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+The Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Handbook of Embroidery
+
+Author: L. Higgin
+
+Editor: Lady Marian Alford
+
+Release Date: March 30, 2008 [EBook #24964]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HANDBOOK OF EMBROIDERY ***
+
+
+
+
+Produced by Julie Barkley, Sam W. and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Decoration]
+
+HANDBOOK OF EMBROIDERY.
+
+[Decoration]
+
+
+
+
+                   HANDBOOK OF EMBROIDERY
+
+                        BY L. HIGGIN.
+
+                EDITED BY LADY MARIAN ALFORD.
+
+
+ PUBLISHED BY AUTHORITY OF THE ROYAL SCHOOL OF ART-NEEDLEWORK,
+              AND DEDICATED TO THEIR PRESIDENT,
+
+      H.R.H. PRINCESS CHRISTIAN, OF SCHLESWIG-HOLSTEIN,
+                  PRINCESS OF GREAT BRITAIN
+                        AND IRELAND.
+
+
+                        [Decoration]
+
+
+                           LONDON:
+        SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,
+               CROWN BUILDINGS, FLEET STREET.
+                            1880.
+
+
+
+
+(_All rights reserved._)
+
+
+
+
+NOTE.
+
+
+Plates Nos. 4 and 19 show a portion only of the designs by Mr. W.
+Morris and Mr. Fairfax Wade.
+
+
+
+
+[Decoration]
+
+PREFACE.
+
+
+In drawing up this little "Handbook of Embroidery" we do not pretend
+to give such complete technical directions as would enable a beginner
+in this beautiful art to teach herself; because learning without
+practical lessons must be incomplete, and can only lead to
+disappointment.
+
+We have sought, therefore, only to respond to the inquiries we are
+constantly receiving, and to supply useful hints to those who are
+unable to avail themselves of lessons, and are forced to puzzle over
+their difficulties without help from a trained and experienced
+embroiderer; at the same time, the rules we have laid down and the
+directions we have given may serve to remind those who have passed
+through the classes, of many little details which might easily be
+forgotten when the lessons are over, though so much of the success of
+embroidery depends upon them.
+
+We have given a short description of the most useful stitches, and
+have pointed out their applicability to different styles of work; we
+have named the various materials which are best suited as grounds for
+embroidery, and the silks, filoselles, crewels, &c., which are most
+commonly employed, with practical rules for their use in the best and
+most economical manner.
+
+Also we have given such plain directions as to stretching, framing,
+and cleaning the work as are possible in a limited space, and without
+practical illustration. We venture to hope we have thus supplied a
+want that has been long felt by those who interest themselves in the
+art in which Englishwomen once excelled, but which had languished of
+late years, and almost died out amongst us, though it has always been
+taught in many continental cities, where embroideries have never
+ceased to be required for church decoration.
+
+We have abstained from giving any directions as to the tracing of
+designs upon material, for two sufficient reasons: firstly, that the
+Royal School of Art-Needlework has never supplied designs alone, or in
+any other form than as prepared work; and secondly, that having made
+experiments with all the systems that have been brought out for
+"stamping," ironing from transfer-papers, or with tracing powder, it
+has been found that designs can only be artistically and well traced
+on material by hand painting. Those ladies who can design and paint
+their own patterns for embroidery are independent of assistance, and
+to those who are unable to do so we cannot recommend any of the
+methods now advertised.
+
+It has been thought unnecessary to enter into the subject of
+ecclesiastical embroidery at present. This has been so thoroughly
+revived in England, and practised in such perfection by
+sisterhoods--both Anglican and Roman Catholic--as well as by some of
+the leading firms of church decorators, that we have not felt
+ourselves called upon to do more than include it in our course of
+lessons.
+
+The æsthetic side of our subject we have purposely avoided, as it
+would lead us further than this purely technical guide-book pretends
+to go. But we propose shortly to bring out a second part devoted to
+design, composition, colour, and the common-sense mode of treating
+decorative Art, as applied to wall-hanging, furniture, dress, and the
+smaller objects of luxury.
+
+We shall examine and try to define the principles which have guided
+Eastern and Western embroideries at their best periods, hoping thus to
+save the designers of the future from repeating exploded experiments
+against received canons of good taste; checking, if we can, the
+exuberance of ignorant or eccentric genius, but leaving room for
+originality.
+
+Mrs. Dolby, who by her presence and her teaching helped Lady Welby to
+start the Royal School of Art-Needlework, has left behind her a most
+valuable guide for mediæval work in her "Church Embroidery, Ancient
+and Modern," which will always be a first-class authority.
+
+The Author and the Editor of this handbook are equally impressed with
+the responsibility they have undertaken in formulating rules for
+future embroiderers. They have consulted all acknowledged authorities,
+and from them have selected those which the teachers in the Royal
+School of Art-Needlework have found the most practical and
+instructive.
+
+Should any of their readers favour them with hints or criticisms, or
+give them information as to pieces of embroidery worth studying, or
+stitches not here named, any such communications will be gratefully
+received and made use of in future editions.
+
+    THE EDITOR.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+TABLE OF CONTENTS.
+
+
+    CHAPTER I.
+
+    _Page 1._
+
+    OF IMPLEMENTS AND MATERIALS USED IN MODERN EMBROIDERY.
+
+                                                        PAGE
+
+    Needles                                                1
+
+    Scissors                                               1
+
+    Prickers, &c.                                          2
+
+    Crewels                                                3
+
+    Tapestry Wool                                          4
+
+    Arrasene                                               4
+
+    Embroidery or Bobbin Silk                              5
+
+    Rope Silk                                              5
+
+    Fine Silk                                              6
+
+    Purse Silk                                             6
+
+    Raw or Spun Silk                                       6
+
+    Vegetable Silk                                         6
+
+    Filoselle                                              7
+
+    Tussore                                                7
+
+    Gold                                                   8
+
+    Japanese Gold Thread                                   8
+
+    Chinese Gold                                           8
+
+    Gold and Silver Passing                                8
+
+    Bullion or Purl                                        8
+
+    Spangles                                               9
+
+    Plate                                                  9
+
+    Recipes for Preserving Gold                           10
+
+
+    CHAPTER II.
+
+    _Page 11._
+
+    TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY.
+
+    Linens                                                11
+
+    Flax                                                  11
+
+    Twill                                                 11
+
+    Kirriemuir Twill                                      11
+
+    Sailcloth                                             12
+
+    Oatcake Linen                                         12
+
+    Oatmeal Linen                                         12
+
+    Smock Linen                                           12
+
+    Bolton, or Workhouse Sheeting                         12
+
+    Satins and Silks                                      14
+
+    Silk Sheeting                                         14
+
+    Tussore and Corah Silks                               15
+
+    Plain Tapestries                                      15
+
+    Brocatine                                             15
+
+    Cotton and Woollen                                    16
+
+    Velveteen                                             16
+
+    Utrecht Velvet                                        16
+
+    Velvet Cloth                                          16
+
+    Felt                                                  16
+
+    Diagonal Cloth                                        16
+
+    Serge                                                 17
+
+    Soft, or Super Serge                                  17
+
+    Cricketing Flannel                                    17
+
+    Genoa or Lyons Velvet                                 17
+
+    Silk Velvet Plush                                     17
+
+    Cloths of Gold and Silver                             18
+
+
+    CHAPTER III.
+
+    _Page 19._
+
+    STITCHES.
+
+    Stem Stitch                                           19
+
+    Split Stitch                                          22
+
+    Satin Stitch                                          23
+
+    Blanket Stitch                                        23
+
+    Button-hole Stitch                                    24
+
+    Knotted Stitch                                        24
+
+    Chain Stitch                                          27
+
+    Twisted Chain                                         28
+
+    Feather Stitch                                        29
+
+
+    CHAPTER IV.
+
+    _Page 33._
+
+    Frames and Framing                                    33
+
+
+    CHAPTER V.
+
+    _Page 37._
+
+    STITCHES USED IN FRAME EMBROIDERY.
+
+    Feather Stitch                                        37
+
+    Couching or Laid Embroidery                           39
+
+    Net-patterned Couching                                41
+
+    Brick Stitch                                          41
+
+    Diaper Couchings                                      42
+
+    Basket Stitch                                         42
+
+    Spanish Embroidery                                    43
+
+    Cross Stitch                                          45
+
+    Simple Cross Stitch                                   46
+
+    Persian Cross Stitch                                  46
+
+    Burden Stitch                                         50
+
+    Stem Stitch                                           51
+
+    Japanese Stitch                                       51
+
+    Tambour Work                                          51
+
+    Opus Anglicum                                         52
+
+    Cut Work                                              54
+
+    Inlaid Appliqué                                       54
+
+    Onlaid Appliqué                                       54
+
+    Gold Embroidery                                       57
+
+    Backing                                               58
+
+    Stretching and Finishing                              59
+
+    Embroidery Paste                                      59
+
+    Cleaning                                              60
+
+
+    ILLUSTRATIONS.
+
+    Description of the Plates                             62
+
+    Sixteen Plates, containing 24 Designs           65 to 96
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+HANDBOOK OF EMBROIDERY.
+
+
+
+
+CHAPTER I.
+
+OF MATERIALS AND IMPLEMENTS USED IN MODERN EMBROIDERY.
+
+
+IMPLEMENTS.
+
+_Needles._--The best "embroidery needles" for ordinary crewel handwork
+are Nos. 5 and 6. For coarse "sailcloth," "flax," or "oatcake," No. 4.
+For frame embroidery, or very fine handwork, the higher numbers, from
+7 to 10.
+
+It is a mistake to use too fine a needle. The thread of crewel or silk
+should always be able to pass loosely into the eye, so as not to
+require any pulling to carry it through the material.
+
+       *       *       *       *       *
+
+_Scissors_ should be finely pointed, and very sharp.
+
+       *       *       *       *       *
+
+_Thimbles_ which have been well worn, and are therefore smooth, are
+best. Some workers prefer ivory or vulcanite. Two thimbles should be
+used for framework.
+
+       *       *       *       *       *
+
+_Prickers_ are necessary for piercing holes in gold embroidery, and
+also for arranging the lie of the thread in some forms of couching.
+
+[Decoration]
+
+
+[Decoration]
+
+MATERIALS.
+
+CREWELS, AND HOW TO USE THEM.
+
+_Crewel_ should be cut into short threads, never more than half the
+length of the skein. If a long needleful is used, it is not only apt
+to pull the work, but is very wasteful, as the end of it is liable to
+become frayed or knotted before it is nearly worked up. If it is
+necessary to use it double (and for coarse work, such as screen panels
+on sailcloth, or for embroidering on Utrecht velvet, it is generally
+better doubled), care should be taken never to pass it through the eye
+of the needle, knotting the two ends; but two separate threads of the
+length required should be passed together through the needle.
+
+Crewel should not be manufactured with a twist, as it makes the
+embroidery appear hard and rigid; and the shades of colour do not
+blend into each other so harmoniously as when they are untwisted.
+
+In crewels of the best quality the colours are perfectly fast, and
+will bear being repeatedly washed, provided no soda or washing-powder
+is used. Directions for cleaning crewel work are given later; but it
+should not be sent to an ordinary laundress, who will most certainly
+ruin the colours.
+
+Crewel is suitable for embroidery on all kinds of linen--on plain or
+diagonal cloth, serge, flannel, &c. It is also very effective when
+used in conjunction with embroidery silk, or filoselle, either in
+conventional designs, or where flowers are introduced. The leaves may
+be worked in crewels, and the flowers in silk, or the effect of the
+crewels increased by merely touching up the high lights with silk.
+
+       *       *       *       *       *
+
+_Tapestry Wool_ is more than twice the thickness of crewel, and is
+used for screen panels, or large curtain borders, where the work is
+coarse, and a good deal of ground has to be covered. It is also used
+for bath blankets and carriage and sofa rugs. Tapestry wool is not yet
+made in all shades.
+
+Fine crewels are used for delicately working small figures, d'oyleys,
+&c.; but there is also a difficulty about obtaining these in all
+shades, as there is not much demand for them at present.
+
+       *       *       *       *       *
+
+_Arrasene_ is a new material. It is a species of worsted chenille, but
+is not twisted round fine wire or silk, like ordinary chenille; though
+it is woven first into a fabric, and then cut in the same manner. It
+serves to produce broad effects for screen panels, or borders, and has
+a very soft, rich appearance when carefully used. It is made also in
+silk; but this is inferior to worsted arrasene, or the old-fashioned
+chenille.
+
+
+[Decoration]
+
+SILKS.
+
+_"Embroidery," or Bobbin Silk_, which has now almost superseded
+floss, is used for working on satin and silk, or for any fine work. It
+is made in strands, each of which has a slight twist in it to prevent
+its fraying as floss does. As this silk is required in all varieties
+of thickness, it is manufactured in what is technically called "rope,"
+that is, with about twelve strands in each thread. When not "rope"
+silk, it is in single strands, and is then called "fine" silk. As it
+is almost always necessary to use several strands, and these in
+varying number, according to the embroidery in hand, the rope silk has
+to be divided, or the fine doubled or trebled, as the case may be.
+
+If rope silk is being used, the length required for a needleful must
+be cut and passed carefully between finger and thumb once or twice,
+that it may not be twisted. It should then be carefully separated into
+the number of strands most suitable for the embroidery in hand; for
+ordinary work three is about the best number.
+
+These must be threaded together through the needle, care being taken
+not to tangle the piece of "rope" from which they have been detached.
+There need be no waste if this operation is carefully done, as good
+silk will always divide into strands without fraying.
+
+In using "fine silk," one length must be cut first, then other strands
+laid on it,--as many as are needed to form the thickness required.
+They should be carefully laid in the same direction as they leave the
+reel or card. If placed carelessly backwards and forwards, they are
+sure to fray, and will not work evenly together. With silk still more
+than with crewel, it is necessary to thread all the strands through
+the needle together, never to double one back, and never to make a
+knot.
+
+It is intended in future to do away with this distinction between
+"rope" and "fine" silk, and to have it all manufactured of one uniform
+thickness, which will consist of eight strands of the same quality as
+the "fine" silk at present in use. As it will, however, still be
+necessary to divide the thread, and even perhaps occasionally to
+double it, the directions given above will be useful.
+
+       *       *       *       *       *
+
+_Purse Silk_ is used sometimes for diapering, and in rare cases in
+ordinary embroidery, where a raised effect is required.
+
+       *       *       *       *       *
+
+_Raw_ or _spun silk_ is a soft untwisted cream-coloured silk, used for
+daisies and other simple white flowers, or in outlining. It is much
+cheaper than embroidery silk or filoselle.
+
+       *       *       *       *       *
+
+_Vegetable Silk_ (so-called) is not used or sold by the Royal School.
+
+       *       *       *       *       *
+
+_Filoselle_, when of good quality, is not, as some people suppose, a
+mixture of silk and cotton. It is pure silk, but of an inferior
+quality; and therefore cheaper. It answers many of the purposes of
+bobbin silk, but is not suitable for fine embroidery on silk or satin
+fabrics. It should be used also in strands, and the same remarks hold
+good with regard to its not being doubled, but cut in equal lengths.
+
+       *       *       *       *       *
+
+_Tussore._--Interesting experiments have recently been made with the
+"Tussore," or "wild silk" of India, which bids fair to create a
+revolution in embroidery. Not only can it be produced for less than
+half the price of the "cultivated silk" of Italy, China, or Japan, but
+it also takes the most delicate dyes with a softness that gives a
+peculiarly charming effect. It can scarcely be said to be in the
+market as yet, but in all probability before this work is through the
+press it will have become an important element in decorative
+needlework. It is much less glossy than cultivated silk.
+
+[Decoration]
+
+
+[Decoration]
+
+GOLD THREAD, &c.
+
+"_Japanese gold thread_," which has the advantage of never tarnishing,
+is now extremely difficult to obtain. Being made of gilt paper twisted
+round cotton thread, it cannot be drawn through the material by the
+needle; but must in all cases be laid on, and stitched down with a
+fine yellow silk, known as "Maltese," or "Horse-tail."
+
+       *       *       *       *       *
+
+"_Chinese gold_" is manufactured in the same manner as the Japanese;
+but being of a much redder colour is not so satisfactory in embroidery
+unless a warm shade is desirable for a particular work.
+
+       *       *       *       *       *
+
+_Gold and silver passing_, a very fine kind of thread, can either be
+used for working through the material, or can be laid on like the
+Japanese gold. They are suitable for "raised gold or silver
+embroidery."
+
+       *       *       *       *       *
+
+_Bullion, or Purl_, is gold or silver wire made in a series of
+continuous rings, like a corkscrew. It is used in ecclesiastical work,
+for embroidering official and military uniforms, and for heraldic
+designs. It should be cut into the required lengths--threaded on the
+needle and fastened down as in bead-work. Purl is sometimes
+manufactured with a coloured silk twisted round the metal though not
+concealing it, and giving rich tints to the work.
+
+       *       *       *       *       *
+
+_Spangles_ were anciently much used in embroidery, and were sometimes
+of pure gold. They are but little used now.
+
+       *       *       *       *       *
+
+_Plate_ consists of narrow plates of gold or silver stitched on to the
+embroidery by threads of silk, which pass over them.
+
+       *       *       *       *       *
+
+The French and English gold thread is made of thin plates of metal cut
+into strips, and wound round strands of cotton in the same manner as
+the Japanese gold. If the metal is real, the cost is of course great.
+It is sold by weight, gold being about 20s. per oz., and silver, 10s.
+per oz. In addition to its superiority in wear, it has this advantage,
+that old gold or silver thread is always of intrinsic value, and may
+be sold at the current price of the metal whatever state it may be in.
+Many varieties of gilt thread are manufactured in France and England,
+which may be used when the great expense of "real gold" is objected
+to. But although it looks equally well at first, it soon becomes
+tarnished, and spoils the effect of the embroidery. Gold and silver
+threads are difficult to work with in England, and especially in
+London, as damp and coal-smoke tarnish them almost before the work is
+out of the frame. Mrs. Dolby recommends cloves being placed in the
+papers in which they are kept.
+
+
+[Decoration]
+
+RECIPES FOR PRESERVING GOLD.
+
+We give here two recipes, which may be found serviceable. They are
+from different sources; the first is a very old one. They may preserve
+gold for a certain time.
+
+1. Isinglass dissolved in spirits of wine and brushed over the thread
+or braid, which should be hung over something to dry, and not touched
+with the hand.
+
+2. Spirits of wine and mastic varnish mixed very thin and put on in
+the same way with a brush.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+CHAPTER II.
+
+TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY.
+
+
+LINENS.
+
+There are many varieties of unglazed, half-bleached linens, from that
+thirty-six and forty inches wide, used for chair-back covers, to that
+ninety inches wide, used for large table-covers, curtains, &c. There
+are also endless varieties of fancy linens, both of hand and
+power-loom weaving, for summer dresses, for bed furniture, chair-back
+covers, table-cloths, &c.
+
+       *       *       *       *       *
+
+_Flax_ is the unbleached brown linen, often used for chair-back
+covers.
+
+       *       *       *       *       *
+
+_Twill_ is a thick linen suitable for coverings for furniture.
+
+       *       *       *       *       *
+
+_Kirriemuir Twill_ is a fine twilled linen made at Kirriemuir, and is
+good for tennis aprons, dresses, curtains, &c.
+
+       *       *       *       *       *
+
+_Sailcloth_ is a stout linen, of yellow colour, and is only suitable
+for screen panels.
+
+       *       *       *       *       *
+
+_Oatcake Linen_, so called from its resemblance to Scotch oatcake, has
+been popular for screen panels or washstand backs. It is very coarse
+and rough.
+
+       *       *       *       *       *
+
+_Oatmeal Linen_ is finer and of a greyer tone. It is also used for
+screens, and for smaller articles.
+
+       *       *       *       *       *
+
+_Smock Linen_ is a strong even green cloth. It makes an excellent
+ground for working screens, and is also used for tennis aprons.
+
+       *       *       *       *       *
+
+_Crash._--Properly speaking, the name "_crash_" is only applied to the
+coarse Russian home-spun linen, which has been such a favourite from
+the beauty of its tone of colour. It is, however, erroneously applied
+to all linens used for embroidery, whether woven by hand-loom or
+machinery; and this confusion of names frequently leads to mistakes.
+Crash is almost always very coarse, is never more than eighteen inches
+wide, and cannot be mistaken for a machine-made fabric. It is woven by
+the Russian peasants in their own homes, in lengths varying from five
+to ten yards, and, therefore, though sent over in large bales, it is
+very difficult to find two pieces among a hundred that in any way
+match each other.
+
+       *       *       *       *       *
+
+_Bolton, or Workhouse Sheeting_, is a coarse twilled cotton fabric,
+seventy-two inches wide, of a beautiful soft creamy colour, which
+improves much in washing. It is inexpensive, and an excellent ground
+for embroidery, either for curtains, counterpanes, chair coverings, or
+for ladies' dresses, or tennis aprons.
+
+It resembles the twilled cotton on which so much of the old crewel
+embroidery was worked in the seventeenth century, and is one of the
+most satisfactory materials when of really good quality.
+
+       *       *       *       *       *
+
+All descriptions of linen, except the "oatcake" and "sailcloth," can
+be embroidered in the hand.
+
+[Decoration]
+
+
+[Decoration]
+
+TEXTILE FABRICS.
+
+SATINS AND SILKS.
+
+_Satins and Silks_ can only be embroidered in a frame. Furniture
+satins of stout make, with cotton backs, may be used without backing;
+but ordinary dress satins require to have a thin cotton or linen
+backing to bear the strains of the work and framing. Nothing is more
+beautiful than a rich white satin for a dress embroidered in coloured
+silks.
+
+For fans, a very fine, closely woven satin is necessary, as it will
+not fold evenly unless the satin is thin; and yet it must be rich
+enough to sustain the fine embroidery, without pulling, or looking
+poor. A special kind of satin is made for the manufacture of fans, and
+none other is available.
+
+       *       *       *       *       *
+
+"_Silk Sheeting_" of good quality, "_Satin de Chine_" and other
+silk-faced materials of the same class, may either be embroidered in
+the hand, or framed; but for large pieces of work a frame is
+essential. These materials are suitable for curtains, counterpanes,
+piano coverings, or panels, and indeed for almost any purpose. The
+finer qualities are very beautiful for dresses, as they take rich and
+graceful folds, and carry embroidery well.
+
+       *       *       *       *       *
+
+_Tussore and Corah Silks_ are charming for summer dresses, light
+chair-back covers, or embroidered window blinds. They will only bear
+light embroidering in silk or filoselle.
+
+Within the last year successful experiments have been made in dyeing
+these Indian silks in England. The exact shades which we admire so
+much in the old Oriental embroideries have been reproduced, with the
+additional advantage of being perfectly fast in colour.
+
+Nothing can be more charming as lining for table-covers, screens,
+curtains, &c.; and they are rather less expensive than other lining
+silks.
+
+The fabrics known as _Plain Tapestries_ are a mixture of silk and
+cotton, manufactured in imitation of the handworked backgrounds so
+frequent in ancient embroideries--especially Venetian. Almost all the
+varieties of _Opus Pulvinarium_, or cushion stitch, have been
+reproduced in these woven fabrics.
+
+       *       *       *       *       *
+
+_Brocatine_ is a silk-faced material, woven to imitate couched
+embroidery. The silk is thrown to the surface and is tied with cotton
+threads from the back.
+
+As ground for embroidery it has an excellent effect.
+
+
+[Decoration]
+
+TEXTILE FABRICS.
+
+COTTONS AND WOOLLENS.
+
+_Velveteen_, if of good quality, makes an excellent ground for screen
+panels, chair-covers, portières, curtains, borders, &c. It can be
+worked in the hand if the embroidery be not too heavy or large in
+style.
+
+       *       *       *       *       *
+
+_Utrecht Velvet_ is only suitable for coarse crewel or tapestry wool
+embroidery. It is fit for curtain dados or wide borderings.
+
+       *       *       *       *       *
+
+_Velvet Cloth_ is a rich plain cloth, finished without any gloss. It
+is a good ground for embroidery, either for curtains or altar-cloths.
+It is two yards wide.
+
+       *       *       *       *       *
+
+_Felt_ is sometimes used for the same purposes, but does not wear
+nearly so well, and is difficult to work.
+
+       *       *       *       *       *
+
+_Diagonal Cloth_ can be worked either in the hand or frame, although
+it is always much better in the latter. It is used for table-covers,
+curtains, chair-seats, &c.
+
+       *       *       *       *       *
+
+_Serge_ is usually made thirty-six inches wide. It has long been in
+favour for curtains, small table-covers, dresses, &c. It can now be
+obtained at the school fifty-four inches wide, in many shades.
+
+       *       *       *       *       *
+
+_Soft or Super Serge_, also fifty-four inches wide, is an excellent
+material, much superior in appearance to diagonal cloth, or to the
+ordinary rough serge. It takes embroidery well.
+
+       *       *       *       *       *
+
+_Cricketing flannel_ is used for coverlets for cots, children's
+dresses, and many other purposes. It is of a beautiful creamy colour,
+and is a good ground for fine crewel or silk embroidery. It need not
+be worked in a frame.
+
+       *       *       *       *       *
+
+_Genoa or Lyons Velvet_ makes a beautiful ground for embroidery; but
+it can only be worked in a frame, and requires to be "backed" with a
+thin cotton or linen lining, if it is to sustain any mass of
+embroidery. For small articles, such as sachets or casket-covers, when
+the work is fine and small, the backing is not necessary. Screen
+panels of velvet, worked wholly in crewels, or with crewel brightened
+with silk, are very effective. Three-piled velvet is the best for
+working upon, but is so expensive that it is seldom asked for.
+
+       *       *       *       *       *
+
+_Silk Velvet Plush_ (a new material) can only be used in frame work,
+and must be backed. It is useful in "appliqué" from the many beautiful
+tones of colour it takes. As a ground for silk or gold embroidery it
+is also very good.
+
+
+[Decoration]
+
+TEXTILE FABRICS.
+
+GOLD AND SILVER CLOTH.
+
+_Cloth of Gold or Silver_ is made of threads of silk woven with metal,
+which is thrown to the surface. In its best form it is extremely
+expensive, varying from £4 to £6 per yard, according to the weight of
+gold introduced. Cloth of silver is generally £3 the yard.
+
+       *       *       *       *       *
+
+Inferior kinds of these cloths are made in which silk largely
+predominates, and shows plainly on the surface. They are frequently
+woven in patterns, such as diaper or diagonal lines, with a tie of red
+silk, in imitation of the diaper patterns of couched embroidery.
+
+They are chiefly used in ecclesiastical or heraldic embroidery; their
+great expense preventing their general use.
+
+
+
+
+[Decoration]
+
+CHAPTER III.
+
+STITCHES USED IN HAND EMBROIDERY AS TAUGHT AT THE ROYAL SCHOOL OF
+ART-NEEDLEWORK.
+
+
+To avoid pulling or puckering the work, care should be taken--firstly,
+that the needle is not too small, so as to require any force in
+drawing it through the material; secondly, the material must be held
+in a convex position over the fingers, so that the crewel or silk in
+the needle shall be looser than the ground; and thirdly, not to use
+too long needlefuls. These rules apply generally to all handworked
+embroideries.
+
+
+STITCHES.
+
+_Stem Stitch._--The first stitch which is taught to a beginner is
+"stem stitch" (wrongly called also, "crewel stitch," as it has no
+claim to being used exclusively in crewel embroidery). It is most
+useful in work done in the hand, and especially in outlines of
+flowers, unshaded leaves, and arabesque, and all conventional designs.
+
+[Illustration: No. 1.--STEM STITCH.]
+
+It may be best described as a long stitch forward on the surface, and
+a shorter one backward on the under side of the fabric, the stitches
+following each other almost in line from left to right. The effect on
+the wrong side is exactly that of an irregular back-stitching used by
+dressmakers, as distinguished from regular stitching. A leaf worked in
+outline should be begun at the lower or stalk end, and worked round
+the right side to the top, taking care that the needle is to the left
+of the thread as it is drawn out. When the point of the leaf is
+reached, it is best to reverse the operation in working down the left
+side towards the stalk again, so as to keep the needle to the right of
+the thread instead of to the left, as in going up.
+
+[Illustration: No. 2.]
+
+The reason of this will be easily understood: we will suppose the leaf
+to have a slightly serrated edge (and there is no leaf in nature with
+an absolutely smooth one). It will be found that in order to give this
+ragged appearance, it is necessary to have the points at which the
+insertions of the needle occur on the outside of the leaf: whereas if
+the stem stitch were continued down the left side, exactly in the same
+manner as in ascending the right, we should have the ugly anomaly of a
+leaf outlined thus:--
+
+[Illustration: No. 3.]
+
+If the leaf is to be worked "solidly," another row of stem stitching
+must be taken up the centre of it (unless it be a very narrow leaf),
+to the top. The two halves of the leaf must then be filled in,
+separately, with close, even rows of stem stitch, worked in the
+ordinary way, with the needle to the left of the thread. This will
+prevent the ugly ridge which remains in the centre, if it is worked
+round and round the inside of the outline. Stem stitch must be varied
+according to the work in hand. If a perfectly even line is required,
+care must be taken that the direction of the needle when inserted is
+in a straight line with the preceding stitch. If a slight serrature is
+required, each stitch must be sloped a little by inserting the needle
+at a slight angle, as shown in the illustration. The length of the
+surface stitches must vary to suit the style of each piece of
+embroidery.
+
+       *       *       *       *       *
+
+_Split Stitch_ is worked like ordinary "stem," except that the needle
+is always brought up _through_ the crewel or silk, which it splits, in
+passing.
+
+The effect is to produce a more even line than is possible with the
+most careful stem stitch. It is used for delicate outlines. Split
+stitch is rarely used in hand embroidery, being more suitable for
+frame work: but has been described here as being a form of stem
+stitch. The effect is somewhat like a confused chain stitch.
+
+       *       *       *       *       *
+
+_Satin Stitch_--_French Plumetis_--is one of those chiefly used in
+white embroidery, and consists in taking the needle each time back
+again almost to the spot from which it started, so that the same
+amount of crewel or silk remains on the back of the work as on the
+front. This produces a surface as smooth as satin: hence its name. It
+is chiefly used in working the petals of small flowers, such as
+"Forget-me-nots," and in arabesque designs where a raised effect is
+wanted in small masses.
+
+[Illustration: No. 4.--SATIN STITCH.]
+
+       *       *       *       *       *
+
+_Blanket Stitch_ is used for working the edges of table-covers,
+mantel valances, blankets, &c., or for edging any other material. It
+is simply a button-hole stitch, and may be varied in many ways by
+sloping the stitches alternately to right and left; by working two or
+three together, and leaving a space between them and the next set; or
+by working a second row round the edge of the cloth over the first
+with a different shade of wool.
+
+[Illustration: No. 5.--BLANKET STITCH.]
+
+       *       *       *       *       *
+
+_Knotted Stitch_, or _French Knot_, is used for the centres of such
+flowers as the daisy or wild rose, and sometimes for the anthers of
+others. The needle is brought up at the exact spot where the knot is
+to be: the thread is held in the left hand, and twisted once or twice
+round the needle, the point of which is then passed through the
+fabric close to the spot where it came up: the right hand draws it
+underneath, while the thumb of the left keeps the thread in its place
+until the knot is secure. The knots are increased in size according to
+the number of twists round the needle. When properly made, they should
+look like beads, and lie in perfectly even and regular rows.
+
+[Illustration: No. 6.--KNOTTED STITCH, or FRENCH KNOT.]
+
+This stitch is very ancient, and does not seem confined to any
+country, and the Chinese execute large and elaborate pieces of
+embroidery in it, introducing beautiful shading. A curious specimen of
+very fine knotting stitch was exhibited at the Royal School in 1878,
+probably of French workmanship. It was a portrait of St. Ignatius
+Loyola, not more than six inches in length, and was entirely executed
+in knots of such fineness, that without a magnifying glass it was
+impossible to discover the stitches. This, however, is a _tour de
+force_, and not quoted as worthy of imitation.
+
+There is one variety of this stitch, in which the thread is twisted a
+great many times round the needle, so as to form a sort of curl
+instead of a single knot. This is found in many ancient embroideries,
+where it is used for the hair of saints and angels in ecclesiastical
+work.
+
+Knotted stitch was also employed largely in all its forms in the
+curious and ingenious but ugly style in vogue during the reign of
+James I., when the landscapes were frequently worked in cross, or
+feather stitch, while the figures were raised over stuffing, and
+dressed, as it were, in robes made entirely in point lace, or
+button-hole stitches, executed in silk. The foliage of the trees and
+shrubs which we generally find in these embroidered pictures, as well
+as the hair in the figures, were worked in knotted stitches of varying
+sizes, while the faces were in tent stitch or painted on white silk,
+and fastened on to the canvas or linen ground.
+
+[Illustration: No. 7.--BULLION KNOT.]
+
+Another variety of knotting, which is still occasionally used,
+resembles _bullion_, being made into a long roll. A stitch of the
+length of the intended roll is taken in the material, the point of the
+needle being brought to the surface again in the same spot from which
+the thread originally started; the thread is then twisted eight or ten
+times round the point of the needle, which is drawn out carefully
+through the tunnel formed by the twists, this being kept in its place
+by the left thumb. The point of the needle is then inserted once more
+in the same place as it first entered the material, the long knot or
+roll being drawn so as to lie evenly between the points of insertion
+and re-appearance, thus treating the twisted thread as if it were
+bullion or purl.
+
+       *       *       *       *       *
+
+_Chain Stitch_ is but little used in embroidery now, although it may
+sometimes be suitable for lines. It is made by taking a stitch from
+right to left, and before the needle is drawn out the thread is
+brought round towards the worker, and under the point of the needle.
+
+[Illustration: No. 8.--CHAIN STITCH.]
+
+The next stitch is taken from the point of the loop thus formed
+forwards, and the thread again kept under the point, so that a regular
+chain is formed on the surface of the material.
+
+This chain stitch was much employed for ground patterns in the
+beautiful gold-coloured work on linen for dress or furniture which
+prevailed from the time of James I. to the middle of the eighteenth
+century. It gave the appearance of quilting when worked on linen in
+geometrical designs, or in fine and often-repeated arabesques.
+Examples of it come to us from Germany and Spain, in which the design
+is embroidered in satin stitch, or entirely filled in with solid
+chain stitch, in a uniform gold colour.
+
+Chain stitch resembles _Tambour work_, which we shall describe amongst
+framework stitches, though it is not at present practised at this
+School.
+
+       *       *       *       *       *
+
+_Twisted Chain_, or Rope stitch.
+
+[Illustration: No. 9.--TWISTED CHAIN.]
+
+Effective for outlines on coarse materials, such as blankets, carriage
+rugs, footstools, &c.
+
+It is like an ordinary chain, except that in place of starting the
+second stitch from the centre of the loop, the needle is taken back to
+half the distance behind it, and the loop is pushed to one side to
+allow the needle to enter in a straight line with the former stitch.
+It is not of much use, except when worked with double crewel or with
+tapestry wool; and should then have the appearance of a twisted rope.
+
+       *       *       *       *       *
+
+_Feather Stitch._--Vulgarly called "_long and short stitch_," "_long
+stitch_" and sometimes "_embroidery stitch_." We propose to restore to
+it its ancient title of feather stitch--"_Opus Plumarium_," so called
+from its supposed resemblance to the plumage of a bird.
+
+[Illustration: No. 10.--FEATHER STITCH.]
+
+We shall now describe it as used for handwork; and later (at page 37),
+as worked in a frame. These two modes differ very little in
+appearance, as the principle is the same, namely, that the stitches
+are of varying length, and are worked into and between each other,
+adapting themselves to the form of the design, but in handwork the
+needle is kept on the surface of the material.
+
+Feather Stitch is generally used for embroidering flowers, whether
+natural or conventional.
