
of
i6.
His Majesty King Edward VII.
Description of Designs Illustrated.
Plate No.
97
16.
The whole foundation of the robe, belt, and stole is cloth-of-gold. The only ornament upon the supertunica or dalmatic is embroidered in old-gold-coloured silk
with a
dark brown outline, and consists of two
bands
of
There
front.
The gold 7
an interlacing pattern down the is
no embroidery on the
armilla, or stole,
3
inches
wide
belt.
a band of cloth-of-
is
and
about 5
feet
inches long, with bullion fringe at each
end.
It is heavily
embroidered with
silver
thread, sequins, and a little coloured silk. The centre ornament at the back is a pink rose with two leaves the remaining ornaments are silver imperial eagles, silver and green shamrocks, silver, green, and purple thistles, and pink roses. Between each emblem is a silver coronet at each end is a square panel with a blue and white torse above and below worked with a red ;
;
â&#x20AC;&#x201D;
cross
of
St.
George
The imperial mantle embroidery, composed
â&#x20AC;&#x201D;
on a is
silver ground.
covered with
silk
of eagles in white silk
H
Embroidery.
98
outlined with purple,
white
silk
thistles
Tudor
roses in red
and
with green leaves, purple and green
with green leaves, green shamrocks,
coronets in white outlined with purple, and
white flowers with gold centres, the latter symbolising
Divine
power.
There
is
a
pattern of branched laurel conventionally trailed is
around each emblem.
The mantle
lined throughout with deep rose-coloured
silk.
To
the upper edge
is
attached a gold
morse or clasp, on which is embroidered an eagle and two roses, and a light leaf ornament in gold purl with rubies introduced.
Plate No.
17.
Description of Designs Illnstrated.
Plate No. Gold
Letter-bag.
loi
17.
embroidery,
with
groups of pearls for the flowers, on a velvet foundation.
The
flowers are
clusters of pearls in little
gold
;
worked with
concave disks of
the leaves are in raised bullion, and
the stems in gold cord, which
round the leaves.
is
continued
•
Embroidery.
I02
Plate No. Figure
from
with coloured
man,
middle
[8670
— 1863].
diaper
is
of
On
pattern
spirals, in laid silk.
an
silks
of
i8.
the
circles
is
a
radiating
and applied) Catherine. Her
linen
embroidered in green
—with
silk is
gold threads couched with red
a figure representing St.
stitch
with
Ger-
century
fifteenth
a ground of red
Upon this (worked on
cloak
embroidered
orphrey,
and gold thread.
dark
blue
silk
silk
—
in short
lining.
The
and crown are in gold thread, The lozenge-shaped piece couched flatly. of ground upon which she stands is in silver The background is couched. thread, elaborate, and when the gold was bright and new, the effect, though somewhat restless, must have been very rich. The figure, simple and dignified, holds in the left hand the well-known emblem of St. Catherine dress, the halo,
—
i.e.
the wheel armed with knives.
Plate No.
i8.
1;: f
'IT
Figure from an Orphrey, embroidered in Coloured Silks and Gold Thread. German, middle of the 15th Century [8670â&#x20AC;&#x201D; 1863]
Plate No.
Portion
of
Orphrey.
19.
From the Premonstratensian Abbey of Tronchiennes, near Ghent. Early i6th Century.
Description of Designs Illustrated.
Plate No. Portion of an orphrey.
107
ig.
From
the Pre-
monstratensian Abbey of Tronchiennes, near Ghent.
Early sixteenth century.
One
of
worked with numerous legendary subjects, from the lives of saints * portions of ecclesiastical vestments. The background and framing to this subject is chiefly worked in bullion the figures and boat in silk, the water in gold passing, and from the waterline upwards is a diaper formed with string interlaced and worked over in gold passing. The framework is in gold basket-work. three
;
;
* This example illustrates the passage "In the midst of the sea, tossed with waves for the wind :
was contrary."
Emh^oidery.
io8
Plate No. Portion eighteenth
of
a
20.
Persian,
carpet.
century
[859
embroidered in gold and
â&#x20AC;&#x201D; 1876].
silver.
noted by the Persians for this broidery, which
is
and
is
beautifully
silver thread,
rich effect. this
Velvet,
Kakvin is kind of em-
now sometimes used
saddle-cloths and holster-covers.
pet
early
worked
in
for
This car-
tambour gold
giving a slightly raised
Gold and
silver
embroidery of
kind does not, however, seem suitable
for carpets.
Plate No.
20.
Portion of a Carpet. Persian, Early i8th Century [859 Velvet, embroidered in Gold and Silver
1876].
112
E77tbroide7y.
Plate No.
The Syon Cope.*
21.
English,
date about
â&#x20AC;&#x201D;
Of canvas, entirely [83 1250 1864]. covered with embroidery of various classes ;
the interlacing barbed quatrefoils are bor-
dered with gold thread worked in close-lying, short stitches, and three rows of green, or red, or yellow,
The ground
and white
silk in
chain stitch.
in the alternative quatrefoil is
filled in
with green and faded crimson
worked
in
silks,
short stitches to form a close
On
diaper of chevron pattern.
the inside of
the embroidery hanks of loose thread have
been
laid,
and are occasionally stitched over
with green and red
silk
passing through the
intervening canvas, and so adding substance to the embroidery.
The
quatrefoils enclose
figures of our Lord, the Virgin
Apostles
;
Mary, and the
with winged cherubins, or angels,
standing on w^ieels in the intervening spaces.
The faces, hands, and coloured draperies are worked with fine-coloured silks in small chain stitches. The gold embroidery is done The orphrey, in close-lying, short stitches. See Dr. Rock, Textile Fabrics, p. 275. On examination with a microscope, the fleshstitch appears rather like a fine split stitch worked *
close
in circular lines.
Plate No. 21
Plate No.
22.
Desc7^iption of Designs Illush^atcd.
morse, and
hem
i
i
7
wrought with armorial silks, gold and silver small cross stitches, and are of are
bearings with coloured
threads in
later date (about fifty years).
Plate No. Detail from the
22.
Syon Cope.
By
looking
into this fine specimen, Dr. Rock " find that, for the human face, says,*
closely
We
all
over
it,
the
first
stitches
were commenced
in the centre of the cheek, and worked in
circular or straight lines, into which, ever, after the
how-
middle had been made, they
and were so carried on through the rest After the whole figure had thus been wrought, then, with a little thin iron rod, ending in a small bulb or smooth knob, slightly heated, were pressed down those spots upon the faces worked in circular lines, as well as that deep, wide dimple in the throat, especially of an aged person. By the fell,
of the fleshes.
hollows that are lastingly sunk, a play of ligh t
and shadow
is
brought out, that, at a short
distance, lends to the portion so treated a
look of being done in low relief." * Textile Fabrics, p. 288.
Embroidery
ii8
Plate No. Screen
23.
The ground
Walter Crane. of a low-toned
Designed by
Spring."
panel,
is
a coarse linen
The design
oatmeal colour.
embroidered with silks, chiefly in stem and long and short stitches. It is about the nearest approach to outline embroidery that is
could be without being actually accepted as such.
upon the
The most figures.
solid work is bestowed The youth's smock is
embroidered on the light parts only, the
ground being ing,
utilised to represent the shad-
with a brown outline to define the folds
of the
garment.
working the
in
but a few
lines,
This method girl's
costume
is ;
also
representing high lights, and
the drawing of the folds
is
given with the
dark colour.
The blossoms have a
between each
petal.
^
A
adopted
her dress has
voiding *
narrow space round the form, similar to
that rendered
by the
process of stencilHng.
Plate No.
23.
Plate No.
24.
Description of Designs Illustrated,
Plate No.
1
23
24.
Screen panels, four figures representing the Senses ing,"
â&#x20AC;&#x201D; " Seeing,"
and
Tasting."
Smelling,"
Hear-
Designed by Walter in outline on a deli-
Worked entirely
Crane.
cate coloured linen, in stem stitch for the
drapery and
split stitch for the flesh.
The
embroidered with two shades of
whole
is
brown
silk.
Embroidery,
124
Plate No.
25.
Design for an altar-frontal by Selwyn Image. to be
On a white ground
worked
the figures are
in strong outline
solid embroidery,
with cross
all
;
the fruit forms
foliage in filled
in
stitch.
Plate No.
26.
frieze, "
The Seven Ages of Man." Designed by Walter Crane, and worked at the Royal School of Art Needlework. It is executed in outline stem stitch with brown silk on a string-coloured Portion of a
â&#x20AC;&#x201D;
linen ground.
Plate No.
26.
Plate No.
27.
Description of Designs Illustrated.
Plate No. Linen pillow-case.
and
vine-leaves
Each
leaf
is filled
Right Hon. the
of the
The
Viscount Falkland. of
27.
English, sixteenth cen-
The property
tury.
131
design, consisting
fruit,
well balanced.
is
with a dainty
geometric in character.
little
diaper,
The centre portion
have formed part of a larger scheme of decoration, and the manner in which it is cut by the border is not The embroidery is executed satisfactory. of the design appears to
on a
entirely in black silk
The
linen ground.
square
hole,
the outline
chain, is
in
ver^^ fine
white
stitches used are button-
very closely worked
ordinary chain
;
;
and a
variety of filling-in stitches (darnings) are
employed
When to be
for the diapers of
the
a design of this character
worked
in
is
leaves.
chosen,
one or two colours, a number
of fancy stitches
can be employed without
spoiling the unity of effect
;
but
if
a larger
assortment of colours are introduced, then it is
better not to use so
of stitches.
many
different kinds
132
Plate No. Embroidery from a sixteenth
century.
28.
linen jacket.
English,
This
of
detail
em-
broidery on linen with coloured silks has
an all-over pattern of continuous ing
stems,
bearing
and
flowers,
a
variety
of
scroll-
leaves,
somewhat natur-
fruit devices
in drawing. In this illustration honeysuckle and rose flowers and leaves are shown. Strawberries, sweet peas, oak alistic
leaves,
the
and acorns appear
in other parts
The
and stems
design.
scrolls
of
are
executed in chain stitch the leaves and blossoms are mostly worked on linen separ;
ately
in
needlepoint
lace
stitches
and
applied to the linen ground of the jacket.
Plate No.
28.
Embroidery from a Linen Jacket.
English, i6th Century.
Plate No.
29.
Corner of a Linen Coverlet. Embroidered with Coloured Threads. Swiss, dated 1580 1^851 â&#x20AC;&#x201D; 1844].
Desci'iption
of Designs Illustrated.
Plate No.
137
29.
Corner of a linen coverlet.
Embroidered
with coloured threads. Swiss, dated 1580 In the design of the complete [851 1884].
â&#x20AC;&#x201D;
coverlet five ladies representing the Senses
accompanied by an explanatory attribute. There is " Visus " at one corner, with a mirror, and an eagle beside are
her
shown
;
;
each figure
is
at another " Auditus," playing a lute,
has beside her a boar which she
is
enchanting
with her music
is
Tactus,"
;
in the centre
with a parrot, which pecks at her finger in the ;
third corner
Gust us," with a plate of cakes
and a monkey,
is
represented
;
and
lastly,
the subject of this illustration, " Olfactus,"
smehing a flower, with a dog sleeping beside her.
among
The
foliated
figures are pleasantly seated
and floral branches. They worked in linen threads
are rather coarsely
â&#x20AC;&#x201D; chiefly white â&#x20AC;&#x201D; on a soft pink linen ground. A
tawny-coloured thread
is
employed
for
the outline, except for parts of the ladies' dresses, fillings
which have a blue line. All the consist of open diaper patterns.
;
E^nbi^o ide ry
138
Plate No.
^
.
30.
Embroidered pillow-case, from the neighbourhood of Trieste. The property of Mrs. Pesel.