+
+In working the petal of a flower (such as we have chosen for our
+illustration), the outer part is first worked in with stitches which
+form a close, even edge on the outline, but a broken one towards the
+centre of the petal, being alternately long and short. These edging
+stitches resemble satin stitch in so far that the same amount of
+crewel or silk appears on the under, as on the upper side of the work:
+they must slope towards the narrow part of the petal.
+
+The next stitches are somewhat like an irregular "stem," inasmuch as
+they are longer on the surface than on the under side, and are worked
+in between the uneven lengths of the edging stitches so as to blend
+with them. The petal is then filled up by other stitches, which start
+from the centre, and are carried between those already worked.
+
+When the petal is finished, the rows of stitches should be so merged
+in each other that they cannot be distinguished, and when shading is
+used, the colours should appear to melt into each other.
+
+In serrated leaves, such as hawthorn or virginia creeper, the edging
+stitches follow the broken outline of the leaf instead of forming an
+even outer edge.
+
+It is necessary to master thoroughly this most important stitch, but
+practice only can make the worker perfect.
+
+The work should always be started by running the thread a little way
+in front of the embroidery. Knots should never be used except in rare
+cases, when it is impossible to avoid them. The thread should always
+be finished off on the surface of the work, never at the back, where
+there should be no needless waste of material. No untidy ends or knots
+should ever appear there; in fact, the wrong side should be quite as
+neat as the right. It is a mistake to suppose that pasting will ever
+do away with the evil effects of careless work, or will steady
+embroidery which has been commenced with knots, and finished with
+loose ends at the back.
+
+The stitches vary constantly according to their application, and good
+embroiderers differ in their manner of using them: some preferring to
+carry the thread back towards the centre of the petal, on the surface
+of the work, so as to avoid waste of material; others making their
+stitches as in satin stitch--the same on both sides, but these details
+may be left to the intelligence and taste of the worker, who should
+never be afraid of trying experiments, or working out new ideas.
+
+Nor should she ever fear to unpick her work; for only by experiment
+can she succeed in finding the best combinations, and, one little
+piece ill done, will be sufficient to spoil her whole embroidery, as
+no touching-up can afterwards improve it.
+
+       *       *       *       *       *
+
+We have now named the principal stitches used in hand embroidery,
+whether to be executed in crewel or silk.
+
+There are, however, numberless other stitches used in crewel
+embroidery: such as ordinary stitching, like that used in plain
+needlework, in which many designs were formerly traced on quilted
+backgrounds--others, again, are many of them lace stitches, or forms
+of herringbone, and are used for filling in the foliage of large
+conventional floriated designs, such as we are accustomed to see in
+the English crewel work of the sixteenth and seventeenth centuries, on
+a twilled cotton material, resembling our modern Bolton sheeting.
+
+It would be impossible to describe or even enumerate them all; as
+varieties may be constantly invented by an ingenious worker to enrich
+her design, and in lace work there are already 100 named stitches,
+which occasionally are used in decorative embroidery. Most of these,
+if required, can be shown as taught at the Royal School of
+Art-Needlework, and are illustrated by samplers.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+CHAPTER IV.
+
+FRAMES AND FRAMING.
+
+
+Before proceeding to describe the various stitches used in frame
+embroidery, we will say a few words as to the frame itself, the manner
+of stretching the material in it, and the best and least fatiguing
+method of working at it.
+
+The essential parts of an embroidery frame are: first, the bars, which
+have stout webbing nailed along them, and mortice holes at the ends;
+second, the stretchers, which are usually flat pieces of wood,
+furnished with holes at the ends to allow of their being fastened by
+metal pegs into the mortice holes of the bars when the work is
+stretched.
+
+In some cases the stretchers are fastened into the bars by strong iron
+screws, which are held by nuts.
+
+
+FRAMING.
+
+In choosing a frame for a piece of embroidery we must see that the
+webbing attached to the sides of the bar is long enough to take the
+work in one direction. Begin by sewing the edge of the material
+closely with strong linen thread on to this webbing. If the work is
+too long to be put into the frame at one time (as in the case of
+borders for curtains, table-covers, &c.), all but the portion about to
+be worked should be rolled round one bar of the frame, putting silver
+paper and a piece of wadding between the material and the wood, so as
+to prevent its being marked.
+
+The stretchers should then be put in and secured with the metal pegs.
+
+A piece of the webbing having been previously stitched on to the sides
+of the material, it should now be braced with twine by means of a
+packing needle, passing the string over the stretchers between each
+stitch taken in the webbing, and, finally, drawing up the bracing
+until the material is strained evenly and tightly in the frame. If the
+fabric is one which stretches easily, the bracings should not be drawn
+too tightly.
+
+For small pieces of work a deal hand-frame, morticed at the corners,
+will suffice, and this may be rested on the table before the worker,
+being held in its position by two heavy leaden weights, covered with
+leather or baize, in order to prevent them from slipping. It should be
+raised off the table to a convenient height, thus saving the worker
+from stooping over her frame, which tires the eyes, and causes the
+blood to flow to the head.
+
+There is no doubt that a well-made standing-frame is a great
+convenience, as its position need not be disturbed, and it can be
+easily covered up and put aside when not in use. It requires, however,
+to be very well made, and should, if possible, be of oak or mahogany,
+or it will warp and get out of order. It must also be well weighted
+to keep it steady.
+
+For a large piece of work it is necessary to have a long heavy frame
+with wooden trestles, on which to rest it. The trestles should be made
+so as to enable the frame to be raised or lowered at will.
+
+A new frame has recently been invented and is sold by the Royal
+School, which, being made with hinges and small upright pins, holds
+the ends of the material firmly, so that it can be rolled round and
+round the bar of the frame without the trouble of sewing it on to the
+webbing.
+
+When a frame is not in use, care should be taken that it does not
+become warped from being kept in too dry or too hot a place, as it is
+then difficult to frame the work satisfactorily.
+
+It will be found useful to have a small basket, lined with holland or
+silk, fastened to the side of the frame, to hold the silks, thimbles,
+scissors, &c., needed for the work. Two thimbles should be used, one
+on each hand, and the best are old silver or gold ones, with all the
+roughness worn off, or ivory or vulcanite.
+
+The worker ought to wear a large apron with a bib to save her dress,
+and a pair of linen sleeves to prevent the cuffs from fraying or
+soiling her work.
+
+Surgeon's bent scissors are useful for frame embroidery, but they are
+not necessary, as ordinary sharp-pointed scissors will answer every
+purpose.
+
+When silk, satin, or velvet is not strong enough to bear the strain of
+framing and embroidering, it must be backed with a fine cotton or
+linen lining. The "backing" in this case is first framed, as described
+above, and the velvet or satin must then be laid on it, and first
+fastened down with pins; then sewn down with herringbone stitch,
+taking care that it is kept perfectly even with the thread of the
+"backing," and not allowed to wrinkle or blister.
+
+It is most important that a worker should learn to use equally both
+hands, keeping the right hand above the frame till the arm is tired,
+then letting the left take its place while the right goes below.
+
+A cover should be made large enough to envelop both the upper and
+under portions of the work, and to be fastened down to the sides, so
+as to protect it from dust when it is not being used, and during work
+it should be kept over the portion of the embroidery not actually in
+hand.
+
+Lastly, a good light should be chosen, so as not to try the eyes.
+
+Many materials can only be embroidered in a frame, and most work is
+best so done. A greater variety of stitches is possible, and on the
+stretched flat surface the worker can see the whole picture at once,
+and judge of the effect of the colours and shading as she carries out
+the design. It is the difference between drawing on stretched or
+crumpled paper.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+CHAPTER V.
+
+STITCHES USED IN FRAME EMBROIDERY.
+
+
+_Feather Stitch._--In framework, as in handwork, we restore the
+ancient name of _Feather work_ or stitch--_Opus Plumarium_. We have
+already said that it was so-called from its likeness to the plumage of
+a bird.
+
+This comes from the even lie of the stitches, which fit into and
+appear to overlap each other, presenting thus a marked contrast to the
+granulated effect of tent stitches, and the long ridges of the _Opus
+Anglicum_, having no hard lines as in stem stitch, or flat surfaces as
+in satin stitch.
+
+Feather stitch, when worked in a frame, is exactly the same as that
+worked in the hand, except that it is more even and smooth. The needle
+is taken backwards and forwards through the material in stitches of
+varying lengths; the next row always fitting into the vacant spaces
+and projecting beyond them, so as to prepare for the following row.
+
+Every possible gradation of colour can be effected in this way, and
+it applies to every form of design--floral or arabesque. Natural
+flowers have mostly been worked in this stitch.
+
+       *       *       *       *       *
+
+A skilful embroiderer will be careful not to waste more silk than is
+absolutely necessary on the back of the work, while, at the same time,
+she will not sacrifice the artistic effect by being too sparing of her
+back stitches.
+
+[Decoration]
+
+
+[Decoration]
+
+"COUCHING," OR LAID EMBROIDERY.
+
+This name is properly applied to all forms of embroidery in which the
+threads of crewel, silk, or gold are laid on the surface, and stitched
+on to it by threads coming from the back of the material. Under this
+head may be classed as varieties the ordinary "laid backgrounds,"
+"diaper couchings," "brick stitch," "basket stitch," and the various
+forms of stuffed couchings which are found in ancient embroideries.
+Couching outlines are usually thick strands of double crewel, tapestry
+wool, filoselle, cord, or narrow ribbon laid down and stitched at
+regular intervals by threads crossing the couching line at right
+angles. They are used for coarse outline work, or for finishing the
+edges of appliqué.
+
+       *       *       *       *       *
+
+_Plain Couching_, or "_Laid Embroidery_."--The threads are first laid
+evenly and straight from side to side of the space to be filled in,
+whether in the direction of warp or woof depends on the pattern; the
+needle being passed through to the back, and brought up again not
+quite close, but at a sufficient distance to allow of an intermediate
+stitch being taken backwards; thus the threads would be laid
+alternately first, third, second, fourth, and so on. This gives a
+better purchase at each end than if they were laid consecutively in a
+straight line. If the line slants much, it is not necessary to
+alternate the rows. When the layer is complete, threads of metal, or
+of the same or different colour and texture, are laid across at
+regular intervals, and are fixed down by stitches from the back.
+
+[Illustration: No. 11.--PLAIN COUCHING.]
+
+The beauty of this work depends upon its regularity.
+
+This kind of embroidery, which we find amongst the old Spanish,
+Cretan, and Italian specimens, is very useful where broad, flat
+effects without shading are required; but unless it is very closely
+stitched down, it is not durable if there is any risk of its being
+exposed to rough usage. It is possible to obtain very fine effects of
+colour in this style of work, as was seen in the old Venetian curtains
+transferred and copied for Louisa, Lady Ashburton. These were shown at
+the time of the Exhibition of Ancient Needlework at the School in
+1878.
+
+Ancient embroidery can be beautifully restored by grounding in "laid
+work," instead of transferring it where the ground is frayed, and the
+work is worthy of preservation. It must be stretched on a new backing,
+the frayed material carefully cut away, and the new ground couched as
+we have described.
+
+In other varieties of couching, under which come the many forms of
+diapering, the threads are "laid" in the same manner as for ordinary
+couching; but in place of laying couching lines across these, the
+threads of the first layer are simply stitched down from the back,
+frequently with threads of another colour.
+
+       *       *       *       *       *
+
+_Net-patterned Couching._--The fastening stitches are placed
+diagonally instead of at right angles, forming a network, and are kept
+in place by a cross-stitch at each intersection.
+
+This style of couching was commonly used as a ground in ecclesiastical
+work of the fourteenth and fifteenth centuries.
+
+       *       *       *       *       *
+
+_Brick Stitch._--The threads are laid down two together, and are
+stitched across at regular intervals. The next two threads are then
+placed together by the side, the fastening stitches being taken at the
+same distance from each other, but so as to occur exactly between the
+previous couplings. Thus giving the effect of brickwork.
+
+       *       *       *       *       *
+
+_Diaper Couchings._--By varying the position of the fastening stitches
+different patterns may be produced, such as diagonal crossings,
+diamonds, zigzags, curves, &c.
+
+[Illustration: No. 12.--THREE ILLUSTRATIONS OF DIAPER COUCHINGS.]
+
+They are properly all gold stitches; but purse silk, thin cord, or
+even untwisted silk may be used.
+
+A wonderful example of the many varieties of diapering is to be seen
+in the South Kensington Museum, No. 689. It is modern Belgian work,
+executed for the Paris Exhibition of 1867. As a specimen of fine and
+beautiful diapering in gold, this could scarcely be surpassed.
+
+       *       *       *       *       *
+
+_Basket Stitch_ is one of the richest and most ornamental of these
+ancient modes of couching. Rows of "stuffing," manufactured in the
+form of soft cotton cord, are laid across the pattern and firmly
+secured. Across these are placed gold threads, two at a time, and
+these are stitched down over each two rows of stuffing. The two gold
+threads are turned at the edge of the pattern, and brought back close
+to the last, and fastened in the same way. Three double rows of gold
+may be stitched over the same two rows of stuffing.
+
+The next three rows must be treated as brick stitch, and fastened
+exactly between the previous stitchings, and so on, until the whole
+space to be worked is closely covered with what appears to be a golden
+wicker-work.
+
+Strong silk must be used for the stitching.
+
+[Illustration: No. 13.--BASKET STITCH.]
+
+The Spanish School of Embroidery has always been famed for its
+excellence in this style, and has never lost the art. The
+"Embroiderers of the King," as they are called, still turn out
+splendid specimens of this heavy and elaborate work, which are used
+for the gorgeous trappings of the horses of the nobility on gala days
+and state occasions.
+
+A beautiful specimen was exhibited at the Royal School of
+Art-Needlework, in 1878, by the Countess Brownlow, of an
+altar-hanging, entirely worked in basket stitch, in gold on white
+satin, and a modern example is still to be seen at the School in a
+large counterpane, which was worked for the Philadelphia Exhibition
+from an ancient one also belonging to Lady Brownlow.
+
+The Spanish embroiderers used these forms of couching over stuffing
+with coloured silks as well as gold, and produced wonderfully rich
+effects. One quilt exhibited by Mrs. Alfred Morrison in 1878 was a
+marvel of colouring and workmanship.
+
+Basket stitch is mostly used now for church embroidery, or for small
+articles of luxury, such as ornamental pockets, caskets, &c.
+
+Diapering is generally employed in the drapery of small figures, and
+in ecclesiastical work.
+
+       *       *       *       *       *
+
+Many fabrics are manufactured in imitation of the older diapered
+backgrounds, and are largely used to replace them. Among these are the
+material known as silk brocatine, and several kinds of cloth of gold
+mentioned in our list of materials.
+
+[Decoration]
+
+
+[Decoration]
+
+CUSHION STITCHES.
+
+_Cushion Stitch_--the ancient _Opus Pulvinarium_ of the Middle Ages,
+likewise called "Cross Stitch"--may lay claim to be one of the most
+ancient known in embroidery. There have been many varieties, but the
+principle is the same in all. It is worked on and through canvas, of
+which the threads, as in tapestry, regulate the stitches.
+
+After six centuries of popularity it finally died out within the last
+few years as "Berlin wool work;" but will doubtless be revived again
+in some form after a time, as being well fitted for covering furniture
+on account of its firmness and durability.
+
+In Germany and Russia it is still much used for embroidering
+conventional designs on linen; and the beautiful Cretan and Persian
+work of which so much has lately been in the market, is executed in
+this style.
+
+       *       *       *       *       *
+
+_Tent Stitch_ may be placed first under this class, in which the
+thread coming from beneath is carried over a single cross of the warp
+and woof of the canvas.
+
+[Illustration: No. 14.--TENT STITCH.]
+
+       *       *       *       *       *
+
+_Simple Cross Stitch._--The worsted or silk is brought up again to the
+surface, one thread to the left of the spot where the needle was
+inserted, and is crossed over the first or "tent" stitch, forming a
+regular and even cross on the surface.
+
+[Illustration: No. 15.--SIMPLE CROSS STITCH.]
+
+       *       *       *       *       *
+
+_Persian Cross Stitch._--The peculiarity of this stitch is that in the
+first instance the silk or worsted is carried across two threads of
+the canvas ground, and is brought up in the intermediate space. It is
+then crossed over the latter half of the original stitch, and a fresh
+start is made.
+
+[Illustration: No. 16.--PERSIAN CROSS STITCH.]
+
+Much of the beauty of Persian embroidery is produced by the
+irregularity of the crossing; the stitches being taken in masses, in
+any direction that seems most suitable to the design in hand, instead
+of being placed in regular rows, with the stitches all sloping in one
+direction, as is the case with the modern "Berlin work," this, with
+the happy choice of colours for which the Persians are so justly
+famous, produces a singular richness of effect.
+
+Allied to these canvas stitches and having their origin in them, are
+the numerous forms of groundings, which are now worked on coarse
+linens, or in fact on any fabric; and have sometimes, although
+incorrectly, been called darning stitches, probably from their
+resemblance to the patterns which are found on samplers, for darning
+stockings, old table linen, &c. &c. Almost any pattern can be produced
+in this style of embroidery, simply by varying the relative length of
+the stitches.
+
+Following the nomenclature of the committee which named and catalogued
+the specimens of ancient needlework exhibited in the South Kensington
+Museum in 1872, we have classed all the varieties of these grounding
+stitches under the name of Cushion stitch.
+
+       *       *       *       *       *
+
+_Cushion Stitches_ are taken as in laid embroidery, so as to leave all
+the silk and crewel on the surface, and only a single thread of the
+ground is taken up; but in place of lying in long lines, from end to
+end of the material, they are of even length, and are taken in a
+pattern, such as a waved line or zigzag; so that when finished the
+ground presents the appearance of a woven fabric.
+
+[Illustration: No. 17.--CUSHION STITCH.]
+
+We give an illustration of one variety of cushion stitch, which may
+either be worked as described here, or in the hand, as in the woodcut.
+
+A good modern example of this background was exhibited in the School,
+on a bed-hanging, worked for the Honourable Mrs. Percy Wyndham, from a
+design by Mr. W. Morris. In the Exhibition of Ancient Needlework last
+year were many beautiful specimens: notably one enormous wall-hanging
+of Italian seventeenth-century work, lent by Earl Spencer. Many of the
+fabrics known as "Tapestries" are woven imitations of these grounds,
+and carry embroidery so perfectly, that on the whole, except for small
+pieces, it seems a waste of hand-labour to work them in, as the effect
+is not very far removed from that of woven material, while the expense
+is, of course, very much greater.
+
+The ancient specimens of this stitch are worked on a coarse canvas,
+differing greatly from that which was recently used for Berlin wool
+work.
+
+It cannot now be obtained except by having it especially made to
+order. It has been replaced by a coarse hand-woven linen for the use
+of the School, but the ancient canvas is vastly superior, as its
+looseness makes it easier for the worker to keep her stitches in
+regular lines.
+
+In some ancient specimens the design is worked in feather stitch, and
+the whole ground in cushion stitch. In others the design is in fine
+cross or tent stitch. There are several very beautiful examples of
+this kind of embroidery in the South Kensington Museum--Italian, of
+the seventeenth century.
+
+A variety of cushion stitch, which we frequently see in old Italian
+embroideries, was taught in the Royal School of Art-Needlework by Miss
+Burden, and used under her direction in working flesh in some large
+figures designed by Mr. Walter Crane for wall decoration, and
+exhibited at the Centennial Exhibition at Philadelphia. The stitches
+are kept of one uniform length across the design. The next row is
+started from half the depth of the preceding stitch and kept of the
+same length throughout. Its beauty consists in its perfect regularity.
+If worked in the hand, the needle is brought back underneath the
+material as in satin stitch; but in the frame all the silk or worsted
+can be worked on the surface, with the exception of the small
+fastening stitches.
+
+The effect when finished is that of a woven fabric.
+
+It is really more suitable in its original character of a ground
+stitch than for working flesh. We have given an illustration of it,
+because we are so frequently asked to describe "Burden stitch."
+
+[Illustration: No. 18.--"BURDEN" STITCH.]
+
+This form of cushion stitch worked extremely fine has been used for
+flesh in very ancient embroideries, even before the introduction of
+the _Opus Anglicanum_, and is found in the works of the Flemish,
+German, Italian, and French schools of the fourteenth and fifteenth
+centuries.
+
+It seems to have been worked in a frame on fine canvas, or on a fabric
+of very even threads, and the stitches so taken that the same amount
+of silk appears on the back as on the surface of the embroidery.
+
+In a toilet cover of ancient Spanish work recently added to the South
+Kensington Museum, the design is entirely embroidered in varieties of
+_cushion stitch_ in black floss silk upon a white linen ground. It is,
+however, extremely rare to see this stitch used in any other way than
+as a ground, except in actual canvas work; in which we often see
+varieties of it used to fill in portions of the design, while another
+stitch will be devoted entirely to the grounding.
+
+These stitches were often executed on an open net.
+
+       *       *       *       *       *
+
+_Stem Stitch_ is used in frame embroidery, and does not differ in any
+way from that described at page 20, under "handwork," except that the
+needle is of course worked through the material with both hands, as is
+the case in all frame work.
+
+The same may be said of "split stitch;" but this is more frequently
+(because more easily) worked in a frame than done in the hand.
+
+       *       *       *       *       *
+
+_Japanese Stitch_ is a modification of stem, but its peculiarity
+consists in the worker taking very long stitches, and then bringing
+the needle back to within a short distance of the first
+starting-place; so that they may be in even parallel lines, advancing
+by gradation from left to right. It is principally used for working
+water or ground in a landscape.
+
+[Illustration: No. 19.]
+
+       *       *       *       *       *
+
+_Tambour Work_ has fallen into disuse, but was greatly admired when
+our grandmothers in the last century sprigged Indian muslins or silks
+with coloured flowers for dresses, and copied or adapted Indian
+designs on fine linen coverlets. These were very refined, but no more
+effective than a good chintz. There are exquisite specimens of the
+stitch to be seen in most English homes, and in France it was in vogue
+in the days of Marie Antoinette. Its use is now almost confined to
+the manufacture of what is known as Irish or Limerick lace, which is
+made on net in the old tambour frames, and with a tambour or crochet
+hook. The frame is formed of two rings of wood or iron, made to fit
+loosely one within the other. Both rings are covered with baize or
+flannel wound round them till the inner one can only just be passed
+through the outer. The fabric to be embroidered is placed over the
+smaller hoop, and the other is pressed down over it and firmly fixed
+with a screw. A small wooden frame of this description is universally
+used in Ireland for white embroidery on linen or muslin. In tambour
+work the thread is kept below the frame and guided by the left hand,
+while the hook or crochet needle is passed from the surface through
+the fabric, and brings up a loop of the thread through the preceding
+stitch, and the needle again inserted, forming thus a close chain on
+the surface of the work.
+
+The difficulty of working chain stitch in a frame probably led to the
+introduction of a hook for this class of embroidery.
+
+       *       *       *       *       *
+
+Perhaps we ought not to omit all mention of the _Opus Anglicum_ or
+_Anglicanum_ (English work), though it is strictly ecclesiastical, and
+therefore does not enter into our province.
+
+Dr. Rock[1] and other authorities agree in thinking that the
+distinctive feature of this style, which was introduced about the end
+of the thirteenth century, was a new way of working the flesh in
+subjects containing figures.
+
+Instead of the faces being worked in rows of straight stitches (like
+that described as Burden stitch on page 50) as we see in the old
+Flemish, German, and Italian work of the same period, the English
+embroiderers invented a new stitch, which they commenced in the centre
+of the cheek and worked round and round--gradually letting the lines
+fall into outer circles of ordinary feather stitch.
+
+Having thus prepared an elastic surface, they proceeded to model the
+forms and make lights and shadows by pressing the work into hollows,
+with small heated metal balls, the work being probably damped as a
+preparation for this process. So skilfully did they carry out their
+intention, that the effect is still the same after the lapse of five
+centuries. We must unwillingly add that, though much appreciated in
+the thirteenth century, the effect is rather curious and quaint than
+beautiful.
+
+The Syon cope in the Kensington Museum, of the thirteenth century, is
+a fine specimen of this attempt to give the effect of bas-relief to
+the sacred subjects depicted. The whole cope shows how various were
+the stitches worked at that period. On examination with a microscope,
+the flesh stitch appears to be merely a fine split stitch worked
+spirally, as we now work fruit.
+
+
+FOOTNOTE:
+
+[1] See Dr. Rock's preface to his "Descriptive Catalogue of TEXTILE
+FABRICS" in the Kensington Museum.
+
+
+[Decoration]
+
+CUT WORK OR APPLIQUÉ.
+
+Decorative cut work is of infinite variety, but may be divided into
+two groups, "inlaid appliqué" and "onlaid appliqué."
+
+       *       *       *       *       *
+
+"_Inlaid_" appliqué consists in tracing the same pattern on two
+different fabrics, say a gold cloth and a crimson velvet; then cutting
+both out carefully, and inlaying the gold flowers into the crimson
+velvet ground, and the crimson flowers into the gold ground.
+
+This kind of work may be seen constantly in Italian rooms of the
+seventeenth century, and the alternate breadths of crimson and gold
+give a very fine effect as of pilasters, and in general are enriched
+by a valance applied at the top, and a plain border at the bottom.
+
+The _inlaid_ part is sewn down with thread, and covered with cord or
+couchings of floss silk. Sometimes narrow ribbons or fine strips of
+cut silk are stitched over the edges to keep them down flat.
+
+       *       *       *       *       *
+
+"_Onlaid_ appliqué" is done by cutting out the pattern in one or many
+coloured materials, and laying it down on an intact ground of another
+material. Parts are often shaded with a brush, high lights and details
+worked in with stitches of silk, and sometimes whole flowers or
+figures are embroidered, cut out, and couched down. This sort of work
+is extremely amusing, and gives scope to much play of fancy and
+ingenuity, and when artistically composed it is sometimes very
+beautiful.
+
+Another style of "onlaid appliqué" is only worked in solid outlines,
+laid down in ribbon or cord, sometimes in both. This was much in vogue
+in the time of Queen Anne, and for a hundred years after.
+
+[Illustration: No. 20.]
+
+The ribbon, very soft and thick, sometimes figured, sometimes plain,
+was manufactured with a stout thread on each side, which could be
+drawn, and so regulate the ribbon and enable it to follow the flow of
+the pattern.
+
+The German, French, and Italians often enriched this style of work
+with a flower, embroidered and applied thrown in here and there. Very
+small fringes also were introduced into the pattern, or arabesqued.
+
+"Cut work," like the appellation "Feather stitch," has a totally
+different meaning when it is given to white embroidery, and it has
+nothing to do with appliqué, but takes its name from the fact that the
+pattern is mostly cut or punched out, and then edged with button-hole
+or plain overlaid stitch.
+
+In working appliqué it is best, although not absolutely necessary, to
+have the design traced on the material to be used as a ground, which
+must then be framed as for ordinary embroidery. A copy of the design
+must be made on tracing-paper, and the outlines carefully pricked out
+with a needle or pin, laying the paper on several folds of flannel or
+cloth for greater convenience in pricking.
+
+A pad, made of a long strip of flannel about four inches wide, rolled
+very tightly, must be made ready, and some pounce made of about equal
+quantities of finely powdered charcoal and pipe-clay. The leaf or
+scroll which is wanted for the work must now be selected, and the
+pricked design laid face downwards on the fabric which is to be
+applied. The flannel pad must be dipped in the pounce and rubbed well
+into the outlines of the pricked design, which must be held firmly in
+its place with the left hand. On lifting the tracing-paper, the design
+will be found to be marked out on the material distinctly enough for
+it to be cut out with a sharp pair of scissors. The pounce can
+afterwards be dusted off.
+
+The leaf or scroll having been thus cut out must be fastened in its
+place on the design with small pins, and then carefully sewn down. The
+edges are then finished off by stitches of embroidery or by a couching
+line (_see_ page 39). The stems are frequently worked in with stem
+stitching or couching, and the leaves enriched by large veinings of
+crewel or silk work, or in conventional designs, with some of the many
+varieties of herringboning.
+
+       *       *       *       *       *
+
+_Gold Embroidery_ on velvet or satin grounds requires to be worked on
+a strong even linen, and then cut out and applied in the same manner
+as ordinary appliqué. Where a particularly rich and raised effect is
+required any embroidery may be treated in this manner. It is of course
+more troublesome, but quite repays the labour spent upon it by the
+increased beauty of the work.
+
+The transfer of old embroideries on to a new ground is usually done by
+appliqué, although we have already described a better process at page
+39.
+
+In transferring old needlework it is necessary to cut away the ground
+close to the edge of the embroidery. It is then placed on the new
+material, which has been previously framed, and the outline tacked
+down. The best way of finishing is then to work in the edges with
+silks _dyed exactly to match_ the colours in the old work. If properly
+done, it is impossible to discover which are old and which new
+stitches, and only by examining the back, that the work has been
+transferred at all.
+
+We used the words "_dyed to match_" advisedly, as it is impossible
+otherwise to procure new silks which will correspond with the old.
+
+Embroidery transferred in this manner is as good as it was in its
+first days, and in many cases is much better, for time often has the
+same mellowing and beautifying effect in embroideries as in paintings.
+
+A less expensive, but also a much less charming, method is to edge
+the old embroidery after applying it to the new ground with a cord or
+line of couching.
+
+With this treatment it is, however, always easy to perceive that the
+work has been transferred.
+
+For almost all kinds of appliqué it is necessary to back the material;
+and it is done in this manner:--
+
+A piece of thin cotton or linen fabric is stretched tightly on to a
+board with tacks or drawing-pins. It is then covered smoothly, and
+completely, with paste. The wrong side of the velvet, satin, serge, or
+whatever is to be used in the work, is then pressed firmly down on the
+pasted surface with the hands, and then left to dry.
+
+In giving the foregoing account of the most typical stitches, we hope
+we have succeeded in showing the principle on which each should be
+worked. They form the basis of all embroidery, and their numerous
+modifications cannot be fully discussed in the limit we have
+prescribed to ourselves. It is sufficient to observe that the
+instruction we have tried to impart is that which it is absolutely
+necessary for the needleworker to master thoroughly before she
+attempts to cope with the artistic element of her work. That it is a
+creative art is undoubted, for no two pieces of embroidery are alike
+unless executed by the same hand, and from the same design.
+
+For the advanced artist there is a store of instruction in the fine
+collection at South Kensington, which, seen by the light of Dr. Rock's
+invaluable "Catalogue of Textile Fabrics," is an education in itself,
+of which the ethnological as well as the artistic interest cannot be
+over-estimated, and it is within the reach of all who can find time to
+bestow upon it.
+
+
+STRETCHING AND FINISHING.
+
+Always avoid using an iron to embroidery. It flattens the work, and is
+apt to injure the colour. For embroidery on linen, unless very badly
+done, it will be found quite sufficient to stretch the work as tightly
+as possible with white tacks or drawing-pins on a clean board, and
+damp it evenly with a sponge. Leave it until quite dry, and then
+unfasten it, and, if necessary, comb out the fringe. If it is new
+work, it should not be fringed until after it has been stretched.
+
+For crewel work on cloth or serge, it is sometimes necessary to rub a
+little shoemaker's paste on to the back of the embroidery, while it is
+tightly stretched. When pasting can be avoided, it is always better to
+do without it; but it serves to steady the work in some cases, and
+makes it wear better. Unless it is absolutely necessary, it is better
+not to paste the back of screen panels, whatever may be the materials
+on which they are worked; but more especially satin or velvet, as it
+interferes with the straining of the work by the cabinet-maker.
+
+       *       *       *       *       *
+
+We give a recipe for EMBROIDERY PASTE, which is said to be
+excellent:--Three and a half spoonfuls of flour, and as much powdered
+resin as will lie on a half-penny. Mix these well and smoothly with
+half a pint of water, and pour it into an iron saucepan. Put in one
+teaspoonful of essence of cloves, and go on stirring till it boils.
+Let it boil for five minutes, and turn it into a gallipot to cool.
+
+    N.B.--Let the gallipot have in it a muslin bag: the
+    water can then be drained out from time to time, and the
+    paste will be much better.
+
+
+CLEANING.
+
+Good crewels will always wash or clean without injury; but the cheap
+and inferior worsteds will not do so. Ordinary crewel work on linen
+may be washed at home, by plunging it into a lather made by water in
+which bran has been boiled, or even with simple soap-suds, so long as
+no soda or washing-powder is used. It should be carefully rinsed
+without wringing, and hung up to dry. When almost dry, it may be
+stretched out with drawing-pins on a board, and will not require
+ironing.
+
+Embroidery on cloth or serge may often be cleaned with benzoline,
+applied with a piece of clean flannel; but in any case, where a piece
+of work is much soiled, or in the case of fine d'oyleys, it is safer
+to send it to the cleaner's.
+
+       *       *       *       *       *
+
+    _Messrs. Pullar and Son, Perth Dye Works, are very
+    successful in cleaning all kinds of embroidery without
+    injuring it._
+
+    _In many cases it may be well dyed--the silk in which
+    the design is worked always showing a different shade
+    from the ground._
+
+
+
+
+[Decoration]
+
+APPENDIX.
+
+DESIGNS FOR EMBROIDERY.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+DESCRIPTION OF THE PLATES.
+
+
+No. 1.--DESIGN FOR WALL-PANEL. By Mr. E. Burne-Jones.
+
+    Worked in outline on neutral-tinted hand-woven linen in
+    brown crewel. This style of embroidery is very suitable
+    for internal decoration, where a good broad effect is
+    required without a large amount of labour. A frieze or
+    dado, or complete panelling of a room, may be worked in
+    this way at a comparatively small cost.
+
+No. 2.--DESIGN FOR WALL OR SCREEN PANEL. By Mr. Walter Crane.
+Representing the Four Elements.
+
+    Embroidered in crewels on a silk ground of dead gold
+    colour partly outlined.
+
+No. 3.--DESIGN FOR QUILT OR TABLE COVER. By Mr. George Aitchison.
+
+    A border of sunflowers and pomegranates, with powderings
+    of the same for the centre.
+
+    This has been embroidered on cream-coloured satin de
+    chine in solid crewel work, with charming effect, both
+    for a counterpane and curtains.
+
+No. 4.--DESIGN FOR WALL PANELLING OR CURTAINS. By Mr. Fairfax Wade.
+
+    To be worked in outline and solid embroidery, in silk or
+    filoselle, on satin de chine.
+
+No. 5.--DESIGN FOR QUILT OR COUVRE-PIED. By Mr. Fairfax Wade. To
+introduce squares of Greek or guipure lace.
+
+    Worked in golden shades of silk on linen, lined with
+    silk of the same colour. The embroidery is partly solid
+    and partly outline, very fine and delicate.
+
+No. 6.--DESIGN FOR SOFA-BACK COVER. By Mr. W. Morris.
+
+    Worked on hand-woven linen in two shades of
+    gold-coloured silks. Outline.
+
+No. 7.--DESIGN FOR SOFA-BACK COVER OR PIANO PANEL. By Mr. George
+Aitchison.
+
+    Worked in two shades of blue silk on hand-woven linen or
+    satin de chine.
+
+No. 8.--DESIGN FOR APPLIQUÉ. By Mr. Fairfax Wade.
+
+Nos. 9 and 10.--DESIGNS FOR CHAIR-SEATS OR CUSHIONS. By Miss Jekyll.
+Periwinkle and Iris.
+
+No. 11.--DESIGN FOR BORDER. By Miss Webster. To be worked in outline
+in silk or crewel.
+
+No. 12.--DESIGN FOR BORDER FOR CURTAIN OR TABLE COVER. Designed by
+Miss Burnside, of the R.S.A.N.
+
+No. 13.--TABLE BORDER. Designed by Mr. Fairfax Wade. Conventional
+Buttercup. To be worked either solid or in outline.
+
+No. 14.--TABLE BORDER. Designed by Mr. Walter Crane. For solid
+embroidery in crewel or silk.
+
+No. 15.--TABLE BORDER. Designed by Mr. Walter Crane. For solid
+embroidery in crewel or silk.