Pillow-cases of this kind were, at one
most of the peasants' They are worked in black worsted cottages. in cross stitch on white linen. In the Victoria and Albert Museum there are examples which came from Abruzzi, worked in black time, in general use in
silk,
very similar
in effect to the
one here
illustrated.
Severe and simple designs lend themselves
method
to this of
of stitching,
and anything
a naturalistic character should not be
attempted
and one
of the
ducing as stitch
in cross stitch.
it
forming as
most ancient
the simplest
stitches.
Pro-
does an angular outline, cross-
pattern
moreover,
It is
is
it is
it
always very distinctive
modest and naive
in its aims,
does the basis of the simplest
peasant embroidery of
all
times.
In Ruthenian embroidery
we
find
very
charming narrow cross-stitch borders worked in pronounced red and blue wor-
Plate No.
30.
Description of Designs Illustrated. steds.
These borders make the most
factory kind of decoration
for
of costumes,
and
collar bands,
1
4
i
satis-
the edging cuff
trim-
They are well proportioned and up on modest lines, with just enough to make them interesting. Time should
mings. built art
not be wasted
in
producing
in cross stitch
and key patterns arranged as all-over decoration. Such design in embroidery can at best only satisfy the meGreek
frets
chanical mind.
Embroidery.
142
Plate No.
31.
Several simple zigzag borders are given.
The first three are If worked the same back
stitch
Ruthenian type.
of the
size as the illustrations,
might be used
if
;
larger,
they
The two
are very effective in cross stitch.
lower borders shown on this plate are from Italian examples.
Plate No.
Embroidered on linen
Cross-stitch border. in red silk.
â&#x20AC;&#x201D; 1897].
Italian, sixteenth century [863
The pattern
springing from
from
A
32.
of leaves
interlacing
(turns over)
.
and flowers
stems,
It is slightly
repeats
smaller in
the reproduction than in the original, but
could be worked this
size.
it
Plate No.
31.
r>orde:r5 in back-stitch ^trench knots, a. in blue b in rcd c. in blue 3^ d.inred wools.
BORDER
IN
BORDER
IN BACK-STITCH.
BACK-STITCH.
\iAiAiA»AiAiAiAiAiAiAiAiA<AiA BORDLR
BORDER
IN
IN
CROSS-STITCH
&.
SATIN-STITCH
BUTTON -HOLE -STITCH
BACK-STITCH
Borders for Edging of Costumes.
,
Plate No.
32.
L
Plate No.
Corner of a Linen Coverlet.
33.
Portuguese, Second Half i6th Century [326-^1898].
Descj^iptioji
of Designs Illustrated. 149
Plate No.
33.
Corner of a linen coverlet.
Portuguese,
second half sixteenth century [326
The whole
of the
embroidery
is
â&#x20AC;&#x201D; 1898].
executed
with a very hard and tightly twisted cord.
The
work
consists
inen
principally
of
(many of them are and given on Plates No. 62 63), which are raised above the ground. The ground is a pale ecru linen, and the cord a darker biscuit elaborate fancy stitches
shade.
Embj'oidery.
Plate No.
34.
Border of a petticoat. Acquired (Turco-Greek ?), peasant's work. teenth linen,
century
[2048
â&#x20AC;&#x201D; 1876].
embroidered with red
in Crete
Eigh-
Of
silk
coarse
in
satin,
twisted-chain, and Oriental stitches a narrow band with scrolls and blossoms set between two horizontal lines, above which ;
are a series of scalloped-shaped groups of
ornament, these groups repeated in alternation on a geometrical basis formed with conventional leaves and flowers (carnation),
with birds placed in every other
Most of the
Cretan
shape.
embroideries consist
banded designs for dresses, and are made up of repeating ornament. The flower and leaf forms are severely conventional, the birds and figures being more of borderings or
rudely drawn. These ornamental elements, which are very limited in number, are conspicuously Oriental their arrangement in ;
the design
is
frequently varied according
to the taste of the worker, but she
is
always
faithful to the accepted traditional details in the
way
of form, colour,
and
stitch.
Plate No.
34.
Plate No.
35.
Illiistrated
Description of Designs
i
55
)
Plate No. Border of a petticoat. (Turco-Greek
?),
teenth century
35.
Acquired
in Crete
work.
Eigh-
peasant's [2047
embroidered with red
â&#x20AC;&#x201D; 1876].
silk in
Of canvas, satin and chain
The pattern consists of a lower stitches. band containing conventional ornament, above which are figures of men and women, with head-dresses and varied costumes, dancing in groups of
five
;
fanciful cypress,
carnation, and other branches between them.
set vertically
Evibroidery.
156
Plate No. Prayer carpet. tury [950
Persian, eighteenth cen-
â&#x20AC;&#x201D; i88g].
of white Hnen,
is
36.
The whole
of the ground,
quilted with yellow
silk,
and
the design embroidered in chain stitch with
coloured
and set
silks,
chiefly white, yellow, green,
The border consists of a wide band between two narrow ones, each with a red.
waved, continuous stem, with blossoms
in
and stem ornament fills the space beyond the pointed shape at upper end, which is the
wavings.
Similar floral scrolling
leafy
edged
with
acanthus-leaf
main ground below the shape,
is
devices.
niche,
The
or pointed
a blossoming plant, with evenly
balanced bunches of flowers, between which are leaves formally arranged in a pointed
shape.
Plate No.
Carpet (Prayer).
36.
Persian, iSth Century [950 -1889].
Plate No.
37.
IIhtstrated.
Description of Designs
Plate No. Border of cut
linen,
i6i
37.
embroidered with
coloured silks and silver threads.
Italian,
â&#x20AC;&#x201D; 1890].
The cut
late sixteenth
century [225
forms are edged with a silver thread, fastened with open button-hole stitches, with coloured silks to
the linen
occasional
beyond
;
loops
of
silver
this
edging are
The
thread.
and bird forms are embroidered solidly with coloured silks in long and short stitches. The border is made up of a broad band of repeated and reversed leafy scrolls, flowers, and birds, with vertical stems between each pair of scrolls, arranged that no ground of either meshes or intervening ties Attached to this broad band are required. is a narrow border, with a sort of Vandyke edging, and repeated alternations of triple stem devices, with pendant buds and blosflowers, fruit,
soms.
To execute such care
is
required.
elaborately cut linen great
One method, which
bably the simplest,
is
is
pro-
to embroider a small
portion of the design at a time, completing
the edge of each form before cutting the background.
If
away
the whole of the back-
away before the embroidery done, the edges become frayed. ground
is
cut
M
is
l62
BiJibroidery.
Plate No. Detail
silks
threads.
[100 is
cut
of
coloured
Italian,
â&#x20AC;&#x201D; 1891].
linen,
and
38.
embroidered
late
sixteenth
Near the edge
The
with silver
century
of the cut forms
a double silver-gilt thread
an edging
and
silver-gilt
;
then follows
of green silk in button-hole stitch.
stitch, while finishing the
ornament,
carried
is
over
edge of the
the
silver-gilt
threads,
and
thread
passed from one portion of the de-
is
them.
secures
This
metal
sign to another, forming loops to assist in
The leaves and worked in coloured
uniting the whole pattern. flowers silks.
are
partially
The reproduction
the original specimen.
is
the exact size of
Plate No.
38.
Detail of Cut Linen, embroidered with Coloured Silks and and Silver Threads. Italian, late 16th Century [100â&#x20AC;&#x201D; 1891].
Silyer-gilt
Plate No.
Door-hanging:.
39.
Saracenic, lyth Century [53- 1898].
Description of Designs Illustrated.
Plate No. Door-hanging.
century hnen.
The design
In is
seventeenth
brick-red
coarse
composed of and the openings
chiefly
circular forms, cut away,
bound with
39.
Saracenic,
[53 â&#x20AC;&#x201D; 1898].
167
piece silk on the cross the edges have been turned in and hemmed. These silks are deep indigo, pale blue, a light sagegreen, straw, and buff. There is an interlining of thick canvas, and a dull red silk on
the reverse side.
;
Embroidery.
i68
Plate No. Back
of a chasuble.
century. 2
ft.
tion
II is
4 in.
ft.
[58
4J
40.
Italian, seventeenth
in.
;
â&#x20AC;&#x201D; 1891.]
greatest
The
length,
linen founda-
entirely covered with various coloured
floss silks laid
down and
stitched over with
The
long parallel silk threads (couched).
design consists of two large corresponding leafy floral scrolls,
each springing from a
calyx or cup of acanthus
leaf,
towards the
bottom of the chasuble, in the centre between the scrolls are two balanced groups of triple stems, with flowers and leaves. About the neck is a border with a wavy line of leaves, and from the neck downwards, across various scrolling stems, flowers, and leaves, are two parallel yellow stripes, joined The at their lower ends by a short stripe. ground of the design is of white floss silk laid down and couched. ;
Plate No.
Back
of a Chasuble.
40.
Italian, 17th
Century [58â&#x20AC;&#x201D;1891.]
Plate No.
41.
Designed by the late Sir E. Burne-Jones Embroidered Panel, " Pomona." and William Morris. Worked at the Royal School of Art Needlework
Description of Designs Illusti^ated.
Plate No. Embroidered panel,
i
73
41.
Pomona."
designed by the late Sir
Figure
Edward Burneby the is worked in
Jones, and the background ornament late
William Morris.
The
figure
long and short stitch, with dull pinkish red
The
silks.
the late Sir
face
and hands were painted by
Edward Burne-Jones;
leafy scrolls are in laid- work.
underlying flowers and foliage stitch
is
employed.
are padded.
work
is
the large
For the small long and short
The grapes
in the
border
In this reproduction the scroll
more predominant than
in the actual
work, and, in the writer's opinion, the scrolls are too large in relation to the figure.
.
Embroidery
174
Plate No. Corner of a chalice
42. Italian, seven-
veil.
—
teenth century [573 1894]. On a ground of cream-coloured silk, the design is embroidered in shades of yellow, orange, red, blue,
and green
silks,
and stitched
laid *
down
in split stitch, outlined
cord.
The formal
with silver
leaves and flowers (chiefly
large tulips) are in eight groups,
towards the centre, in which
The
in gold basket stitch.
is
and radiate
a small cross
floral
groups are
tied with ribbons in laid work, the stems to flowers,
and
groups are
scrolling
Second example.
bands connecting the basket stitch.
in silver
— Border. — 1891].
Italian, seven-
teenth century [686
embroidered coloured net,
in long
stitches with
on a brown square-meshed
silks,
consists
and short
The pattern,
of
continuous
floral
scrolls,
arranged horizontally, and springing from
each side of a central stem surmounted by a flower. The upper and lower edges are worked with coloured silks in repeating
pointed tooth-shapes. *
Laid work, see
Plate No. 68.
fig.
3,
Plate No. 57, and
fig.
50,
Plate No.
42.
Border of Brown Square meshed Net, embroidered with Coloured Silks. Italian, 17th Century [686â&#x20AC;&#x201D; iSgiJ.
V
N
Plate No.
Embroidery on Brown Silk Net.
43.
Italian, late i6th
Century [631â&#x20AC;&#x201D;1893].
Description of Designs Illuslrated,
Plate No.
79
43.
Embroidery on a brown
silk net.
Italian,
century [631
â&#x20AC;&#x201D; 1893].
Worked
late sixteenth
in
i
string-coloured linen thread with a re-
peating design, arranged in straight rows,
and consisting
of a
leaves, separated
branch with stems and
by a
label.
The devices
on the second row are placed the reverse way to those on the first
This pattern
is
and third rows.
very similar in style to
those used on the dresses in the period of
Henry
IV., Louis XIII.,
and Philip IV.
of
Spain and also appear in the paintings by Cornehus de Vos (1620). ;
1
80
Embroidery,
Pla'ik No. 44.
Portion of curtain or hanging.