+
+No. 16.--BORDER. Designed by Miss Mary Herbert, R.S.A.N. For crewel or
+silk embroidery, either in outline or solid.
+
+No. 17.--TWO PANELS. Designed by Rev. Selwyn Image. Representing Juno
+and Minerva.
+
+No. 18.--TWO PANELS. Designed by Rev. Selwyn Image. Representing Venus
+and Proserpine. To be worked in outline on linen, as No. 1, or in
+coloured silks on a groundwork of satin de chine.
+
+No. 19.--WALL HANGING. Designed by Mr. W. Morris. To be worked on
+linen in outline.
+
+No. 20.--WALL HANGING. Designed by Mr. W. Morris. Worked on linen.
+Background in Silk Cushion Stitch.
+
+No. 21.--BORDER FOR APPLIQUÉ. Copied from Ancient Italian work.
+
+No. 22.--ITALIAN DESIGN. A Specimen. Showing the application of
+transposed Appliqué.
+
+
+[Illustration: 1. DESIGN FOR WALL PANEL. _By E. Burne-Jones._]
+
+
+[Illustration: 2. DESIGN FOR WALL PANEL. _By Walter Crane._]
+
+
+[Illustration: 3. DESIGN FOR A QUILT OR TABLE COVER. _By George
+Aitchison._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 4. DESIGN FOR WALL PANEL OR CURTAIN. _By Fairfax
+Wade._]
+
+
+[Illustration: 5. DESIGN FOR A QUILT OR COUVRE-PIED. _By Fairfax
+Wade._]
+
+
+[Illustration: 6. DESIGN FOR A SOFA-BACK COVER. _By William Morris._]
+
+
+[Illustration: 7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL. _By
+George Aitchison._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 8. DESIGN FOR APPLIQUÉ. _By Fairfax Wade._]
+
+
+[Illustration: DESIGNS FOR CHAIR-SEATS OR CUSHIONS. (9. PERIWINKLE 10.
+IRIS.) _By Miss Jekyll._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 11. DESIGN FOR A BORDER. _By Miss Webster._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 12. DESIGN FOR A BORDER FOR A CURTAIN OR TABLE COVER.
+_By Miss Burnside._]
+
+
+[Illustration: DESIGNS FOR TABLE BORDERS. _No. 13 by Fairfax Wade; 14
+and 15 by Walter Crane; 16 by Mary Herbert._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 17. TWO DESIGNS FOR WALL PANELS--"JUNO" AND "MINERVA."
+_By the Rev. Selwyn Image._]
+
+
+[Illustration: 18. TWO DESIGNS FOR WALL PANELS--"VENUS" AND
+"PROSERPINE." _By the Rev. Selwyn Image._]
+
+
+[Illustration: 19. DESIGN FOR WALL-HANGING. _By William Morris._]
+
+
+[Illustration: 20. DESIGN FOR WALL-HANGING. _By William Morris._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 21. DESIGN FOR BORDER FOR APPLIQUÉ. _From Ancient
+Italian Work._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 22. ITALIAN DESIGN. _Showing the application of
+transposed Appliqué._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+
+
+[Decoration]
+
+Royal School of Art-Needlework.
+
+
+_Incorporated under "The Companies' Acts, 1862 and 1867," by licence
+of the Board of Trade, granted under 30 and 31 Vic., c. 131, sec. 23._
+
+Share Capital, £10,000, in 1000 Shares of £10 each. Debenture Capital,
+£10,000, to be issued in Debentures of £50 each.
+
+
+Patrons.
+
+    HER MAJESTY THE QUEEN.
+    H.R.H. THE PRINCE OF WALES.
+    H.R.H. THE PRINCESS OF WALES.
+
+President.
+
+    H.R.H. THE PRINCESS CHRISTIAN OF SCHLESWIG-HOLSTEIN.
+    _Princess of Great Britain and Ireland._
+
+Vice-President.
+
+    THE LADY MARIAN ALFORD.
+
+Managing Committee.
+
+    THE COUNTESS SPENCER.
+    THE COUNTESS COWPER.
+    THE COUNTESS BROWNLOW.
+    THE VISCOUNTESS DOWNE.
+    THE LADY SARAH SPENCER.
+    THE HON. LADY WELBY GREGORY.
+    THE HON. MRS. PERCY WYNDHAM.
+    MRS. EDWARD BARING.
+    (_With power to add to their number._)
+
+Honorary Members of the Managing Committee.
+
+    THE LADY CHARLOTTE SCHREIBER.
+    THE HON. LADY HAMILTON-GORDON.
+    THE LADY FITZHARDINGE.
+    THE HON. MRS. STUART WORTLEY.
+
+Finance Committee.
+
+    THE DUKE OF WESTMINSTER, K.G.
+    THE EARL BROWNLOW.
+    THE LORD SUDELEY.
+    SIR COUTTS LINDSAY, BART.
+    THE RIGHT HON. SIR WILLIAM HENRY GREGORY, K.C.M.G.
+    MICHAEL BIDDULPH, ESQ., M.P.
+    EDMUND OLDFIELD, ESQ.
+
+Bankers.
+
+    LONDON AND COUNTY BANK, Albert Gate Branch.
+
+Solicitors.
+
+    MESSRS. TRINDERS & CURTIS-HAYWARD, 4, Bishopsgate Street
+    Within, E.C.
+
+Offices.
+
+    EXHIBITION ROAD, SOUTH KENSINGTON.
+
+
+PROSPECTUS.
+
+The School was founded in 1872, under the Presidency of H.R.H. the
+Princess Christian of Schleswig-Holstein, for the twofold purpose of
+supplying suitable employment for Gentlewomen and restoring Ornamental
+Needlework to the high place it once held among the decorative arts.
+
+It was first established, under the title of School of Art-Needlework,
+in Sloane Street; but in 1875 was removed to the present premises in
+the Exhibition Road, and Her Majesty the Queen was graciously pleased
+to grant to it the prefix of "Royal."
+
+The Royal School of Art-Needlework exhibited at the Centennial
+Exhibition of Philadelphia, 1876, and received a Certificate of
+Award--medals not being granted to institutions or corporate bodies. A
+Silver Medal was also granted by the Jurors of the International
+Exhibition, Paris, 1878, for embroideries exhibited there.
+
+The result of seven years' experience of the working of the School has
+shown that the objects for which it was formed are appreciated by the
+public, and has justified its establishment on a permanent basis. This
+has accordingly been effected under a special licence from the Board
+of Trade, granted under authority of an Act of Parliament which
+authorizes the incorporation of associations _not_ constituted for
+purposes of profit.
+
+The ultimate profits of the Association, after payment of all
+Debentures, are to be applied to such charitable or other purposes as
+the Association may from time to time determine, not being
+inconsistent with the provisions of the Memorandum of Association,
+which require that the Shareholders shall not take any personal profit
+out of the Association.
+
+The government of the School is vested in:
+
+    First.--A President, Vice-President, and General
+    Council.
+
+    Second.--A Managing Committee to be selected from the
+    General Council, except as to Honorary Members to be
+    nominated by the Managing Committee.
+
+    Third.--A Finance Committee, of whom a majority are to
+    be elected by the Shareholders, and the remainder
+    nominated by the Managing Committee. The sanction of
+    this Committee is required for all expenditure.
+
+Agencies have now been opened in Liverpool, Manchester, Leeds,
+Norwich, Birmingham and Glasgow; and a member of the staff has been
+sent out to take charge of the School of Art-Needlework in
+Philadelphia.
+
+The Show Rooms are open from 10 a.m. to 6 p.m. in Summer, and to 5
+p.m. in Winter, and close on Saturdays at 2 p.m.
+
+All letters must be addressed "The Secretary."
+
+Lists of designs, prices of prepared and finished work, terms for
+lessons, and addresses of Provincial Agents, may be obtained by
+writing to the Secretary.
+
+A Branch School for Scotland has now been opened in Glasgow. Show
+Rooms at 108, St. Vincent Street.
+
+
+
+
+[Decoration]
+
+ROYAL SCHOOL OF ART-NEEDLEWORK.
+EXHIBITION ROAD,
+SOUTH KENSINGTON.
+
+
+PREPARED WORK.
+
+[Decoration]
+
+Work can be obtained from the ROYAL SCHOOL OF ART-NEEDLEWORK having a
+design traced, a portion of the embroidery commenced, and sufficient
+materials for finishing. Ladies' own materials will be traced and
+prepared for working if desired. Dresses must be cut out and tacked
+together before being sent to the School, and lines marked on the
+material to show where the design is to be placed.
+
+When an order for prepared work is executed exactly by the directions
+given, or when the selection of Design or Colouring is left to the
+School, _the work cannot be exchanged or taken back_.
+
+The materials supplied with the work are considered more than
+sufficient to finish it, and if more are required afterwards they must
+be purchased separately.
+
+A few specimen prices are quoted, but _no estimates can be given for
+prepared work_, except in cases of large orders where a great quantity
+of material is supplied.
+
+_All Designs supplied are Copyright of the Royal School of
+Art-Needlework, and must not be made use of for purposes of sale._
+
+Designs on paper are not supplied under any circumstances, nor can
+work be sent out on approbation.
+
+All work supplied is stamped with the monogram of the ROYAL SCHOOL OF
+ART-NEEDLEWORK, as above, in addition to the letters P. W.
+
+    N.B.--_An extra charge is made for all designs not
+    ordinarily used for Prepared Work._
+
+
+APPROXIMATE PRICES OF PREPARED WORK AND MATERIALS.
+
+TABLE COVERS, on Diagonal, from £1 1s. to £5 5s.
+
+  "      "    Serge         "   18s. to £3 3s.
+
+LINEN TABLE COVERS, yard square, 14s. 6d. to £1 10s.
+
+CHAIR BACK COVERS, Linen, 7s. 6d. to £1 1s.
+
+BORDERS, on Linen, suitable for Table Covers or Dresses, from 5s. per
+yard.
+
+BORDERS, on Serge or Diagonal, suitable for Table Covers or Dresses,
+from 7s. per yard.
+
+BORDERS, on Serge or Diagonal, suitable for Curtains, Chimney
+Valances, &c., from 13s. per yard.
+
+    N.B.--_If several yards are ordered of one pattern the
+    price is lower._
+
+BANNER SCREENS, Linen (various), 8s. 6d. to 15s. 6d.
+
+   "      "     Diagonal, 12s. 6d. to £2 2s.
+
+BABIES' BLANKETS, from 14s. 6d.
+
+BATH BLANKETS, yard square, 17s. 6d.; yard and a half square, 26s.
+
+CHILDREN'S DRESS, from 18s. to £1 10s.
+
+TENNIS APRONS, from £1 1s.
+
+CUSHIONS, Linen, 7s. 6d. to 12s 6d.; on Diagonal, &c., 10s. 6d. to
+£1 1s.
+
+TOILET MATS or D'OYLEY, 8 inches square, from £1 6s. to £3 3s. per
+dozen.
+
+FOLDING SCREENS, on Sailcloth, £1 1s. to £1 10s. per panel.
+
+
+CREWELS.
+
+Crewels are sold at the rate of 8d. per ounce skein, or in
+quarter-pound bundles, containing not more than four shades, at 2s. In
+quarter-pound bundles, containing selected colours, at 3s.
+
+EMBROIDERY SILKS, at 6s. 6d. per ounce reel, and 3s. 3d. per
+half-ounce reel of one shade; or at 8s. per ounce of selected colours.
+
+FILOSELLE, 3s. 6d. per ounce.
+
+NEEDLES, 9d. per packet.
+
+MATERIALS, suitable for embroidery, such as Homespuns, Fancy Linens,
+Serge, Diagonal, Utrecht Velvet, Satin de Chine, &c. &c., may be
+purchased at the School.
+
+NOT LESS THAN ONE YARD SOLD.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+LIST OF DESIGNS.
+
+
+CHAIR BACKS.
+
+Honeysuckle, Bramble, Poppy, Passion Flower, Taxonia, Wild Rose, Apple
+Blossom, Orange with Flowers, Virginia Creeper, Fish and Bulrushes,
+Winter Cherry, Corn Flower, Hops, Carnations, Cherry, Daisy Powdered,
+Primrose Powdered, Faust Motto, Iris Seed, Japanese, Jessamine,
+Lantern Plant, Periwinkle, Potato, Zynia, Tiger Lily, Geranium,
+Burrage, Corncockle, Hawthorn, Daffodil, Iris, Love-in-a-Mist, &c.
+&c., with many conventional designs.
+
+
+NARROW BORDERS.
+
+SUITABLE FOR DRESSES OR TABLE COVERS.
+
+Love-in-a-Mist, Daisy, Poppy, Honeysuckle, Strawberry, Forget-me-Not,
+Flax, Jessamine, Blackberry, Virginia Creeper, Hawthorn, Daffodil,
+Cowslip, Cherry, Buttercup, Mountain Ash, Ragged Robin, Potentilla,
+Apple Blossom, Strawberry and Blossom, Christmas Rose, &c. &c., also
+many conventional designs.
+
+
+CURTAIN BORDERS.
+
+Sunflower, Pomegranate, Passion Flower, Taxonia, Poppy, Lilies,
+Magnolia, Orange, Hops, Marguerites, Love-in-a-Mist, Wild Rose,
+Arbutus, Chrysanthemum, Iris, Cowslip, Primrose, Apple, &c. &c.
+
+    _The same Designs can be had in Horizontal Borders for
+    Chimney Valances, wide Table Borders, and can be adapted
+    for any purpose._
+
+    N.B.--The Royal School of Art-Needlework has no Branch
+    School nor any Agency in London.
+
+
+
+
+Royal School of Art-Needlework.
+
+EXHIBITION ROAD, SOUTH KENSINGTON.
+
+
+    _September, 1878._
+
+The Committee of Management of the ROYAL SCHOOL OF ART-NEEDLEWORK has
+now organized Classes for Teaching Ornamental Needlework at their
+premises in the Exhibition Road, South Kensington.
+
+These Classes are especially established for the instruction of Ladies
+and Children, and include every kind of stitch in Crewel, Silk, and
+Gold.
+
+Ladies who wish to take lessons, or send their Children, are requested
+to send their names to the Secretary, who will inform them when to
+attend.
+
+Each Course will consist of Six Lessons.
+
+
+    CREWELS.
+
+    THIRD CLASS--SIX LESSONS.
+                                                     _£  s. d._
+    One Person                                        1  4  0
+    Two of same Family                                1 16  0
+    Three ditto                                       2  8  0
+
+
+    SILK AND APPLIQUÉ.
+
+    SECOND CLASS--SIX LESSONS.
+
+    One Person                                        1 10  0
+    Two of same Family                                2  5  0
+    Three ditto                                       3  0  0
+
+
+    ECCLESIASTICAL EMBROIDERY.
+
+    FIRST CLASS--SIX LESSONS.
+
+    One Person                                        2  0  0
+    Two of same Family                                3  0  0
+    Three ditto                                       4  0  0
+
+
+    SINGLE LESSONS.
+
+    One single Lesson (for 1 hour) on Lesson day      0  7  0
+    Ditto                ditto        Special day     0  8  6
+    Ditto on Ecclesiastical Work (at any time)        0 10  6
+
+Private Lessons at Home, 10s. 6d. the hour and expenses.
+
+_Special terms for Classes of Twelve and upwards._
+
+
+FINISHED WORK.
+
+CURTAIN BORDERS, on Serge or Diagonal Cloth, from £2 10s. to £10 10s.,
+    about 3½ yards long.
+
+DRESS BORDERS, on ditto, from 7s. to 18s. per yard.
+
+  "      "     on House Flannel, from 3s. 6d. to 10s. 6d. per yard.
+
+CURTAIN BORDERS, on Linen, from £1 10s. to £6 6s. each.
+
+TABLE BORDERS, on Linen, from £1 1s. to £2 10s.
+
+CHAIR BACKS, on Linen, from 14s. 6d. to £2 10s.
+
+SOFA BACKS, on Linen and Silk, from £2 2s. to £10.
+
+TABLE COVERS, on Linen, from £1 3s. to £5.
+
+  "      "    Serge, from £1 1s. to £7.
+
+  "      "    Diagonal, from 30s. to £26.
+
+SMALL CHAIR SEATS, on Diagonal, from 13s. to £2 12s.
+
+LARGE   "     "    Serge, from 13s. to £3 3s.
+
+CUSHIONS, made up, from £2 2s. to £5 7s.
+
+CHILDREN'S DRESSES, from £1 1s. to £3 3s.
+
+    "      APRONS, from 12s. 6d. to £1 1s.
+
+CHILDREN'S FRENCH BLOUSES, 18s. 6d. to £2 3s.
+
+LADIES' LAWN TENNIS APRONS, from £1 5s. to £3 10s.
+
+LINEN D'OYLEYS, from £2 7s. to £8 8s. per dozen.
+
+TEA COSIES, on Diagonal, from 16s. 6d.
+
+KETTLEDRUM D'OYLEYS, each 5s. 6d. to 16s. 6d.
+
+SACHETS, with Mat to correspond, on Linen, from £1 6s.
+
+FOLDING SCREENS, from £13 to £100.
+
+CURTAINS, on Serge or Linen, from £10 to £60 per pair.
+
+MANTEL VALANCES, from £2 2s. to £10 10s.
+
+BANNER SCREENS, from £1 10s.
+
+COUNTERPANES, from £6 to £80.
+
+TABLE SCREENS, from £4 4s.
+
+LADIES' ALGERIAN HOODS, from £3 to £10.
+
+FANS, Mounted, from £2 7s. to £20.
+
+CARRIAGE RUGS, from £2 to £10.
+
+BLOTTER AND ENVELOPE BOX, from £8 8s.
+
+   "    on Linen, from £1 5s.
+
+ENVELOPE BOX, on Linen, from £3.
+
+PHOTOGRAPH FRAMES, from £1 10s.
+
+BELLOWS, from £1 17s.
+
+OPERA CLOAKS, from £3 3s.
+
+NIGHTINGALE DRESSING JACKET, from £2.
+
+BATH SLIPPERS, from 6s. 6d. per pair.
+
+WASHSTAND BACKS, from £1 5s.
+
+BLANKET MATS, for Bath, 15s. 6d.
+
+BERCEAUNETTE COVERS, from £1 10s.
+
+SUNSHADE COVERS, from £3 3s.
+
+PIANO PANELS, from £1 3s.
+
+BABIES' HEAD FLANNELS, from £1 3s.
+
+   "    CLOAKS, from £4 4s.
+
+HANDKERCHIEF SACHETS, from £3 3s.
+
+KNITTING POCKETS, from £1 1s.
+
+
+_P. O. Orders Payable to L. HIGGIN, Exhibition Road. Not more than 18
+Stamps received._
+
+
+AGENTS IN THE COUNTRY.
+
+_Liverpool_: Messrs. RUMNEY & LOVE, Bold Street.
+_Manchester_: Messrs. E. GOODALL & CO., King Street.
+_Leeds_: Messrs. MARSH, JONES, & CRIBBS.
+_Norwich_: Messrs. ROBERTSON & SONS, Queen Street.
+_Glasgow_: Messrs. ALEXANDER & HOWELL, 108, St. Vincent Street.
+_Birmingham_: Messrs. MANTON, SONS, & GILBERT.
+
+And for
+
+_America_: Messrs. TORREY, BRIGHT, & CAPEN, Boston.
+
+
+BRANCH SCHOOL FOR SCOTLAND:
+
+116, ST. VINCENT STREET, GLASGOW.
+
+All information to be obtained at the Show Rooms, 108, St. Vincent
+Street.
+
+
+
+
+As advertisements have from time to time appeared in various
+newspapers offering for sale designs of the Royal School of
+Art-Needlework, the Public is requested to note that no designs either
+on pricked paper, or in any other form than on commenced work, are, or
+ever have been, sold by the School, or supplied to any agent. Further,
+that no tracing powder is used in preparing the patterns, or sold for
+that purpose. All designs, therefore, offered as those of the Royal
+School are either entirely spurious, or are pirated from theirs.
+
+
+
+
+CHISWICK PRESS:--C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.
+
+
+
+
+Transcriber's Note
+
+Minor typographic errors in punctuation have been corrected without
+note.
+
+Hyphenation has been made consistent in the main body of the text
+without note. Please note that the author uses the term 'high light'
+rather than the more usual 'highlight'.
+
+The following amendments have been made:
+
+    Page 15--grounds amended to ground--"As ground for
+    embroidery it has an excellent effect."
+
+    Page 53--the page reference to Burden stitch has been
+    amended from 49 to 50.
+
+    The first 10 captioned illustrations (starting with
+    "No. 1.--STEM STITCH") have been made consistent with
+    the later illustrations, by the removal of the word
+    Illustration and a comma at the beginning of each
+    of those captions.
+
+    The two illustrations on page 81 (Plates 11 and 12) were
+    printed in reverse order in the original. The captions
+    have been amended to the correct numeric order in this
+    e-text.
+
+Currency indicators (s. and d.) were printed in italics in the original
+text. The convention has not been retained in this e-text.
+
+
+
+
+
+End of the Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HANDBOOK OF EMBROIDERY ***
+
+***** This file should be named 24964-8.txt or 24964-8.zip *****
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+      The Project Gutenberg eBook of Handbook of Embroidery, by L. Higgin.
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+<pre>
+
+The Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Handbook of Embroidery
+
+Author: L. Higgin
+
+Editor: Lady Marian Alford
+
+Release Date: March 30, 2008 [EBook #24964]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HANDBOOK OF EMBROIDERY ***
+
+
+
+
+Produced by Julie Barkley, Sam W. and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hobhead01.png" width="400" height="63" alt="Decoration" />
+</div>
+
+<h1>HANDBOOK OF EMBROIDERY.</h1>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/hobtail01.png" width="150" height="58" alt="Decoration" />
+</div>
+
+
+
+
+
+<h1 style="padding-top: 3em;">HANDBOOK OF EMBROIDERY</h1>
+
+<h2>BY L. HIGGIN.</h2>
+
+<h3>EDITED BY LADY MARIAN ALFORD.</h3>
+
+<p class="center" style="padding-top: 3em; font-size: small;">PUBLISHED BY AUTHORITY OF THE ROYAL SCHOOL OF ART-NEEDLEWORK,<br />
+AND DEDICATED TO THEIR<br />
+PRESIDENT,</p>
+
+<p class="center" style="padding-bottom: 3em;">H.R.H. PRINCESS CHRISTIAN, OF SCHLESWIG-HOLSTEIN,<br />
+PRINCESS OF GREAT BRITAIN<br />
+AND IRELAND.</p>
+
+<div class="figcenter" style="width: 214px;">
+<img src="images/hob01.png" width="214" height="250" alt="Decoration" />
+</div>
+
+<p class="center" style="padding-top: 3em;">LONDON:<br />
+SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,<br />
+<small>CROWN BUILDINGS, FLEET STREET.</small><br />
+1880.</p>
+
+
+
+<p class="center" style="padding-top: 5em;">(<i>All rights reserved.</i>)</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p class="center" style="font-size: large;">NOTE.</p>
+
+<p>Plates Nos. <a href="#Page_71"><b>4</b></a> and <a href="#Page_89"><b>19</b></a> show a portion only of the
+designs by Mr. W. Morris and Mr. Fairfax Wade.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_v" id="Page_v">[Pg&nbsp;v]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead02.png" width="600" height="159" alt="Decoration" />
+</div>
+
+<h2>PREFACE.</h2>
+
+
+<p>In drawing up this little &ldquo;Handbook of Embroidery&rdquo;
+we do not pretend to give such complete technical
+directions as would enable a beginner in this beautiful
+art to teach herself; because learning without practical
+lessons must be incomplete, and can only lead to disappointment.</p>
+
+<p class="padtop">We have sought, therefore, only to respond to the
+inquiries we are constantly receiving, and to supply useful
+hints to those who are unable to avail themselves of
+lessons, and are forced to puzzle over their difficulties
+without help from a trained and experienced embroiderer;
+at the same time, the rules we have laid down and the
+directions we have given may serve to remind those who
+have passed through the classes, of many little details
+which might easily be forgotten when the lessons are
+over, though so much of the success of embroidery
+depends upon them.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg&nbsp;vi]</a></span>
+We have given a short description of the most useful
+stitches, and have pointed out their applicability to different
+styles of work; we have named the various materials
+which are best suited as grounds for embroidery,
+and the silks, filoselles, crewels, &amp;c., which are most commonly
+employed, with practical rules for their use in the
+best and most economical manner.</p>
+
+<p class="padtop">Also we have given such plain directions as to stretching,
+framing, and cleaning the work as are possible in a
+limited space, and without practical illustration. We
+venture to hope we have thus supplied a want that has
+been long felt by those who interest themselves in the
+art in which Englishwomen once excelled, but which had
+languished of late years, and almost died out amongst
+us, though it has always been taught in many continental
+cities, where embroideries have never ceased to be required
+for church decoration.</p>
+
+<p class="padtop">We have abstained from giving any directions as to
+the tracing of designs upon material, for two sufficient
+reasons: firstly, that the Royal School of Art-Needlework
+has never supplied designs alone, or in any other
+form than as prepared work; and secondly, that having
+made experiments with all the systems that have been
+brought out for &ldquo;stamping,&rdquo; ironing from transfer-papers,
+or with tracing powder, it has been found that designs
+can only be artistically and well traced on material by
+hand painting. Those ladies who can design and paint
+their own patterns for embroidery are independent of
+assistance, and to those who are unable to do so we
+cannot recommend any of the methods now advertised.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg&nbsp;vii]</a></span>
+It has been thought unnecessary to enter into the
+subject of ecclesiastical embroidery at present. This has
+been so thoroughly revived in England, and practised in
+such perfection by sisterhoods&mdash;both Anglican and Roman
+Catholic&mdash;as well as by some of the leading firms of
+church decorators, that we have not felt ourselves called
+upon to do more than include it in our course of lessons.</p>
+
+<p class="padtop">The &aelig;sthetic side of our subject we have purposely
+avoided, as it would lead us further than this purely
+technical guide-book pretends to go. But we propose
+shortly to bring out a second part devoted to design,
+composition, colour, and the common-sense mode of
+treating decorative Art, as applied to wall-hanging, furniture,
+dress, and the smaller objects of luxury.</p>
+
+<p class="padtop">We shall examine and try to define the principles
+which have guided Eastern and Western embroideries at
+their best periods, hoping thus to save the designers of
+the future from repeating exploded experiments against
+received canons of good taste; checking, if we can, the
+exuberance of ignorant or eccentric genius, but leaving
+room for originality.</p>
+
+<p class="padtop">Mrs. Dolby, who by her presence and her teaching
+helped Lady Welby to start the Royal School of Art-Needlework,
+has left behind her a most valuable guide
+for medi&aelig;val work in her &ldquo;Church Embroidery, Ancient
+and Modern,&rdquo; which will always be a first-class authority.</p>
+
+<p class="padtop">The Author and the Editor of this handbook are
+equally impressed with the responsibility they have
+<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg&nbsp;viii]</a></span>
+undertaken in formulating rules for future embroiderers.
+They have consulted all acknowledged authorities, and
+from them have selected those which the teachers in the
+Royal School of Art-Needlework have found the most
+practical and instructive.</p>
+
+<p class="padtop">Should any of their readers favour them with hints or
+criticisms, or give them information as to pieces of embroidery
+worth studying, or stitches not here named, any
+such communications will be gratefully received and
+made use of in future editions.</p>
+
+<p class="right"><span class="smcap">The Editor.</span></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail02.png" width="300" height="114" alt="Decoration" />
+</div>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg&nbsp;ix]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead03.png" width="600" height="171" alt="Decoration" />
+</div>
+
+<h2>TABLE OF CONTENTS.</h2>
+
+
+<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="Table of contents">
+  <tr>
+    <td class="tdc" colspan="2">CHAPTER I.</td>
+  </tr>
+  <tr>
+    <td class="tdci" colspan="2">Page <a href="#Page_1">1</a>.</td>
+  </tr>
+  <tr>
+    <td class="tdcsc" colspan="2">Of Implements and Materials used in Modern Embroidery.</td>
+  </tr>
+  <tr>
+    <td class="tdl">&nbsp;</td>
+    <td class="tdr"><small>PAGE</small></td>
+  </tr>
+  <tr>
+    <td class="tdl">Needles</td>
+    <td class="tdr"><a href="#Page_1">1</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Scissors</td>
+    <td class="tdr"><a href="#Page_1">1</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Prickers, &amp;c.</td>
+    <td class="tdr"><a href="#Page_2">2</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Crewels</td>
+    <td class="tdr"><a href="#Page_3">3</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Tapestry Wool</td>
+    <td class="tdr"><a href="#Page_4">4</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Arrasene</td>
+    <td class="tdr"><a href="#Page_4">4</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Embroidery or Bobbin Silk</td>
+    <td class="tdr"><a href="#Page_5">5</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Rope Silk</td>
+    <td class="tdr"><a href="#Page_5">5</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Fine Silk</td>
+    <td class="tdr"><a href="#Page_6">6</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Purse Silk</td>
+    <td class="tdr"><a href="#Page_6">6</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Raw or Spun Silk</td>
+    <td class="tdr"><a href="#Page_6">6</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Vegetable Silk</td>
+    <td class="tdr"><a href="#Page_6">6</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Filoselle</td>
+    <td class="tdr"><a href="#Page_7">7</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Tussore</td>
+    <td class="tdr"><a href="#Page_7">7</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Gold</td>
+    <td class="tdr"><a href="#Page_8">8</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Japanese Gold Thread</td>
+    <td class="tdr"><a href="#Page_8">8</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Chinese Gold</td>
+    <td class="tdr"><a href="#Page_8">8</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Gold and Silver Passing</td>
+    <td class="tdr"><a href="#Page_8">8</a></td>
+  </tr>
+  <tr>
+    <td class="tdl"><span class='pagenum'><a name="Page_x" id="Page_x">[Pg&nbsp;x]</a></span>Bullion or Purl</td>
+    <td class="tdr"><a href="#Page_8">8</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Spangles</td>
+    <td class="tdr"><a href="#Page_9">9</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Plate</td>
+    <td class="tdr"><a href="#Page_9">9</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Recipes for Preserving Gold</td>
+    <td class="tdr"><a href="#Page_10">10</a></td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">CHAPTER II.</td>
+  </tr>
+  <tr>
+    <td class="tdci" colspan="2">Page <a href="#Page_11">11</a>.</td>
+  </tr>
+  <tr>
+    <td class="tdcsc" colspan="2">Textile Fabrics used as Grounds for Embroidery.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Linens</td>
+    <td class="tdr"><a href="#Page_11">11</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Flax</td>
+    <td class="tdr"><a href="#Page_11">11</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Twill</td>
+    <td class="tdr"><a href="#Page_11">11</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Kirriemuir Twill</td>
+    <td class="tdr"><a href="#Page_11">11</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Sailcloth</td>
+    <td class="tdr"><a href="#Page_12">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Oatcake Linen</td>
+    <td class="tdr"><a href="#Page_12">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Oatmeal Linen</td>
+    <td class="tdr"><a href="#Page_12">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Smock Linen</td>
+    <td class="tdr"><a href="#Page_12">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Bolton, or Workhouse Sheeting</td>
+    <td class="tdr"><a href="#Page_12">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Satins and Silks</td>
+    <td class="tdr"><a href="#Page_14">14</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Silk Sheeting</td>
+    <td class="tdr"><a href="#Page_14">14</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Tussore and Corah Silks</td>
+    <td class="tdr"><a href="#Page_15">15</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Plain Tapestries</td>
+    <td class="tdr"><a href="#Page_15">15</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Brocatine</td>
+    <td class="tdr"><a href="#Page_15">15</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Cotton and Woollen</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Velveteen</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Utrecht Velvet</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Velvet Cloth</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Felt</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Diagonal Cloth</td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Serge</td>
+    <td class="tdr"><a href="#Page_17">17</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Soft, or Super Serge</td>
+    <td class="tdr"><a href="#Page_17">17</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Cricketing Flannel</td>
+    <td class="tdr"><a href="#Page_17">17</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Genoa or Lyons Velvet</td>
+    <td class="tdr"><a href="#Page_17">17</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Silk Velvet Plush</td>
+    <td class="tdr"><a href="#Page_17">17</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Cloths of Gold and Silver</td>
+    <td class="tdr"><a href="#Page_18">18</a></td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2"><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg&nbsp;xi]</a></span>CHAPTER III.</td>
+  </tr>
+  <tr>
+    <td class="tdci" colspan="2">Page <a href="#Page_19">19</a>.</td>
+  </tr>
+  <tr>
+    <td class="tdcsc" colspan="2">Stitches.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Stem Stitch</td>
+    <td class="tdr"><a href="#Page_19">19</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Split Stitch</td>
+    <td class="tdr"><a href="#Page_22">22</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Satin Stitch</td>
+    <td class="tdr"><a href="#Page_23">23</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Blanket Stitch</td>
+    <td class="tdr"><a href="#Page_23">23</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Button-hole Stitch</td>
+    <td class="tdr"><a href="#Page_24">24</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Knotted Stitch</td>
+    <td class="tdr"><a href="#Page_24">24</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Chain Stitch</td>
+    <td class="tdr"><a href="#Page_27">27</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Twisted Chain</td>
+    <td class="tdr"><a href="#Page_28">28</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Feather Stitch</td>
+    <td class="tdr"><a href="#Page_29">29</a></td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">CHAPTER IV.</td>
+  </tr>
+  <tr>
+    <td class="tdci" colspan="2">Page <a href="#Page_33">33</a>.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Frames and Framing</td>
+    <td class="tdr"><a href="#Page_33">33</a></td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">CHAPTER V.</td>
+  </tr>
+  <tr>
+    <td class="tdci" colspan="2">Page <a href="#Page_37">37</a>.</td>
+  </tr>
+  <tr>
+    <td class="tdcsc" colspan="2">Stitches used in Frame Embroidery.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Feather Stitch</td>
+    <td class="tdr"><a href="#Page_37">37</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Couching or Laid Embroidery</td>
+    <td class="tdr"><a href="#Page_39">39</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Net-patterned Couching</td>
+    <td class="tdr"><a href="#Page_41">41</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Brick Stitch</td>
+    <td class="tdr"><a href="#Page_41">41</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Diaper Couchings</td>
+    <td class="tdr"><a href="#Page_42">42</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Basket Stitch</td>
+    <td class="tdr"><a href="#Page_42">42</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Spanish Embroidery</td>
+    <td class="tdr"><a href="#Page_43">43</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Cross Stitch</td>
+    <td class="tdr"><a href="#Page_45">45</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Simple Cross Stitch</td>
+    <td class="tdr"><a href="#Page_46">46</a></td>
+  </tr>
+  <tr>
+    <td class="tdl"><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg&nbsp;xii]</a></span>Persian Cross Stitch</td>
+    <td class="tdr"><a href="#Page_46">46</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Burden Stitch</td>
+    <td class="tdr"><a href="#Page_50">50</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Stem Stitch</td>
+    <td class="tdr"><a href="#Page_51">51</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Japanese Stitch</td>
+    <td class="tdr"><a href="#Page_51">51</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Tambour Work</td>
+    <td class="tdr"><a href="#Page_51">51</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Opus Anglicum</td>
+    <td class="tdr"><a href="#Page_52">52</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Cut Work</td>
+    <td class="tdr"><a href="#Page_54">54</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Inlaid Appliqu&eacute;</td>
+    <td class="tdr"><a href="#Page_54">54</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Onlaid Appliqu&eacute;</td>
+    <td class="tdr"><a href="#Page_54">54</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Gold Embroidery</td>
+    <td class="tdr"><a href="#Page_57">57</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Backing</td>
+    <td class="tdr"><a href="#Page_58">58</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Stretching and Finishing</td>
+    <td class="tdr"><a href="#Page_59">59</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Embroidery Paste</td>
+    <td class="tdr"><a href="#Page_59">59</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Cleaning</td>
+    <td class="tdr"><a href="#Page_60">60</a></td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdc" colspan="2">ILLUSTRATIONS.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Description of the Plates</td>
+    <td class="tdr"><a href="#Page_62">62</a></td>
+  </tr>
+  <tr>
+    <td class="tdl">Sixteen Plates, containing 24 Designs</td>
+    <td class="tdr"><a href="#Page_65">65 to 96</a></td>
+  </tr>
+</table>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail03.png" width="300" height="74" alt="Decoration" />
+</div>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg&nbsp;1]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead04.png" width="600" height="151" alt="Decoration" />
+</div>
+
+<h1 style="padding-top: 3em;">HANDBOOK OF EMBROIDERY.</h1>
+
+
+
+<h2 style="padding-top: 3em;">CHAPTER I.</h2>
+
+<h3>OF MATERIALS AND IMPLEMENTS USED IN
+MODERN EMBROIDERY.</h3>
+
+
+<h3 style="padding-top: 2em;">IMPLEMENTS.</h3>
+
+<p><strong>Needles.</strong>&mdash;The best &ldquo;embroidery needles&rdquo; for ordinary
+crewel handwork are Nos. 5 and 6. For coarse &ldquo;sailcloth,&rdquo;
+&ldquo;flax,&rdquo; or &ldquo;oatcake,&rdquo; No. 4. For frame embroidery,
+or very fine handwork, the higher numbers,
+from 7 to 10.</p>
+
+<p>It is a mistake to use too fine a needle. The thread
+of crewel or silk should always be able to pass loosely
+into the eye, so as not to require any pulling to carry
+it through the material.</p>
+
+<p class="padtop"><strong>Scissors</strong> should be finely pointed, and very sharp.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_2" id="Page_2">[Pg&nbsp;2]</a></span>
+<strong>Thimbles</strong> which have been well worn, and are therefore
+smooth, are best. Some workers prefer ivory or vulcanite.
+Two thimbles should be used for framework.</p>
+
+<p class="padtop"><strong>Prickers</strong> are necessary for piercing holes in gold embroidery,
+and also for arranging the lie of the thread in
+some forms of couching.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail04.png" width="300" height="64" alt="Decoration" />
+</div>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg&nbsp;3]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead05.png" width="600" height="156" alt="Decoration" />
+</div>
+
+<h3>MATERIALS.</h3>
+
+<h3 style="padding-top: 2em;">CREWELS, AND HOW TO USE THEM.</h3>
+
+<p><strong>Crewel</strong> should be cut into short threads, never more
+than half the length of the skein. If a long needleful is
+used, it is not only apt to pull the work, but is very
+wasteful, as the end of it is liable to become frayed or
+knotted before it is nearly worked up. If it is necessary
+to use it double (and for coarse work, such as screen
+panels on sailcloth, or for embroidering on Utrecht
+velvet, it is generally better doubled), care should be
+taken never to pass it through the eye of the needle,
+knotting the two ends; but two separate threads of the
+length required should be passed together through the
+needle.</p>
+
+<p>Crewel should not be manufactured with a twist, as it
+makes the embroidery appear hard and rigid; and the
+shades of colour do not blend into each other so harmoniously
+as when they are untwisted.</p>
+
+<p>In crewels of the best quality the colours are perfectly
+fast, and will bear being repeatedly washed, provided no
+soda or washing-powder is used. Directions for cleaning
+<span class='pagenum'><a name="Page_4" id="Page_4">[Pg&nbsp;4]</a></span>
+crewel work are given later; but it should not be sent to
+an ordinary laundress, who will most certainly ruin the
+colours.</p>
+
+<p>Crewel is suitable for embroidery on all kinds of linen&mdash;on
+plain or diagonal cloth, serge, flannel, &amp;c. It is
+also very effective when used in conjunction with embroidery
+silk, or filoselle, either in conventional designs,
+or where flowers are introduced. The leaves may be
+worked in crewels, and the flowers in silk, or the effect of
+the crewels increased by merely touching up the high
+lights with silk.</p>
+
+<p class="padtop"><strong>Tapestry Wool</strong> is more than twice the thickness of
+crewel, and is used for screen panels, or large curtain
+borders, where the work is coarse, and a good deal of
+ground has to be covered. It is also used for bath
+blankets and carriage and sofa rugs. Tapestry wool is
+not yet made in all shades.</p>
+
+<p>Fine crewels are used for delicately working small
+figures, d&rsquo;oyleys, &amp;c.; but there is also a difficulty about
+obtaining these in all shades, as there is not much demand
+for them at present.</p>
+
+<p class="padtop"><strong>Arrasene</strong> is a new material. It is a species of worsted
+chenille, but is not twisted round fine wire or silk, like
+ordinary chenille; though it is woven first into a fabric,
+and then cut in the same manner. It serves to produce
+broad effects for screen panels, or borders, and has a very
+soft, rich appearance when carefully used. It is made
+also in silk; but this is inferior to worsted arrasene, or
+the old-fashioned chenille.</p>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_5" id="Page_5">[Pg&nbsp;5]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead06.png" width="600" height="154" alt="Decoration" />
+</div>
+
+<h3>SILKS.</h3>
+
+<p><strong>&ldquo;Embroidery,&rdquo; or Bobbin Silk</strong>, which has now almost
+superseded floss, is used for working on satin and silk, or
+for any fine work. It is made in strands, each of which
+has a slight twist in it to prevent its fraying as floss does.
+As this silk is required in all varieties of thickness, it is
+manufactured in what is technically called &ldquo;rope,&rdquo; that
+is, with about twelve strands in each thread. When not
+&ldquo;rope&rdquo; silk, it is in single strands, and is then called
+&ldquo;fine&rdquo; silk. As it is almost always necessary to use
+several strands, and these in varying number, according
+to the embroidery in hand, the rope silk has to be divided,
+or the fine doubled or trebled, as the case may be.</p>
+
+<p>If rope silk is being used, the length required for a
+needleful must be cut and passed carefully between
+finger and thumb once or twice, that it may not be
+twisted. It should then be carefully separated into the
+number of strands most suitable for the embroidery in
+hand; for ordinary work three is about the best number.</p>
+
+<p>These must be threaded together through the needle,
+care being taken not to tangle the piece of &ldquo;rope&rdquo; from
+which they have been detached. There need be no waste
+<span class='pagenum'><a name="Page_6" id="Page_6">[Pg&nbsp;6]</a></span>
+if this operation is carefully done, as good silk will always
+divide into strands without fraying.</p>
+
+<p>In using &ldquo;fine silk,&rdquo; one length must be cut first, then
+other strands laid on it,&mdash;as many as are needed to form
+the thickness required. They should be carefully laid in
+the same direction as they leave the reel or card. If
+placed carelessly backwards and forwards, they are sure
+to fray, and will not work evenly together. With silk
+still more than with crewel, it is necessary to thread all
+the strands through the needle together, never to double
+one back, and never to make a knot.</p>
+
+<p>It is intended in future to do away with this distinction
+between &ldquo;rope&rdquo; and &ldquo;fine&rdquo; silk, and to have it all manufactured
+of one uniform thickness, which will consist of
+eight strands of the same quality as the &ldquo;fine&rdquo; silk at
+present in use. As it will, however, still be necessary to
+divide the thread, and even perhaps occasionally to
+double it, the directions given above will be useful.</p>
+
+<p class="padtop"><strong>Purse Silk</strong> is used sometimes for diapering, and in
+rare cases in ordinary embroidery, where a raised effect
+is required.</p>
+
+<p class="padtop"><strong>Raw</strong> or <strong>spun silk</strong> is a soft untwisted cream-coloured
+silk, used for daisies and other simple white flowers, or
+in outlining. It is much cheaper than embroidery silk
+or filoselle.</p>
+
+<p class="padtop"><strong>Vegetable Silk</strong> (so-called) is not used or sold by the
+Royal School.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_7" id="Page_7">[Pg&nbsp;7]</a></span>
+<strong>Filoselle</strong>, when of good quality, is not, as some people
+suppose, a mixture of silk and cotton. It is pure silk,
+but of an inferior quality; and therefore cheaper. It
+answers many of the purposes of bobbin silk, but is
+not suitable for fine embroidery on silk or satin fabrics.
+It should be used also in strands, and the same remarks
+hold good with regard to its not being doubled, but cut
+in equal lengths.</p>
+
+<p class="padtop"><strong>Tussore.</strong>&mdash;Interesting experiments have recently been
+made with the &ldquo;Tussore,&rdquo; or &ldquo;wild silk&rdquo; of India, which
+bids fair to create a revolution in embroidery. Not
+only can it be produced for less than half the price
+of the &ldquo;cultivated silk&rdquo; of Italy, China, or Japan, but it
+also takes the most delicate dyes with a softness that
+gives a peculiarly charming effect. It can scarcely be
+said to be in the market as yet, but in all probability
+before this work is through the press it will have
+become an important element in decorative needlework.
+It is much less glossy than cultivated silk.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail05.png" width="300" height="158" alt="Decoration" />
+</div>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[Pg&nbsp;8]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead07.png" width="600" height="122" alt="Decoration" />
+</div>
+
+<h3>GOLD THREAD, &amp;c.</h3>
+
+<p>&ldquo;<strong>Japanese gold thread</strong>,&rdquo; which has the advantage of
+never tarnishing, is now extremely difficult to obtain.
+Being made of gilt paper twisted round cotton thread, it
+cannot be drawn through the material by the needle;
+but must in all cases be laid on, and stitched down with
+a fine yellow silk, known as &ldquo;Maltese,&rdquo; or &ldquo;Horse-tail.&rdquo;</p>
+
+<p class="padtop">&ldquo;<strong>Chinese gold</strong>&rdquo; is manufactured in the same manner
+as the Japanese; but being of a much redder colour is
+not so satisfactory in embroidery unless a warm shade
+is desirable for a particular work.</p>
+
+<p class="padtop"><strong>Gold and silver passing</strong>, a very fine kind of thread, can
+either be used for working through the material, or can
+be laid on like the Japanese gold. They are suitable for
+&ldquo;raised gold or silver embroidery.&rdquo;</p>
+
+<p class="padtop"><strong>Bullion, or Purl</strong>, is gold or silver wire made in a series
+of continuous rings, like a corkscrew. It is used in
+ecclesiastical work, for embroidering official and military
+uniforms, and for heraldic designs. It should be
+cut into the required lengths&mdash;threaded on the needle
+<span class='pagenum'><a name="Page_9" id="Page_9">[Pg&nbsp;9]</a></span>
+and fastened down as in bead-work. Purl is sometimes
+manufactured with a coloured silk twisted round the
+metal though not concealing it, and giving rich tints to
+the work.</p>
+
+<p class="padtop"><strong>Spangles</strong> were anciently much used in embroidery,
+and were sometimes of pure gold. They are but little
+used now.</p>
+
+<p class="padtop"><strong>Plate</strong> consists of narrow plates of gold or silver
+stitched on to the embroidery by threads of silk, which
+pass over them.</p>
+
+<p class="padtop">The French and English gold thread is made of thin
+plates of metal cut into strips, and wound round strands
+of cotton in the same manner as the Japanese gold. If
+the metal is real, the cost is of course great. It is sold
+by weight, gold being about 20<i>s.</i> per oz., and silver, 10<i>s.</i>
+per oz. In addition to its superiority in wear, it has this
+advantage, that old gold or silver thread is always of
+intrinsic value, and may be sold at the current price of
+the metal whatever state it may be in. Many varieties
+of gilt thread are manufactured in France and England,
+which may be used when the great expense of &ldquo;real
+gold&rdquo; is objected to. But although it looks equally well
+at first, it soon becomes tarnished, and spoils the effect
+of the embroidery. Gold and silver threads are difficult
+to work with in England, and especially in London, as
+damp and coal-smoke tarnish them almost before the
+work is out of the frame. Mrs. Dolby recommends cloves
+being placed in the papers in which they are kept.</p>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_10" id="Page_10">[Pg&nbsp;10]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead08.png" width="600" height="136" alt="Decoration" />
+</div>
+
+<h3>RECIPES FOR PRESERVING GOLD.</h3>
+
+<p>We give here two recipes, which may be found serviceable.
+They are from different sources; the first is a very
+old one. They may preserve gold for a certain time.</p>
+
+<p>1. Isinglass dissolved in spirits of wine and brushed
+over the thread or braid, which should be hung over
+something to dry, and not touched with the hand.</p>
+
+<p>2. Spirits of wine and mastic varnish mixed very thin
+and put on in the same way with a brush.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail06.png" width="300" height="80" alt="Decoration" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_11" id="Page_11">[Pg&nbsp;11]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead04.png" width="600" height="151" alt="Decoration" />
+</div>
+
+<h2>CHAPTER II.</h2>
+
+<h3>TEXTILE FABRICS USED AS GROUNDS FOR
+EMBROIDERY.</h3>
+
+
+<h3 style="padding-top: 2em;">LINENS.</h3>
+
+<p>There are many varieties of unglazed, half-bleached
+linens, from that thirty-six and forty inches wide, used
+for chair-back covers, to that ninety inches wide, used
+for large table-covers, curtains, &amp;c. There are also endless
+varieties of fancy linens, both of hand and power-loom
+weaving, for summer dresses, for bed furniture, chair-back
+covers, table-cloths, &amp;c.</p>
+
+<p class="padtop"><strong>Flax</strong> is the unbleached brown linen, often used for
+chair-back covers.</p>
+
+<p class="padtop"><strong>Twill</strong> is a thick linen suitable for coverings for furniture.</p>
+
+<p class="padtop"><strong>Kirriemuir Twill</strong> is a fine twilled linen made at
+Kirriemuir, and is good for tennis aprons, dresses,
+curtains, &amp;c.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_12" id="Page_12">[Pg&nbsp;12]</a></span>
+<strong>Sailcloth</strong> is a stout linen, of yellow colour, and is only
+suitable for screen panels.</p>
+
+<p class="padtop"><strong>Oatcake Linen</strong>, so called from its resemblance to Scotch
+oatcake, has been popular for screen panels or washstand
+backs. It is very coarse and rough.</p>
+
+<p class="padtop"><strong>Oatmeal Linen</strong> is finer and of a greyer tone. It is also
+used for screens, and for smaller articles.</p>
+
+<p class="padtop"><strong>Smock Linen</strong> is a strong even green cloth. It makes
+an excellent ground for working screens, and is also used
+for tennis aprons.</p>
+
+<p class="padtop"><strong>Crash.</strong>&mdash;Properly speaking, the name &ldquo;<em>crash</em>&rdquo; is only
+applied to the coarse Russian home-spun linen, which
+has been such a favourite from the beauty of its tone of
+colour. It is, however, erroneously applied to all linens
+used for embroidery, whether woven by hand-loom or
+machinery; and this confusion of names frequently leads
+to mistakes. Crash is almost always very coarse, is never
+more than eighteen inches wide, and cannot be mistaken
+for a machine-made fabric. It is woven by the Russian
+peasants in their own homes, in lengths varying from five
+to ten yards, and, therefore, though sent over in large
+bales, it is very difficult to find two pieces among a hundred
+that in any way match each other.</p>
+
+<p class="padtop"><strong>Bolton, or Workhouse Sheeting</strong>, is a coarse twilled cotton
+fabric, seventy-two inches wide, of a beautiful soft creamy
+colour, which improves much in washing. It is
+<span class='pagenum'><a name="Page_13" id="Page_13">[Pg&nbsp;13]</a></span>
+inexpensive, and an excellent ground for embroidery, either
+for curtains, counterpanes, chair coverings, or for ladies&rsquo;
+dresses, or tennis aprons.</p>
+
+<p>It resembles the twilled cotton on which so much of
+the old crewel embroidery was worked in the seventeenth
+century, and is one of the most satisfactory materials
+when of really good quality.</p>
+
+<p class="padtop">All descriptions of linen, except the &ldquo;oatcake&rdquo; and
+&ldquo;sailcloth,&rdquo; can be embroidered in the hand.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail07.png" width="300" height="74" alt="Decoration" />
+</div>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_14" id="Page_14">[Pg&nbsp;14]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead06.png" width="600" height="154" alt="Decoration" />
+</div>
+
+<h3>TEXTILE FABRICS.</h3>
+
+<h3 style="padding-top: 2em;">SATINS AND SILKS.</h3>
+
+<p><strong>Satins and Silks</strong> can only be embroidered in a frame.
+Furniture satins of stout make, with cotton backs, may
+be used without backing; but ordinary dress satins require
+to have a thin cotton or linen backing to bear the strains
+of the work and framing. Nothing is more beautiful
+than a rich white satin for a dress embroidered in coloured
+silks.</p>
+
+<p>For fans, a very fine, closely woven satin is necessary,
+as it will not fold evenly unless the satin is thin; and yet
+it must be rich enough to sustain the fine embroidery, without
+pulling, or looking poor. A special kind of satin is
+made for the manufacture of fans, and none other is
+available.</p>
+
+<p class="padtop">&ldquo;<strong>Silk Sheeting</strong>&rdquo; of good quality, &ldquo;<i>Satin de Chine</i>&rdquo;
+and other silk-faced materials of the same class, may
+either be embroidered in the hand, or framed; but for
+large pieces of work a frame is essential. These materials
+are suitable for curtains, counterpanes, piano coverings,
+<span class='pagenum'><a name="Page_15" id="Page_15">[Pg&nbsp;15]</a></span>
+or panels, and indeed for almost any purpose. The finer
+qualities are very beautiful for dresses, as they take rich
+and graceful folds, and carry embroidery well.</p>
+
+<p class="padtop"><strong>Tussore and Corah Silks</strong> are charming for summer
+dresses, light chair-back covers, or embroidered window
+blinds. They will only bear light embroidering in silk or
+filoselle.</p>
+
+<p>Within the last year successful experiments have been
+made in dyeing these Indian silks in England. The
+exact shades which we admire so much in the old
+Oriental embroideries have been reproduced, with the
+additional advantage of being perfectly fast in colour.</p>
+
+<p>Nothing can be more charming as lining for table-covers,
+screens, curtains, &amp;c.; and they are rather less
+expensive than other lining silks.</p>
+
+<p>The fabrics known as <strong>Plain Tapestries</strong> are a mixture
+of silk and cotton, manufactured in imitation of the
+handworked backgrounds so frequent in ancient embroideries&mdash;especially
+Venetian. Almost all the varieties
+of <i>Opus Pulvinarium</i>, or cushion stitch, have been reproduced
+in these woven fabrics.</p>
+
+<p class="padtop"><strong>Brocatine</strong> is a silk-faced material, woven to imitate
+couched embroidery. The silk is thrown to the surface
+and is tied with cotton threads from the back.</p>
+
+<p>As ground for embroidery it has an excellent effect.</p>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_16" id="Page_16">[Pg&nbsp;16]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead09.png" width="600" height="138" alt="Decoration" />
+</div>
+
+<h3>TEXTILE FABRICS.</h3>
+
+<h3 style="padding-top: 3em;">COTTONS AND WOOLLENS.</h3>
+
+<p><strong>Velveteen</strong>, if of good quality, makes an excellent ground
+for screen panels, chair-covers, porti&egrave;res, curtains, borders,
+&amp;c. It can be worked in the hand if the embroidery
+be not too heavy or large in style.</p>
+
+<p class="padtop"><strong>Utrecht Velvet</strong> is only suitable for coarse crewel or
+tapestry wool embroidery. It is fit for curtain dados or
+wide borderings.</p>
+
+<p class="padtop"><strong>Velvet Cloth</strong> is a rich plain cloth, finished without any
+gloss. It is a good ground for embroidery, either for
+curtains or altar-cloths. It is two yards wide.</p>
+
+<p class="padtop"><strong>Felt</strong> is sometimes used for the same purposes, but does
+not wear nearly so well, and is difficult to work.</p>
+
+<p class="padtop"><strong>Diagonal Cloth</strong> can be worked either in the hand or
+frame, although it is always much better in the latter.
+It is used for table-covers, curtains, chair-seats, &amp;c.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_17" id="Page_17">[Pg&nbsp;17]</a></span>
+<strong>Serge</strong> is usually made thirty-six inches wide. It has
+long been in favour for curtains, small table-covers,
+dresses, &amp;c. It can now be obtained at the school fifty-four
+inches wide, in many shades.</p>
+
+<p class="padtop"><strong>Soft or Super Serge</strong>, also fifty-four inches wide, is an
+excellent material, much superior in appearance to
+diagonal cloth, or to the ordinary rough serge. It takes
+embroidery well.</p>
+
+<p class="padtop"><strong>Cricketing flannel</strong> is used for coverlets for cots, children&rsquo;s
+dresses, and many other purposes. It is of a
+beautiful creamy colour, and is a good ground for fine
+crewel or silk embroidery. It need not be worked in a
+frame.</p>
+
+<p class="padtop"><strong>Genoa or Lyons Velvet</strong> makes a beautiful ground for
+embroidery; but it can only be worked in a frame, and
+requires to be &ldquo;backed&rdquo; with a thin cotton or linen lining,
+if it is to sustain any mass of embroidery. For small
+articles, such as sachets or casket-covers, when the work
+is fine and small, the backing is not necessary. Screen
+panels of velvet, worked wholly in crewels, or with crewel
+brightened with silk, are very effective. Three-piled
+velvet is the best for working upon, but is so expensive
+that it is seldom asked for.</p>
+
+<p class="padtop"><strong>Silk Velvet Plush</strong> (a new material) can only be used
+in frame work, and must be backed. It is useful in
+&ldquo;appliqu&eacute;&rdquo; from the many beautiful tones of colour it
+takes. As a ground for silk or gold embroidery it is
+also very good.</p>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_18" id="Page_18">[Pg&nbsp;18]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead02.png" width="600" height="159" alt="Decoration" />
+</div>
+
+<h3>TEXTILE FABRICS.</h3>
+
+<h3 style="padding-top: 2em;">GOLD AND SILVER CLOTH.</h3>
+
+<p><strong>Cloth of Gold or Silver</strong> is made of threads of silk
+woven with metal, which is thrown to the surface. In its
+best form it is extremely expensive, varying from &pound;4 to
+&pound;6 per yard, according to the weight of gold introduced.
+Cloth of silver is generally &pound;3 the yard.</p>
+
+<p class="padtop">Inferior kinds of these cloths are made in which silk
+largely predominates, and shows plainly on the surface.
+They are frequently woven in patterns, such as diaper or
+diagonal lines, with a tie of red silk, in imitation of the
+diaper patterns of couched embroidery.</p>
+
+<p>They are chiefly used in ecclesiastical or heraldic embroidery;
+their great expense preventing their general
+use.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg&nbsp;19]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead03.png" width="600" height="171" alt="Decoration" />
+</div>
+
+<h2>CHAPTER III.</h2>
+
+<h3>STITCHES USED IN HAND EMBROIDERY AS
+TAUGHT AT THE ROYAL SCHOOL OF
+ART-NEEDLEWORK.</h3>
+
+
+<p>To avoid pulling or puckering the work, care should
+be taken&mdash;firstly, that the needle is not too small, so as
+to require any force in drawing it through the material;
+secondly, the material must be held in a convex position
+over the fingers, so that the crewel or silk in the needle
+shall be looser than the ground; and thirdly, not to use
+too long needlefuls. These rules apply generally to all
+handworked embroideries.</p>
+
+
+<h3>STITCHES.</h3>
+
+<p><strong>Stem Stitch.</strong>&mdash;The first stitch which is taught to a
+beginner is &ldquo;stem stitch&rdquo; (wrongly called also, &ldquo;crewel
+stitch,&rdquo; as it has no claim to being used exclusively in
+crewel embroidery). It is most useful in work done in
+<span class='pagenum'><a name="Page_20" id="Page_20">[Pg&nbsp;20]</a></span>
+the hand, and especially in outlines of flowers, unshaded
+leaves, and arabesque, and all conventional designs.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob02.png" width="400" height="305"
+alt="Method of working stem stitch" />
+</div>
+
+<p class="caption">No. 1.&mdash;<span class="smcap">Stem Stitch.</span></p>
+
+<p>It may be best described as a long stitch forward on
+the surface, and a shorter one backward on the under
+side of the fabric, the stitches following each other almost
+in line from left to right. The effect on the wrong side
+is exactly that of an irregular back-stitching used by
+dressmakers, as distinguished from regular stitching.
+A leaf worked in outline should be begun at the lower
+or stalk end, and worked round the right side to the top,
+taking care that the needle is to the left of the thread
+as it is drawn out. When the point of the leaf is reached,
+it is best to reverse the operation in working down the
+left side towards the stalk again, so as to keep the needle
+to the right of the thread instead of to the left, as in
+going up.</p>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg&nbsp;21]</a></span></p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/hob03.png" width="350" height="249"
+alt="Correct way to work a leaf outline" />
+</div>
+
+<p class="caption">No. 2.</p>
+
+<p>The reason of this will be easily understood: we will
+suppose the leaf to have a slightly serrated edge (and
+there is no leaf in nature with an absolutely smooth one).
+It will be found that in order to give this ragged appearance,
+it is necessary to have the points at which the
+insertions of the needle occur on the outside of the leaf:
+whereas if the stem stitch were continued down the
+left side, exactly in the same manner as in ascending the
+right, we should have the ugly anomaly of a leaf outlined
+thus:&mdash;</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/hob04.png" width="350" height="217"
+alt="Incorrect way to work a leaf outline" />
+</div>
+
+<p class="caption">No. 3.</p>
+
+<p>If the leaf is to be worked &ldquo;solidly,&rdquo; another row of
+stem stitching must be taken up the centre of it (unless
+it be a very narrow leaf), to the top. The two halves of
+the leaf must then be filled in, separately, with close,
+even rows of stem stitch, worked in the ordinary way,
+<span class='pagenum'><a name="Page_22" id="Page_22">[Pg&nbsp;22]</a></span>
+with the needle to the left of the thread. This will prevent
+the ugly ridge which remains in the centre, if it is
+worked round and round the inside of the outline. Stem
+stitch must be varied according to the work in hand. If
+a perfectly even line is required, care must be taken that
+the direction of the needle when inserted is in a straight
+line with the preceding stitch. If a slight serrature is
+required, each stitch must be sloped a little by inserting
+the needle at a slight angle, as shown in the illustration.
+The length of the surface stitches must vary to suit
+the style of each piece of embroidery.</p>
+
+<p class="padtop"><strong>Split Stitch</strong> is worked like ordinary &ldquo;stem,&rdquo; except
+that the needle is always brought up <em>through</em> the crewel
+or silk, which it splits, in passing.</p>
+
+<p>The effect is to produce a more even line than is
+possible with the most careful stem stitch. It is used for
+delicate outlines. Split stitch is rarely used in hand
+embroidery, being more suitable for frame work: but
+<span class='pagenum'><a name="Page_23" id="Page_23">[Pg&nbsp;23]</a></span>
+has been described here as being a form of stem stitch.
+The effect is somewhat like a confused chain stitch.</p>
+
+<p class="padtop"><strong>Satin Stitch</strong>&mdash;<i>French Plumetis</i>&mdash;is one of those chiefly
+used in white embroidery, and consists in taking the
+needle each time back again almost to the spot from
+which it started, so that the same amount of crewel or
+silk remains on the back of the work as on the front.
+This produces a surface as smooth as satin: hence its
+name. It is chiefly used in working the petals of small
+flowers, such as &ldquo;Forget-me-nots,&rdquo; and in arabesque designs
+where a raised effect is wanted in small masses.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob05.png" width="400" height="307"
+alt="Method of working satin stitch" />
+</div>
+
+<p class="caption">No. 4.&mdash;<span class="smcap">Satin Stitch.</span></p>
+
+<p class="padtop"><strong>Blanket Stitch</strong> is used for working the edges of
+<span class='pagenum'><a name="Page_24" id="Page_24">[Pg&nbsp;24]</a></span>
+table-covers, mantel valances, blankets, &amp;c., or for edging any
+other material. It is simply a button-hole stitch, and
+may be varied in many ways by sloping the stitches
+alternately to right and left; by working two or three together,
+and leaving a space between them and the next
+set; or by working a second row round the edge of the
+cloth over the first with a different shade of wool.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob06.png" width="400" height="345"
+alt="Four styles of blanket stitch" />
+</div>
+
+<p class="caption">No. 5.&mdash;<span class="smcap">Blanket Stitch.</span></p>
+
+<p><strong>Knotted Stitch</strong>, or <strong>French Knot</strong>, is used for the centres
+of such flowers as the daisy or wild rose, and sometimes
+for the anthers of others. The needle is brought up at
+the exact spot where the knot is to be: the thread is held
+in the left hand, and twisted once or twice round the
+needle, the point of which is then passed through the
+<span class='pagenum'><a name="Page_25" id="Page_25">[Pg&nbsp;25]</a></span>
+fabric close to the spot where it came up: the right
+hand draws it underneath, while the thumb of the left
+keeps the thread in its place until the knot is secure.
+The knots are increased in size according to the number
+of twists round the needle. When properly made, they
+should look like beads, and lie in perfectly even and
+regular rows.</p>
+
+<div class="figcenter" style="width: 361px;">
+<img src="images/hob07.png" width="361" height="400"
+alt="Method of working knotted stitch" />
+</div>
+
+<p class="caption">No. 6.&mdash;<span class="smcap">Knotted Stitch</span>, or <span class="smcap">French Knot</span>.</p>
+
+<p>This stitch is very ancient, and does not seem confined
+to any country, and the Chinese execute large and
+elaborate pieces of embroidery in it, introducing beautiful
+shading. A curious specimen of very fine knotting
+stitch was exhibited at the Royal School in 1878, probably
+of French workmanship. It was a portrait of St.
+Ignatius Loyola, not more than six inches in length, and
+was entirely executed in knots of such fineness, that
+without a magnifying glass it was impossible to discover
+the stitches. This, however, is a <i>tour de force</i>, and not
+quoted as worthy of imitation.</p>
+
+<p>There is one variety of this stitch, in which the thread
+is twisted a great many times round the needle, so as to
+form a sort of curl instead of a single knot. This is
+found in many ancient embroideries, where it is used for
+the hair of saints and angels in ecclesiastical work.</p>
+
+<p>Knotted stitch was also employed largely in all its
+forms in the curious and ingenious but ugly style in
+vogue during the reign of James I., when the landscapes
+were frequently worked in cross, or feather stitch, while
+the figures were raised over stuffing, and dressed, as it
+were, in robes made entirely in point lace, or button-hole
+stitches, executed in silk. The foliage of the trees and
+shrubs which we generally find in these embroidered
+<span class='pagenum'><a name="Page_26" id="Page_26">[Pg&nbsp;26]</a></span>
+pictures, as well as the hair in the figures, were worked
+in knotted stitches of varying sizes, while the faces were
+in tent stitch or painted on white silk, and fastened on to
+the canvas or linen ground.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob08.png" width="400" height="350"
+alt="Method of working bullion knot" />
+</div>
+
+<p class="caption">No. 7.&mdash;<span class="smcap">Bullion Knot.</span></p>
+
+<p>Another variety of knotting, which is still occasionally
+used, resembles <em>bullion</em>, being made into a long roll.
+A stitch of the length of the intended roll is taken in
+the material, the point of the needle being brought to
+the surface again in the same spot from which the
+thread originally started; the thread is then twisted
+eight or ten times round the point of the needle, which
+is drawn out carefully through the tunnel formed by
+the twists, this being kept in its place by the left thumb.
+The point of the needle is then inserted once more in
+the same place as it first entered the material, the long
+knot or roll being drawn so as to lie evenly between
+the points of insertion and re-appearance, thus treating
+the twisted thread as if it were bullion or purl.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_27" id="Page_27">[Pg&nbsp;27]</a></span>
+<strong>Chain Stitch</strong> is but little used in embroidery now,
+although it may sometimes be suitable for lines. It is
+made by taking a stitch from right to left, and before the
+needle is drawn out the thread is brought round towards
+the worker, and under the point of the needle.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob09.png" width="400" height="321"
+alt="Method of working chain stitch" />
+</div>
+
+<p class="caption">No. 8.&mdash;<span class="smcap">Chain Stitch.</span></p>
+
+<p>The next stitch is taken from the point of the loop
+thus formed forwards, and the thread again kept under
+the point, so that a regular chain is formed on the surface
+of the material.</p>
+
+<p>This chain stitch was much employed for ground
+patterns in the beautiful gold-coloured work on linen
+for dress or furniture which prevailed from the time of
+James I. to the middle of the eighteenth century. It
+gave the appearance of quilting when worked on linen in
+geometrical designs, or in fine and often-repeated arabesques.
+Examples of it come to us from Germany and
+Spain, in which the design is embroidered in satin stitch,
+<span class='pagenum'><a name="Page_28" id="Page_28">[Pg&nbsp;28]</a></span>
+or entirely filled in with solid chain stitch, in a uniform
+gold colour.</p>
+
+<p>Chain stitch resembles <em>Tambour work</em>, which we shall
+describe amongst framework stitches, though it is not at
+present practised at this School.</p>
+
+<p class="padtop"><strong>Twisted Chain</strong>, or Rope stitch.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob10.png" width="400" height="395"
+alt="Method of working twisted chain" />
+</div>
+
+<p class="caption">No. 9.&mdash;<span class="smcap">Twisted Chain.</span></p>
+
+<p>Effective for outlines on coarse materials, such as
+blankets, carriage rugs, footstools, &amp;c.</p>
+
+<p>It is like an ordinary chain, except that in place of
+starting the second stitch from the centre of the loop,
+the needle is taken back to half the distance behind it,
+and the loop is pushed to one side to allow the needle to
+enter in a straight line with the former stitch. It is not
+of much use, except when worked with double crewel
+<span class='pagenum'><a name="Page_29" id="Page_29">[Pg&nbsp;29]</a></span>
+or with tapestry wool; and should then have the appearance
+of a twisted rope.</p>
+
+<p class="padtop"><strong>Feather Stitch.</strong>&mdash;Vulgarly called &ldquo;<em>long and short stitch</em>,&rdquo;
+&ldquo;<em>long stitch</em>&rdquo; and sometimes &ldquo;<em>embroidery stitch</em>.&rdquo; We
+propose to restore to it its ancient title of feather stitch&mdash;&ldquo;<i>Opus
+Plumarium</i>,&rdquo; so called from its supposed resemblance
+to the plumage of a bird.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob11.png" width="400" height="260"
+alt="Method of working feather stitch" />
+</div>
+
+<p class="caption">No. 10.&mdash;<span class="smcap">Feather Stitch.</span></p>
+
+<p>We shall now describe it as used for handwork; and
+later (at page <a href="#Page_37"><b>37</b></a>), as worked in a frame. These two
+modes differ very little in appearance, as the principle
+is the same, namely, that the stitches are of varying
+length, and are worked into and between each other,
+adapting themselves to the form of the design, but in
+handwork the needle is kept on the surface of the
+material.</p>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg&nbsp;30]</a></span>
+Feather Stitch is generally used for embroidering
+flowers, whether natural or conventional.</p>
+
+<p>In working the petal of a flower (such as we have
+chosen for our illustration), the outer part is first worked
+in with stitches which form a close, even edge on the
+outline, but a broken one towards the centre of the petal,
+being alternately long and short. These edging stitches
+resemble satin stitch in so far that the same amount of
+crewel or silk appears on the under, as on the upper side
+of the work: they must slope towards the narrow part
+of the petal.</p>
+
+<p>The next stitches are somewhat like an irregular
+&ldquo;stem,&rdquo; inasmuch as they are longer on the surface
+than on the under side, and are worked in between the
+uneven lengths of the edging stitches so as to blend
+with them. The petal is then filled up by other stitches,
+which start from the centre, and are carried between
+those already worked.</p>
+
+<p>When the petal is finished, the rows of stitches should
+be so merged in each other that they cannot be distinguished,
+and when shading is used, the colours should
+appear to melt into each other.</p>
+
+<p>In serrated leaves, such as hawthorn or virginia creeper,
+the edging stitches follow the broken outline of the leaf
+instead of forming an even outer edge.</p>
+
+<p>It is necessary to master thoroughly this most important
+stitch, but practice only can make the worker
+perfect.</p>
+
+<p>The work should always be started by running the
+thread a little way in front of the embroidery. Knots
+should never be used except in rare cases, when it is
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg&nbsp;31]</a></span>
+impossible to avoid them. The thread should always be
+finished off on the surface of the work, never at the back,
+where there should be no needless waste of material.