Italian, late
â&#x20AC;&#x201D;
Of black [5064 1859]. square-meshed net embroidered with coloured sixteenth century
,
in satin
silks
stitch,
with a pattern com-
posed of white and red flowers with green
and stems arranged on a geometrical It has a narrow border, slightly foundation. scalloped, and figured with continuous stem forms clothed with flowers and leaves. Owing to the squareness of the mesh the
leaves
design has a certain rigidity w^hich
is
generally
pleasant, where the petals of the flowers are
tipped with strong colours as in the flower "
A
" in the illustration
;
the straight lines
produced are too pronounced.
Pcrtion of a Curtain.
Coloured
Silks.
Black, Square-meshed Net, embroidered with Italian, i6th
Century [5064-1859I.
V
Plate No.
45.
V
Description of Designs Illustrated.
Plate No. Border
185
45.
Lacis work on a
for a chair back.
netted foundation.
Plate No.
46.
:
There are two kinds of lacis work. In one is darned on a netted foundation, and in the other on a mesh of hnen. The
the pattern
on Plates No. 45 and 46 are net. The design is simply
ilkistrations
on hand-made darned
in
The stepping
threads.
linen
outline gives a quaint, rigid character to the
forms, which has a distinctive value.
square mesh
should be enlarged
is
recognised,
made
detail
to
on
disguise this
the middle of the are required.
it,
is
as
in the
where the
plate,
outline of thick linen thread
The
and no attempt
taken through
mesh when curved forms
In this respect
it
is
not so
satisfactory as the border on the preceding plate.
i86
Embroidery.
Plate No.
47.
The specimen reproduced on on home-spun Hnen.
It is
p.
190 is worked
necessary to choose
a fabric with an even warp and woof for
such work, which
is
executed in the following
manner Tack the linen firmly on to a piece of American cloth, which should be wider than the work by an inch and a half on both :
sides.
for
are
if
Great care
is
necessary in doing
this,
when they the mesh will
the threads are not straight
drawn
out, the squares of
not be true.
When
cutting the threads, a
and very sharp scissors is care and patience, for a wrong cut is easily made and not very easily rectified. For ordinary patterns cut two threads and leave two, raising the threads about half an inch from where they have been cut to help in guiding the eye. pair of pointed
needed, also
A
much
mesh may be required for bolder designs, and in those circumstances the judgment of the worker must be exercised as to the number of threads to cut and to larger
leave.
Draw
the short threads out
then cut and draw the long ones
;
it is
first,
well
not to have too long a piece in mesh before
V
Plate No.
Enlarged Detail
of
46.
Lacis Work, on a Netted Foundation.
Plate No.
47.
mmm
if
^mmmm fpjr*? miS w
sft
JM
*,
".ft
ii|f|l«IKjSI«:ii;«tif!iii|Wiaii«,>
^mmmimimimmmtmn
5
4HI!lililii(,ilii!»li|!ffC
ill
if;
W
#
.i
;
mm mmmmm m,
#
mmmmi .
«
*
«.
t M
^> .
«
^
«
»
• .
til
<
^
.
f
#** •p **
^>
iA -81
^
I
.19
Ira*'
0
t
#
»
*
*
t
*
*
i
-
1
Description of Designs Ilhistrated,
drawing Uable
in the
to
pattern, as the network
get out
Darn
of order.
pattern with a coarse thread 2
Taylor's
of
Mecklenburg
To begin the
suitable.
9
1
;
is
in
the
i
and
thread
are
Nos.
darning, pass the
needle and thread through the overcasting to the nearest stitch
pattern
is
;
when some
worked, run the needle through the
darning, taking care that
To do
of the
it
is
quite secure.
the network, begin at the left-hand
side and work diagonally, making two twists round the threads each time. For this use a fine thread No. 8 Taylor's thread is a good size. It is not necessary only to work in one colour a very good effect is produced by twisting the net ground in unbleached thread or coloured silk, and sometimes a different coloured thread is run round the edge of the pattern. With ;
;
regard to designs,
answer very that in
as
the
many cross-stitch
patterns
well, taking into consideration
lacis
work was very much used
seventeenth
century,
patterns
of
that period seem the most suitable for the
purpose.
Einbroidery.
192
Plate No.
48.
Child's linen cap, with bands of cut and drawn work, and insertion of drawn-thread and needle-point stitches. Sometimes called " Reticella "
century similar
work.*
[7522 to
Italian,
â&#x20AC;&#x201D; 1861].
those
seventeenth
The designs
samplers of the seventeenth century. care has been of the cap,
dainty *
little
Bone
and
are
found on some English Great
bestowed upon the making it is in every way a very
head-dress.
lace, net
work, a net for the head.
Plate No.
48,
Plate No.
Detail from a
Muslin Collar, in
Drawn
Work
and White Embroidery. French, early 19th Century [547â&#x20AC;&#x201D;1903].
49.
â&#x20AC;&#x201D; Description of Designs Illustrated.
Plate No. The plate,
detail, is
49.
from a muslin collar on this than the original in
slightly smaller
the Victorian and Albert 1903].
197
It
is
Museum
[547
century
nineteenth
early
The pattern is in drawn work and white embroidery in cotton threads. The dark parts in the illustration represent the drawn work the flowers, small leaves, and centres of large leaves are raised. The rest of the fillings of the large leaves and the banded form is worked in French knots with a fine satin-stitch outline which is also employed for the stems. French work.
;
Plate No. The three examples
of
50.
open-work
fillings
here given are from a cream-coloured silk
apron, eighteenth century, English, in the Victorian and Albert
X. This
leaf
broidered in
form is pink silk
Museum filled
[701
â&#x20AC;&#x201D; 1902].
with berries em-
in satin stitch.
These
Embroidery,
198
are connected with spiky stems in blue silk
a green silk cord
for the outline
;
used.
is
an unusual flower form, the treatment of which is very varied, yielding a Y.
is
light,
of
pleasing
appearance,
in
the
style
seventeenth-century examples
the
English wool v/ork.
The lower part
flower contains a simple diaper, darned leaves are in satin stitch
the flower
is
green
in
embroidery and stem of
green
silk
flower has
in
for
;
;
the
the upper part of
silk
and worked
stitches,
the
of
of the
in
with a cord
outline.
Z.
This
the centre berries in plum-
coloured silk in satin stitch, with French
knots
in
white
silk.
The
leaf
branches,
which radiate from the centre, scalloped form, have leaves in blue, white, and plumcoloured silks, embroidered in satin stitch. The stars are in blue silk the stitch employed The is sometimes called Leviathan stitch. silk is merely crossed on the surface of the material, and is a variety of darning very ;
useful for backgrounds.
The
outline, as in
the other examples on this plate, silk cord,
couched.
is
a green
Plate No.
50.
Leaf and Flower Forms from Embroidered! Apron. early i8th Century [701â&#x20AC;&#x201D;1902].
English,
Description of Designs Illustrated.
Plate No. The of
flower
20 t
51.
given below
is
an example
The
English eighteenth-century work.
original
is
embroidered
orange and red
dark
silks
in satin stitch
on a linen ground.
lines indicate the red, following
with
The which
202 is
Embroidery.
the deep orange silk and then a paler shade
of orange.
method
It is
a spirited and very effective
of working,
and may be employed
quite successfully for simpler forms than the
The groups must take a definite shape. To flower here shown.
outline in crescent fashion
Plate No.
is
of stitches
follow the
a good plan.
52.
of " Bargello work " (sometimes " Itahan, seventeenth Florentine called century. " Bargello work " is the name given
Example
a form of tapestry
â&#x20AC;&#x201D; a solid kind of embroidery
with which the ground
work
is
is
entirely covered.
employed, and the executed on a canvas foundation
Cushion stitch
is
chiefly
either in floss silks or in fine tapestry wools,
with
a
blunt-pointed
coarse canvas
is
Sometimes more often small
needle.
used, but
point or single thread canvas.
It
depends
upon the pattern selected to be worked. The original patterns are generally zigzag bands dividing the ground into spaces, which are filled in with geometrical designs, or they may be simply powderings (as in the example on Plate No. 53) these are often ;
Plate No.
Example
of Bargello
Work
52.
(sometimes called " Florentine 17th Century.
").
Italian,
Description of Designs Illustrated.
205
outlined in black on a cream or white back-
The pattern can be varied by working over one or more threads at a time the grounding is very often done in this way ground.
;
in order to bring out the
main
lines of the
design.
A
simple
working, as is
to pin
way it
of framing the
canvas for
must not be stretched
tight,
on to an ordinary drawing-slate
it
frame, which has been padded and
over and over with calico to
make
bound
a hold for
the pins. Bargello
work
quite straightforward and
is
easy to copy from the old patterns, but the
One
of
working
is
colours are often difficult to match.
the chief things to to pass the thread
underneath
made
stitch
in is
remember
in
from one stitch to the next
such a manner that the
first
not pulled crooked or out of
and great care must be taken in copying to count the threads correctly, as
place
a
;
mistake
in
pattern wrong.
one stitch puts the whole
2o6
E7nbroidery.
Plate No.
Example
of Bargello
satin stitches.
In is
this in
53.
work
in cushion
and
Itahan, seventeenth century.
pattern the powdering
of
flowers
cushion stitch, and the background
consists of a diaper in satin stitch.
Plate No,
Example
of Bargello
Work,
in
53-
Cushion and Satin Stitches.
17th Century.
Italian,
r
Plate No.
54.
Portion of a Coat. French, Second Half of the i8th Century
[639Aâ&#x20AC;&#x201D; 1898J.
1
Description of Designs Illustrated.
Plate No.
54.
French, second half
Portion of a coat. of
eighteenth century [639A
ground
is
of
21
velvet
and
â&#x20AC;&#x201D; i8g8]. the
The
design
is
principally executed in very fine silk ribbon.
The stem and centre
fibre of leaves are
em-
broidered in silk threads.
Ribbon work has become a favourite form of
decoration
during
The best examples ship.
the
last
are of French
few years.
workman-
Their ribbon work has a lightness
and delicacy which we do not appear to be Those specimens executed in narrow ribbon, as in the illustration here given, are the most satisfactory. When the broad ribbon is employed, the work assumes a coarse and foolish fancy and the worker is warned against using the wide material. Of the two methods of working, that of carrying able to impart to our work.
;
the ribbon through the stuff
is
the best.
212
Embroidery,
Plate No.
An
55.
Nottinghamshire
old
countryman's smock
is
smock.
now almost
discarded by our villagers, which
entirely
to be Apparently countrywomen have
deplored. lost
The
is
making them, or the dethem is dying out. No new be found, and old ones are very
the art of
sire or
use for
ones are to scarce.
Possibly the introduction of agri-
had something to do with the smock being cast aside. Such a garment would be dangerous to wear by those tending machines. Each English cultural machinery has
county had, for
many
years, its
own
particu-
smocking and method of decorating this very useful and picturesque garment. In some cases the style of work and patterns have been carried across the borders from one county to another, and lar style of
the characteristics
lost.
Smocks were not The
only worn by men, but by milkmaids.
some was very elaborate, Essex, Buckinghamshire, and Dorset especially
stitchery on
;
others were comparatively simple
;
but
in
Plate No.
55-
â&#x20AC;&#x201D; Description of Designs Illusirated.
2
1
5
every instance
they were decorated with
embroidery,
well
as
the smocking on
as
They were made of coarse linen, mostly a pale, tawny colour, but sometimes a dark blue was used. The thread for smocking and embroidery was like thick flax it might, in some cases, be compared to carpet thread. There is nothing Ho be had quite like it now. The Nottinghamshire smock is a good type, well planned, and very distinctive. The emthe
back,
front,
and
wrists.
;
broidery
is
executed
entirely
in
feather
stitch.
Plate No.
An
,
56.
old Oxfordshire smock.
This
is
rather
none the less characteristic than the Nottinghamshire example. The treatment of the cuff and shoulder appears simpler but
be
to
pretty
counties. it
much
The reason
would be
difficult to
the
same
for this
is
in
all
plain
improve upon the
The only variety occurs in The Oxfordshire smock has pockets with lappets, called by old country
arrangement. the
detail.
folks " pocket lids."
in feather stitch.
All the embroidery
is
Embroidery,
To writer
the Fine Needlework Association the is
indebted for the loan of the two
examples here illustrated.
This Association
makes smocking a special feature of their work, and a very high standard has been attained by them in this beautiful old English
art.
Plate No.
56.
(219)
CHAPTER
V.
IMPLEMENTS, APPLIANCES, AND
MATERIALS USED IN EMBROIDERY. In
ship in
artistic handicrafts
all
good workman-
obviously an essential quality, and,
is
ordinary circumstances, to obtain technical
excellence,
good
tools are
The
necessary/.
embroideress requires but few tools and ap-
and these should be the simplest and best that are made.
pliances,
Needles.
â&#x20AC;&#x201D;
It is
The
needle.
silk
a mistake to use a very fine
thread or crewel must pass
loosely into the eye.
Unless the eye
latively larger than the silk,
make
does
is
re-
not
a sufficiently large hole in the material,
and the of
it
silk is
then roughened and pulled out
shape each time
it
is
taken through the
too-small hole.
For general purposes needles known by the of long-eyed sharps are recommended.
name
When
a thick twisted silk
is
being used, a
needle with a roundish eye
is
the most ser-
—— 220
Embroideiy,
viceable. For darned net work (lacis work) and canvas work, needles with blunt points are the best. For gold work the needle should have a long eye and a sharp point
a " rug needle "
is
useful for carrying cord
through the material. Thimbles.
—Workers
vulcanite
or
usually prefer
Both
thimbles.
ivory
steel
and
but unless they are well or worn smooth, they destroy the
silver ones are used,
made thread.
Two
thimbles
are
employed
for
frame work. Scissors.
— Short, sharp, and finely pointed
scissors are the best.
For cutting out work
a fairly large pair with one sharp and one
rounded point
is
required.
—The
drawing given on page 221 illustrates a common type of frame. It consists of two round pieces of wood, which have Frames.
a mortise at each end.
Strips of
webbing are
securely nailed along these, extending the full
wood between the mortises webbing the work is sewn. For the
length of the
to this
sides of the
frame two
flat
pieces of wood,
with holes pierced at regular intervals, are used
;
these pass through the mortises, and
the width of the frame
work kept
is
adjusted and the
tightly stretched
by means
of
;
bupleinents, Appliances, Mate^^ials.
221
metal pins, which are inserted in the holes by each mortise.
String
is
material and round the
wood
to stretch the
laced through the side-pieces
flat
work
of
in the opposite
direction.
There
is
another kind of frame, which has,
Embroidery Frame.
in place of the flat laths
wooden screws
fitted
with metal pins,
with movable nuts to
adjust the width of the frame.
A
fixed stand for the frame
is
often used
they are very convenient, but not always necessary.
The worker can
rest the
frame
against a table, or on the back of a chair,
she
is
not using a very large one.
if
Trestles
a
222 are
employed
to support the frame for big
work.
The frame must be wider than the embroidery by a few inches,
round
all
the
;
work should never spread to the full width of the webbing or the lacing. If a long, narrow panel rolled
being worked, the embroidery
is
is
on the round top and base of the frame,
only a small piece being exposed at a time for the
A
purpose of working.
tambour frame
is
work
useful for small (see
draw-
ing).
It
is
formed
of
two
rings, or
hoops, usually Tambour Frame.
but times of iron, the other.
If
made
to
the
wound
wood,
some-
closely one inside
metal hoops are used, they
must be covered with strip
fit
of
tightly
wooden ones
flannel
or baize
â&#x20AC;&#x201D;
Occasionally
round.
are covered in this way,
when they become They must fit well there should be only just enough room for the but a
is
only necessary
â&#x20AC;&#x201D;
little loose.
inner hoop to pass through the outer one.
The
stuff to
be embroidered
is
placed over
Implements, Appliances^ Materials. the
small
hoop
;
other
the
one
is
223 then
down over the material, which A screw stretched by this process.
pressed
is
firmly
is
sometimes used to fasten the hoops together
and
to fix the
Piercers
frame to a
made
table.
of steel are
used for piercing
holes in the material for the passage of gold
and all kinds of coarse threads. The broad end of this instrument can be used to place the gold in position, to flat,
the
and lie
in
some forms
make
floss silk lie
of couching to arrange
of the thread.
For transferring patterns to the material the following articles are needed :
Prickers,
pounce,
a long needle for making the
a small sahle
Chinese white, flake white,
gum
brush,
Indian ink,
arahic, ox-gall, a tube of
one of lamp black
turpentine, white chalk
(oil
colours),
and charcoal pow-
dered, and a small roll of flannel (about 4 inches wide) to serve as a pad for pouncing.
Materials. Crewels.
â&#x20AC;&#x201D; Never
take more
than about
half the length of a skein in your needle. If
a long needleful
is
used,
it
is
not only
wasteful, but liable to pull the work,
become frayed
or knotted before
and you have
%
224 used
Enibroideiy. Crewels manufactured with a
all.
it
No doubt
twist are considered unsuitable.
a twisted crewel wears better, but
it
tends
to produce a hard appearance,
and in the hands of an inexperienced worker the embroidery is rendered tight and severe by its
use.
The
colours in the best quality crewels
are perfectly reliable, and will
wash
well,
provided no soda or strong soaps are used. Tapestry thickness
wool of
is
more than twice the
crewels.
Useful
for
bold
designs.
AvYasene.'^
—A
also useful for silk as well,
species of worsted chenille,
broad
but
is
It is
effects.
made
in
inferior to the worsted.
—
Flax Threacis.'\ This is a production of comparatively recent date, which is glossy, even, good in colour, and durable. This thread has almost driven the old-fashioned ingrained cottons out of the Silks.
—That known as
untwisted
floss, is
field.
bobbin silk," an
mostly used for
fine
work.
* Faudel's Glace Chenille is recommended for general embroidery. Barbour's linen thread f The D.M.C. flax threads. and Peri-Lusta are all reliable. the D.M.C. I See Maygrove & Co.'s., Corticelli and lists.
Implements, Appliances, MateiHals. Filo floss
easier to work, as
is
and the
twist
;
The
silk
gloss
very
is
Purse
embroidery silk I'
has a slight
it
beautiful.
purposes
general
for
225
called
is
a tightly
silk is
much
twisted kind, excellent in quality, and
used for ecclesiastical purposes.
Raw
Spun
or
untwisted
soft,
Filoselle
is
nevertheless,
Silk.
an
it
—A
cream-coloured,
silk.
quality
inferior
can be used for
of
silk
;
many diherent
of work. But when silk or satin grounds are employed, always work with
kinds
the best
silk.
Tussore.
—A
produced the
for
Can be
wild silk of India. less
cultivated
silk
than of
half the
price
China,
Italy,
of
and
Japan. Gold and Silver Threads,"^
etc.
deal of "
There is a good Japanese gold thread " used both in ecclesiastical as well as domestic silk
work
embroidery
Where
at the present time. calls for a
gold outline, the
Japanese gold answers that purpose
When the best gold is desired, the list may be of some assistance
following
:
Passing, *
—A
bright,
smooth thread.
See George Kenning
&
Son's
well.
lists.
Q
26
2
Embroidery.
-
— Like passing," but — Dull. — Bright. Purl. — Rough and sparkling. small beads Purl. — In
Tambour.
finer.
Rough Purl. Smooth Purl. Check Pearl
like
effect
strung together. Bullion. Plate.
—The
—A
flat
larger sizes
of
gold about iV
in.
" purl."
wide.
There are gold-twisted cords of various thicknesses.
may
Purl is
made
be either in gold or
like a corkscrew.
lengths, threaded
down
as in
Plate silver,
silver.
It
in a series of continuous rings rather
is
Can be cut
at the required
on the needle, and fastened
bead work. a narrow,
flat
piece of gold or
about yV inch wide, and
the material
by threads
is
of silk,
stitched to
which pass
over the metal. Gold and Silver Passing and Tambour.
Fine kind of threads.
Can
—
either be used
working through the material, or laid and couched in the usual way.
for
Precious stones, pearls, beads, and disks of gold are skilfully used, but great care and judgment must be exercised in their application. The Letter-bag" shown on Plate No. 17 has clusters of pearls and concave
Implements^ Appliances, Materials. 227 disks of gold
conjunction with
applied in
gold threads.
Spangles and Sequins.
â&#x20AC;&#x201D; Sometimes of pure
There are a number of various
gold.
col-
oured metal spangles and sequins.
Fabrics used as Grounds for
Embroidery.
â&#x20AC;&#x201D;
Linen. Hand-made The textures are most
linens are the best. beautiful, and, as a
good and in every way admirable for embroidery purposes. Among the ordinary machine-made linens there is no difficulty in finding all shades and
rule, the colours are
When
qualities. linen,
it
there
is
dressing in
advisable to boil
is
commencing bleached linen
the
it
The
embroidery.
known
the
well before
as " flax "
is
unsatis-
factory as a ground for needlework, and the twilled linens, especially " Kirriemuir twill,"
are excellent for crewel work.
a
stout,
linen
is
linen.
yellow-coloured
Sail-cloth
linen.
is
Oatmeal
and of a greyer tint than oatcake Smock lineal is a strong, even, green
finer
fabric.
Serge, soft or super serge, carries
embroidery
weU. Cricketing flannel
is
a fine creamy colour.
.
228
Embi^oidery
and
soft,
worked
can easily be
the
in
hand. Felt
is
used, but only
altar-cloths
very seldom, for
and curtains.
Diagonal Cloth, for table linen, curtains, etc., is
occasionally chosen
Genoese velvet
is
by workers.
very rich in colour and "
backed with a cotton or hnen lining if it is to be heavily embroidered. Velveteen is employed for some purposes, and Utrecht velvet at times for crewel or tapestry wool embroidery. quality for grounds.
Velvet-face cloth
gloss
;
Silks
should be
a rich plain cloth, without
suitable for altar-cloths.
and
a frame.
in
is
It
satins are usually
Both
embroidered
very beautiful as
are
backgrounds, particularly the ribbed and patterned for
many
silks,
which are called into service
kinds of embroidery.
Tussore and Corah silk grounds are very charming and delicate, but they will only carry light embroider}^ in
silk.
â&#x20AC;&#x201D; Of
good quality, suitable for piano coverings, panels, etc. Can be embroidered in the hand. Silk Sheeting.
Brocades are admirable for grounds.
patterned surface, a
pleasant
if
contrast
well to
the
chosen,
The gives
embroidery.
Implements, Appliances, Mate^Hals. There are also a number of mixtures procurable which grounds for embroidery. Dorneck.
—A
name given
kind of damask wrought of
and gold
thread,
end
for
are
to
silk,
suitable
an
inferior
wool, linen
Towards the century it was used
church furniture.
for
Cloth
and linen
in Flanders.
of the fifteenth
much
silk
229
Gold and Silver.
of
and
heraldic
Bandekin.
— Chiefly
ecclesiastical
—That
used
embroidery.
sort of costly cloth-of-
which took its famous name from Baghdad. Samit or Examitur. A six-thread silk stuff
gold
—
preciously interwoven with gold threads.
Transferring Designs. The
transferring
designs
of
on to
the
no time a very easy occupation, one which most people prefer to have done for them. However, it is necessary and it should be done by the material
and
is
is
at
certainly
;
designer or embroiderer.
methods.
First, there
is
used pouncing method.
on a
fairly
There are several
much-
the old and
Trace the design
tough piece of tracing-paper,
place the tracing on a fold of flannel
a needle prick out
all
the lines,
;
with
making
as
Embroidery.