+No untidy ends or knots should ever appear there; in
+fact, the wrong side should be quite as neat as the right.
+It is a mistake to suppose that pasting will ever do
+away with the evil effects of careless work, or will steady
+embroidery which has been commenced with knots, and
+finished with loose ends at the back.</p>
+
+<p>The stitches vary constantly according to their application,
+and good embroiderers differ in their manner of
+using them: some preferring to carry the thread back
+towards the centre of the petal, on the surface of the
+work, so as to avoid waste of material; others making
+their stitches as in satin stitch&mdash;the same on both sides,
+but these details may be left to the intelligence and
+taste of the worker, who should never be afraid of trying
+experiments, or working out new ideas.</p>
+
+<p>Nor should she ever fear to unpick her work; for
+only by experiment can she succeed in finding the best
+combinations, and, one little piece ill done, will be sufficient
+to spoil her whole embroidery, as no touching-up
+can afterwards improve it.</p>
+
+<p class="padtop">We have now named the principal stitches used in
+hand embroidery, whether to be executed in crewel or silk.</p>
+
+<p>There are, however, numberless other stitches used in
+crewel embroidery: such as ordinary stitching, like that
+used in plain needlework, in which many designs were
+formerly traced on quilted backgrounds&mdash;others, again,
+are many of them lace stitches, or forms of herringbone,
+<span class='pagenum'><a name="Page_32" id="Page_32">[Pg&nbsp;32]</a></span>
+and are used for filling in the foliage of large conventional
+floriated designs, such as we are accustomed to see
+in the English crewel work of the sixteenth and seventeenth
+centuries, on a twilled cotton material, resembling
+our modern Bolton sheeting.</p>
+
+<p>It would be impossible to describe or even enumerate
+them all; as varieties may be constantly invented by an
+ingenious worker to enrich her design, and in lace work
+there are already 100 named stitches, which occasionally
+are used in decorative embroidery. Most of these, if required,
+can be shown as taught at the Royal School of
+Art-Needlework, and are illustrated by samplers.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail08.png" width="300" height="161" alt="Decoration" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg&nbsp;33]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead09.png" width="600" height="138" alt="Decoration" />
+</div>
+
+<h2>CHAPTER IV.</h2>
+
+<h3>FRAMES AND FRAMING.</h3>
+
+
+<p>Before proceeding to describe the various stitches used
+in frame embroidery, we will say a few words as to the
+frame itself, the manner of stretching the material in it,
+and the best and least fatiguing method of working at it.</p>
+
+<p>The essential parts of an embroidery frame are: first,
+the bars, which have stout webbing nailed along them,
+and mortice holes at the ends; second, the stretchers,
+which are usually flat pieces of wood, furnished with
+holes at the ends to allow of their being fastened by
+metal pegs into the mortice holes of the bars when the
+work is stretched.</p>
+
+<p>In some cases the stretchers are fastened into the bars
+by strong iron screws, which are held by nuts.</p>
+
+
+<h3>FRAMING.</h3>
+
+<p>In choosing a frame for a piece of embroidery we must
+see that the webbing attached to the sides of the bar is
+long enough to take the work in one direction. Begin by
+<span class='pagenum'><a name="Page_34" id="Page_34">[Pg&nbsp;34]</a></span>
+sewing the edge of the material closely with strong linen
+thread on to this webbing. If the work is too long to
+be put into the frame at one time (as in the case of
+borders for curtains, table-covers, &amp;c.), all but the portion
+about to be worked should be rolled round one bar of
+the frame, putting silver paper and a piece of wadding
+between the material and the wood, so as to prevent its
+being marked.</p>
+
+<p>The stretchers should then be put in and secured with
+the metal pegs.</p>
+
+<p>A piece of the webbing having been previously stitched
+on to the sides of the material, it should now be braced
+with twine by means of a packing needle, passing the
+string over the stretchers between each stitch taken in
+the webbing, and, finally, drawing up the bracing until
+the material is strained evenly and tightly in the frame.
+If the fabric is one which stretches easily, the bracings
+should not be drawn too tightly.</p>
+
+<p>For small pieces of work a deal hand-frame, morticed
+at the corners, will suffice, and this may be rested on
+the table before the worker, being held in its position by
+two heavy leaden weights, covered with leather or baize,
+in order to prevent them from slipping. It should be
+raised off the table to a convenient height, thus saving
+the worker from stooping over her frame, which tires
+the eyes, and causes the blood to flow to the head.</p>
+
+<p>There is no doubt that a well-made standing-frame is
+a great convenience, as its position need not be disturbed,
+and it can be easily covered up and put aside when not
+in use. It requires, however, to be very well made, and
+should, if possible, be of oak or mahogany, or it will
+<span class='pagenum'><a name="Page_35" id="Page_35">[Pg&nbsp;35]</a></span>
+warp and get out of order. It must also be well weighted
+to keep it steady.</p>
+
+<p>For a large piece of work it is necessary to have a long
+heavy frame with wooden trestles, on which to rest it.
+The trestles should be made so as to enable the frame to
+be raised or lowered at will.</p>
+
+<p>A new frame has recently been invented and is sold
+by the Royal School, which, being made with hinges and
+small upright pins, holds the ends of the material firmly,
+so that it can be rolled round and round the bar of the
+frame without the trouble of sewing it on to the webbing.</p>
+
+<p>When a frame is not in use, care should be taken that
+it does not become warped from being kept in too dry or
+too hot a place, as it is then difficult to frame the work
+satisfactorily.</p>
+
+<p>It will be found useful to have a small basket, lined
+with holland or silk, fastened to the side of the frame, to
+hold the silks, thimbles, scissors, &amp;c., needed for the
+work. Two thimbles should be used, one on each hand,
+and the best are old silver or gold ones, with all the
+roughness worn off, or ivory or vulcanite.</p>
+
+<p>The worker ought to wear a large apron with a bib to
+save her dress, and a pair of linen sleeves to prevent the
+cuffs from fraying or soiling her work.</p>
+
+<p>Surgeon&rsquo;s bent scissors are useful for frame embroidery,
+but they are not necessary, as ordinary sharp-pointed
+scissors will answer every purpose.</p>
+
+<p>When silk, satin, or velvet is not strong enough to bear
+the strain of framing and embroidering, it must be backed
+with a fine cotton or linen lining. The &ldquo;backing&rdquo; in this
+case is first framed, as described above, and the velvet or
+<span class='pagenum'><a name="Page_36" id="Page_36">[Pg&nbsp;36]</a></span>
+satin must then be laid on it, and first fastened down
+with pins; then sewn down with herringbone stitch,
+taking care that it is kept perfectly even with the thread
+of the &ldquo;backing,&rdquo; and not allowed to wrinkle or blister.</p>
+
+<p>It is most important that a worker should learn to use
+equally both hands, keeping the right hand above the
+frame till the arm is tired, then letting the left take its
+place while the right goes below.</p>
+
+<p>A cover should be made large enough to envelop both
+the upper and under portions of the work, and to be
+fastened down to the sides, so as to protect it from dust
+when it is not being used, and during work it should be
+kept over the portion of the embroidery not actually in
+hand.</p>
+
+<p>Lastly, a good light should be chosen, so as not to try
+the eyes.</p>
+
+<p>Many materials can only be embroidered in a frame,
+and most work is best so done. A greater variety of
+stitches is possible, and on the stretched flat surface the
+worker can see the whole picture at once, and judge of
+the effect of the colours and shading as she carries out
+the design. It is the difference between drawing on
+stretched or crumpled paper.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail03.png" width="300" height="74" alt="Decoration" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_37" id="Page_37">[Pg&nbsp;37]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead05.png" width="600" height="156" alt="Decoration" />
+</div>
+
+<h2>CHAPTER V.</h2>
+
+<h3>STITCHES USED IN FRAME EMBROIDERY.</h3>
+
+
+<p><strong>Feather Stitch.</strong>&mdash;In framework, as in handwork, we
+restore the ancient name of <em>Feather work</em> or stitch&mdash;<i>Opus
+Plumarium</i>. We have already said that it was so-called
+from its likeness to the plumage of a bird.</p>
+
+<p>This comes from the even lie of the stitches, which fit
+into and appear to overlap each other, presenting thus a
+marked contrast to the granulated effect of tent stitches,
+and the long ridges of the <i>Opus Anglicum</i>, having no
+hard lines as in stem stitch, or flat surfaces as in satin
+stitch.</p>
+
+<p>Feather stitch, when worked in a frame, is exactly the
+same as that worked in the hand, except that it is more
+even and smooth. The needle is taken backwards and
+forwards through the material in stitches of varying
+lengths; the next row always fitting into the vacant
+spaces and projecting beyond them, so as to prepare for
+the following row.</p>
+
+<p>Every possible gradation of colour can be effected in
+<span class='pagenum'><a name="Page_38" id="Page_38">[Pg&nbsp;38]</a></span>
+this way, and it applies to every form of design&mdash;floral
+or arabesque. Natural flowers have mostly been worked
+in this stitch.</p>
+
+<p class="padtop">A skilful embroiderer will be careful not to waste more
+silk than is absolutely necessary on the back of the work,
+while, at the same time, she will not sacrifice the artistic
+effect by being too sparing of her back stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail09.png" width="300" height="58" alt="Decoration" />
+</div>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg&nbsp;39]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead08.png" width="600" height="136" alt="Decoration" />
+</div>
+
+<h3>&ldquo;COUCHING,&rdquo; OR LAID EMBROIDERY.</h3>
+
+<p>This name is properly applied to all forms of embroidery
+in which the threads of crewel, silk, or gold
+are laid on the surface, and stitched on to it by threads
+coming from the back of the material. Under this head
+may be classed as varieties the ordinary &ldquo;laid backgrounds,&rdquo;
+&ldquo;diaper couchings,&rdquo; &ldquo;brick stitch,&rdquo; &ldquo;basket
+stitch,&rdquo; and the various forms of stuffed couchings which
+are found in ancient embroideries. Couching outlines
+are usually thick strands of double crewel, tapestry wool,
+filoselle, cord, or narrow ribbon laid down and stitched at
+regular intervals by threads crossing the couching line at
+right angles. They are used for coarse outline work, or
+for finishing the edges of appliqu&eacute;.</p>
+
+<p class="padtop"><strong>Plain Couching</strong>, or &ldquo;<strong>Laid Embroidery</strong>.&rdquo;&mdash;The threads
+are first laid evenly and straight from side to side of the
+space to be filled in, whether in the direction of warp or
+woof depends on the pattern; the needle being passed
+through to the back, and brought up again not quite
+<span class='pagenum'><a name="Page_40" id="Page_40">[Pg&nbsp;40]</a></span>
+close, but at a sufficient distance to allow of an intermediate
+stitch being taken backwards; thus the threads
+would be laid alternately first, third, second, fourth, and
+so on. This gives a better purchase at each end than if
+they were laid consecutively in a straight line. If the
+line slants much, it is not necessary to alternate the rows.
+When the layer is complete, threads of metal, or of the
+same or different colour and texture, are laid across at
+regular intervals, and are fixed down by stitches from the
+back.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob12.png" width="400" height="252"
+alt="Example of plain couching" title="" />
+</div>
+
+<p class="caption">No. 11.&mdash;<span class="smcap">Plain Couching.</span></p>
+
+<p>The beauty of this work depends upon its regularity.</p>
+
+<p>This kind of embroidery, which we find amongst the
+old Spanish, Cretan, and Italian specimens, is very useful
+where broad, flat effects without shading are required;
+but unless it is very closely stitched down, it is not durable
+<span class='pagenum'><a name="Page_41" id="Page_41">[Pg&nbsp;41]</a></span>
+if there is any risk of its being exposed to rough usage.
+It is possible to obtain very fine effects of colour in this
+style of work, as was seen in the old Venetian curtains
+transferred and copied for Louisa, Lady Ashburton.
+These were shown at the time of the Exhibition of
+Ancient Needlework at the School in 1878.</p>
+
+<p>Ancient embroidery can be beautifully restored by
+grounding in &ldquo;laid work,&rdquo; instead of transferring it where
+the ground is frayed, and the work is worthy of preservation.
+It must be stretched on a new backing, the
+frayed material carefully cut away, and the new ground
+couched as we have described.</p>
+
+<p>In other varieties of couching, under which come the
+many forms of diapering, the threads are &ldquo;laid&rdquo; in the
+same manner as for ordinary couching; but in place of
+laying couching lines across these, the threads of the first
+layer are simply stitched down from the back, frequently
+with threads of another colour.</p>
+
+<p class="padtop"><strong>Net-patterned Couching.</strong>&mdash;The fastening stitches are
+placed diagonally instead of at right angles, forming a
+network, and are kept in place by a cross-stitch at each
+intersection.</p>
+
+<p>This style of couching was commonly used as a ground
+in ecclesiastical work of the fourteenth and fifteenth
+centuries.</p>
+
+<p class="padtop"><strong>Brick Stitch.</strong>&mdash;The threads are laid down two together,
+and are stitched across at regular intervals. The next
+two threads are then placed together by the side, the
+fastening stitches being taken at the same distance from
+<span class='pagenum'><a name="Page_42" id="Page_42">[Pg&nbsp;42]</a></span>
+each other, but so as to occur exactly between the
+previous couplings. Thus giving the effect of brickwork.</p>
+
+<p class="padtop"><strong>Diaper Couchings.</strong>&mdash;By varying the position of the
+fastening stitches different patterns may be produced,
+such as diagonal crossings, diamonds, zigzags, curves, &amp;c.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob13.png" width="400" height="253" alt="" />
+</div>
+
+<p class="caption">No. 12.&mdash;<span class="smcap">Three Illustrations of Diaper Couchings.</span></p>
+
+<p>They are properly all gold stitches; but purse silk,
+thin cord, or even untwisted silk may be used.</p>
+
+<p>A wonderful example of the many varieties of diapering
+is to be seen in the South Kensington Museum, No. 689.
+It is modern Belgian work, executed for the Paris Exhibition
+of 1867. As a specimen of fine and beautiful
+diapering in gold, this could scarcely be surpassed.</p>
+
+<p class="padtop"><strong>Basket Stitch</strong> is one of the richest and most ornamental
+of these ancient modes of couching. Rows of &ldquo;stuffing,&rdquo;
+manufactured in the form of soft cotton cord, are laid
+<span class='pagenum'><a name="Page_43" id="Page_43">[Pg&nbsp;43]</a></span>
+across the pattern and firmly secured. Across these are
+placed gold threads, two at a time, and these are stitched
+down over each two rows of stuffing. The two gold
+threads are turned at the edge of the pattern, and
+brought back close to the last, and fastened in the same
+way. Three double rows of gold may be stitched over
+the same two rows of stuffing.</p>
+
+<p>The next three rows must be treated as brick stitch,
+and fastened exactly between the previous stitchings, and
+so on, until the whole space to be worked is closely
+covered with what appears to be a golden wicker-work.</p>
+
+<p>Strong silk must be used for the stitching.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/hob14.png" width="350" height="283"
+alt="Example of basket stitch" />
+</div>
+
+<p class="caption">No. 13.&mdash;<span class="smcap">Basket Stitch.</span></p>
+
+<p>The Spanish School of Embroidery has always been
+famed for its excellence in this style, and has never
+lost the art. The &ldquo;Embroiderers of the King,&rdquo; as they
+are called, still turn out splendid specimens of this heavy
+and elaborate work, which are used for the gorgeous
+trappings of the horses of the nobility on gala days and
+state occasions.</p>
+
+<p>A beautiful specimen was exhibited at the Royal
+School of Art-Needlework, in 1878, by the Countess
+Brownlow, of an altar-hanging, entirely worked in basket
+<span class='pagenum'><a name="Page_44" id="Page_44">[Pg&nbsp;44]</a></span>
+stitch, in gold on white satin, and a modern example is
+still to be seen at the School in a large counterpane,
+which was worked for the Philadelphia Exhibition from
+an ancient one also belonging to Lady Brownlow.</p>
+
+<p>The Spanish embroiderers used these forms of couching
+over stuffing with coloured silks as well as gold, and
+produced wonderfully rich effects. One quilt exhibited
+by Mrs. Alfred Morrison in 1878 was a marvel of colouring
+and workmanship.</p>
+
+<p>Basket stitch is mostly used now for church embroidery,
+or for small articles of luxury, such as ornamental
+pockets, caskets, &amp;c.</p>
+
+<p>Diapering is generally employed in the drapery of
+small figures, and in ecclesiastical work.</p>
+
+<p class="padtop">Many fabrics are manufactured in imitation of the
+older diapered backgrounds, and are largely used to replace
+them. Among these are the material known as
+silk brocatine, and several kinds of cloth of gold mentioned
+in our list of materials.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail06.png" width="300" height="80" alt="Decoration" />
+</div>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_45" id="Page_45">[Pg&nbsp;45]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead07.png" width="600" height="122" alt="Decoration" />
+</div>
+
+<h3>CUSHION STITCHES.</h3>
+
+<p><strong>Cushion Stitch</strong>&mdash;the ancient <i>Opus Pulvinarium</i> of the
+Middle Ages, likewise called &ldquo;Cross Stitch&rdquo;&mdash;may lay
+claim to be one of the most ancient known in embroidery.
+There have been many varieties, but the principle is
+the same in all. It is worked on and through canvas, of
+which the threads, as in tapestry, regulate the stitches.</p>
+
+<p>After six centuries of popularity it finally died out
+within the last few years as &ldquo;Berlin wool work;&rdquo; but
+will doubtless be revived again in some form after a time,
+as being well fitted for covering furniture on account of
+its firmness and durability.</p>
+
+<p>In Germany and Russia it is still much used for embroidering
+conventional designs on linen; and the beautiful
+Cretan and Persian work of which so much has lately
+been in the market, is executed in this style.</p>
+
+<p class="padtop"><strong>Tent Stitch</strong> may be placed first under this class, in
+<span class='pagenum'><a name="Page_46" id="Page_46">[Pg&nbsp;46]</a></span>
+which the thread coming from beneath is carried over
+a single cross of the warp and woof of the canvas.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/hob15.png" width="350" height="297"
+alt="Method of working tent stitch" />
+</div>
+
+<p class="caption">No. 14.&mdash;<span class="smcap">Tent Stitch.</span></p>
+
+<p class="padtop"><strong>Simple Cross Stitch.</strong>&mdash;The worsted or silk is brought
+up again to the surface, one thread to the left of the spot
+where the needle was inserted, and is crossed over the
+first or &ldquo;tent&rdquo; stitch, forming a regular and even cross on
+the surface.</p>
+
+<div class="figcenter" style="width: 283px;">
+<img src="images/hob16.png" width="283" height="350"
+alt="Method of working simple cross stitch" />
+</div>
+
+<p class="caption">No. 15.&mdash;<span class="smcap">Simple Cross Stitch.</span></p>
+
+<p class="padtop"><strong>Persian Cross Stitch.</strong>&mdash;The peculiarity of this stitch is
+that in the first instance the silk or worsted is carried
+<span class='pagenum'><a name="Page_47" id="Page_47">[Pg&nbsp;47]</a></span>
+across two threads of the canvas ground, and is brought
+up in the intermediate space. It is then crossed over
+the latter half of the original stitch, and a fresh start
+is made.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/hob17.png" width="350" height="281"
+alt="Example of Persian cross stitch" />
+</div>
+
+<p class="caption">No. 16.&mdash;<span class="smcap">Persian Cross Stitch.</span></p>
+
+<p>Much of the beauty of Persian embroidery is produced
+by the irregularity of the crossing; the stitches being
+taken in masses, in any direction that seems most suitable
+to the design in hand, instead of being placed in regular
+rows, with the stitches all sloping in one direction, as is
+the case with the modern &ldquo;Berlin work,&rdquo; this, with the
+happy choice of colours for which the Persians are so
+justly famous, produces a singular richness of effect.</p>
+
+<p>Allied to these canvas stitches and having their origin
+in them, are the numerous forms of groundings, which
+are now worked on coarse linens, or in fact on any fabric;
+and have sometimes, although incorrectly, been called
+darning stitches, probably from their resemblance to the
+patterns which are found on samplers, for darning stockings,
+old table linen, &amp;c. &amp;c. Almost any pattern can
+be produced in this style of embroidery, simply by
+varying the relative length of the stitches.</p>
+
+<p>Following the nomenclature of the committee which
+named and catalogued the specimens of ancient needlework
+exhibited in the South Kensington Museum in
+1872, we have classed all the varieties of these grounding
+stitches under the name of Cushion stitch.</p>
+
+<p class="padtop"><strong>Cushion Stitches</strong> are taken as in laid embroidery, so as
+to leave all the silk and crewel on the surface, and only a
+single thread of the ground is taken up; but in place of
+lying in long lines, from end to end of the material, they
+<span class='pagenum'><a name="Page_48" id="Page_48">[Pg&nbsp;48]</a></span>
+are of even length, and are taken in a pattern, such as a
+waved line or zigzag; so that when finished the ground
+presents the appearance of a woven fabric.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob18.png" width="400" height="378"
+alt="Example of cushion stitch" />
+</div>
+
+<p class="caption">No. 17.&mdash;<span class="smcap">Cushion Stitch.</span></p>
+
+<p>We give an illustration of one variety of cushion stitch,
+which may either be worked as described here, or in the
+hand, as in the woodcut.</p>
+
+<p>A good modern example of this background was
+exhibited in the School, on a bed-hanging, worked for the
+Honourable Mrs. Percy Wyndham, from a design by
+Mr. W. Morris. In the Exhibition of Ancient Needlework
+last year were many beautiful specimens: notably one
+enormous wall-hanging of Italian seventeenth-century
+work, lent by Earl Spencer. Many of the fabrics known as
+&ldquo;Tapestries&rdquo; are woven imitations of these grounds, and
+carry embroidery so perfectly, that on the whole, except
+for small pieces, it seems a waste of hand-labour to work
+them in, as the effect is not very far removed from that
+of woven material, while the expense is, of course, very
+much greater.</p>
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49">[Pg&nbsp;49]</a></span>
+The ancient specimens of this stitch are worked on a
+coarse canvas, differing greatly from that which was
+recently used for Berlin wool work.</p>
+
+<p>It cannot now be obtained except by having it especially
+made to order. It has been replaced by a coarse hand-woven
+linen for the use of the School, but the ancient
+canvas is vastly superior, as its looseness makes it easier
+for the worker to keep her stitches in regular lines.</p>
+
+<p>In some ancient specimens the design is worked in
+feather stitch, and the whole ground in cushion stitch. In
+others the design is in fine cross or tent stitch. There are
+several very beautiful examples of this kind of embroidery
+in the South Kensington Museum&mdash;Italian, of the seventeenth
+century.</p>
+
+<p>A variety of cushion stitch, which we frequently see in
+old Italian embroideries, was taught in the Royal School
+of Art-Needlework by Miss Burden, and used under her
+direction in working flesh in some large figures designed
+by Mr. Walter Crane for wall decoration, and exhibited
+at the Centennial Exhibition at Philadelphia. The
+stitches are kept of one uniform length across the
+design. The next row is started from half the depth
+of the preceding stitch and kept of the same length
+throughout. Its beauty consists in its perfect regularity.
+If worked in the hand, the needle is brought back underneath
+the material as in satin stitch; but in the frame all
+the silk or worsted can be worked on the surface, with
+the exception of the small fastening stitches.</p>
+
+<p>The effect when finished is that of a woven fabric.</p>
+
+<p>It is really more suitable in its original character of a
+ground stitch than for working flesh. We have given an
+<span class='pagenum'><a name="Page_50" id="Page_50">[Pg&nbsp;50]</a></span>
+illustration of it, because we are so frequently asked to
+describe &ldquo;Burden stitch.&rdquo;</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob19.png" width="400" height="204"
+alt="Example of Burden stitch" />
+</div>
+
+<p class="caption">No. 18.&mdash;<span class="smcap">&ldquo;Burden&rdquo; Stitch.</span></p>
+
+<p>This form of cushion stitch worked extremely fine has
+been used for flesh in very ancient embroideries, even
+before the introduction of the <i>Opus Anglicanum</i>, and is
+found in the works of the Flemish, German, Italian, and
+French schools of the fourteenth and fifteenth centuries.</p>
+
+<p>It seems to have been worked in a frame on fine
+canvas, or on a fabric of very even threads, and the
+stitches so taken that the same amount of silk appears
+on the back as on the surface of the embroidery.</p>
+
+<p>In a toilet cover of ancient Spanish work recently
+added to the South Kensington Museum, the design is
+entirely embroidered in varieties of <em>cushion stitch</em> in black
+floss silk upon a white linen ground. It is, however,
+extremely rare to see this stitch used in any other way
+than as a ground, except in actual canvas work; in
+which we often see varieties of it used to fill in portions
+of the design, while another stitch will be devoted entirely
+to the grounding.</p>
+
+<p>These stitches were often executed on an open net.</p>
+
+<p class="padtop"><span class='pagenum'><a name="Page_51" id="Page_51">[Pg&nbsp;51]</a></span>
+<strong>Stem Stitch</strong> is used in frame embroidery, and does not
+differ in any way from that described at page <a href="#Page_20"><b>20</b></a>, under
+&ldquo;handwork,&rdquo; except that the needle is of course worked
+through the material with both hands, as is the case in
+all frame work.</p>
+
+<p>The same may be said of &ldquo;split stitch;&rdquo; but this is
+more frequently (because more easily) worked in a frame
+than done in the hand.</p>
+
+<p class="padtop"><strong>Japanese Stitch</strong> is a modification of stem, but its peculiarity
+consists in the worker taking very long stitches,
+and then bringing the needle back to within a short
+distance of the first starting-place; so that they may
+be in even parallel lines, advancing by gradation from
+left to right. It is principally used for working water or
+ground in a landscape.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hob20.png" width="400" height="63"
+alt="Example of Japanese stitch" />
+</div>
+
+<p class="caption">No. 19.</p>
+
+<p class="padtop"><strong>Tambour Work</strong> has fallen into disuse, but was greatly
+admired when our grandmothers in the last century
+sprigged Indian muslins or silks with coloured flowers
+for dresses, and copied or adapted Indian designs on
+fine linen coverlets. These were very refined, but no
+more effective than a good chintz. There are exquisite
+specimens of the stitch to be seen in most English homes,
+and in France it was in vogue in the days of Marie
+Antoinette. Its use is now almost confined to the
+<span class='pagenum'><a name="Page_52" id="Page_52">[Pg&nbsp;52]</a></span>
+manufacture of what is known as Irish or Limerick lace, which
+is made on net in the old tambour frames, and with a
+tambour or crochet hook. The frame is formed of two
+rings of wood or iron, made to fit loosely one within the
+other. Both rings are covered with baize or flannel
+wound round them till the inner one can only just be
+passed through the outer. The fabric to be embroidered
+is placed over the smaller hoop, and the other is pressed
+down over it and firmly fixed with a screw. A small
+wooden frame of this description is universally used in
+Ireland for white embroidery on linen or muslin. In
+tambour work the thread is kept below the frame and
+guided by the left hand, while the hook or crochet needle
+is passed from the surface through the fabric, and brings
+up a loop of the thread through the preceding stitch, and
+the needle again inserted, forming thus a close chain on
+the surface of the work.</p>
+
+<p>The difficulty of working chain stitch in a frame probably
+led to the introduction of a hook for this class of
+embroidery.</p>
+
+<p class="padtop">Perhaps we ought not to omit all mention of the <strong>Opus
+Anglicum</strong> or <i>Anglicanum</i> (English work), though it is
+strictly ecclesiastical, and therefore does not enter into
+our province.</p>
+
+<p>Dr. Rock<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and other authorities agree in thinking that
+the distinctive feature of this style, which was introduced
+about the end of the thirteenth century, was a new way
+of working the flesh in subjects containing figures.</p>
+
+<p><span class='pagenum'><a name="Page_53" id="Page_53">[Pg&nbsp;53]</a></span>
+Instead of the faces being worked in rows of straight
+stitches (like that described as Burden stitch on page <a href="#Page_50"><b>50</b></a>)
+as we see in the old Flemish, German, and Italian work
+of the same period, the English embroiderers invented a
+new stitch, which they commenced in the centre of the
+cheek and worked round and round&mdash;gradually letting
+the lines fall into outer circles of ordinary feather stitch.</p>
+
+<p>Having thus prepared an elastic surface, they proceeded
+to model the forms and make lights and shadows by
+pressing the work into hollows, with small heated metal
+balls, the work being probably damped as a preparation
+for this process. So skilfully did they carry out their
+intention, that the effect is still the same after the lapse
+of five centuries. We must unwillingly add that, though
+much appreciated in the thirteenth century, the effect is
+rather curious and quaint than beautiful.</p>
+
+<p>The Syon cope in the Kensington Museum, of the
+thirteenth century, is a fine specimen of this attempt to
+give the effect of bas-relief to the sacred subjects depicted.
+The whole cope shows how various were the stitches
+worked at that period. On examination with a microscope,
+the flesh stitch appears to be merely a fine split
+stitch worked spirally, as we now work fruit.</p>
+
+<div class="footnotes"><h3>FOOTNOTE:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> See Dr. Rock&rsquo;s preface to his &ldquo;Descriptive Catalogue of
+<span class="smcap">Textile Fabrics</span>&rdquo; in the Kensington Museum.</p></div>
+</div>
+
+
+<hr style="width: 45%;" />
+
+<p><span class='pagenum'><a name="Page_54" id="Page_54">[Pg&nbsp;54]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead10.png" width="600" height="110" alt="Decoration" />
+</div>
+
+<h3>CUT WORK OR APPLIQU&Eacute;.</h3>
+
+<p>Decorative cut work is of infinite variety, but may be
+divided into two groups, &ldquo;inlaid appliqu&eacute;&rdquo; and &ldquo;onlaid
+appliqu&eacute;.&rdquo;</p>
+
+<p class="padtop">&ldquo;<em>Inlaid</em>&rdquo; appliqu&eacute; consists in tracing the same pattern
+on two different fabrics, say a gold cloth and a
+crimson velvet; then cutting both out carefully, and
+inlaying the gold flowers into the crimson velvet ground,
+and the crimson flowers into the gold ground.</p>
+
+<p>This kind of work may be seen constantly in Italian
+rooms of the seventeenth century, and the alternate
+breadths of crimson and gold give a very fine effect as of
+pilasters, and in general are enriched by a valance applied
+at the top, and a plain border at the bottom.</p>
+
+<p>The <em>inlaid</em> part is sewn down with thread, and covered
+with cord or couchings of floss silk. Sometimes narrow
+ribbons or fine strips of cut silk are stitched over the
+edges to keep them down flat.</p>
+
+<p class="padtop">&ldquo;<em>Onlaid</em> appliqu&eacute;&rdquo; is done by cutting out the pattern
+in one or many coloured materials, and laying it
+down on an intact ground of another material. Parts
+are often shaded with a brush, high lights and details
+worked in with stitches of silk, and sometimes whole
+flowers or figures are embroidered, cut out, and couched
+<span class='pagenum'><a name="Page_55" id="Page_55">[Pg&nbsp;55]</a></span>
+down. This sort of work is extremely amusing, and
+gives scope to much play of fancy and ingenuity, and when
+artistically composed it is sometimes very beautiful.</p>
+
+<p>Another style of &ldquo;onlaid appliqu&eacute;&rdquo; is only worked in
+solid outlines, laid down in ribbon or cord, sometimes in
+both. This was much in vogue in the time of Queen
+Anne, and for a hundred years after.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob21.png" width="500" height="410"
+alt="Appliqu&eacute; in progress in a frame" />
+</div>
+
+<p class="caption">No. 20.</p>
+
+<p>The ribbon, very soft and thick, sometimes figured,
+sometimes plain, was manufactured with a stout thread
+on each side, which could be drawn, and so regulate the
+ribbon and enable it to follow the flow of the pattern.</p>
+
+<p>The German, French, and Italians often enriched this
+style of work with a flower, embroidered and applied
+thrown in here and there. Very small fringes also were
+introduced into the pattern, or arabesqued.</p>
+
+<p><span class='pagenum'><a name="Page_56" id="Page_56">[Pg&nbsp;56]</a></span>
+&ldquo;Cut work,&rdquo; like the appellation &ldquo;Feather stitch,&rdquo; has
+a totally different meaning when it is given to white
+embroidery, and it has nothing to do with appliqu&eacute;, but
+takes its name from the fact that the pattern is mostly
+cut or punched out, and then edged with button-hole or
+plain overlaid stitch.</p>
+
+<p>In working appliqu&eacute; it is best, although not absolutely
+necessary, to have the design traced on the material to
+be used as a ground, which must then be framed as
+for ordinary embroidery. A copy of the design must be
+made on tracing-paper, and the outlines carefully pricked
+out with a needle or pin, laying the paper on several folds
+of flannel or cloth for greater convenience in pricking.</p>
+
+<p>A pad, made of a long strip of flannel about four inches
+wide, rolled very tightly, must be made ready, and some
+pounce made of about equal quantities of finely powdered
+charcoal and pipe-clay. The leaf or scroll which is
+wanted for the work must now be selected, and the
+pricked design laid face downwards on the fabric which
+is to be applied. The flannel pad must be dipped in the
+pounce and rubbed well into the outlines of the pricked
+design, which must be held firmly in its place with the
+left hand. On lifting the tracing-paper, the design will
+be found to be marked out on the material distinctly
+enough for it to be cut out with a sharp pair of scissors.
+The pounce can afterwards be dusted off.</p>
+
+<p>The leaf or scroll having been thus cut out must be
+fastened in its place on the design with small pins, and
+then carefully sewn down. The edges are then finished
+off by stitches of embroidery or by a couching line (<i>see</i>
+page <a href="#Page_39"><b>39</b></a>). The stems are frequently worked in with stem
+<span class='pagenum'><a name="Page_57" id="Page_57">[Pg&nbsp;57]</a></span>
+stitching or couching, and the leaves enriched by large
+veinings of crewel or silk work, or in conventional designs,
+with some of the many varieties of herringboning.</p>
+
+<p class="padtop"><strong>Gold Embroidery</strong> on velvet or satin grounds requires
+to be worked on a strong even linen, and then cut out
+and applied in the same manner as ordinary appliqu&eacute;.
+Where a particularly rich and raised effect is required
+any embroidery may be treated in this manner. It is of
+course more troublesome, but quite repays the labour
+spent upon it by the increased beauty of the work.</p>
+
+<p>The transfer of old embroideries on to a new ground
+is usually done by appliqu&eacute;, although we have already
+described a better process at page <a href="#Page_39"><b>39</b></a>.</p>
+
+<p>In transferring old needlework it is necessary to cut
+away the ground close to the edge of the embroidery.
+It is then placed on the new material, which has been
+previously framed, and the outline tacked down. The
+best way of finishing is then to work in the edges with
+silks <em>dyed exactly to match</em> the colours in the old work.