230
many inch.
as eighteen or twenty holes to each If
the two halves of the design are
exactly alike, fold so
prick both
it
down the Then
centre,
and
place
this
once.
at
pricked tracing on the material you are to
embroider,
4
inches
a long strip of flannel, about
roll
wide,
very tightly into
a solid
cylindrical shape, to use as a pouncer.
the material
is
light
in
If
colour, use finely
powdered charcoal if dark, use fine French chalk, and with the roll of flannel rub the powder through the small holes. Then remove the tracing very carefully so as not to smudge the powder, and with a fine brush draw in the lines made by the powder, using ;
Chinese white, with a
make it
it
stick,
and a
run smoothly.
If
little
little
black
gum
arable to
ox-gall to is
make
required, use
sometimes flake
lamp-black or Indian ink
;
white or ivory black
colours) are used,
thinned with a
little
(oil
turpentine.
Another method is that with tarlatan. Trace the design accurately on to rather
Then pin it out tightly and evenly on the material you are to embroider,
fine tarlatan.
and go over the
lines
with a drawing-pen or
a brush, with Indian ink or Chinese white.
This method
is
not
difficult,
but requires
Implements, Appliances, Materials. infinite care.
out of
its
231
See the tarlatan does not slip
proper place.
The third plan is to put transfer paper under your design, on a firm, hard surface, and with a knitting-needle, agate, or steel tracer,
go over the
lines
very evenly.
Drawn Thread Work.
â&#x20AC;&#x201D;
The withdrawing of either the woof threads of a linen or cotton material within certain narrow bands or squares, and gathering together in groups Stitches.
warp
or
the remaining threads
by darning
or with
overcasting stitches, is one of the most modest forms of ornamental needlework. For table linen, pillow cases, towels and suchlike articles of every-day use, these un-
pretentious
little
patterns always seem right.
Apart from the
fitness of this unaffected kind of decoration, drawn thread work wears well, provided simple and not particularly
open patterns are used. Some elaborate designs are produced in this class of needlework in fact, it can be made as fine as delicate lace, and in this form it is frequently employed in the ornamentation of costumes.
â&#x20AC;&#x201D;
Drawn work,
carried to a lace-like
and dex-
Embroideiy.
232 terous stage,
is
dealt
with in handbooks
specially devoted to the work.
On
No.
design
45
a
significant
type
of
Plate in
work (suitable for drawn work) is shown, and on Plate No. 47 a similar piece of ornament is given, and the method of working described on page 188. Of the banded or insertion group the one here shown claims the attention of the worker lacis
Drawn Thread
Border, from an old
Egyptian Example.
on account
of the
unusual course adopted in
The drawing has been prepared from an ancient Egyptian example in which the stitching is executed in two colours on a very loosely woven fabric. edging the drawn work.
In order to
make
the diagram of the greatest
woven threads have been represented much more open than
use to the worker, the
they are in the original
;
the solid black
parts indicate the piercings.
This interesting fragment
is
worked
in
Iniplements, Applia^ices, Materials.
233
manner. Threads are first removed to a depth of about \ inch, and where the hem stitch is introduced in the usual way, the ancient embroideress has divided and secured the edge threads by a stitch which combines the " hem " and following
the
''back" stitches
ordinary
of
1.
plain sewing.
The panying
accomd i a-
gram
will
the
two
show pro-
h. 1
form the It will
C
Stitches for working the
Drawn Thread
11
Edge
of
Border.
stitch.
be seen that the needle was inserted in
the drawn space, pointing obliquely upward.
Four threads were taken upon it, counting upward, and four, counting from the right to
Having drawn the needle and
left (stitch i).
thread through, a horizontal stitch was made.
For
was inserted four threads its last point of exit, and
this the needle
to the right of
brought up to
this point again
(stitch
2).
At the end of the border two rows of this appear, worked one within the and forming a little " brick " pattern.
stitching other,
This, however,
is
not shown in the diagram.
2
34
Embroidery.
Having secured the edges
in
way,
this
the worker darned the groups of threads in alternate masses of yellow
and
red.
Starting
two groups of four threads together. Halfway across she included a third group, and darned at the edge of the border, she darned
the three together to the other edge.
she passed her needle
down
Then
the darning of
the last group to the central point where
began, and worked back again to the edge,
connecting
it
first
the undarned half with
two more groups. Once more the needle was passed to the middle, and the un worked halves of the two last groups were darned together to the other edge.
(235)
CHAPTER
VI.
ECCLESIASTICAL AND HERALDIC
NEEDLEWORK. The
noblest and most perfect examples of
ecclesiastical
needlework produced in olden
times reveal the decorative value of gold
and silver threads. work is executed precious metal,
In some instances the entirely
but
in
threads
of
mostly such threads
employed in conjunction with coloured The earliest preserved specimens of silks. Anglo-Saxon needlework of this kind are to be found in the library of Durham Cathedral. They consist of a stole and maniple which were taken from the tomb of St. Cuthbert The embroidery is in blue, in 1826-7. green, red, and purple silks, with gold threads on a linen ground. They bear inscriptions which dispel all doubt as to the date of the work, and definitely state that the order was given for Bishop Fridestan by Queen Aelffiaeda. Another and more important are
Embroidery.
236
piece of embroidery is the dalmatic of Charlemagne, which is considered to come first and rank highest among ecclesiastical needle-
—said to belong to the eighth century
work and
—
wrought mostly in gold. Fragments of gold thread embroidery of historical interest were found in the coffin of William de Blois (1218-36), and some very elaborately executed gold work from a vestment believed to have been worn by Bishop Walter is
—
de Cantelupe (1236-66)
Dean and Chapter
— belonging
to the
of Worcester, give further
proof of the splendours and extravagance in
the
skill
craft.
thread needlework,
gold
ancient
bestow^ed
There
is
upon
this
and
of
phase of the
no question of the orna-
mental value of gold and
silver in ecclesi-
and heraldic work. The dalmatic, or vestment, can be ornamented entirely in gold on purple, scarlet, blue, and the richest astical
coloured fabrics, without the slightest fear of
gaudiness or vulgarity.
As a medium
for bringing strong contrasting colours into
harmony,
gold
cannot
domestic decoration
it
be beaten. For must be used with
the greatest reticence.
is
The designer for church and heraldic work called upon to treat his figures, animals,
Ecclesiastical
Work.
237
and symbolic ornament with severity. The objects must read clearly at once in a firm and graphic manner frequently a ;
bold
rich,
outline
in
necessary.
To the
practical artist in the different branches of ecclesiastical
decoration,
with Christian symbolism
an is
acquaintance
all
important.
In the most expressive periods of heraldic
was largely utilised in Without these precious fibres heraldic embroidery would lose much, of its stately beauty, and fail in conveying its meaning so forcibly. Heraldic signs are art
gold
thread
needlework.
often the only clue to authorship
;
they
may
furnish the lost link in a broken pedigree, or
unravel an entangled point in family history.
The heraldic patterning on the orphrey of the Syon Cope (Plate No. 21) independent of its ornamental beauty throws some light upon the early history of this remarkable
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
vestment.
We House
read that " Cromwell produced in the of Lords,
by way of evidence against
the aged Countess of Salisbury, a vestment
(probably a chasuble) of white silk that had been found in her wardrobe, embroidered front with the arms of England, surrounded with a wreath of pansies and mariin
Embroidery.
238 golds,
and on the back the representation of wounds of our Lord, and
the Host with five
name
the
of
Jesus written in the midst.
The peers permitted the unprincipled minister to persuade them that it was a treasonable ensign and as the countess had corresponded with her absent son (Cardinal Pole), she was for no other crime attainted for high treason, and condemned to death without ;
the privilege of being heard in her
own
defence.*
The old
heraldic designer emphasised the
striking features
sented
nothing
;
The bold
of
the objects he repre-
is left
vague or
indefinite.
characteristics of the creatures he
pictured have become signs of great historical
importance.
The modern emhroideress approaches the of heraldry with doubt and misgivings, and unless she has acquired some subject
knowledge reason
of the work, there
for
her
moving
is
very good
cautiously.
It
is
well to secure the services of a student in the art,
if
there
is
the slightest fear, for great
must be exercised in the using of these signs which convey so much meaning. care
* iii.
Miss A. Strickland's " Queens of England," p. 68.
Ecclesiastical
Work.
239
The imaginative symbols of spiritual ideas, and the qualities assigned to some of them, are explained in the chapter commencing on page
36.
(240)
CHAPTER
VII.
STITCHES.
A GOOD
design
and character,
may
m
lose
much
of its
beauty
embroidery, by an
judicious selection of stitches.
in-
It is difficult
to say just where the charm and interest produced by the texture in stitching rests and it is not easy to learn. Careful observa;
tion
there
and experience are is
a natural gift
the better.
needed for the work,
and
;
But the worker can
that these qualities do not
lie
it
if
all
is
rest assured
in the novelty
and variety of the stitches employed, for the most common and simplest are the best and while some of these answer certain purposes and those only, there is still great scope for the worker's judgment and taste in the choice of stitch and method of execution. The first step is to make a general survey of ;
the
stitches,
learn
the
ordinary straight-
forward kinds, and the others, which are
merely variations and elaborations of the simpler structural kinds, will follow
worker perseveres. called
by two
When
if
the
a certain stitch
is
or three different names, the
writer has attempted to give
all of
them
in
241
Stitches.
the text.
But much confusion has
arisen
names which it is impossible to remedy, for we find accepted authorities referring to the same stitch by his or her own special name. The following stitches are all either in with
regard to the
distinguishing
general use or recognised as good from
much
experience, or they are taken from old
work
in the Victoria
and Albert Museum.
Stitches (such as
19, 20, 23, 26, 27,
figs.
28, and 31) which depend partly for their charm on the twist of the knot or interlacement being seen, are best worked in some
tightly twisted silk.
to
draw many
It
has been necessary
of the stitches with
ance of greater openness than
an appearis
evident
in their actual state, for otherwise the inter-
lacing liave
and position
been clearly
of the thread
would not
visible.
Never use very long needlefuls that the eye of the needle
is
large
and see enough to ;
take the silk easily, otherwise the silk or
wool is rubbed and roughened in its passage backwards and forwards through the material.
When
the hand without
the
work
is
the use of
executed in a frame, the
material must be held in a convex position
over the fingers, so that the
silk, flax
R
thread,
Embroideiy.
242
wool, or other fibre with which the design
being embroidered shall be looser,
is
when
made, on the surface than the foundation material. These remarks apply generally to all embroideries worked in the the stitch
is
hand, and,
if
carefully observed, will aid in
preventing the pulling or puckering of the
work.
The simplest types of in the hand
stitches
be worked
split stitch, satin stitch,
buttonhole stitch, stitch
which can
are stem
embroidery
blanket
stitch,
or French knots, bullion
stitch,* stitch,
-j*
knotted
knot, the
chain stitches, cross stitch, and darning.
The frame should be used for laid work, couching, applique, and all solidly stitched designs. A much more even effect is obtained by its use, and in the general way it utilised for
is
stitches.
working the whole range
and diaper groups it is
will find,
in the *
of stitches in the hand,
and the worker when she has become accustomed she can do most of her work better
well to take to the frame
to its use,
of
After learning the outline, border,
frame than out of
;
it.
Also called crewel stitch.
t Also called long-and-short stitch, plumage stitch, and feather stitch (Opus Plumariurn).
p
a
Stitches,
Plate No. Stem
Stitch
i).
(fig.
245
57.
â&#x20AC;&#x201D;The
usually taught to beginners. simplest,
done
It is
and a most useful the
in
one of the
work
stitch for
Each
hand.
stitch
first
should
stitch
follow on a line in a slanting direction
â&#x20AC;&#x201D;
long stitch forward on the surface, and a shorter one backwards on the underside of
the fabric.
A
prominent place is given stem stitch as an outline stitch, although it is frequently used
for
gradated
especially for crewel
and work
flat
fillings
â&#x20AC;&#x201D;hence
crewel stitch," by which
it
is
and
the name,
known.
also
Whether used
for covering a surface or as
an
working
outline, the
in
each
instance.
run in rows,
for
like a
enough to cover but they must not overlap in
of lines placed close
the ground,
any way. tive effect
Two
exactly the same
When employed
solid work, the stitches
number
is
This stitch yields a very decora-
when worked
in
gradated colours.
or three rows of the lightest colour are
sewn, and then fohow a few fines of each
Embroidei^y.
246 shade
in
order
darkest one.
the
to
See
examples on Plates Nos. 4 and 5. Back Stitch (fig. lA, given below), line
work,
when a thin The diagram ex-
especially useful
is
delicate line
for
is
required.
plains the working.
be seen that the
It will
needle enters the material at the point where
and is brought through a little beyond (not more than | inch) where it came out in making the previous stitch. the last stitch finished
lA.â&#x20AC;&#x201D; Back Stitch,
Split Stitch
2).
(lig.
â&#x20AC;&#x201D; Also
used for
work, sometimes for holding the place in laid
work
for solid work". of in
(see fig. 3),
In
line
silk in its
and occasionally
many historical examples
needlework draperies are executed entirely split stitch,
flesh as well. fine chain.
stitch
is
thread
which
It
in
some instances the
much
appears very
The working
taken on the is
it
and
is
line
easy
:
like a
an ordinary
required and the
brought up through
splits in passing, as the
this
stitch,
name
implies.
Stitches.
Rope
Stitch
4).â&#x20AC;&#x201D; Useful
(fig.
when
thick, raised line
247 for giving a
closely worked.
it is
Put the needle through on the edge of the line to be worked, and bring it out on the other edge in a slanting direction
down on
thread
hold the
;
the surface with the
left
hand, and, where the point of the needle comes
To
through, the loose thread passes under.
make
a solid bold
line, it is
necessary that
the needle should be put in as close as possible to the top of the preceding stitch.
Buttonhole
every one.
by the
Stitch
rather open
familiar to clearly seen
^'''''^^'^^'''^H^^^
^ /
both
;
open and closed can be used
it
\
effec-
\
The spacing
can also be varied
m many ways; stitches
is
it
represented
tively.
5)
diagram.
In the drawing is
(fig.
The working can be
H *j
|
§
^
^
^
}j
^^sJ T
two
together,
,1
^"^^
"""jj
5B.â&#x20AC;&#x201D; Tailor's Buttonhole
1
then a space and
Stitch.
two stitches again faUing alternately, makes a good edging. Further, by changing the direction
and crossing the
the other, as in
fig.
working one over an interesting border
stitch,
5A,
Embroidery.
248
made. For open fillings of leaves, flowers, and all kinds of spaces, buttonhole stitch is
is
Numerous effects are obby working the stitches in rows. A solid filling with this stitch is given by closely working each row into the heading of the previous one. The stitches only enter the material in the first row and at the ends of each successive row, on the boundary line of the form being filled. The tailor's method of making buttonhole stitch with an extra
very serviceable. tained
strong and very de-
knot in the heading
is
corative (see
page 247).
is
5B,
fig.
French Knots
(fig.
6).
â&#x20AC;&#x201D; After
the
thread
brought through the material, the
silk is
twisted twice round the needle, whilst holding
it
tightly with the left finger
and thumb.
Then put the needle in again near the point it came out first and draw the silk through, only releasing
it
with the
thumb as it tightens in number of twists round varied
two turns are
;
left
finger
the pulling.
and The
the needle can be
usual.
This knotted stitch does not seem to be confined
favoured find
it
work.
in It
any country. Though much by Oriental needle-workers, we Spanish, Itahan, and old English is employed in the last named
to
249
Stitches, for
the
rendering
foliage
of
trees
and
shrubs.
The
rose here illustrated (from Chinese
broidery)
is
shades of
silk.
Rose
of
the
in three
French Knots.
in
Another variety resembles bullion
A stitch is
French knots
entirely in
em-
knotted stitch which
of
is
Bullion Knot (hg. 6a).
taken into the material the length
roll
required
;
the thread
is
then
twisted perhaps seven or eight or more times
round the point
of the needle,
which
is
with
Embroidery,
250
the
the
twists,
The needle where
left
upon the
lightly
coil made by thumb being placed
drawn through the
great care
is
it first
during the process.
coil
then inserted again in the place entered the material.
In other
words, you treat the thread in the same
you would bullion or Tent Stitch^
6b), like cross stitch,
(fig.
usually worked
upon an open web,
coarse canvas
but
the worker stitches
makmg needle
is
is
on
;
it
net,
is
or
does not follow that
forbidden to use either of the fine-textured
materials.
In
tent stitch on an open mesh, the
stepped diagonally from one thread
of the fabric to the next in a line. first
way
purl.
It is the
half of the cross stitch.
Cross Stitch t
(fig.
6c).
cross on the surface.
â&#x20AC;&#x201D; A regular and even
See Plates No. 30 and
32. *
Called canvas stitch and cushion stitch (Opus Pul-
Gobelin stitch is a variety of tent stitch. on canvas, the needle is taken over two threads each time instead of one, as in tent stitch. Called mosaic stitch, canvas stitch, and cushion The cushion or canvas stitch group is rather stitch. confusing with regard to the various names by which they are known. They are called Hungarian, Spanish, Moorish, Milanese, Florentine, Bargello, Parisian, Gobelin, Cashmere, or Indian, Irish, Holbein, and. vinarium).
When worked â&#x20AC;˘j-
Rococo.
Plate No.
58-
Stitches,
Figs. 7 to II
253
Plate No.
58.
on this plate
illustrate stitches
hand
which can be worked
in the
They
suitable
or the
for
narrow
bands or borders, when a braid-like
effect is
frame.
are
all
sought. Figs. 7
from
left
and 8 are worked along the
finger
to right, the needle always pointing
They can both be worked
downwards.
openly to show the ground between the stitches, or closed.
Figs. 9 finger,
and 10
worked across the
are
the needle always pointing on the
slant towards the centre
from the
left
and
right alternately. Fig.
ii.t
â&#x20AC;&#x201D; Also
held towards the worker
across the finger, the needle pointing from
downwards in a slanting and upwards alternately.
right to left
tion
* Called plait or \
Called
Cretan
Roumanian
stitch.
stitch.
direc-
Embrozdery.
254
Plate No. Chain
Stitch
(fig.
12)
59.
made by taking
is
a
downwards, and before the needle is drawn out of the fabric, the silk is brought round towards the worker and under the point of the needle. Chain stitch is found in stitch
Leaf outlined and veined
in
Chain Stitch.
the earliest examples of ornamental needle-
work.
It
has been used at
all
times, for all
There are a quantity of examples amongst the Persian and Indian work in the Victoria and Albert Museum, where the
purposes.
Plate No.
59.
Stitches.
ground
is filled
in solidly
257 with chain
stitch.
In these embroideries the stitch has been
tambour frame with a
on the
executed
A
crochet-hook, which replaces the needle. regular and mechanical result
by is
this
more
is
method, and the worker
produced
will find
it
satisfactory not to use the crochet-
hook, but to be content with the needle for
working
this stitch.
A good
border
is
made by square
worked openly or closed
chain,
13 and
(see figs.
lines
To commence these stitches two parallel are marked on the material, and
the
needle
14).
is
taken
through
from
one
to the other, the thread being looped under
the point of the needle as the fabric each time.
of
worked on the same be seen by the diagrams. are
all
When
it
comes out
Figs. 12, 13, 14, principle, as will
demanded, the chain can be arranged as a zigzag, worked between two traced lines, as in figs. 13 and One link slants across and the other 14. back, up and down. variety in line
Herring-hone
known
(fig.
15).
is
â&#x20AC;&#x201D;A
stitch
well
and very easy to Imagine two parallel lines marking the width of the space to be filled with the to the seamstress,
work.
s
Embroidery,
258
stitch, bring the needle
through on one Hne,
pass over to the other hne and insert the needle a
out on the of
advance of where
little in
first line,
came
it
take up about an eighth
an inch of the material, draw the needle
through, pass over to the opposite
line,
and
repeat the stitch farther along, and so on from
On
side to side.
the effect
is
the back of the material
that of two rows of back stitch.
Overlapping
Herring-hone
worked on the same is
made each time
lapping
is
lines.
the
;
16)
(fig.
A
is
longer stitch
method
over-
of
explained by the diagram.
Satin Stitch
(fig.
17).
â&#x20AC;&#x201D; This
is
apparently
the most simple of stitches, but
is
quite one of the hardest to do well
really ;
the
edge must be so accurate, the stitches be
made
to
change
lie
so evenly,
of direction
and the slope and
be so gradual, that
its it
taxes at first the patience of the worker.
However, once it has been mastered its charm great, and few stitches equal it for severity. It shows to the best advantage the beauty of the silk and its gloss. The same amount of silk or crewel remains on both back and
is
front of the
work
most economical
;
it is,
therefore, not the
stitch.
The sketch represents an ordinary kind
of
Stitches.
^59
which the stitches run parallel to each other. When the space to be covered is tapering in form and the stitches are to be filling in
directed towards the point, great care
is
needed
in radiating the lines of the stitches.
There
is
stitches,
when
method
a
also
of
dove-tailing
several shades of silk have to
â&#x20AC;&#x201D; as in the â&#x20AC;&#x201D; or when rows of stitches
be used for the petal of a flower rose here illustrated
are
employed to suggest the overlapping
petals.
way
It
is
also necessary to
working
of
with satin stitch
Rose
in
if
adopt
of
this
the surface to be covered
is
Satin Stitch.
a large one.
From a
Silk Cover, Chinese.
— 26o
Embroidery.
Plate No. Figs.
18
6o.
and 19 both
useful " stitches for line work. These, with snailtrail " (fig. 21), are referred to as " German Knot Running Knot " by some and
workers.
illustrate
The sketches explain the working
of each stitch.
Single Coral
(fig.
18) with buttonhole each
makes a good narrow border. Tied Coral (fig. 19). Leave {A) rather loose, so that when {B) is pulled {A) makes a side
—
three-cornered knot.
Bead-edging or Braid This, like entirely
figs.
on the surface,
being very simple. thick twisted silk like in
Stitch
20).
is
When
it is
(fig.
worked almost the back in each case
18 and 19,
carried out in a
very rich and braid-
appearance.
Snail-trail
as single coral,
—The
same principle only worked more on the
(fig.
21).
slant.
—
Darning (fig. 21A). Ordinary plain darning openly worked, as is here shown, is the easiest and most straightforward kind of
Plate No.
60.
263
Stitches.
diapering filling,
and
;
when
purpose of space-
for the
a light effect
row
are introduced between each
and
wanted,
is
it
is
Occasionally French knots
very valuable.
at times the darning
is
of stitches,
varied by using
a long and a short stitch alternately.
The
lines of stitches can be taken in a vertical or
horizontal direction, or at an angle, or effectively
worked with the rows
When
ing.
in the
the stitches are carried across
form of a
pattern are
slightly radiat-
net, little additions to the
made by working
in each square created
a French knot
by the
crossing, or
small stitches are taken di?,gonally across the corners of the network squares.
Two
examples of fancy darning are given on Plate No. 71, figs. 69 and 70. The best results are obtained
used. fine
If
the
when a fairly thin thread is work is to be executed on a very
material,
it
is
difiicult
to
adopt the
usual method of counting the threads for
each stitch and space for these geometrical patterns.
when
But
it is
possible, or to
well to count the threads
keep the pattern regular for guidance in the
by marking a few points stitching.