+If properly done, it is impossible to discover which are
+old and which new stitches, and only by examining the
+back, that the work has been transferred at all.</p>
+
+<p>We used the words &ldquo;<em>dyed to match</em>&rdquo; advisedly, as it is
+impossible otherwise to procure new silks which will correspond
+with the old.</p>
+
+<p>Embroidery transferred in this manner is as good as it
+was in its first days, and in many cases is much better,
+for time often has the same mellowing and beautifying
+effect in embroideries as in paintings.</p>
+
+<p>A less expensive, but also a much less charming,
+<span class='pagenum'><a name="Page_58" id="Page_58">[Pg&nbsp;58]</a></span>
+method is to edge the old embroidery after applying it
+to the new ground with a cord or line of couching.</p>
+
+<p>With this treatment it is, however, always easy to
+perceive that the work has been transferred.</p>
+
+<p>For almost all kinds of appliqu&eacute; it is necessary to back
+the material; and it is done in this manner:&mdash;</p>
+
+<p>A piece of thin cotton or linen fabric is stretched
+tightly on to a board with tacks or drawing-pins. It is
+then covered smoothly, and completely, with paste. The
+wrong side of the velvet, satin, serge, or whatever is to be
+used in the work, is then pressed firmly down on the
+pasted surface with the hands, and then left to dry.</p>
+
+<p>In giving the foregoing account of the most typical
+stitches, we hope we have succeeded in showing the
+principle on which each should be worked. They form
+the basis of all embroidery, and their numerous modifications
+cannot be fully discussed in the limit we have
+prescribed to ourselves. It is sufficient to observe that
+the instruction we have tried to impart is that which it is
+absolutely necessary for the needleworker to master
+thoroughly before she attempts to cope with the artistic
+element of her work. That it is a creative art is undoubted,
+for no two pieces of embroidery are alike unless
+executed by the same hand, and from the same design.</p>
+
+<p>For the advanced artist there is a store of instruction
+in the fine collection at South Kensington, which, seen
+by the light of Dr. Rock&rsquo;s invaluable &ldquo;Catalogue of
+Textile Fabrics,&rdquo; is an education in itself, of which the
+ethnological as well as the artistic interest cannot be
+over-estimated, and it is within the reach of all who can
+find time to bestow upon it.</p>
+
+
+<p><span class='pagenum'><a name="Page_59" id="Page_59">[Pg&nbsp;59]</a></span></p>
+
+<h3>STRETCHING AND FINISHING.</h3>
+
+<p>Always avoid using an iron to embroidery. It flattens
+the work, and is apt to injure the colour. For embroidery
+on linen, unless very badly done, it will be found quite
+sufficient to stretch the work as tightly as possible with
+white tacks or drawing-pins on a clean board, and damp
+it evenly with a sponge. Leave it until quite dry, and
+then unfasten it, and, if necessary, comb out the fringe.
+If it is new work, it should not be fringed until after it
+has been stretched.</p>
+
+<p>For crewel work on cloth or serge, it is sometimes
+necessary to rub a little shoemaker&rsquo;s paste on to the
+back of the embroidery, while it is tightly stretched.
+When pasting can be avoided, it is always better to do
+without it; but it serves to steady the work in some
+cases, and makes it wear better. Unless it is absolutely
+necessary, it is better not to paste the back of screen
+panels, whatever may be the materials on which they
+are worked; but more especially satin or velvet, as it
+interferes with the straining of the work by the cabinet-maker.</p>
+
+<hr style="width: 45%;" />
+
+<p>We give a recipe for <span class="smcap">Embroidery Paste</span>, which is
+said to be excellent:&mdash;Three and a half spoonfuls of
+flour, and as much powdered resin as will lie on a half-penny.
+Mix these well and smoothly with half a pint
+of water, and pour it into an iron saucepan. Put in one
+teaspoonful of essence of cloves, and go on stirring till it
+<span class='pagenum'><a name="Page_60" id="Page_60">[Pg&nbsp;60]</a></span>
+boils. Let it boil for five minutes, and turn it into a
+gallipot to cool.</p>
+
+<div class="blockquot">
+<p>N.B.&mdash;Let the gallipot have in it a muslin bag: the water can then
+be drained out from time to time, and the paste will be much
+better.</p>
+</div>
+
+
+<h3>CLEANING.</h3>
+
+<p>Good crewels will always wash or clean without injury;
+but the cheap and inferior worsteds will not do so. Ordinary
+crewel work on linen may be washed at home, by
+plunging it into a lather made by water in which bran
+has been boiled, or even with simple soap-suds, so long
+as no soda or washing-powder is used. It should be
+carefully rinsed without wringing, and hung up to dry.
+When almost dry, it may be stretched out with drawing-pins
+on a board, and will not require ironing.</p>
+
+<p>Embroidery on cloth or serge may often be cleaned
+with benzoline, applied with a piece of clean flannel;
+but in any case, where a piece of work is much soiled, or
+in the case of fine d&rsquo;oyleys, it is safer to send it to the
+cleaner&rsquo;s.</p>
+
+
+<div class="blockquot padtop">
+<p><i>Messrs. Pullar and Son, Perth Dye Works, are very successful
+in cleaning all kinds of embroidery without injuring it.</i></p>
+
+<p><i>In many cases it may be well dyed&mdash;the silk in which the design
+is worked always showing a different shade from the ground.</i></p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg&nbsp;61]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/hobhead11.png" width="400" height="66" alt="Decoration" />
+</div>
+
+<p class="center">APPENDIX.</p>
+
+<h2>DESIGNS FOR EMBROIDERY.</h2>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/hobtail10.png" width="150" height="49" alt="Decoration" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_62" id="Page_62">[Pg&nbsp;62]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead07.png" width="600" height="122" alt="Decoration" />
+</div>
+
+<h3>DESCRIPTION OF THE PLATES.</h3>
+
+
+<p>No. <a href="#Page_65">1</a>.&mdash;<span class="smcap">Design for Wall-Panel.</span> By Mr. E. Burne-Jones.</p>
+
+<div class="blockquot">
+<p>Worked in outline on neutral-tinted hand-woven linen
+in brown crewel. This style of embroidery is very
+suitable for internal decoration, where a good broad
+effect is required without a large amount of labour. A
+frieze or dado, or complete panelling of a room, may be
+worked in this way at a comparatively small cost.</p>
+</div>
+
+<p>No. <a href="#Page_67">2</a>.&mdash;<span class="smcap">Design for Wall or Screen Panel.</span> By
+Mr. Walter Crane. Representing the Four Elements.</p>
+
+<div class="blockquot">
+<p>Embroidered in crewels on a silk ground of dead gold
+colour partly outlined.</p>
+</div>
+
+<p>No. <a href="#Page_69">3</a>.&mdash;<span class="smcap">Design for Quilt or Table Cover.</span> By
+Mr. George Aitchison.</p>
+
+<div class="blockquot">
+<p>A border of sunflowers and pomegranates, with powderings
+of the same for the centre.</p>
+
+<p>This has been embroidered on cream-coloured satin de
+chine in solid crewel work, with charming effect, both
+for a counterpane and curtains.</p>
+</div>
+
+<p>No. <a href="#Page_71">4</a>.&mdash;<span class="smcap">Design for Wall Panelling or Curtains.</span>
+By Mr. Fairfax Wade.</p>
+
+<div class="blockquot">
+<p>To be worked in outline and solid embroidery, in silk
+or filoselle, on satin de chine.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg&nbsp;63]</a></span>
+No. <a href="#Page_73">5</a>.&mdash;<span class="smcap">Design for Quilt or Couvre-Pied.</span> By Mr.
+Fairfax Wade. To introduce squares of Greek or
+guipure lace.</p>
+
+<div class="blockquot">
+<p>Worked in golden shades of silk on linen, lined with
+silk of the same colour. The embroidery is partly solid
+and partly outline, very fine and delicate.</p>
+</div>
+
+<p>No. <a href="#Page_75">6</a>.&mdash;<span class="smcap">Design for Sofa-back Cover.</span> By Mr. W.
+Morris.</p>
+
+<div class="blockquot">
+<p>Worked on hand-woven linen in two shades of gold-coloured
+silks. Outline.</p>
+</div>
+
+<p>No. <a href="#Page_75">7</a>.&mdash;<span class="smcap">Design for Sofa-back Cover or Piano
+Panel.</span> By Mr. George Aitchison.</p>
+
+<div class="blockquot">
+<p>Worked in two shades of blue silk on hand-woven linen
+or satin de chine.</p>
+</div>
+
+<p>No. <a href="#Page_77">8</a>.&mdash;<span class="smcap">Design for Appliqu&eacute;.</span> By Mr. Fairfax Wade.</p>
+
+<p>Nos. <a href="#Page_79">9</a> and <a href="#Page_79">10</a>.&mdash;<span class="smcap">Designs for Chair-seats or
+Cushions.</span> By Miss Jekyll. Periwinkle and Iris.</p>
+
+<p>No. <a href="#Page_81">11</a>.&mdash;<span class="smcap">Design for Border.</span> By Miss Webster. To
+be worked in outline in silk or crewel.</p>
+
+<p>No. <a href="#Page_81">12</a>.&mdash;<span class="smcap">Design for Border for Curtain or Table
+Cover.</span> Designed by Miss Burnside, of the R.S.A.N.</p>
+
+<p>No. <a href="#Page_83">13</a>.&mdash;<span class="smcap">Table Border.</span> Designed by Mr. Fairfax
+Wade. Conventional Buttercup. To be worked
+either solid or in outline.</p>
+
+<p><span class='pagenum'><a name="Page_64" id="Page_64">[Pg&nbsp;64]</a></span>
+No. <a href="#Page_83">14</a>.&mdash;<span class="smcap">Table Border.</span> Designed by Mr. Walter
+Crane. For solid embroidery in crewel or silk.</p>
+
+<p>No. <a href="#Page_83">15</a>.&mdash;<span class="smcap">Table Border.</span> Designed by Mr. Walter
+Crane. For solid embroidery in crewel or silk.</p>
+
+<p>No. <a href="#Page_83">16</a>.&mdash;<span class="smcap">Border.</span> Designed by Miss Mary Herbert,
+R.S.A.N. For crewel or silk embroidery, either in
+outline or solid.</p>
+
+<p>No. <a href="#Page_85">17</a>.&mdash;<span class="smcap">Two Panels.</span> Designed by Rev. Selwyn
+Image. Representing Juno and Minerva.</p>
+
+<p>No. <a href="#Page_87">18</a>.&mdash;<span class="smcap">Two Panels.</span> Designed by Rev. Selwyn
+Image. Representing Venus and Proserpine. To
+be worked in outline on linen, as No. 1, or in
+coloured silks on a groundwork of satin de chine.</p>
+
+<p>No. <a href="#Page_89">19</a>.&mdash;<span class="smcap">Wall Hanging.</span> Designed by Mr. W.
+Morris. To be worked on linen in outline.</p>
+
+<p>No. <a href="#Page_91">20</a>.&mdash;<span class="smcap">Wall Hanging.</span> Designed by Mr. W.
+Morris. Worked on linen. Background in Silk
+Cushion Stitch.</p>
+
+<p>No. <a href="#Page_93">21</a>.&mdash;<span class="smcap">Border for Appliqu&eacute;.</span> Copied from Ancient
+Italian work.</p>
+
+<p>No. <a href="#Page_95">22</a>.&mdash;<span class="smcap">Italian Design.</span> A Specimen. Showing
+the application of transposed Appliqu&eacute;.</p>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg&nbsp;65]</a></span></p>
+
+<div class="figcenter" style="width: 292px;">
+<img src="images/hob22th.jpg" width="292" height="500"
+alt="Detailed design with a leaf border, depicting a group of musicians surrounding Musica on a dais" />
+<span class="link"><a href="images/hob22.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">1. DESIGN FOR WALL PANEL.<br />
+<i>By E. Burne-Jones.</i></p>
+
+<p><span class='pagenum'><a name="Page_67" id="Page_67">[Pg&nbsp;67]</a></span></p>
+
+<div class="figcenter" style="width: 180px;">
+<img src="images/hob23th.jpg" width="180" height="500"
+alt="Detailed design showing an ornate pillar surrounded by birds, animals and mythical creatures" />
+<span class="link"><a href="images/hob23.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">2. DESIGN FOR WALL PANEL.<br />
+<i>By Walter Crane.</i></p>
+
+<p><span class='pagenum'><a name="Page_69" id="Page_69">[Pg&nbsp;69]</a></span></p>
+
+<div class="figcenter" style="width: 324px;">
+<img src="images/hob24th.jpg" width="324" height="500"
+alt="Corner of the design with a wide floral border and scattered floral motifs in the center" />
+<span class="link"><a href="images/hob24.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">3. DESIGN FOR A QUILT OR TABLE COVER.<br />
+<i>By George Aitchison.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[Pg&nbsp;71]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob25th.jpg" width="500" height="364"
+alt="Detailed floral design" />
+<span class="link"><a href="images/hob25.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">4. DESIGN FOR WALL PANEL OR CURTAIN.<br />
+<i>By Fairfax Wade.</i></p>
+
+<p><span class='pagenum'><a name="Page_73" id="Page_73">[Pg&nbsp;73]</a></span></p>
+
+<div class="figcenter" style="width: 351px;">
+<img src="images/hob26th.jpg" width="351" height="500"
+alt="Detailed floral design based on square motifs" />
+<span class="link"><a href="images/hob26.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">5. DESIGN FOR A QUILT OR COUVRE-PIED.<br />
+<i>By Fairfax Wade.</i></p>
+
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[Pg&nbsp;75]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob27th.jpg" width="500" height="175"
+alt="Detailed floral design" />
+<span class="link"><a href="images/hob27.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">6. DESIGN FOR A SOFA-BACK COVER.<br />
+<i>By William Morris.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob28th.jpg" width="500" height="132"
+alt="Detailed floral design" />
+<span class="link"><a href="images/hob28.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL.<br />
+<i>By George Aitchison.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<p><span class='pagenum'><a name="Page_77" id="Page_77">[Pg&nbsp;77]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob29th.jpg" width="500" height="210"
+alt="Detailed floral design" />
+<span class="link"><a href="images/hob29.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">8. DESIGN FOR APPLIQU&Eacute;.<br />
+<i>By Fairfax Wade.</i></p>
+
+<p><span class='pagenum'><a name="Page_79" id="Page_79">[Pg&nbsp;79]</a></span></p>
+
+<div class="figcenter" style="width: 394px;">
+<img src="images/hob30th.jpg" width="394" height="400"
+alt="Floral design" />
+<span class="link"><a href="images/hob30.jpg">See larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 395px;">
+<img src="images/hob31th.jpg" width="395" height="400"
+alt="Floral design" />
+<span class="link"><a href="images/hob31.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DESIGNS FOR CHAIR-SEATS OR CUSHIONS. (9. PERIWINKLE 10. IRIS.)<br />
+<i>By Miss Jekyll.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg&nbsp;81]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob32th.jpg" width="500" height="112"
+alt="Repeating design featuring a variation on a gryphon" />
+<span class="link"><a href="images/hob32.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">11. DESIGN FOR A BORDER.<br />
+<i>By Miss Webster.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob33th.jpg" width="500" height="160"
+alt="Detailed floral border design" />
+<span class="link"><a href="images/hob33.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">12. DESIGN FOR A BORDER FOR A CURTAIN OR TABLE COVER.<br />
+<i>By Miss Burnside.</i></p>
+
+<p><span class='pagenum'><a name="Page_83" id="Page_83">[Pg&nbsp;83]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob34th.jpg" width="500" height="146"
+alt="Floral border design" />
+<span class="link"><a href="images/hob34.jpg">See larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob35th.jpg" width="500" height="144"
+alt="Floral border design" />
+<span class="link"><a href="images/hob35.jpg">See larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob36th.jpg" width="500" height="146"
+alt="Floral border design" />
+<span class="link"><a href="images/hob36.jpg">See larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/hob37th.jpg" width="500" height="144"
+alt="Floral border design" />
+<span class="link"><a href="images/hob37.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DESIGNS FOR TABLE BORDERS.<br />
+<i>No. 13 by Fairfax Wade; 14 and 15 by Walter Crane; 16 by Mary Herbert.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[Pg&nbsp;85]</a></span></p>
+
+<div class="figcenter" style="width: 346px;">
+<img src="images/hob38th.jpg" width="346" height="500"
+alt="Two panels, each featuring one of the named figures" />
+<span class="link"><a href="images/hob38.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">17. TWO DESIGNS FOR WALL PANELS&mdash;&ldquo;JUNO&rdquo; AND &ldquo;MINERVA.&rdquo;<br />
+<i>By the Rev. Selwyn Image.</i></p>
+
+<p><span class='pagenum'><a name="Page_87" id="Page_87">[Pg&nbsp;87]</a></span></p>
+
+<div class="figcenter" style="width: 347px;">
+<img src="images/hob39th.jpg" width="347" height="500"
+alt="Two panels, each featuring one of the named figures" />
+<span class="link"><a href="images/hob39.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">18. TWO DESIGNS FOR WALL PANELS&mdash;&ldquo;VENUS&rdquo; AND &ldquo;PROSERPINE.&rdquo;<br />
+<i>By the Rev. Selwyn Image.</i></p>
+
+<p><span class='pagenum'><a name="Page_89" id="Page_89">[Pg&nbsp;89]</a></span></p>
+
+<div class="figcenter" style="width: 370px;">
+<img src="images/hob40th.jpg" width="370" height="500"
+alt="Detailed floral and foliage design" />
+<span class="link"><a href="images/hob40.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">19. DESIGN FOR WALL-HANGING.<br />
+<i>By William Morris.</i></p>
+
+<p><span class='pagenum'><a name="Page_91" id="Page_91">[Pg&nbsp;91]</a></span></p>
+
+<div class="figcenter" style="width: 312px;">
+<img src="images/hob41th.jpg" width="312" height="500"
+alt="Detailed floral and foliage design" />
+<span class="link"><a href="images/hob41.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">20. DESIGN FOR WALL-HANGING.<br />
+<i>By William Morris.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<p><span class='pagenum'><a name="Page_93" id="Page_93">[Pg&nbsp;93]</a></span></p>
+
+<div class="figcenter" style="width: 317px;">
+<img src="images/hob42th.jpg" width="317" height="500"
+alt="Twisting floral vine design" />
+<span class="link"><a href="images/hob42.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">21. DESIGN FOR BORDER FOR APPLIQU&Eacute;.<br />
+<i>From Ancient Italian Work.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+<p><span class='pagenum'><a name="Page_95" id="Page_95">[Pg&nbsp;95]</a></span></p>
+
+<div class="figcenter" style="width: 312px;">
+<img src="images/hob43th.jpg" width="312" height="500"
+alt="Floral design with border" />
+<span class="link"><a href="images/hob43.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">22. ITALIAN DESIGN.<br />
+<i>Showing the application of transposed Appliqu&eacute;.</i><br />
+<span class="printer">Vincent Brooks Day &amp; Son, Lith.</span></p>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_97" id="Page_97">[Pg&nbsp;97]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead04.png" width="600" height="151" alt="Decoration" />
+</div>
+
+<h2 class="fancy">Royal School of Art-Needlework.</h2>
+
+
+<p class="center"><i>Incorporated under &ldquo;The Companies&rsquo; Acts, 1862 and 1867,&rdquo; by licence of<br />
+the Board of Trade, granted under 30 and 31 Vic., c. 131, sec. 23.</i></p>
+
+<p class="center">Share Capital, &pound;10,000, in 1000 Shares of &pound;10 each. Debenture<br />
+Capital, &pound;10,000, to be issued in Debentures of &pound;50 each.</p>
+
+
+<p class="fancy">Patrons.</p>
+
+<p class="ctext"><span class="smcap">Her Majesty the Queen.</span><br />
+<span class="smcap">H.R.H. The Prince of Wales.</span><br />
+<span class="smcap">H.R.H. The Princess of Wales.</span></p>
+
+<p class="fancy">President.</p>
+
+<p class="ctext"><span class="smcap">H.R.H. The Princess Christian of Schleswig-Holstein.</span><br />
+<i>Princess of Great Britain and Ireland.</i></p>
+
+<p class="fancy">Vice-President.</p>
+
+<p class="ctext"><span class="smcap">The Lady Marian Alford.</span></p>
+
+<p class="fancy">Managing Committee.</p>
+
+<p class="ctext"><span class="smcap">The Countess Spencer.</span><br />
+<span class="smcap">The Countess Cowper.</span><br />
+<span class="smcap">The Countess Brownlow.</span><br />
+<span class="smcap">The Viscountess Downe.</span><br />
+<span class="smcap">The Lady Sarah Spencer.</span><br />
+<span class="smcap">The Hon. Lady Welby Gregory.</span><br />
+<span class="smcap">The Hon. Mrs. Percy Wyndham.</span><br />
+<span class="smcap">Mrs. Edward Baring.</span><br />
+(<i>With power to add to their number.</i>)</p>
+
+<p class="fancy">Honorary Members of the Managing Committee.</p>
+
+<p class="ctext"><span class="smcap">The Lady Charlotte Schreiber.</span><br />
+<span class="smcap">The Hon. Lady Hamilton-Gordon.</span><br />
+<span class="smcap">The Lady Fitzhardinge.</span><br />
+<span class="smcap">The Hon. Mrs. Stuart Wortley.</span></p>
+
+<p><span class='pagenum'><a name="Page_98" id="Page_98">[Pg&nbsp;98]</a></span></p>
+
+<p class="fancy">Finance Committee.</p>
+
+<p class="ctext"><span class="smcap">The Duke Of Westminster, K.G.</span><br />
+<span class="smcap">The Earl Brownlow.</span><br />
+<span class="smcap">The Lord Sudeley.</span><br />
+<span class="smcap">Sir Coutts Lindsay, Bart.</span><br />
+<span class="smcap">The Right Hon. Sir William Henry Gregory, K.C.M.G.</span><br />
+<span class="smcap">Michael Biddulph, Esq., M.P.</span><br />
+<span class="smcap">Edmund Oldfield, Esq.</span></p>
+
+<p class="fancy">Bankers.</p>
+
+<p class="ctext"><span class="smcap">London and County Bank</span>, Albert Gate Branch.</p>
+
+<p class="fancy">Solicitors.</p>
+
+<p class="ctext"><span class="smcap">Messrs. Trinders &amp; Curtis-Hayward</span>, 4, Bishopsgate Street<br />
+Within, E.C.</p>
+
+<p class="fancy">Offices.</p>
+
+<p class="ctext">EXHIBITION ROAD, SOUTH KENSINGTON.</p>
+
+
+<hr style="width: 65%;" />
+
+<h3>PROSPECTUS.</h3>
+
+<p>The School was founded in 1872, under the Presidency of H.R.H.
+the Princess Christian of Schleswig-Holstein, for the twofold purpose of
+supplying suitable employment for Gentlewomen and restoring Ornamental
+Needlework to the high place it once held among the decorative
+arts.</p>
+
+<p>It was first established, under the title of School of Art-Needlework,
+in Sloane Street; but in 1875 was removed to the present premises in
+the Exhibition Road, and Her Majesty the Queen was graciously
+pleased to grant to it the prefix of &ldquo;Royal.&rdquo;</p>
+
+<p>The Royal School of Art-Needlework exhibited at the Centennial
+Exhibition of Philadelphia, 1876, and received a Certificate of Award&mdash;medals
+not being granted to institutions or corporate bodies. A Silver
+Medal was also granted by the Jurors of the International Exhibition,
+Paris, 1878, for embroideries exhibited there.</p>
+
+<p>The result of seven years&rsquo; experience of the working of the School has
+shown that the objects for which it was formed are appreciated by the
+public, and has justified its establishment on a permanent basis. This
+has accordingly been effected under a special licence from the Board of
+<span class='pagenum'><a name="Page_99" id="Page_99">[Pg&nbsp;99]</a></span>
+Trade, granted under authority of an Act of Parliament which authorizes
+the incorporation of associations <em>not</em> constituted for purposes of profit.</p>
+
+<p>The ultimate profits of the Association, after payment of all Debentures,
+are to be applied to such charitable or other purposes as the
+Association may from time to time determine, not being inconsistent
+with the provisions of the Memorandum of Association, which require
+that the Shareholders shall not take any personal profit out of the
+Association.</p>
+
+<p>The government of the School is vested in:</p>
+
+<div class="blockquot">
+<p>First.&mdash;A President, Vice-President, and General Council.</p>
+
+<p>Second.&mdash;A Managing Committee to be selected from the
+General Council, except as to Honorary Members to be
+nominated by the Managing Committee.</p>
+
+<p>Third.&mdash;A Finance Committee, of whom a majority are to be
+elected by the Shareholders, and the remainder nominated
+by the Managing Committee. The sanction of this Committee
+is required for all expenditure.</p>
+</div>
+
+<p>Agencies have now been opened in Liverpool, Manchester, Leeds,
+Norwich, Birmingham and Glasgow; and a member of the staff has been
+sent out to take charge of the School of Art-Needlework in Philadelphia.</p>
+
+<p>The Show Rooms are open from 10&nbsp;a.m. to 6&nbsp;p.m. in Summer, and
+to 5&nbsp;p.m. in Winter, and close on Saturdays at 2&nbsp;p.m.</p>
+
+<p>All letters must be addressed &ldquo;The Secretary.&rdquo;</p>
+
+<p>Lists of designs, prices of prepared and finished work, terms for
+lessons, and addresses of Provincial Agents, may be obtained by writing
+to the Secretary.</p>
+
+<p>A Branch School for Scotland has now been opened in Glasgow.
+Show Rooms at 108, St. Vincent Street.</p>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[Pg&nbsp;100]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead09.png" width="600" height="138" alt="Decoration" />
+</div>
+
+<p class="center" style="font-size: x-large">ROYAL SCHOOL OF ART-NEEDLEWORK.</p>
+
+<p class="center" style="font-size: large">EXHIBITION ROAD,<br />
+SOUTH KENSINGTON.</p>
+
+
+<h3>PREPARED WORK.</h3>
+
+<div class="figcenter" style="width: 95px;">
+<img src="images/hob44.png" width="95" height="100" alt="Decoration" />
+</div>
+
+<p>Work can be obtained from the <span class="smcap">Royal School of Art-Needlework</span>
+having a design traced, a portion of the embroidery commenced,
+and sufficient materials for finishing. Ladies&rsquo; own materials will be
+traced and prepared for working if desired. Dresses must be cut out
+and tacked together before being sent to the School, and lines marked
+on the material to show where the design is to be placed.</p>
+
+<p>When an order for prepared work is executed exactly by the directions
+given, or when the selection of Design or Colouring is left to the
+School, <em>the work cannot be exchanged or taken back</em>.</p>
+
+<p>The materials supplied with the work are considered more than
+sufficient to finish it, and if more are required afterwards they must be
+purchased separately.</p>
+
+<p>A few specimen prices are quoted, but <em>no estimates can be given for
+prepared work</em>, except in cases of large orders where a great quantity of
+material is supplied.</p>
+
+<p><span class='pagenum'><a name="Page_101" id="Page_101">[Pg&nbsp;101]</a></span>
+<i>All Designs supplied are Copyright of the Royal School of Art-Needlework,
+and must not be made use of for purposes of sale.</i></p>
+
+<p>Designs on paper are not supplied under any circumstances, nor can
+work be sent out on approbation.</p>
+
+<p>All work supplied is stamped with the monogram of the <span class="smcap">Royal
+School of Art-Needlework</span>, as above, in addition to the
+letters P. W.</p>
+
+<div class="blockquot">
+<p>N.B.&mdash;<i>An extra charge is made for all designs not ordinarily
+used for Prepared Work.</i></p>
+</div>
+
+
+<h3>APPROXIMATE PRICES OF PREPARED
+WORK AND MATERIALS.</h3>
+
+<p><span class="smcap">Table Covers</span>, on Diagonal, from &pound;1&nbsp;1<i>s.</i> to &pound;5&nbsp;5<i>s.</i></p>
+
+<p><span class="space1">&rdquo;</span> <span class="space2">&rdquo;</span> Serge <span class="space3">&rdquo;</span> 18<i>s.</i> to &pound;3&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Linen Table Covers</span>, yard square, 14<i>s.</i>&nbsp;6<i>d.</i> to &pound;1&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Chair Back Covers</span>, Linen, 7<i>s.</i>&nbsp;6<i>d.</i> to &pound;1&nbsp;1<i>s.</i></p>
+
+<p><span class="smcap">Borders</span>, on Linen, suitable for Table Covers or Dresses, from 5<i>s.</i> per
+yard.</p>
+
+<p><span class="smcap">Borders</span>, on Serge or Diagonal, suitable for Table Covers or Dresses,
+from 7<i>s.</i> per yard.</p>
+
+<p><span class="smcap">Borders</span>, on Serge or Diagonal, suitable for Curtains, Chimney
+Valances, &amp;c., from 13<i>s.</i> per yard.</p>
+
+<div class="blockquot">
+<p>N.B.&mdash;<i>If several yards are ordered of one pattern the price is lower.</i></p>
+</div>
+
+<p><span class="smcap">Banner Screens</span>, Linen (various), 8<i>s.</i>&nbsp;6<i>d.</i> to 15<i>s.</i>&nbsp;6<i>d.</i></p>
+
+<p><span class="space4">&rdquo;</span> <span class="space5">&rdquo;</span> Diagonal, 12<i>s.</i>&nbsp;6<i>d.</i> to &pound;2&nbsp;2<i>s.</i></p>
+
+<p><span class="smcap">Babies&rsquo; Blankets</span>, from 14<i>s.</i>&nbsp;6<i>d.</i></p>
+
+<p><span class="smcap">Bath Blankets</span>, yard square, 17<i>s.</i>&nbsp;6<i>d.</i>; yard and a half square, 26<i>s.</i></p>
+
+<p><span class="smcap">Children&rsquo;s Dress</span>, from 18<i>s.</i> to &pound;1&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Tennis Aprons</span>, from &pound;1&nbsp;1<i>s.</i></p>
+
+<p><span class="smcap">Cushions</span>, Linen, 7<i>s.</i>&nbsp;6<i>d.</i> to 12<i>s</i>&nbsp;6<i>d.</i>; on Diagonal, &amp;c., 10<i>s.</i>&nbsp;6<i>d.</i> to
+&pound;1&nbsp;1<i>s.</i></p>
+
+<p><span class="smcap">Toilet Mats</span> or <span class="smcap">D&rsquo;Oyley</span>, 8 inches square, from &pound;1&nbsp;6<i>s.</i> to &pound;3&nbsp;3<i>s.</i>
+per dozen.</p>
+
+<p><span class="smcap">Folding Screens</span>, on Sailcloth, &pound;1&nbsp;1<i>s.</i> to &pound;1&nbsp;10<i>s.</i> per panel.</p>
+
+
+<p><span class='pagenum'><a name="Page_102" id="Page_102">[Pg&nbsp;102]</a></span></p>
+
+<h3>CREWELS.</h3>
+
+<p>Crewels are sold at the rate of 8<i>d.</i> per ounce skein, or in quarter-pound
+bundles, containing not more than four shades, at 2<i>s.</i> In quarter-pound
+bundles, containing selected colours, at 3<i>s.</i></p>
+
+<p><span class="smcap">Embroidery Silks</span>, at 6<i>s.</i>&nbsp;6<i>d.</i> per ounce reel, and 3<i>s.</i>&nbsp;3<i>d.</i> per half-ounce
+reel of one shade; or at 8<i>s.</i> per ounce of selected colours.</p>
+
+<p><span class="smcap">Filoselle</span>, 3<i>s.</i>&nbsp;6<i>d.</i> per ounce.</p>
+
+<p><span class="smcap">Needles</span>, 9<i>d.</i> per packet.</p>
+
+<p><span class="smcap">Materials</span>, suitable for embroidery, such as Homespuns, Fancy
+Linens, Serge, Diagonal, Utrecht Velvet, Satin de Chine, &amp;c. &amp;c., may
+be purchased at the School.</p>
+
+<p class="center">NOT LESS THAN ONE YARD SOLD.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/hobtail11.png" width="300" height="112" alt="Decoration" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg&nbsp;103]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/hobhead08.png" width="600" height="136" alt="Decoration" />
+</div>
+
+<h3>LIST OF DESIGNS.</h3>
+
+
+<h4>CHAIR BACKS.</h4>
+
+<p>Honeysuckle, Bramble, Poppy, Passion Flower, Taxonia, Wild Rose,
+Apple Blossom, Orange with Flowers, Virginia Creeper, Fish and
+Bulrushes, Winter Cherry, Corn Flower, Hops, Carnations, Cherry,
+Daisy Powdered, Primrose Powdered, Faust Motto, Iris Seed, Japanese,
+Jessamine, Lantern Plant, Periwinkle, Potato, Zynia, Tiger Lily,
+Geranium, Burrage, Corncockle, Hawthorn, Daffodil, Iris, Love-in-a-Mist,
+&amp;c. &amp;c., with many conventional designs.</p>
+
+
+<h4>NARROW BORDERS.</h4>
+
+<p class="center">SUITABLE FOR DRESSES OR TABLE COVERS.</p>
+
+<p>Love-in-a-Mist, Daisy, Poppy, Honeysuckle, Strawberry, Forget-me-Not,
+Flax, Jessamine, Blackberry, Virginia Creeper, Hawthorn,
+Daffodil, Cowslip, Cherry, Buttercup, Mountain Ash, Ragged Robin,
+Potentilla, Apple Blossom, Strawberry and Blossom, Christmas Rose,
+&amp;c. &amp;c., also many conventional designs.</p>
+
+
+<h4>CURTAIN BORDERS.</h4>
+
+<p>Sunflower, Pomegranate, Passion Flower, Taxonia, Poppy, Lilies,
+Magnolia, Orange, Hops, Marguerites, Love-in-a-Mist, Wild Rose,
+Arbutus, Chrysanthemum, Iris, Cowslip, Primrose, Apple, &amp;c. &amp;c.</p>
+
+<div class="blockquot">
+<p class="padtop"><i>The same Designs can be had in Horizontal Borders for Chimney Valances,
+wide Table Borders, and can be adapted for any purpose.</i></p>
+
+<p class="padtop">N.B.&mdash;The Royal School of Art-Needlework has no
+Branch School nor any Agency in London.</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_104" id="Page_104">[Pg&nbsp;104]</a></span></p>
+
+<h2 class="fancy">Royal School of Art-Needlework.</h2>
+
+<p class="center">EXHIBITION ROAD, SOUTH KENSINGTON.</p>
+
+
+<p class="right"><i>September, 1878.</i></p>
+
+<p>The Committee of Management of the <span class="smcap">Royal School of
+Art-Needlework</span> has now organized Classes for Teaching Ornamental
+Needlework at their premises in the Exhibition Road, South
+Kensington.</p>
+
+<p>These Classes are especially established for the instruction of Ladies
+and Children, and include every kind of stitch in Crewel, Silk, and
+Gold.</p>
+
+<p>Ladies who wish to take lessons, or send their Children, are requested
+to send their names to the Secretary, who will inform them when to
+attend.</p>
+
+<p>Each Course will consist of Six Lessons.</p>
+
+
+<p class="center">CREWELS.</p>
+
+<p class="center"><span class="smcap">Third Class&mdash;Six Lessons.</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" width="40%" summary="Table of fees">
+  <tr>
+    <td class="tdl">&nbsp;</td>
+    <td class="tdr"><i>&pound;&nbsp;&nbsp;s.&nbsp;d.</i></td>
+  </tr>
+  <tr>
+    <td class="tdl">One Person</td>
+    <td class="tdr">1&nbsp;&nbsp;&nbsp;4&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Two of same Family</td>
+    <td class="tdr">1&nbsp;16&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Three ditto</td>
+    <td class="tdr">2&nbsp;&nbsp;&nbsp;8&nbsp;0</td>
+  </tr>
+</table>
+
+
+<p class="center">SILK AND APPLIQU&Eacute;.</p>
+
+<p class="center"><span class="smcap">Second Class&mdash;Six Lessons.</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" width="40%" summary="Table of fees">
+  <tr>
+    <td class="tdl">One Person</td>
+    <td class="tdr">1&nbsp;10&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Two of same Family</td>
+    <td class="tdr">2&nbsp;&nbsp;&nbsp;5&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Three ditto</td>
+    <td class="tdr">3&nbsp;&nbsp;&nbsp;0&nbsp;0</td>
+  </tr>
+</table>
+
+
+<p class="center">ECCLESIASTICAL EMBROIDERY.</p>
+
+<p class="center"><span class="smcap">First Class&mdash;Six Lessons.</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" width="40%" summary="Table of fees">
+  <tr>
+    <td class="tdl">One Person</td>
+    <td class="tdr">2&nbsp;&nbsp;&nbsp;0&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Two of same Family</td>
+    <td class="tdr">3&nbsp;&nbsp;&nbsp;0&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Three ditto</td>
+    <td class="tdr">4&nbsp;&nbsp;&nbsp;0&nbsp;0</td>
+  </tr>
+</table>
+
+
+<p class="center"><span class="smcap">Single Lessons.</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" width="40%" summary="Table of fees">
+  <tr>
+    <td class="tdl">One single Lesson (for 1 hour) on Lesson day</td>
+    <td class="tdr">0&nbsp;&nbsp;&nbsp;7&nbsp;0</td>
+  </tr>
+  <tr>
+    <td class="tdl">Ditto ditto Special day</td>
+    <td class="tdr">0&nbsp;&nbsp;&nbsp;8&nbsp;6</td>
+  </tr>
+  <tr>
+    <td class="tdl">Ditto on Ecclesiastical Work (at any time)</td>
+    <td class="tdr">0&nbsp;10&nbsp;6</td>
+  </tr>
+  <tr>
+    <td class="tdl" colspan="2">Private Lessons at Home, 10<i>s.</i>&nbsp;6<i>d.</i> the hour and expenses.</td>
+  </tr>
+</table>
+
+<p class="center"><i>Special terms for Classes of Twelve and upwards.</i></p>
+
+
+<p><span class='pagenum'><a name="Page_105" id="Page_105">[Pg&nbsp;105]</a></span></p>
+
+<h3>FINISHED WORK.</h3>
+
+<p><span class="smcap">Curtain Borders</span>, on Serge or Diagonal Cloth, from &pound;2&nbsp;10<i>s.</i> to
+&pound;10&nbsp;10<i>s.</i>, about 3&frac12; yards long.</p>
+
+<p><span class="smcap">Dress Borders</span>, on ditto, from 7<i>s.</i> to 18<i>s.</i> per yard.</p>
+
+<p><span class="space1">&rdquo;</span> <span class="space5">&rdquo;</span> on House Flannel, from 3<i>s.</i>&nbsp;6<i>d.</i> to 10<i>s.</i>&nbsp;6<i>d.</i> per yard.</p>
+
+<p><span class="smcap">Curtain Borders</span>, on Linen, from &pound;1&nbsp;10<i>s.</i> to &pound;6&nbsp;6<i>s.</i> each.</p>
+
+<p><span class="smcap">Table Borders</span>, on Linen, from &pound;1&nbsp;1<i>s.</i> to &pound;2&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Chair Backs</span>, on Linen, from 14<i>s.</i>&nbsp;6<i>d.</i> to &pound;2&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Sofa Backs</span>, on Linen and Silk, from &pound;2&nbsp;2<i>s.</i> to &pound;10.</p>
+
+<p><span class="smcap">Table Covers</span>, on Linen, from &pound;1&nbsp;3<i>s.</i> to &pound;5.</p>
+
+<p><span class="space1">&rdquo;</span> <span class="space2">&rdquo;</span> Serge, from &pound;1&nbsp;1<i>s.</i> to &pound;7.</p>
+
+<p><span class="space1">&rdquo;</span> <span class="space2">&rdquo;</span> Diagonal, from 30<i>s.</i> to &pound;26.</p>
+
+<p><span class="smcap">Small Chair Seats</span>, on Diagonal, from 13<i>s.</i> to &pound;2&nbsp;12<i>s.</i></p>
+
+<p><span class="smcap">Large</span> <span class="space1">&rdquo;</span> <span class="space2">&rdquo;</span> Serge, from 13<i>s.</i> to &pound;3&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Cushions</span>, made up, from &pound;2&nbsp;2<i>s.</i> to &pound;5&nbsp;7<i>s.</i></p>
+
+<p><span class="smcap">Children&rsquo;s Dresses</span>, from &pound;1&nbsp;1<i>s.</i> to &pound;3&nbsp;3<i>s.</i></p>
+
+<p><span class="space6">&rdquo;</span> <span class="smcap">Aprons</span>, from 12<i>s.</i>&nbsp;6<i>d.</i> to &pound;1&nbsp;1<i>s.</i></p>
+
+<p><span class="smcap">Children&rsquo;s French Blouses</span>, 18<i>s.</i>&nbsp;6<i>d.</i> to &pound;2&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Ladies&rsquo; Lawn Tennis Aprons</span>, from &pound;1&nbsp;5<i>s.</i> to &pound;3&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Linen D&rsquo;Oyleys</span>, from &pound;2&nbsp;7<i>s.</i> to &pound;8&nbsp;8<i>s.</i> per dozen.</p>
+
+<p><span class="smcap">Tea Cosies</span>, on Diagonal, from 16<i>s.</i>&nbsp;6<i>d.</i></p>
+
+<p><span class="smcap">Kettledrum D&rsquo;Oyleys</span>, each 5<i>s.</i>&nbsp;6<i>d.</i> to 16<i>s.</i>&nbsp;6<i>d.</i></p>
+
+<p><span class="smcap">Sachets</span>, with Mat to correspond, on Linen, from &pound;1&nbsp;6<i>s.</i></p>
+
+<p><span class="smcap">Folding Screens</span>, from &pound;13 to &pound;100.</p>
+
+<p><span class="smcap">Curtains</span>, on Serge or Linen, from &pound;10 to &pound;60 per pair.</p>
+
+<p><span class="smcap">Mantel Valances</span>, from &pound;2&nbsp;2<i>s.</i> to &pound;10&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Banner Screens</span>, from &pound;1&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Counterpanes</span>, from &pound;6 to &pound;80.</p>
+
+<p><span class="smcap">Table Screens</span>, from &pound;4&nbsp;4<i>s.</i></p>
+
+<p><span class="smcap">Ladies&rsquo; Algerian Hoods</span>, from &pound;3 to &pound;10.</p>
+
+<p><span class="smcap">Fans</span>, Mounted, from &pound;2&nbsp;7<i>s.</i> to &pound;20.</p>
+
+<p><span class="smcap">Carriage Rugs</span>, from &pound;2 to &pound;10.</p>
+
+<p><span class="smcap">Blotter and Envelope Box</span>, from &pound;8&nbsp;8<i>s.</i></p>
+
+<p><span class="space5">&rdquo;</span> on Linen, from &pound;1&nbsp;5<i>s.</i></p>
+
+<p><span class="smcap">Envelope Box</span>, on Linen, from &pound;3.</p>
+
+<p><span class="smcap">Photograph Frames</span>, from &pound;1&nbsp;10<i>s.</i></p>
+
+<p><span class='pagenum'><a name="Page_106" id="Page_106">[Pg&nbsp;106]</a></span>
+<span class="smcap">Bellows</span>, from &pound;1&nbsp;17<i>s.</i></p>
+
+<p><span class="smcap">Opera Cloaks</span>, from &pound;3&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Nightingale Dressing Jacket</span>, from &pound;2.</p>
+
+<p><span class="smcap">Bath Slippers</span>, from 6<i>s.</i>&nbsp;6<i>d.</i> per pair.</p>
+
+<p><span class="smcap">Washstand Backs</span>, from &pound;1&nbsp;5<i>s.</i></p>
+
+<p><span class="smcap">Blanket Mats</span>, for Bath, 15<i>s.</i>&nbsp;6<i>d.</i></p>
+
+<p><span class="smcap">Berceaunette Covers</span>, from &pound;1&nbsp;10<i>s.</i></p>
+
+<p><span class="smcap">Sunshade Covers</span>, from &pound;3&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Piano Panels</span>, from &pound;1&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Babies&rsquo; Head Flannels</span>, from &pound;1&nbsp;3<i>s.</i></p>
+
+<p><span class="space1">&rdquo;</span> <span class="smcap">Cloaks</span>, from &pound;4&nbsp;4<i>s.</i></p>
+
+<p><span class="smcap">Handkerchief Sachets</span>, from &pound;3&nbsp;3<i>s.</i></p>
+
+<p><span class="smcap">Knitting Pockets</span>, from &pound;1&nbsp;1<i>s.</i></p>
+
+<hr style="width: 25%;" />
+
+<p class="center"><i>P. O. Orders Payable to <span class="smcap">L. Higgin</span>, Exhibition Road.<br />
+Not more than 18 Stamps received.</i></p>
+
+<hr style="width: 25%;" />
+
+<h3>AGENTS IN THE COUNTRY.</h3>
+
+<p class="ctext">
+<i>Liverpool</i>: Messrs. <span class="smcap">Rumney &amp; Love</span>, Bold Street.<br />
+<i>Manchester</i>: Messrs. <span class="smcap">E. Goodall &amp; Co.</span>, King Street.<br />
+<i>Leeds</i>: Messrs. <span class="smcap">Marsh, Jones, &amp; Cribbs</span>.<br />
+<i>Norwich</i>: Messrs. <span class="smcap">Robertson &amp; Sons</span>, Queen Street.<br />
+<i>Glasgow</i>: Messrs. <span class="smcap">Alexander &amp; Howell</span>, 108, St. Vincent Street.<br />
+<i>Birmingham</i>: Messrs. <span class="smcap">Manton, Sons, &amp; Gilbert</span>.<br />
+</p>
+
+<p class="center">And for</p>
+
+<p class="ctext"><i>America</i>: Messrs. <span class="smcap">Torrey, Bright, &amp; Capen</span>, Boston.</p>
+
+
+<p class="center">BRANCH SCHOOL FOR SCOTLAND:</p>
+
+<p class="center"><span class="smcap">116, St. Vincent Street, Glasgow.</span></p>
+
+<p class="center">All information to be obtained at the Show Rooms,<br />
+108, St. Vincent Street.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="blockquot">
+<p>As advertisements have from time to time appeared
+in various newspapers offering for sale designs of
+the Royal School of Art-Needlework, the Public is
+requested to note that no designs either on pricked
+paper, or in any other form than on commenced
+work, are, or ever have been, sold by the School, or
+supplied to any agent. Further, that no tracing
+powder is used in preparing the patterns, or sold for
+that purpose. All designs, therefore, offered as those
+of the Royal School are either entirely spurious, or
+are pirated from theirs.</p>
+</div>
+
+<hr style="width: 65%;" />
+
+<p class="center" style="padding-bottom: 5em;">CHISWICK PRESS:&mdash;C. WHITTINGHAM, TOOKS COURT,
+CHANCERY LANE.</p>
+
+
+
+<div class="bbox">
+<p><b>Transcriber's Note</b></p>
+
+<p>Minor typographic errors in punctuation have been corrected without note.</p>
+
+<p>Hyphenation has been made consistent in the main body of the text without note.
+Please note that the author uses the term 'high light' rather than the more
+usual 'highlight'.</p>
+
+<p>The following amendments have been made:</p>
+
+<div class="blockquot">
+<p>Page <a href="#Page_15">15</a>&mdash;grounds amended to ground&mdash;"As
+ground for embroidery it has an excellent effect."</p>
+
+<p>Page <a href="#Page_53">53</a>&mdash;the page reference to Burden stitch
+has been amended from 49 to 50.</p>
+
+<p>The first 10 captioned illustrations (starting with "No.
+1.&mdash;<span class="smcap">Stem Stitch</span>") have been made consistent with
+the later illustrations, by the removal of the word Illustration and a
+comma at the beginning of each of those captions.</p>
+
+<p>The two illustrations on page <a href="#Page_81">81</a> (Plates 11 and 12) were printed in reverse
+order in the original. They have been swapped over so they are now in the correct
+numeric order in this e-text.</p>
+</div>
+
+<p>Omitted page numbers refer to blank pages in the original.</p>
+
+<p>The final section of the book (starting on page <a href="#Page_97">97</a>)
+included some headings in a gothic-style font. You may wish to adjust the
+fantasy font setting in your browser to reproduce this styling.</p>
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin
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@@ -0,0 +1,3019 @@
+The Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Handbook of Embroidery
+
+Author: L. Higgin
+
+Editor: Lady Marian Alford
+
+Release Date: March 30, 2008 [EBook #24964]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HANDBOOK OF EMBROIDERY ***
+
+
+
+
+Produced by Julie Barkley, Sam W. and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Decoration]
+
+HANDBOOK OF EMBROIDERY.
+
+[Decoration]
+
+
+
+
+                   HANDBOOK OF EMBROIDERY
+
+                        BY L. HIGGIN.
+
+                EDITED BY LADY MARIAN ALFORD.
+
+
+ PUBLISHED BY AUTHORITY OF THE ROYAL SCHOOL OF ART-NEEDLEWORK,
+              AND DEDICATED TO THEIR PRESIDENT,
+
+      H.R.H. PRINCESS CHRISTIAN, OF SCHLESWIG-HOLSTEIN,
+                  PRINCESS OF GREAT BRITAIN
+                        AND IRELAND.
+
+
+                        [Decoration]
+
+
+                           LONDON:
+        SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,
+               CROWN BUILDINGS, FLEET STREET.
+                            1880.
+
+
+
+
+(_All rights reserved._)
+
+
+
+
+NOTE.
+
+
+Plates Nos. 4 and 19 show a portion only of the designs by Mr. W.
+Morris and Mr. Fairfax Wade.
+
+
+
+
+[Decoration]
+
+PREFACE.
+
+
+In drawing up this little "Handbook of Embroidery" we do not pretend
+to give such complete technical directions as would enable a beginner
+in this beautiful art to teach herself; because learning without
+practical lessons must be incomplete, and can only lead to
+disappointment.
+
+We have sought, therefore, only to respond to the inquiries we are
+constantly receiving, and to supply useful hints to those who are
+unable to avail themselves of lessons, and are forced to puzzle over
+their difficulties without help from a trained and experienced
+embroiderer; at the same time, the rules we have laid down and the
+directions we have given may serve to remind those who have passed
+through the classes, of many little details which might easily be
+forgotten when the lessons are over, though so much of the success of
+embroidery depends upon them.
+
+We have given a short description of the most useful stitches, and
+have pointed out their applicability to different styles of work; we
+have named the various materials which are best suited as grounds for
+embroidery, and the silks, filoselles, crewels, &c., which are most
+commonly employed, with practical rules for their use in the best and
+most economical manner.
+
+Also we have given such plain directions as to stretching, framing,
+and cleaning the work as are possible in a limited space, and without
+practical illustration. We venture to hope we have thus supplied a
+want that has been long felt by those who interest themselves in the
+art in which Englishwomen once excelled, but which had languished of
+late years, and almost died out amongst us, though it has always been
+taught in many continental cities, where embroideries have never
+ceased to be required for church decoration.
+
+We have abstained from giving any directions as to the tracing of
+designs upon material, for two sufficient reasons: firstly, that the
+Royal School of Art-Needlework has never supplied designs alone, or in
+any other form than as prepared work; and secondly, that having made
+experiments with all the systems that have been brought out for
+"stamping," ironing from transfer-papers, or with tracing powder, it
+has been found that designs can only be artistically and well traced
+on material by hand painting. Those ladies who can design and paint
+their own patterns for embroidery are independent of assistance, and
+to those who are unable to do so we cannot recommend any of the
+methods now advertised.
+
+It has been thought unnecessary to enter into the subject of
+ecclesiastical embroidery at present. This has been so thoroughly
+revived in England, and practised in such perfection by
+sisterhoods--both Anglican and Roman Catholic--as well as by some of
+the leading firms of church decorators, that we have not felt
+ourselves called upon to do more than include it in our course of
+lessons.
+
+The aesthetic side of our subject we have purposely avoided, as it
+would lead us further than this purely technical guide-book pretends
+to go. But we propose shortly to bring out a second part devoted to
+design, composition, colour, and the common-sense mode of treating
+decorative Art, as applied to wall-hanging, furniture, dress, and the
+smaller objects of luxury.
+
+We shall examine and try to define the principles which have guided
+Eastern and Western embroideries at their best periods, hoping thus to
+save the designers of the future from repeating exploded experiments
+against received canons of good taste; checking, if we can, the
+exuberance of ignorant or eccentric genius, but leaving room for
+originality.
+
+Mrs. Dolby, who by her presence and her teaching helped Lady Welby to
+start the Royal School of Art-Needlework, has left behind her a most
+valuable guide for mediaeval work in her "Church Embroidery, Ancient
+and Modern," which will always be a first-class authority.
+
+The Author and the Editor of this handbook are equally impressed with
+the responsibility they have undertaken in formulating rules for
+future embroiderers. They have consulted all acknowledged authorities,
+and from them have selected those which the teachers in the Royal
+School of Art-Needlework have found the most practical and
+instructive.
+
+Should any of their readers favour them with hints or criticisms, or
+give them information as to pieces of embroidery worth studying, or
+stitches not here named, any such communications will be gratefully
+received and made use of in future editions.
+
+    THE EDITOR.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+TABLE OF CONTENTS.
+
+
+    CHAPTER I.
+
+    _Page 1._
+
+    OF IMPLEMENTS AND MATERIALS USED IN MODERN EMBROIDERY.
+
+                                                        PAGE
+
+    Needles                                                1
+
+    Scissors                                               1
+
+    Prickers, &c.                                          2
+
+    Crewels                                                3
+
+    Tapestry Wool                                          4
+
+    Arrasene                                               4
+
+    Embroidery or Bobbin Silk                              5
+
+    Rope Silk                                              5
+
+    Fine Silk                                              6
+
+    Purse Silk                                             6
+
+    Raw or Spun Silk                                       6
+
+    Vegetable Silk                                         6
+
+    Filoselle                                              7
+
+    Tussore                                                7
+
+    Gold                                                   8
+
+    Japanese Gold Thread                                   8
+
+    Chinese Gold                                           8
+
+    Gold and Silver Passing                                8
+
+    Bullion or Purl                                        8
+
+    Spangles                                               9
+
+    Plate                                                  9
+
+    Recipes for Preserving Gold                           10
+
+
+    CHAPTER II.
+
+    _Page 11._
+
+    TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY.
+
+    Linens                                                11
+
+    Flax                                                  11
+
+    Twill                                                 11
+
+    Kirriemuir Twill                                      11
+
+    Sailcloth                                             12
+
+    Oatcake Linen                                         12
+
+    Oatmeal Linen                                         12
+
+    Smock Linen                                           12
+
+    Bolton, or Workhouse Sheeting                         12
+
+    Satins and Silks                                      14
+
+    Silk Sheeting                                         14
+
+    Tussore and Corah Silks                               15
+
+    Plain Tapestries                                      15
+
+    Brocatine                                             15
+
+    Cotton and Woollen                                    16
+
+    Velveteen                                             16
+
+    Utrecht Velvet                                        16
+
+    Velvet Cloth                                          16
+
+    Felt                                                  16
+
+    Diagonal Cloth                                        16
+
+    Serge                                                 17
+
+    Soft, or Super Serge                                  17
+
+    Cricketing Flannel                                    17
+
+    Genoa or Lyons Velvet                                 17
+
+    Silk Velvet Plush                                     17
+
+    Cloths of Gold and Silver                             18
+
+
+    CHAPTER III.
+
+    _Page 19._
+
+    STITCHES.
+
+    Stem Stitch                                           19
+
+    Split Stitch                                          22
+
+    Satin Stitch                                          23
+
+    Blanket Stitch                                        23
+
+    Button-hole Stitch                                    24
+
+    Knotted Stitch                                        24
+
+    Chain Stitch                                          27
+
+    Twisted Chain                                         28
+
+    Feather Stitch                                        29
+
+
+    CHAPTER IV.
+
+    _Page 33._
+
+    Frames and Framing                                    33
+
+
+    CHAPTER V.
+
+    _Page 37._
+
+    STITCHES USED IN FRAME EMBROIDERY.
+
+    Feather Stitch                                        37
+
+    Couching or Laid Embroidery                           39
+
+    Net-patterned Couching                                41
+
+    Brick Stitch                                          41
+
+    Diaper Couchings                                      42
+
+    Basket Stitch                                         42
+
+    Spanish Embroidery                                    43
+
+    Cross Stitch                                          45
+
+    Simple Cross Stitch                                   46
+
+    Persian Cross Stitch                                  46
+
+    Burden Stitch                                         50
+
+    Stem Stitch                                           51
+
+    Japanese Stitch                                       51
+
+    Tambour Work                                          51
+
+    Opus Anglicum                                         52
+
+    Cut Work                                              54
+
+    Inlaid Applique                                       54
+
+    Onlaid Applique                                       54
+
+    Gold Embroidery                                       57
+
+    Backing                                               58
+
+    Stretching and Finishing                              59
+
+    Embroidery Paste                                      59
+
+    Cleaning                                              60
+
+
+    ILLUSTRATIONS.
+
+    Description of the Plates                             62
+
+    Sixteen Plates, containing 24 Designs           65 to 96
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+HANDBOOK OF EMBROIDERY.
+
+
+
+
+CHAPTER I.
+
+OF MATERIALS AND IMPLEMENTS USED IN MODERN EMBROIDERY.
+
+
+IMPLEMENTS.
+
+_Needles._--The best "embroidery needles" for ordinary crewel handwork
+are Nos. 5 and 6. For coarse "sailcloth," "flax," or "oatcake," No. 4.
+For frame embroidery, or very fine handwork, the higher numbers, from
+7 to 10.
+
+It is a mistake to use too fine a needle. The thread of crewel or silk
+should always be able to pass loosely into the eye, so as not to
+require any pulling to carry it through the material.
+
+       *       *       *       *       *
+
+_Scissors_ should be finely pointed, and very sharp.
+
+       *       *       *       *       *
+
+_Thimbles_ which have been well worn, and are therefore smooth, are
+best. Some workers prefer ivory or vulcanite. Two thimbles should be
+used for framework.
+
+       *       *       *       *       *
+
+_Prickers_ are necessary for piercing holes in gold embroidery, and
+also for arranging the lie of the thread in some forms of couching.
+
+[Decoration]
+
+
+[Decoration]
+
+MATERIALS.
+
+CREWELS, AND HOW TO USE THEM.
+
+_Crewel_ should be cut into short threads, never more than half the
+length of the skein. If a long needleful is used, it is not only apt
+to pull the work, but is very wasteful, as the end of it is liable to
+become frayed or knotted before it is nearly worked up. If it is
+necessary to use it double (and for coarse work, such as screen panels
+on sailcloth, or for embroidering on Utrecht velvet, it is generally
+better doubled), care should be taken never to pass it through the eye
+of the needle, knotting the two ends; but two separate threads of the
+length required should be passed together through the needle.
+
+Crewel should not be manufactured with a twist, as it makes the
+embroidery appear hard and rigid; and the shades of colour do not
+blend into each other so harmoniously as when they are untwisted.
+
+In crewels of the best quality the colours are perfectly fast, and
+will bear being repeatedly washed, provided no soda or washing-powder
+is used. Directions for cleaning crewel work are given later; but it
+should not be sent to an ordinary laundress, who will most certainly
+ruin the colours.
+
+Crewel is suitable for embroidery on all kinds of linen--on plain or
+diagonal cloth, serge, flannel, &c. It is also very effective when
+used in conjunction with embroidery silk, or filoselle, either in
+conventional designs, or where flowers are introduced. The leaves may
+be worked in crewels, and the flowers in silk, or the effect of the
+crewels increased by merely touching up the high lights with silk.
+
+       *       *       *       *       *
+
+_Tapestry Wool_ is more than twice the thickness of crewel, and is
+used for screen panels, or large curtain borders, where the work is
+coarse, and a good deal of ground has to be covered. It is also used
+for bath blankets and carriage and sofa rugs. Tapestry wool is not yet
+made in all shades.
+
+Fine crewels are used for delicately working small figures, d'oyleys,
+&c.; but there is also a difficulty about obtaining these in all
+shades, as there is not much demand for them at present.
+
+       *       *       *       *       *
+
+_Arrasene_ is a new material. It is a species of worsted chenille, but
+is not twisted round fine wire or silk, like ordinary chenille; though
+it is woven first into a fabric, and then cut in the same manner. It
+serves to produce broad effects for screen panels, or borders, and has
+a very soft, rich appearance when carefully used. It is made also in
+silk; but this is inferior to worsted arrasene, or the old-fashioned
+chenille.
+
+
+[Decoration]
+
+SILKS.
+
+_"Embroidery," or Bobbin Silk_, which has now almost superseded
+floss, is used for working on satin and silk, or for any fine work. It
+is made in strands, each of which has a slight twist in it to prevent
+its fraying as floss does. As this silk is required in all varieties
+of thickness, it is manufactured in what is technically called "rope,"
+that is, with about twelve strands in each thread. When not "rope"
+silk, it is in single strands, and is then called "fine" silk. As it
+is almost always necessary to use several strands, and these in
+varying number, according to the embroidery in hand, the rope silk has
+to be divided, or the fine doubled or trebled, as the case may be.
+
+If rope silk is being used, the length required for a needleful must
+be cut and passed carefully between finger and thumb once or twice,
+that it may not be twisted. It should then be carefully separated into
+the number of strands most suitable for the embroidery in hand; for
+ordinary work three is about the best number.
+
+These must be threaded together through the needle, care being taken
+not to tangle the piece of "rope" from which they have been detached.
+There need be no waste if this operation is carefully done, as good
+silk will always divide into strands without fraying.
+
+In using "fine silk," one length must be cut first, then other strands
+laid on it,--as many as are needed to form the thickness required.
+They should be carefully laid in the same direction as they leave the
+reel or card. If placed carelessly backwards and forwards, they are
+sure to fray, and will not work evenly together. With silk still more
+than with crewel, it is necessary to thread all the strands through
+the needle together, never to double one back, and never to make a
+knot.
+
+It is intended in future to do away with this distinction between
+"rope" and "fine" silk, and to have it all manufactured of one uniform
+thickness, which will consist of eight strands of the same quality as
+the "fine" silk at present in use. As it will, however, still be
+necessary to divide the thread, and even perhaps occasionally to
+double it, the directions given above will be useful.
+
+       *       *       *       *       *
+
+_Purse Silk_ is used sometimes for diapering, and in rare cases in
+ordinary embroidery, where a raised effect is required.
+
+       *       *       *       *       *
+
+_Raw_ or _spun silk_ is a soft untwisted cream-coloured silk, used for
+daisies and other simple white flowers, or in outlining. It is much
+cheaper than embroidery silk or filoselle.
+
+       *       *       *       *       *
+
+_Vegetable Silk_ (so-called) is not used or sold by the Royal School.
+
+       *       *       *       *       *
+
+_Filoselle_, when of good quality, is not, as some people suppose, a
+mixture of silk and cotton. It is pure silk, but of an inferior
+quality; and therefore cheaper. It answers many of the purposes of
+bobbin silk, but is not suitable for fine embroidery on silk or satin
+fabrics. It should be used also in strands, and the same remarks hold
+good with regard to its not being doubled, but cut in equal lengths.
+
+       *       *       *       *       *
+
+_Tussore._--Interesting experiments have recently been made with the
+"Tussore," or "wild silk" of India, which bids fair to create a
+revolution in embroidery. Not only can it be produced for less than
+half the price of the "cultivated silk" of Italy, China, or Japan, but
+it also takes the most delicate dyes with a softness that gives a
+peculiarly charming effect. It can scarcely be said to be in the
+market as yet, but in all probability before this work is through the
+press it will have become an important element in decorative
+needlework. It is much less glossy than cultivated silk.
+
+[Decoration]
+
+
+[Decoration]
+
+GOLD THREAD, &c.
+
+"_Japanese gold thread_," which has the advantage of never tarnishing,
+is now extremely difficult to obtain. Being made of gilt paper twisted
+round cotton thread, it cannot be drawn through the material by the
+needle; but must in all cases be laid on, and stitched down with a
+fine yellow silk, known as "Maltese," or "Horse-tail."
+
+       *       *       *       *       *
+
+"_Chinese gold_" is manufactured in the same manner as the Japanese;
+but being of a much redder colour is not so satisfactory in embroidery
+unless a warm shade is desirable for a particular work.
+
+       *       *       *       *       *
+
+_Gold and silver passing_, a very fine kind of thread, can either be
+used for working through the material, or can be laid on like the
+Japanese gold. They are suitable for "raised gold or silver
+embroidery."
+
+       *       *       *       *       *
+
+_Bullion, or Purl_, is gold or silver wire made in a series of
+continuous rings, like a corkscrew. It is used in ecclesiastical work,
+for embroidering official and military uniforms, and for heraldic
+designs. It should be cut into the required lengths--threaded on the
+needle and fastened down as in bead-work. Purl is sometimes
+manufactured with a coloured silk twisted round the metal though not
+concealing it, and giving rich tints to the work.
+
+       *       *       *       *       *
+
+_Spangles_ were anciently much used in embroidery, and were sometimes
+of pure gold. They are but little used now.
+
+       *       *       *       *       *
+
+_Plate_ consists of narrow plates of gold or silver stitched on to the
+embroidery by threads of silk, which pass over them.
+
+       *       *       *       *       *
+
+The French and English gold thread is made of thin plates of metal cut
+into strips, and wound round strands of cotton in the same manner as
+the Japanese gold. If the metal is real, the cost is of course great.
+It is sold by weight, gold being about 20s. per oz., and silver, 10s.
+per oz. In addition to its superiority in wear, it has this advantage,
+that old gold or silver thread is always of intrinsic value, and may
+be sold at the current price of the metal whatever state it may be in.
+Many varieties of gilt thread are manufactured in France and England,
+which may be used when the great expense of "real gold" is objected
+to. But although it looks equally well at first, it soon becomes
+tarnished, and spoils the effect of the embroidery. Gold and silver
+threads are difficult to work with in England, and especially in
+London, as damp and coal-smoke tarnish them almost before the work is
+out of the frame. Mrs. Dolby recommends cloves being placed in the
+papers in which they are kept.
+
+
+[Decoration]
+
+RECIPES FOR PRESERVING GOLD.
+
+We give here two recipes, which may be found serviceable. They are
+from different sources; the first is a very old one. They may preserve
+gold for a certain time.
+
+1. Isinglass dissolved in spirits of wine and brushed over the thread
+or braid, which should be hung over something to dry, and not touched
+with the hand.
+
+2. Spirits of wine and mastic varnish mixed very thin and put on in
+the same way with a brush.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+CHAPTER II.
+
+TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY.
+
+
+LINENS.
+
+There are many varieties of unglazed, half-bleached linens, from that
+thirty-six and forty inches wide, used for chair-back covers, to that
+ninety inches wide, used for large table-covers, curtains, &c. There
+are also endless varieties of fancy linens, both of hand and
+power-loom weaving, for summer dresses, for bed furniture, chair-back
+covers, table-cloths, &c.
+
+       *       *       *       *       *
+
+_Flax_ is the unbleached brown linen, often used for chair-back
+covers.
+
+       *       *       *       *       *
+
+_Twill_ is a thick linen suitable for coverings for furniture.
+
+       *       *       *       *       *
+
+_Kirriemuir Twill_ is a fine twilled linen made at Kirriemuir, and is
+good for tennis aprons, dresses, curtains, &c.
+
+       *       *       *       *       *
+
+_Sailcloth_ is a stout linen, of yellow colour, and is only suitable
+for screen panels.
+
+       *       *       *       *       *
+
+_Oatcake Linen_, so called from its resemblance to Scotch oatcake, has
+been popular for screen panels or washstand backs. It is very coarse
+and rough.
+
+       *       *       *       *       *
+
+_Oatmeal Linen_ is finer and of a greyer tone. It is also used for
+screens, and for smaller articles.
+
+       *       *       *       *       *
+
+_Smock Linen_ is a strong even green cloth. It makes an excellent
+ground for working screens, and is also used for tennis aprons.
+
+       *       *       *       *       *
+
+_Crash._--Properly speaking, the name "_crash_" is only applied to the
+coarse Russian home-spun linen, which has been such a favourite from
+the beauty of its tone of colour. It is, however, erroneously applied
+to all linens used for embroidery, whether woven by hand-loom or
+machinery; and this confusion of names frequently leads to mistakes.
+Crash is almost always very coarse, is never more than eighteen inches
+wide, and cannot be mistaken for a machine-made fabric. It is woven by
+the Russian peasants in their own homes, in lengths varying from five
+to ten yards, and, therefore, though sent over in large bales, it is
+very difficult to find two pieces among a hundred that in any way
+match each other.
+
+       *       *       *       *       *
+
+_Bolton, or Workhouse Sheeting_, is a coarse twilled cotton fabric,
+seventy-two inches wide, of a beautiful soft creamy colour, which
+improves much in washing. It is inexpensive, and an excellent ground
+for embroidery, either for curtains, counterpanes, chair coverings, or
+for ladies' dresses, or tennis aprons.
+
+It resembles the twilled cotton on which so much of the old crewel
+embroidery was worked in the seventeenth century, and is one of the
+most satisfactory materials when of really good quality.
+
+       *       *       *       *       *
+
+All descriptions of linen, except the "oatcake" and "sailcloth," can
+be embroidered in the hand.
+
+[Decoration]
+
+
+[Decoration]
+
+TEXTILE FABRICS.
+
+SATINS AND SILKS.
+
+_Satins and Silks_ can only be embroidered in a frame. Furniture
+satins of stout make, with cotton backs, may be used without backing;
+but ordinary dress satins require to have a thin cotton or linen
+backing to bear the strains of the work and framing. Nothing is more
+beautiful than a rich white satin for a dress embroidered in coloured
+silks.
+
+For fans, a very fine, closely woven satin is necessary, as it will
+not fold evenly unless the satin is thin; and yet it must be rich
+enough to sustain the fine embroidery, without pulling, or looking
+poor. A special kind of satin is made for the manufacture of fans, and
+none other is available.
+
+       *       *       *       *       *
+
+"_Silk Sheeting_" of good quality, "_Satin de Chine_" and other
+silk-faced materials of the same class, may either be embroidered in
+the hand, or framed; but for large pieces of work a frame is
+essential. These materials are suitable for curtains, counterpanes,
+piano coverings, or panels, and indeed for almost any purpose. The
+finer qualities are very beautiful for dresses, as they take rich and
+graceful folds, and carry embroidery well.
+
+       *       *       *       *       *
+
+_Tussore and Corah Silks_ are charming for summer dresses, light
+chair-back covers, or embroidered window blinds. They will only bear
+light embroidering in silk or filoselle.
+
+Within the last year successful experiments have been made in dyeing
+these Indian silks in England. The exact shades which we admire so
+much in the old Oriental embroideries have been reproduced, with the
+additional advantage of being perfectly fast in colour.
+
+Nothing can be more charming as lining for table-covers, screens,
+curtains, &c.; and they are rather less expensive than other lining
+silks.
+
+The fabrics known as _Plain Tapestries_ are a mixture of silk and
+cotton, manufactured in imitation of the handworked backgrounds so
+frequent in ancient embroideries--especially Venetian. Almost all the
+varieties of _Opus Pulvinarium_, or cushion stitch, have been
+reproduced in these woven fabrics.
+
+       *       *       *       *       *
+
+_Brocatine_ is a silk-faced material, woven to imitate couched
+embroidery. The silk is thrown to the surface and is tied with cotton
+threads from the back.
+
+As ground for embroidery it has an excellent effect.
+
+
+[Decoration]
+
+TEXTILE FABRICS.
+
+COTTONS AND WOOLLENS.
+
+_Velveteen_, if of good quality, makes an excellent ground for screen
+panels, chair-covers, portieres, curtains, borders, &c. It can be
+worked in the hand if the embroidery be not too heavy or large in
+style.
+
+       *       *       *       *       *
+
+_Utrecht Velvet_ is only suitable for coarse crewel or tapestry wool
+embroidery. It is fit for curtain dados or wide borderings.
+
+       *       *       *       *       *
+
+_Velvet Cloth_ is a rich plain cloth, finished without any gloss. It
+is a good ground for embroidery, either for curtains or altar-cloths.
+It is two yards wide.
+
+       *       *       *       *       *
+
+_Felt_ is sometimes used for the same purposes, but does not wear
+nearly so well, and is difficult to work.