See that the marks are only in
by the stitches. The ingenious worker takes great pleasure
places that will be covered
264
Einbi'oidc7^y,
in creating delicate diapers fillings
in
and dexterous
darning, and finds
still
greater
play for her taste in placing these patterns in their proper positions trast of texture
in her work.
and tone are
in the balancing of a design.
all
Con-
important
Plate No.
6i.
267
Stitches.
Plate No. Cable Stitch all
to
is
(fig.
make
22).
61.
â&#x20AC;&#x201D;The
first
a small link
;
stitch of
then,
after
twisting the needle under and over from the right side, insert
it
into the stuff in front of
the large loop. Cable Stitch with Knot
(fig.
23),
from the
old Portuguese piece (Plate No. 33).
very
like
knot.
fig.
â&#x20AC;&#x201D;
It is
but with addition of the
22,
The needle
is
placed, as at {B), under
the left side of the loop, and also under the
and pulled which the ordinary large loop is
loose thread from the left side, tight, after
made. Fig.
24
is
a stitch found in several old
work
and Albert Museum. It is useful when a band is wanted, which will cover well, and yet not be too solid. (.4), (B), and (C) for the pieces of
in the Victoria
foundation only
;
(A
material, whilst (B)
)
passes through the
and
(C) go
under the
24A),
Long-and-
thread only.
Embroidery Stitch
(fig.
short Stitch, or Feather Stitch
(Opus Plumar-
268
Embroidery.
ium).
â&#x20AC;&#x201D; So
called
from
its
supposed resem-
blance to the plumage of a bird.
Long-and-
short stitch and embroidery stitch are the
terms commonly applied, and as it is the most universal form of stitching in solid and particularly in shaded embroidery, there seems little reason to
these
with
quarrel
names, which do serve to distinguish the stitch
from
ordinary
satin
stitch,
although
closely
related
it
to
is it.
The system of working a long and a short carried
stitch,
The Seamstress's Feather Stitch.
a
different
result
satin stitch proper. is
alter-
nately well in between
each other, yields quite that
to
obtained
by
Long-and-short stitch
the most useful for shaded
work
â&#x20AC;&#x201D;
it
enables
the embroiderer to get delicate gradations of
colour
whereas in satin stitch a line of is made by each group of stitches. the dove-tail method is adopted the
;
division
When
breaking into the previous row of stitches does not do line.
With
away with respect
the
to
marked dividing
the
other
name,
Plate- No. iz.
271
Stitches.
feather
stitch/'
this
used
is
writers in describing the stitch.
by
old
An
ad-
mirable feathery quality can be produced
by
its
use in line
silk.
A drawing is given on
more commonly accepted To the seamstress this is On the two examples of No. 55 and 56), the whole
page 268 of what
is
as feather stitch.
very familiar.
smock of
(Plates
the decoration outside the smocking
worked
in this stitch.
Plate No. Fig. 25
which
is
62.
'
only the foundation stitch on
is
27, and 28 are all worked. two row^s of chain stitches, the meshes of which are opposite to each other, and through which long, straight crossbars are worked. These three also are taken from the example on Plate No. 33, and could be worked in a hard, strongly glazed thread. They would be effective in purse silk. figs.
26,
It consists of
Fig. 26.
â&#x20AC;&#x201D; Two
of the bars are
gether on which to
make
taken to-
this stitch.
It
the effect of long, chain-like meshes the centre,
whilst
the thread
is
has
down
whipped
Embroidery.
272 round twice, side. all
or, if
necessary, thrice, on each
After the foundation has been made,
the succeeding stitches,
worked on the
surface.
A
to
Stitch A,
G,
are
which
seems to be too evident, and which must not show when the whole is done, goes back-
wards behind the large loop as soon as E is worked. Fig. 27. These straight brick stitches are also worked on the surface over the cords, but it is as well now and then to carry one through the material to keep them steady and straight. Fig. 28. These stitches are on the slope,
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
and are worked up and then down the bars, behind two bars and then behind one then, to form the next group, behind two, behind one, and so on. first
;
T
Plate No.
63.
Stitches.
Plate No. Fig.
29.
â&#x20AC;&#x201D;Also
275
63.
a form of
bricking,
stitches being only over the crossbars. is
worked
in
two
colours,
One shade
obliquely.
is
the It
the stitches set
carried
all
the
way
round, following the outer shape, then the
second
all
round, and so on, using the shades
alternately. Fig. 30 is again a brick stitch worked through the material, the crossbars being used only to raise it and keep the stitches
even. It is done in two shades of thread, two rows of each but the two rows are done at once, as will be seen by the enlarged diagram, where both back and front are given. The thread goes behind two, behind ;
one, behind two, behind three, this last being to regain the lower line so as to be ready to
go behind two, behind one again. Fig.
31.
â&#x20AC;&#x201D;This
stitch,
others in two colours,
ample on Plate No.
33.
is
like
most
to the
narrow
the
First attach the six
or eight long threads at the top,
down
of
taken from the ex-
and
stitch
places, then put the long
â&#x20AC;&#x201D; Embroideiy,
276
stitch across the
third time
The
width of the border.
down makes
the knot as at
/I
,
then
at B, the wide pLace,
puUing out the thread to the fuU width the second part of the knot, as at B, is to puH the knot over upon ;
the top of the band, so as to have the thread in pkice
Figs.
below the hne 32 and
borders, though
for the
33 are
second knot.
two rather similar
In fig. worked differently. show when done, and
32 the uprights hardly
are really to raise the stitch. Fig. 33.
whilst
B
journeys.
A and C go
through the material,
only goes under the thread in both
Plate No.
64.
Stitches.
Plate No.
279
64.
34 is really a sort of Oriental or herring-bone in alternate colours, worked Fig.
two
across on
parallel lines over
and under
on the surface. The needle always points towards the centre. Two rows of chain stitch, which Fig. 35. are whipped together with a contrasting colour, or in two shades of the same colour. so that all the silk
is
â&#x20AC;&#x201D;
The second colour
or tint only passes under
the inside of the meshes, and not through the ground.
and 37 are similar in effect but fig. 36 is done on crossbars, and towards the worker, whilst fig. 37 is on upright bars, and worked away from the worker. Figs. 36
;
To produce different
fig.
colours
stitch, loop
B
:
36 with alternate rows in after making a chain
over two bars, put the needle
up behind two bars
C,
and bring
it
out in the
worked with four or five loops only, can be padded underneath the bars to look round and centre of the next loop.
raised.
This,
if
â&#x20AC;&#x201D; Embroidery.
28o
A makes
Fig. 37.
mesh,
B
the
first
half of the
the second, and at the same time
connects
with the next, in the centre of
it
which the needle comes out. Two rows are worked in one colour, and then change. Fig. 38. The two shades are worked in alternate descending lines. B must always go over one bar lower than A has done.
â&#x20AC;&#x201D;
In Figs. 34 to 38 the silk is in every case on the surface of the material.
Plate No.
65.
formed by a " Y "-shaped stitch, like fig. 38, and also similar to fig. II, only that it is for a border, and in two colours hence the stitch B has to descend low enough to allow space for the second Fig.
39
is
;
shade. either Fig.
colours
The
outline to the border could be
stem stitch or a is
fine cord.
â&#x20AC;&#x201D;This
worked in two or more very effective, owing to the inter-
40.
Three loops are done goes through the material,
lacing of the threads. in each colour.
A
283
Stitches.
whilst
B
is
always looped through the pre-
vious one, and goes under the silk only. Figs. 41
and 42 are both worked on an
open herring-bone foundation, a buttonhole edge, and
fig.
fig. 41 having 42 a stem stitch
one.
In
under the
is whipped which passes only
the herring-bone
41
fig.
with a second shade, silk,
the needle always being at
right angles to the long stitch under it
which
has to pass. In
fig.
crossed
42 the knot is made round the of the herring-bone. In
portion
knotting the
and over the left
;
in
B
silk at
A, which comes under
needle, starting from right to
over and under the needle also,
but from the
left to
the right.
284
Plate No.
66.
â&#x20AC;&#x201D;
Fig. 43. Taken from a piece of Indian work in beetle's wings and silver thread. The jewelled effect of beetle- wings in this
border suggests possibilities with the use of
and bottle-green silks. have to be the same relative weight of colour. The small oblong disks could be worked in satin stitch, in floss silk, or some very smooth, glossy, and untwisted silk. The introduction of the aluminium thread would give the effect of the silver, but it is rather duller, and does
blues, purples,
They would
all
not tarnish. Fig. 44
is
a counter-change pattern from
an old applique
stole of
crimson velvet and
yellow satin outlined in gold.
From
Mexico,
Spanish, seventeenth century. Fig. 45.
â&#x20AC;&#x201D; Details given of a border worked
in satin stitch, fine silk
knots.
gimp, and French
Italian, sixteenth century.
46 is a very simple counterchange ornaments. Fig.
example
of
Plate No.
66.
Plate No.
67.
289
Stitches.
Plate No.
67.
and 49 are Chinese work, and show their Figs.
47, 48,
all
taken from
rigid
method
of
shading in blocks. Fig 47 is termed " encroaching shading." In it the stitches are all evenly lengthened
beyond the amonnt visible in the finished work the following row is then taken up ;
into
the previous stitches (dove-tailed),
so
that a raised line (following the outline in
shape)
is
made, which only on
close
examina-
tion proves not to be corded underneath.
48 is an example of shading done entirely with French knots (on the same Fig.
principle as the reproduction of the Chinese
rose on page 249)
;
the dotted lines show the
area of each different colour. in fine gold, and,
be seen that necessitate
if
it is
no
The outline
carefully followed, so cleverly
break
managed
through
the
is
it will
as to
whole
flower. Fig. 49 is given to show how the Chinese use the change of direction of their stitches in this block-shading to give variety
U
;
also
•
Embroidery.
290
to emphasise the vakie of
voiding
—that
is,
show all round each a manner which is rather
leaving the ground to petal and mass in
similar to the use of ties in stencihing.
Plate No. For getting the
full
value of the gloss and
brilliancy of the silks the
the working of what
work "
68.
system adopted
is
known
as
in
laid
form of embroidery has, however, one great drawback it is not very strong, and if the surface to be covered by the work is large, it will not wear well. There is a beautifully preserved example of laid work in the Victoria cannot
be
This
beaten.
—
and Albert
Museum
(see
reproduction of
on Plate No. 42) which proves that, when well sewn, it can with care be
chalice veil
made
to last for a long time.
Fig.
50.
— Plain
broidery."
First
from side to side
couching on lay
the
em-
laid
threads
evenly
of the space to be filled.
The
needle, after passing through the material at
the
edge or boundary
flower form
—
is
of
the leaf
—
or
brought up again, not quite
Plate No.
68.
Stitches.
293
but at a distance to allow an
close,
termediate stitch being taken threads
the
thus laying
alternately
second, fourth, and so on
third,
way you
;
first,
in this
get a better hold at each end of
the line than
when
laid consecutively.
the leaf or form curves your lines of laid
gradually follow, opening a
will
end and closing a the layer
is
little at
little
the other.
As work
at one
When
complete, threads are laid across
and
pleasant
at
in-
backwards,
regular
fairly
intervals,
following or suggesting the growth (as in
These
example).
this
down by
threads
Fig. 51.
â&#x20AC;&#x201D;
A
applique.
thick strand of
crewel, tapestry wool, or
the worker
may
of the material
vals
fixed
choose,
is
filoselle,
double
narrow ribbon, as laid on the surface
and stitched
by threads
at regular inter-
crossing at right angles
it
down.
Fig. 52.
â&#x20AC;&#x201D; Gold
holding
are
from the back (couched). Couching for outline or edging
stitches
* carried
and
over string, and
couched on both sides of the string with coloured Fig. 53. *
silk.
â&#x20AC;&#x201D; Silk
Embroidery the
in gold
Phrygians. Phrygiiim.
to
twist over string, couched.
It
was by the Romans attributed was therefore called Opus
.
Embroidery
294 The and
twist is
laid
is
down two
strands together,
stretched across on each side of the
string.
This makes a pleasing border.
string, for variety, is thicker
One
than the other.
— Gold,
silk
cords, purse silk, or even untwisted silk
may
Fig.
Diaper
54.
Couching.
be used for laying down.
By
varying the
position of the fastening stitches a
simple patterns
Basket
Fig. 55. in
may
number
of
be produced.
Stitch.
— Rows of padding,
the form of cotton, cord,
or
macrame
string, are first laid across the surface of the
and securely
material
fixed
down.
Gold
threads are then placed across them, two
which are stitched down over the padding usually two rows of these (making four gold threads together). Then the next two rows are treated as brick stitch, and fastened exactly between the previous at a time,
—
stitchings.
Strong
silk
must be used,
or
rubbed with beeswax, for stitching down the gold. Basket stitch is one of the most ancient methods of couching. It is very handsome and ornamental. Fig. 56. Disk of gold thread couched with red silk. The play of light on the gold when wound round in this fashion gives a jew^elIn the ihustration on like appearance. horse-tail
—
Stitches.
Plate No.
18
it
will
297
be
whole of the background
seen
is
that
the
patterned with
disks of gold in spiral fashion.
little
Plate No. Figs.
57,
58,
59,
69.
and 60 represent four
borders which are worked in gold passing. 57 and 58 macrame string is sewn firmly along the lines of the design the
For
figs.
;
must never cross, but be cut off and begun again. The double passing is laid backwards and forwards the whole width of the border, and stitched firmly with waxed string
horse-tail
each
side
of
the
strings.
For
59 the centres are padded with a soft cotton called stuffing cotton, and in fig.
fig.
60 the design
down
is
cut out in cardboard tacked
and the gold laid across, and stitched down on each side, as over in its place
string in the other figures.
298
Plate No. 70
is
used over cardboard.
should be it
is
how tambour
61 and 61A explain
Figs.
gold
first
drawn on the
cut out in cardboard.
The design
material, then
Each
petal or
shape must be rather smaller to allow for the gold going over the card without enlarging
the
design.
Place
the
pieces
of
lines of the design on and tack them firmly down, lay the tambour (used double, like passing) backwards and forwards, and stitch firmly
cardboard within the the material
with waxed horse-tail at each side of the card
;
the centre of this figure
with basket Fig. 62
is
is
filled in
stitch.
an example showing the use of
purl.
Purl
is
made
of the finest gold wire twisted
must be handled elastic, and if once stretched is quite useless. First lay it on a piece of cloth, and cut the required lengths with short, sharp nail-scissors which meet well at the points. The pieces are then form a round tube. very carefully, as it is to
It
Plate No.
OVER PADDING.
70.
PLATE.THE
FLOWER5
IN PURL-
301
Stitches.
threaded
like beads,
flowers in
fig.
Bring the
silk
figure to be
as in
fig.
It is quite
64.
up
62 and the
simple to work.
at the base or edge of the
worked, thread on the needle a
piece of purl the length required, take the silk
back
close to
where it came up, and secure
shown
the loop with a stitch, as fig.
62.
Rough
of the flower,
purl
fills
purl
is
in flower,
used for the petals
and a straight
stitch of bright
the centre of each petal.
is more The simplest way of padding is a single row of macrame string but that can only be used when the lines of the design are narrow and fairly even in thickness all over,
Purl embroidery over padding
difficult.
;
as in If
fig.
63.
the design has lines very varying in
width, yellow stuffing cotton must be used.
Lay
as
many
thicknesses
of
the
stuffing
cotton as the design requires, and stitch over
from side to
letting the
side,
padding be
highest in the middle and rounding to the sides.
more
As the design
down
widens, add
cotton, one thickness at a time (cut
the ends slanting)
becomes narrower,
;
and when the design cut
away the cotton
slantwise, one thickness at a time.
grudge time and pains spent
in
Do
not
padding,
â&#x20AC;&#x201D; Embroidery.
302
for the success in purl
embroidery depends
upon the smoothness of the padding. Bring the needle up on one side of the design, thread a piece of purl, and take the largely
down
needle silk
at the opposite edge, giving the
a firm pull so that the purl
At
able over the padding.
immov-
lies
first it is difficult
to cut the purl exactly the right length, but
that comes with practice. too short,
and
little
If
gaps are
at the sides
lie
loosely on the
too long, the pieces
if
the pieces are
left
The purl must be so that you can pass your
firm in posi-
surface.
tion
without displacing them.
though
finger along
must look as
It
has actually been taken through
it
Purl
the material like satin stitch.
worked
;
in a slanting direction, as in
may
be
fig.
63,
or straight across.
Rough and smooth together,
two
stitches of
the other alternately
one letter smooth.
may
Pearl purl broidery.
purl
i.e.
scribed,
purl
is
;
may
be used
one and two of
or for
monograms,
be rough and the other
used for outlining purl em-
Basket
stitch
can be worked in
lay the padding
as
before
and cut the purl long enough
the strings or padding.
de-
to cover
Horse-tail silk for
Stitches.
embroidery
purl
be
should
Silk purl in a variety of colours
well is
waxed.
made
(over
and can be used with great effect. It worked in the same way as the gold. In this drawing of a leaf in gold threads
wire), is
IS INDICATED AT A". IT ALL ROUND THE LEAF EACH LOOP.
IS
CAKRILD
3^
ALONG
Fig. 6sA.
be seen that the threads are carried backwards and forwards without a (fig.
65A)
break.
it
will
Commencing with two threads
at
the point of the leaf, they are continued through to the base of the form where the
A
fresh
for the
stem
ends are buried beneath the stem. start
with the thread
is
made
Embroidery,
304
and centre vein used for couching
is
so thick as to
line of close stitches
middle of the figure Plate used.
The red
of the leaf.
is
round the
silk
form a red leaf.
The
slightly raised (padded).
sometimes crimped before it is Alternate rows of crimped plate and is
fine gold cord, or passing
used double, are
very effective for a
nimbus, or rays.
circle,
In old embroideries crimped plate is laid backwards and forwards for the centres of flowers and turnover of leaves, etc.
Plate No.
71.
an interesting treatpomegranate in gold work. The outside crescent forms are in tambour gold used over cardboard or vellum. The threads are here represented more often than in the actual example in order to explain the working. The centre of the fruit is produced by The run the use of gold threads couched. Fig.
ment
65
illustrates
of a
can be easily followed in the
of the thread
diagram. Fig. 66
worked
is
on
called
a *
cushion stitch.^
canvas
or
loosely
Also canvas stitch.
It
is
woven
Plate No.
71.
Fig.66.
CUSHION STITCH.
TAMBOUR GOLD
USED
OVER CARDBOARD OR VELLUM. Fig. 67.
BURDEN STITCH Fig.68.
JAPANLSE STiTCH
Ky\AJ
Fig. 69.
Froni.
FANCY DARNING.
BzNcK.
Fig. 70.
n-oni
HONEYCOMB DARNING.
X
â&#x20AC;&#x201D;â&#x20AC;&#x201D; Stitches.
and
material,
inasmuch
307
similar to laid embroidery,
is
as all the
crewel
or
silk
is
on
the surface, and only a single thread of the
ground
is
taken up each time.
make
stitches
Usually the
a pattern formed on zigzag or
The effect when finished is rather like a woven fabric. Fig. 67. Burden stitch was used a great deal for flesh work in the fourteenth- and meandering
lines.
fifteenth-century
worked
in a
embroideries,
frame on a fabric of
The same amount
threads.
no
doubt even appears
fine,
of silk
on the back as on the surface of the material. Japanese
Fig. 68.
stitch consists of
long
stitches of equal length; the needle is brought back each time within a short distance of the
starting-place.
Their appearance should be
that of even, parallel lines. stitching
is
This system of
frequently found in old work.
The Opus Anglicum,
or Angltcanum, de-
scribed rather vaguely as English work, which is
referred to
by Dr. Rock
on Textile Fabrics" chiefly used in
the
as
in his " Catalogue
being
the stitch
Syon Cope
"
(Plate
21), was introduced about the middle the thirteenth century, and used strictly
No. of
for ecclesiastical purposes.
The foregoing
typical
stitches
form the
3o8
Emb7'oidery,
basis of all embroidery. of
others
are
On
these
numbers
constantly invented by in-
genious workers.
by
It is said
authorities
there are only about seven or eight necessary stitches
learn in embroidery,
to
and when
the worker has once mastered those,
numerous
inventive,
Never be afraid
others
their
Stitches
application.
at all
follow.
a your work whole constantly vary in
to unpick
small piece badly done
embroidery.
if
will
In
may
;
spoil the
some
instances,
to
avoid waste of material, experienced embroideresses
work
as
much on
possible, while others
the surface as
do not trouble them-
selves about the quantity of material
on the
wrong side. In any circumstances see that your work is well finished at the back.
ri-inted
and bound
by Hazell, Watson &â&#x20AC;˘ Viiiey, Ld., London
and Aylesbury.
â&#x20AC;&#x201D;
The Bound Volume makes an admirable
Gift Book.
The Art Workers' Quarterly m A
Portfolio of Practical Designs
and Applied Arts
for Decorative
Edited by
ART THEtended
W.
G.
PAULSON TOWNSEND
WORKERS' QUARTERLY
primarily
is
in-
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to supply full-size
do not
design their
obtaining good and suitable designs
may have some knowledge
;
further, to
supply those
who
of the principles on which designs are
constructed, with specimens of sound, wholesome, ornamental
work
from the best historical and contemporary examples. This publication contains articles on Embroidery, Applique Work, Drawn Thread Work, Lace Making, Gesso Work, Wood Block Printing in Colours, Stencilling, Mural Keramics, Beaten Silver
Work, Embossed and Chased Leather, Stained Carving, etc. Each Article is fully illustrated, and of Working Drawings are included.
Glass,
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a large
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Copies of any Issue published between January 1902 and 'December 1906 can be obtained from the Office, 12. Clifford's Inn. E.C.. for 2s. 6d. each; or "Bound Volumes of each Year's Issues {4 Parts) With "Portfolio containing the Working "Drawings for 12s. 6d. each.
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Offices :-12,
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Wash Embroidery Silks are manufactured from the HIGHEST quality of reeled cocoon silk in a most complete range of twists and sizes for all classes of Art Needlework.
They are dyed are
in about
ABSOLUTELY
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all of which in ranges of
perfect tone.
Every skein is encased in a patent holder, which prevents tangling or waste, and automati= cally measures a correct needleful.
PATENT HOLDER IN
WHICH ALL
Sold and recommended by the leading Schools of Art Neetl'ework and dealers in Embroidery materials everywhere.
QortieeHi Silk Qo., Md. Factories: ST. JOHNS, QUEBEC, CANADA. 2
MAYGROVEa?CO.,C 51, Aldersgate St., London, E.C.
MILLS: ST. ALBANS, HERTS. MANUFACTURERS OF HIGH-CLASS EMBROIDERY SILKS AND SEWING SILKS.
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Purse Kniiiingo A fast dyed, tightly twisted highly finished Silk. Suit= mittens, ties, for able purses, etc.
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A thick make of silk, highly working Gentlemen's waistcoats.
Extra Quality Pure Knittintf m Fast dyed, very brilliant. Specially recommended for knitting or crocheting ties, etc.
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Coronetm The best silk for motor wraps and scarves.
CORONET CHENILLE for the New Stoles GLACE CHENILLE for Waistcoats and general Embroidery.
Use Faudel's
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5
For
Embroidery Gold and Silver EmbroidAntiqjje
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/
Grape and Wheat Concaves,
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forTHEATRICAL
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