+
+       *       *       *       *       *
+
+_Diagonal Cloth_ can be worked either in the hand or frame, although
+it is always much better in the latter. It is used for table-covers,
+curtains, chair-seats, &c.
+
+       *       *       *       *       *
+
+_Serge_ is usually made thirty-six inches wide. It has long been in
+favour for curtains, small table-covers, dresses, &c. It can now be
+obtained at the school fifty-four inches wide, in many shades.
+
+       *       *       *       *       *
+
+_Soft or Super Serge_, also fifty-four inches wide, is an excellent
+material, much superior in appearance to diagonal cloth, or to the
+ordinary rough serge. It takes embroidery well.
+
+       *       *       *       *       *
+
+_Cricketing flannel_ is used for coverlets for cots, children's
+dresses, and many other purposes. It is of a beautiful creamy colour,
+and is a good ground for fine crewel or silk embroidery. It need not
+be worked in a frame.
+
+       *       *       *       *       *
+
+_Genoa or Lyons Velvet_ makes a beautiful ground for embroidery; but
+it can only be worked in a frame, and requires to be "backed" with a
+thin cotton or linen lining, if it is to sustain any mass of
+embroidery. For small articles, such as sachets or casket-covers, when
+the work is fine and small, the backing is not necessary. Screen
+panels of velvet, worked wholly in crewels, or with crewel brightened
+with silk, are very effective. Three-piled velvet is the best for
+working upon, but is so expensive that it is seldom asked for.
+
+       *       *       *       *       *
+
+_Silk Velvet Plush_ (a new material) can only be used in frame work,
+and must be backed. It is useful in "applique" from the many beautiful
+tones of colour it takes. As a ground for silk or gold embroidery it
+is also very good.
+
+
+[Decoration]
+
+TEXTILE FABRICS.
+
+GOLD AND SILVER CLOTH.
+
+_Cloth of Gold or Silver_ is made of threads of silk woven with metal,
+which is thrown to the surface. In its best form it is extremely
+expensive, varying from L4 to L6 per yard, according to the weight of
+gold introduced. Cloth of silver is generally L3 the yard.
+
+       *       *       *       *       *
+
+Inferior kinds of these cloths are made in which silk largely
+predominates, and shows plainly on the surface. They are frequently
+woven in patterns, such as diaper or diagonal lines, with a tie of red
+silk, in imitation of the diaper patterns of couched embroidery.
+
+They are chiefly used in ecclesiastical or heraldic embroidery; their
+great expense preventing their general use.
+
+
+
+
+[Decoration]
+
+CHAPTER III.
+
+STITCHES USED IN HAND EMBROIDERY AS TAUGHT AT THE ROYAL SCHOOL OF
+ART-NEEDLEWORK.
+
+
+To avoid pulling or puckering the work, care should be taken--firstly,
+that the needle is not too small, so as to require any force in
+drawing it through the material; secondly, the material must be held
+in a convex position over the fingers, so that the crewel or silk in
+the needle shall be looser than the ground; and thirdly, not to use
+too long needlefuls. These rules apply generally to all handworked
+embroideries.
+
+
+STITCHES.
+
+_Stem Stitch._--The first stitch which is taught to a beginner is
+"stem stitch" (wrongly called also, "crewel stitch," as it has no
+claim to being used exclusively in crewel embroidery). It is most
+useful in work done in the hand, and especially in outlines of
+flowers, unshaded leaves, and arabesque, and all conventional designs.
+
+[Illustration: No. 1.--STEM STITCH.]
+
+It may be best described as a long stitch forward on the surface, and
+a shorter one backward on the under side of the fabric, the stitches
+following each other almost in line from left to right. The effect on
+the wrong side is exactly that of an irregular back-stitching used by
+dressmakers, as distinguished from regular stitching. A leaf worked in
+outline should be begun at the lower or stalk end, and worked round
+the right side to the top, taking care that the needle is to the left
+of the thread as it is drawn out. When the point of the leaf is
+reached, it is best to reverse the operation in working down the left
+side towards the stalk again, so as to keep the needle to the right of
+the thread instead of to the left, as in going up.
+
+[Illustration: No. 2.]
+
+The reason of this will be easily understood: we will suppose the leaf
+to have a slightly serrated edge (and there is no leaf in nature with
+an absolutely smooth one). It will be found that in order to give this
+ragged appearance, it is necessary to have the points at which the
+insertions of the needle occur on the outside of the leaf: whereas if
+the stem stitch were continued down the left side, exactly in the same
+manner as in ascending the right, we should have the ugly anomaly of a
+leaf outlined thus:--
+
+[Illustration: No. 3.]
+
+If the leaf is to be worked "solidly," another row of stem stitching
+must be taken up the centre of it (unless it be a very narrow leaf),
+to the top. The two halves of the leaf must then be filled in,
+separately, with close, even rows of stem stitch, worked in the
+ordinary way, with the needle to the left of the thread. This will
+prevent the ugly ridge which remains in the centre, if it is worked
+round and round the inside of the outline. Stem stitch must be varied
+according to the work in hand. If a perfectly even line is required,
+care must be taken that the direction of the needle when inserted is
+in a straight line with the preceding stitch. If a slight serrature is
+required, each stitch must be sloped a little by inserting the needle
+at a slight angle, as shown in the illustration. The length of the
+surface stitches must vary to suit the style of each piece of
+embroidery.
+
+       *       *       *       *       *
+
+_Split Stitch_ is worked like ordinary "stem," except that the needle
+is always brought up _through_ the crewel or silk, which it splits, in
+passing.
+
+The effect is to produce a more even line than is possible with the
+most careful stem stitch. It is used for delicate outlines. Split
+stitch is rarely used in hand embroidery, being more suitable for
+frame work: but has been described here as being a form of stem
+stitch. The effect is somewhat like a confused chain stitch.
+
+       *       *       *       *       *
+
+_Satin Stitch_--_French Plumetis_--is one of those chiefly used in
+white embroidery, and consists in taking the needle each time back
+again almost to the spot from which it started, so that the same
+amount of crewel or silk remains on the back of the work as on the
+front. This produces a surface as smooth as satin: hence its name. It
+is chiefly used in working the petals of small flowers, such as
+"Forget-me-nots," and in arabesque designs where a raised effect is
+wanted in small masses.
+
+[Illustration: No. 4.--SATIN STITCH.]
+
+       *       *       *       *       *
+
+_Blanket Stitch_ is used for working the edges of table-covers,
+mantel valances, blankets, &c., or for edging any other material. It
+is simply a button-hole stitch, and may be varied in many ways by
+sloping the stitches alternately to right and left; by working two or
+three together, and leaving a space between them and the next set; or
+by working a second row round the edge of the cloth over the first
+with a different shade of wool.
+
+[Illustration: No. 5.--BLANKET STITCH.]
+
+       *       *       *       *       *
+
+_Knotted Stitch_, or _French Knot_, is used for the centres of such
+flowers as the daisy or wild rose, and sometimes for the anthers of
+others. The needle is brought up at the exact spot where the knot is
+to be: the thread is held in the left hand, and twisted once or twice
+round the needle, the point of which is then passed through the
+fabric close to the spot where it came up: the right hand draws it
+underneath, while the thumb of the left keeps the thread in its place
+until the knot is secure. The knots are increased in size according to
+the number of twists round the needle. When properly made, they should
+look like beads, and lie in perfectly even and regular rows.
+
+[Illustration: No. 6.--KNOTTED STITCH, or FRENCH KNOT.]
+
+This stitch is very ancient, and does not seem confined to any
+country, and the Chinese execute large and elaborate pieces of
+embroidery in it, introducing beautiful shading. A curious specimen of
+very fine knotting stitch was exhibited at the Royal School in 1878,
+probably of French workmanship. It was a portrait of St. Ignatius
+Loyola, not more than six inches in length, and was entirely executed
+in knots of such fineness, that without a magnifying glass it was
+impossible to discover the stitches. This, however, is a _tour de
+force_, and not quoted as worthy of imitation.
+
+There is one variety of this stitch, in which the thread is twisted a
+great many times round the needle, so as to form a sort of curl
+instead of a single knot. This is found in many ancient embroideries,
+where it is used for the hair of saints and angels in ecclesiastical
+work.
+
+Knotted stitch was also employed largely in all its forms in the
+curious and ingenious but ugly style in vogue during the reign of
+James I., when the landscapes were frequently worked in cross, or
+feather stitch, while the figures were raised over stuffing, and
+dressed, as it were, in robes made entirely in point lace, or
+button-hole stitches, executed in silk. The foliage of the trees and
+shrubs which we generally find in these embroidered pictures, as well
+as the hair in the figures, were worked in knotted stitches of varying
+sizes, while the faces were in tent stitch or painted on white silk,
+and fastened on to the canvas or linen ground.
+
+[Illustration: No. 7.--BULLION KNOT.]
+
+Another variety of knotting, which is still occasionally used,
+resembles _bullion_, being made into a long roll. A stitch of the
+length of the intended roll is taken in the material, the point of the
+needle being brought to the surface again in the same spot from which
+the thread originally started; the thread is then twisted eight or ten
+times round the point of the needle, which is drawn out carefully
+through the tunnel formed by the twists, this being kept in its place
+by the left thumb. The point of the needle is then inserted once more
+in the same place as it first entered the material, the long knot or
+roll being drawn so as to lie evenly between the points of insertion
+and re-appearance, thus treating the twisted thread as if it were
+bullion or purl.
+
+       *       *       *       *       *
+
+_Chain Stitch_ is but little used in embroidery now, although it may
+sometimes be suitable for lines. It is made by taking a stitch from
+right to left, and before the needle is drawn out the thread is
+brought round towards the worker, and under the point of the needle.
+
+[Illustration: No. 8.--CHAIN STITCH.]
+
+The next stitch is taken from the point of the loop thus formed
+forwards, and the thread again kept under the point, so that a regular
+chain is formed on the surface of the material.
+
+This chain stitch was much employed for ground patterns in the
+beautiful gold-coloured work on linen for dress or furniture which
+prevailed from the time of James I. to the middle of the eighteenth
+century. It gave the appearance of quilting when worked on linen in
+geometrical designs, or in fine and often-repeated arabesques.
+Examples of it come to us from Germany and Spain, in which the design
+is embroidered in satin stitch, or entirely filled in with solid
+chain stitch, in a uniform gold colour.
+
+Chain stitch resembles _Tambour work_, which we shall describe amongst
+framework stitches, though it is not at present practised at this
+School.
+
+       *       *       *       *       *
+
+_Twisted Chain_, or Rope stitch.
+
+[Illustration: No. 9.--TWISTED CHAIN.]
+
+Effective for outlines on coarse materials, such as blankets, carriage
+rugs, footstools, &c.
+
+It is like an ordinary chain, except that in place of starting the
+second stitch from the centre of the loop, the needle is taken back to
+half the distance behind it, and the loop is pushed to one side to
+allow the needle to enter in a straight line with the former stitch.
+It is not of much use, except when worked with double crewel or with
+tapestry wool; and should then have the appearance of a twisted rope.
+
+       *       *       *       *       *
+
+_Feather Stitch._--Vulgarly called "_long and short stitch_," "_long
+stitch_" and sometimes "_embroidery stitch_." We propose to restore to
+it its ancient title of feather stitch--"_Opus Plumarium_," so called
+from its supposed resemblance to the plumage of a bird.
+
+[Illustration: No. 10.--FEATHER STITCH.]
+
+We shall now describe it as used for handwork; and later (at page 37),
+as worked in a frame. These two modes differ very little in
+appearance, as the principle is the same, namely, that the stitches
+are of varying length, and are worked into and between each other,
+adapting themselves to the form of the design, but in handwork the
+needle is kept on the surface of the material.
+
+Feather Stitch is generally used for embroidering flowers, whether
+natural or conventional.
+
+In working the petal of a flower (such as we have chosen for our
+illustration), the outer part is first worked in with stitches which
+form a close, even edge on the outline, but a broken one towards the
+centre of the petal, being alternately long and short. These edging
+stitches resemble satin stitch in so far that the same amount of
+crewel or silk appears on the under, as on the upper side of the work:
+they must slope towards the narrow part of the petal.
+
+The next stitches are somewhat like an irregular "stem," inasmuch as
+they are longer on the surface than on the under side, and are worked
+in between the uneven lengths of the edging stitches so as to blend
+with them. The petal is then filled up by other stitches, which start
+from the centre, and are carried between those already worked.
+
+When the petal is finished, the rows of stitches should be so merged
+in each other that they cannot be distinguished, and when shading is
+used, the colours should appear to melt into each other.
+
+In serrated leaves, such as hawthorn or virginia creeper, the edging
+stitches follow the broken outline of the leaf instead of forming an
+even outer edge.
+
+It is necessary to master thoroughly this most important stitch, but
+practice only can make the worker perfect.
+
+The work should always be started by running the thread a little way
+in front of the embroidery. Knots should never be used except in rare
+cases, when it is impossible to avoid them. The thread should always
+be finished off on the surface of the work, never at the back, where
+there should be no needless waste of material. No untidy ends or knots
+should ever appear there; in fact, the wrong side should be quite as
+neat as the right. It is a mistake to suppose that pasting will ever
+do away with the evil effects of careless work, or will steady
+embroidery which has been commenced with knots, and finished with
+loose ends at the back.
+
+The stitches vary constantly according to their application, and good
+embroiderers differ in their manner of using them: some preferring to
+carry the thread back towards the centre of the petal, on the surface
+of the work, so as to avoid waste of material; others making their
+stitches as in satin stitch--the same on both sides, but these details
+may be left to the intelligence and taste of the worker, who should
+never be afraid of trying experiments, or working out new ideas.
+
+Nor should she ever fear to unpick her work; for only by experiment
+can she succeed in finding the best combinations, and, one little
+piece ill done, will be sufficient to spoil her whole embroidery, as
+no touching-up can afterwards improve it.
+
+       *       *       *       *       *
+
+We have now named the principal stitches used in hand embroidery,
+whether to be executed in crewel or silk.
+
+There are, however, numberless other stitches used in crewel
+embroidery: such as ordinary stitching, like that used in plain
+needlework, in which many designs were formerly traced on quilted
+backgrounds--others, again, are many of them lace stitches, or forms
+of herringbone, and are used for filling in the foliage of large
+conventional floriated designs, such as we are accustomed to see in
+the English crewel work of the sixteenth and seventeenth centuries, on
+a twilled cotton material, resembling our modern Bolton sheeting.
+
+It would be impossible to describe or even enumerate them all; as
+varieties may be constantly invented by an ingenious worker to enrich
+her design, and in lace work there are already 100 named stitches,
+which occasionally are used in decorative embroidery. Most of these,
+if required, can be shown as taught at the Royal School of
+Art-Needlework, and are illustrated by samplers.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+CHAPTER IV.
+
+FRAMES AND FRAMING.
+
+
+Before proceeding to describe the various stitches used in frame
+embroidery, we will say a few words as to the frame itself, the manner
+of stretching the material in it, and the best and least fatiguing
+method of working at it.
+
+The essential parts of an embroidery frame are: first, the bars, which
+have stout webbing nailed along them, and mortice holes at the ends;
+second, the stretchers, which are usually flat pieces of wood,
+furnished with holes at the ends to allow of their being fastened by
+metal pegs into the mortice holes of the bars when the work is
+stretched.
+
+In some cases the stretchers are fastened into the bars by strong iron
+screws, which are held by nuts.
+
+
+FRAMING.
+
+In choosing a frame for a piece of embroidery we must see that the
+webbing attached to the sides of the bar is long enough to take the
+work in one direction. Begin by sewing the edge of the material
+closely with strong linen thread on to this webbing. If the work is
+too long to be put into the frame at one time (as in the case of
+borders for curtains, table-covers, &c.), all but the portion about to
+be worked should be rolled round one bar of the frame, putting silver
+paper and a piece of wadding between the material and the wood, so as
+to prevent its being marked.
+
+The stretchers should then be put in and secured with the metal pegs.
+
+A piece of the webbing having been previously stitched on to the sides
+of the material, it should now be braced with twine by means of a
+packing needle, passing the string over the stretchers between each
+stitch taken in the webbing, and, finally, drawing up the bracing
+until the material is strained evenly and tightly in the frame. If the
+fabric is one which stretches easily, the bracings should not be drawn
+too tightly.
+
+For small pieces of work a deal hand-frame, morticed at the corners,
+will suffice, and this may be rested on the table before the worker,
+being held in its position by two heavy leaden weights, covered with
+leather or baize, in order to prevent them from slipping. It should be
+raised off the table to a convenient height, thus saving the worker
+from stooping over her frame, which tires the eyes, and causes the
+blood to flow to the head.
+
+There is no doubt that a well-made standing-frame is a great
+convenience, as its position need not be disturbed, and it can be
+easily covered up and put aside when not in use. It requires, however,
+to be very well made, and should, if possible, be of oak or mahogany,
+or it will warp and get out of order. It must also be well weighted
+to keep it steady.
+
+For a large piece of work it is necessary to have a long heavy frame
+with wooden trestles, on which to rest it. The trestles should be made
+so as to enable the frame to be raised or lowered at will.
+
+A new frame has recently been invented and is sold by the Royal
+School, which, being made with hinges and small upright pins, holds
+the ends of the material firmly, so that it can be rolled round and
+round the bar of the frame without the trouble of sewing it on to the
+webbing.
+
+When a frame is not in use, care should be taken that it does not
+become warped from being kept in too dry or too hot a place, as it is
+then difficult to frame the work satisfactorily.
+
+It will be found useful to have a small basket, lined with holland or
+silk, fastened to the side of the frame, to hold the silks, thimbles,
+scissors, &c., needed for the work. Two thimbles should be used, one
+on each hand, and the best are old silver or gold ones, with all the
+roughness worn off, or ivory or vulcanite.
+
+The worker ought to wear a large apron with a bib to save her dress,
+and a pair of linen sleeves to prevent the cuffs from fraying or
+soiling her work.
+
+Surgeon's bent scissors are useful for frame embroidery, but they are
+not necessary, as ordinary sharp-pointed scissors will answer every
+purpose.
+
+When silk, satin, or velvet is not strong enough to bear the strain of
+framing and embroidering, it must be backed with a fine cotton or
+linen lining. The "backing" in this case is first framed, as described
+above, and the velvet or satin must then be laid on it, and first
+fastened down with pins; then sewn down with herringbone stitch,
+taking care that it is kept perfectly even with the thread of the
+"backing," and not allowed to wrinkle or blister.
+
+It is most important that a worker should learn to use equally both
+hands, keeping the right hand above the frame till the arm is tired,
+then letting the left take its place while the right goes below.
+
+A cover should be made large enough to envelop both the upper and
+under portions of the work, and to be fastened down to the sides, so
+as to protect it from dust when it is not being used, and during work
+it should be kept over the portion of the embroidery not actually in
+hand.
+
+Lastly, a good light should be chosen, so as not to try the eyes.
+
+Many materials can only be embroidered in a frame, and most work is
+best so done. A greater variety of stitches is possible, and on the
+stretched flat surface the worker can see the whole picture at once,
+and judge of the effect of the colours and shading as she carries out
+the design. It is the difference between drawing on stretched or
+crumpled paper.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+CHAPTER V.
+
+STITCHES USED IN FRAME EMBROIDERY.
+
+
+_Feather Stitch._--In framework, as in handwork, we restore the
+ancient name of _Feather work_ or stitch--_Opus Plumarium_. We have
+already said that it was so-called from its likeness to the plumage of
+a bird.
+
+This comes from the even lie of the stitches, which fit into and
+appear to overlap each other, presenting thus a marked contrast to the
+granulated effect of tent stitches, and the long ridges of the _Opus
+Anglicum_, having no hard lines as in stem stitch, or flat surfaces as
+in satin stitch.
+
+Feather stitch, when worked in a frame, is exactly the same as that
+worked in the hand, except that it is more even and smooth. The needle
+is taken backwards and forwards through the material in stitches of
+varying lengths; the next row always fitting into the vacant spaces
+and projecting beyond them, so as to prepare for the following row.
+
+Every possible gradation of colour can be effected in this way, and
+it applies to every form of design--floral or arabesque. Natural
+flowers have mostly been worked in this stitch.
+
+       *       *       *       *       *
+
+A skilful embroiderer will be careful not to waste more silk than is
+absolutely necessary on the back of the work, while, at the same time,
+she will not sacrifice the artistic effect by being too sparing of her
+back stitches.
+
+[Decoration]
+
+
+[Decoration]
+
+"COUCHING," OR LAID EMBROIDERY.
+
+This name is properly applied to all forms of embroidery in which the
+threads of crewel, silk, or gold are laid on the surface, and stitched
+on to it by threads coming from the back of the material. Under this
+head may be classed as varieties the ordinary "laid backgrounds,"
+"diaper couchings," "brick stitch," "basket stitch," and the various
+forms of stuffed couchings which are found in ancient embroideries.
+Couching outlines are usually thick strands of double crewel, tapestry
+wool, filoselle, cord, or narrow ribbon laid down and stitched at
+regular intervals by threads crossing the couching line at right
+angles. They are used for coarse outline work, or for finishing the
+edges of applique.
+
+       *       *       *       *       *
+
+_Plain Couching_, or "_Laid Embroidery_."--The threads are first laid
+evenly and straight from side to side of the space to be filled in,
+whether in the direction of warp or woof depends on the pattern; the
+needle being passed through to the back, and brought up again not
+quite close, but at a sufficient distance to allow of an intermediate
+stitch being taken backwards; thus the threads would be laid
+alternately first, third, second, fourth, and so on. This gives a
+better purchase at each end than if they were laid consecutively in a
+straight line. If the line slants much, it is not necessary to
+alternate the rows. When the layer is complete, threads of metal, or
+of the same or different colour and texture, are laid across at
+regular intervals, and are fixed down by stitches from the back.
+
+[Illustration: No. 11.--PLAIN COUCHING.]
+
+The beauty of this work depends upon its regularity.
+
+This kind of embroidery, which we find amongst the old Spanish,
+Cretan, and Italian specimens, is very useful where broad, flat
+effects without shading are required; but unless it is very closely
+stitched down, it is not durable if there is any risk of its being
+exposed to rough usage. It is possible to obtain very fine effects of
+colour in this style of work, as was seen in the old Venetian curtains
+transferred and copied for Louisa, Lady Ashburton. These were shown at
+the time of the Exhibition of Ancient Needlework at the School in
+1878.
+
+Ancient embroidery can be beautifully restored by grounding in "laid
+work," instead of transferring it where the ground is frayed, and the
+work is worthy of preservation. It must be stretched on a new backing,
+the frayed material carefully cut away, and the new ground couched as
+we have described.
+
+In other varieties of couching, under which come the many forms of
+diapering, the threads are "laid" in the same manner as for ordinary
+couching; but in place of laying couching lines across these, the
+threads of the first layer are simply stitched down from the back,
+frequently with threads of another colour.
+
+       *       *       *       *       *
+
+_Net-patterned Couching._--The fastening stitches are placed
+diagonally instead of at right angles, forming a network, and are kept
+in place by a cross-stitch at each intersection.
+
+This style of couching was commonly used as a ground in ecclesiastical
+work of the fourteenth and fifteenth centuries.
+
+       *       *       *       *       *
+
+_Brick Stitch._--The threads are laid down two together, and are
+stitched across at regular intervals. The next two threads are then
+placed together by the side, the fastening stitches being taken at the
+same distance from each other, but so as to occur exactly between the
+previous couplings. Thus giving the effect of brickwork.
+
+       *       *       *       *       *
+
+_Diaper Couchings._--By varying the position of the fastening stitches
+different patterns may be produced, such as diagonal crossings,
+diamonds, zigzags, curves, &c.
+
+[Illustration: No. 12.--THREE ILLUSTRATIONS OF DIAPER COUCHINGS.]
+
+They are properly all gold stitches; but purse silk, thin cord, or
+even untwisted silk may be used.
+
+A wonderful example of the many varieties of diapering is to be seen
+in the South Kensington Museum, No. 689. It is modern Belgian work,
+executed for the Paris Exhibition of 1867. As a specimen of fine and
+beautiful diapering in gold, this could scarcely be surpassed.
+
+       *       *       *       *       *
+
+_Basket Stitch_ is one of the richest and most ornamental of these
+ancient modes of couching. Rows of "stuffing," manufactured in the
+form of soft cotton cord, are laid across the pattern and firmly
+secured. Across these are placed gold threads, two at a time, and
+these are stitched down over each two rows of stuffing. The two gold
+threads are turned at the edge of the pattern, and brought back close
+to the last, and fastened in the same way. Three double rows of gold
+may be stitched over the same two rows of stuffing.
+
+The next three rows must be treated as brick stitch, and fastened
+exactly between the previous stitchings, and so on, until the whole
+space to be worked is closely covered with what appears to be a golden
+wicker-work.
+
+Strong silk must be used for the stitching.
+
+[Illustration: No. 13.--BASKET STITCH.]
+
+The Spanish School of Embroidery has always been famed for its
+excellence in this style, and has never lost the art. The
+"Embroiderers of the King," as they are called, still turn out
+splendid specimens of this heavy and elaborate work, which are used
+for the gorgeous trappings of the horses of the nobility on gala days
+and state occasions.
+
+A beautiful specimen was exhibited at the Royal School of
+Art-Needlework, in 1878, by the Countess Brownlow, of an
+altar-hanging, entirely worked in basket stitch, in gold on white
+satin, and a modern example is still to be seen at the School in a
+large counterpane, which was worked for the Philadelphia Exhibition
+from an ancient one also belonging to Lady Brownlow.
+
+The Spanish embroiderers used these forms of couching over stuffing
+with coloured silks as well as gold, and produced wonderfully rich
+effects. One quilt exhibited by Mrs. Alfred Morrison in 1878 was a
+marvel of colouring and workmanship.
+
+Basket stitch is mostly used now for church embroidery, or for small
+articles of luxury, such as ornamental pockets, caskets, &c.
+
+Diapering is generally employed in the drapery of small figures, and
+in ecclesiastical work.
+
+       *       *       *       *       *
+
+Many fabrics are manufactured in imitation of the older diapered
+backgrounds, and are largely used to replace them. Among these are the
+material known as silk brocatine, and several kinds of cloth of gold
+mentioned in our list of materials.
+
+[Decoration]
+
+
+[Decoration]
+
+CUSHION STITCHES.
+
+_Cushion Stitch_--the ancient _Opus Pulvinarium_ of the Middle Ages,
+likewise called "Cross Stitch"--may lay claim to be one of the most
+ancient known in embroidery. There have been many varieties, but the
+principle is the same in all. It is worked on and through canvas, of
+which the threads, as in tapestry, regulate the stitches.
+
+After six centuries of popularity it finally died out within the last
+few years as "Berlin wool work;" but will doubtless be revived again
+in some form after a time, as being well fitted for covering furniture
+on account of its firmness and durability.
+
+In Germany and Russia it is still much used for embroidering
+conventional designs on linen; and the beautiful Cretan and Persian
+work of which so much has lately been in the market, is executed in
+this style.
+
+       *       *       *       *       *
+
+_Tent Stitch_ may be placed first under this class, in which the
+thread coming from beneath is carried over a single cross of the warp
+and woof of the canvas.
+
+[Illustration: No. 14.--TENT STITCH.]
+
+       *       *       *       *       *
+
+_Simple Cross Stitch._--The worsted or silk is brought up again to the
+surface, one thread to the left of the spot where the needle was
+inserted, and is crossed over the first or "tent" stitch, forming a
+regular and even cross on the surface.
+
+[Illustration: No. 15.--SIMPLE CROSS STITCH.]
+
+       *       *       *       *       *
+
+_Persian Cross Stitch._--The peculiarity of this stitch is that in the
+first instance the silk or worsted is carried across two threads of
+the canvas ground, and is brought up in the intermediate space. It is
+then crossed over the latter half of the original stitch, and a fresh
+start is made.
+
+[Illustration: No. 16.--PERSIAN CROSS STITCH.]
+
+Much of the beauty of Persian embroidery is produced by the
+irregularity of the crossing; the stitches being taken in masses, in
+any direction that seems most suitable to the design in hand, instead
+of being placed in regular rows, with the stitches all sloping in one
+direction, as is the case with the modern "Berlin work," this, with
+the happy choice of colours for which the Persians are so justly
+famous, produces a singular richness of effect.
+
+Allied to these canvas stitches and having their origin in them, are
+the numerous forms of groundings, which are now worked on coarse
+linens, or in fact on any fabric; and have sometimes, although
+incorrectly, been called darning stitches, probably from their
+resemblance to the patterns which are found on samplers, for darning
+stockings, old table linen, &c. &c. Almost any pattern can be produced
+in this style of embroidery, simply by varying the relative length of
+the stitches.
+
+Following the nomenclature of the committee which named and catalogued
+the specimens of ancient needlework exhibited in the South Kensington
+Museum in 1872, we have classed all the varieties of these grounding
+stitches under the name of Cushion stitch.
+
+       *       *       *       *       *
+
+_Cushion Stitches_ are taken as in laid embroidery, so as to leave all
+the silk and crewel on the surface, and only a single thread of the
+ground is taken up; but in place of lying in long lines, from end to
+end of the material, they are of even length, and are taken in a
+pattern, such as a waved line or zigzag; so that when finished the
+ground presents the appearance of a woven fabric.
+
+[Illustration: No. 17.--CUSHION STITCH.]
+
+We give an illustration of one variety of cushion stitch, which may
+either be worked as described here, or in the hand, as in the woodcut.
+
+A good modern example of this background was exhibited in the School,
+on a bed-hanging, worked for the Honourable Mrs. Percy Wyndham, from a
+design by Mr. W. Morris. In the Exhibition of Ancient Needlework last
+year were many beautiful specimens: notably one enormous wall-hanging
+of Italian seventeenth-century work, lent by Earl Spencer. Many of the
+fabrics known as "Tapestries" are woven imitations of these grounds,
+and carry embroidery so perfectly, that on the whole, except for small
+pieces, it seems a waste of hand-labour to work them in, as the effect
+is not very far removed from that of woven material, while the expense
+is, of course, very much greater.
+
+The ancient specimens of this stitch are worked on a coarse canvas,
+differing greatly from that which was recently used for Berlin wool
+work.
+
+It cannot now be obtained except by having it especially made to
+order. It has been replaced by a coarse hand-woven linen for the use
+of the School, but the ancient canvas is vastly superior, as its
+looseness makes it easier for the worker to keep her stitches in
+regular lines.
+
+In some ancient specimens the design is worked in feather stitch, and
+the whole ground in cushion stitch. In others the design is in fine
+cross or tent stitch. There are several very beautiful examples of
+this kind of embroidery in the South Kensington Museum--Italian, of
+the seventeenth century.
+
+A variety of cushion stitch, which we frequently see in old Italian
+embroideries, was taught in the Royal School of Art-Needlework by Miss
+Burden, and used under her direction in working flesh in some large
+figures designed by Mr. Walter Crane for wall decoration, and
+exhibited at the Centennial Exhibition at Philadelphia. The stitches
+are kept of one uniform length across the design. The next row is
+started from half the depth of the preceding stitch and kept of the
+same length throughout. Its beauty consists in its perfect regularity.
+If worked in the hand, the needle is brought back underneath the
+material as in satin stitch; but in the frame all the silk or worsted
+can be worked on the surface, with the exception of the small
+fastening stitches.
+
+The effect when finished is that of a woven fabric.
+
+It is really more suitable in its original character of a ground
+stitch than for working flesh. We have given an illustration of it,
+because we are so frequently asked to describe "Burden stitch."
+
+[Illustration: No. 18.--"BURDEN" STITCH.]
+
+This form of cushion stitch worked extremely fine has been used for
+flesh in very ancient embroideries, even before the introduction of
+the _Opus Anglicanum_, and is found in the works of the Flemish,
+German, Italian, and French schools of the fourteenth and fifteenth
+centuries.
+
+It seems to have been worked in a frame on fine canvas, or on a fabric
+of very even threads, and the stitches so taken that the same amount
+of silk appears on the back as on the surface of the embroidery.
+
+In a toilet cover of ancient Spanish work recently added to the South
+Kensington Museum, the design is entirely embroidered in varieties of
+_cushion stitch_ in black floss silk upon a white linen ground. It is,
+however, extremely rare to see this stitch used in any other way than
+as a ground, except in actual canvas work; in which we often see
+varieties of it used to fill in portions of the design, while another
+stitch will be devoted entirely to the grounding.
+
+These stitches were often executed on an open net.
+
+       *       *       *       *       *
+
+_Stem Stitch_ is used in frame embroidery, and does not differ in any
+way from that described at page 20, under "handwork," except that the
+needle is of course worked through the material with both hands, as is
+the case in all frame work.
+
+The same may be said of "split stitch;" but this is more frequently
+(because more easily) worked in a frame than done in the hand.
+
+       *       *       *       *       *
+
+_Japanese Stitch_ is a modification of stem, but its peculiarity
+consists in the worker taking very long stitches, and then bringing
+the needle back to within a short distance of the first
+starting-place; so that they may be in even parallel lines, advancing
+by gradation from left to right. It is principally used for working
+water or ground in a landscape.
+
+[Illustration: No. 19.]
+
+       *       *       *       *       *
+
+_Tambour Work_ has fallen into disuse, but was greatly admired when
+our grandmothers in the last century sprigged Indian muslins or silks
+with coloured flowers for dresses, and copied or adapted Indian
+designs on fine linen coverlets. These were very refined, but no more
+effective than a good chintz. There are exquisite specimens of the
+stitch to be seen in most English homes, and in France it was in vogue
+in the days of Marie Antoinette. Its use is now almost confined to
+the manufacture of what is known as Irish or Limerick lace, which is
+made on net in the old tambour frames, and with a tambour or crochet
+hook. The frame is formed of two rings of wood or iron, made to fit
+loosely one within the other. Both rings are covered with baize or
+flannel wound round them till the inner one can only just be passed
+through the outer. The fabric to be embroidered is placed over the
+smaller hoop, and the other is pressed down over it and firmly fixed
+with a screw. A small wooden frame of this description is universally
+used in Ireland for white embroidery on linen or muslin. In tambour
+work the thread is kept below the frame and guided by the left hand,
+while the hook or crochet needle is passed from the surface through
+the fabric, and brings up a loop of the thread through the preceding
+stitch, and the needle again inserted, forming thus a close chain on
+the surface of the work.
+
+The difficulty of working chain stitch in a frame probably led to the
+introduction of a hook for this class of embroidery.
+
+       *       *       *       *       *
+
+Perhaps we ought not to omit all mention of the _Opus Anglicum_ or
+_Anglicanum_ (English work), though it is strictly ecclesiastical, and
+therefore does not enter into our province.
+
+Dr. Rock[1] and other authorities agree in thinking that the
+distinctive feature of this style, which was introduced about the end
+of the thirteenth century, was a new way of working the flesh in
+subjects containing figures.
+
+Instead of the faces being worked in rows of straight stitches (like
+that described as Burden stitch on page 50) as we see in the old
+Flemish, German, and Italian work of the same period, the English
+embroiderers invented a new stitch, which they commenced in the centre
+of the cheek and worked round and round--gradually letting the lines
+fall into outer circles of ordinary feather stitch.
+
+Having thus prepared an elastic surface, they proceeded to model the
+forms and make lights and shadows by pressing the work into hollows,
+with small heated metal balls, the work being probably damped as a
+preparation for this process. So skilfully did they carry out their
+intention, that the effect is still the same after the lapse of five
+centuries. We must unwillingly add that, though much appreciated in
+the thirteenth century, the effect is rather curious and quaint than
+beautiful.
+
+The Syon cope in the Kensington Museum, of the thirteenth century, is
+a fine specimen of this attempt to give the effect of bas-relief to
+the sacred subjects depicted. The whole cope shows how various were
+the stitches worked at that period. On examination with a microscope,
+the flesh stitch appears to be merely a fine split stitch worked
+spirally, as we now work fruit.
+
+
+FOOTNOTE:
+
+[1] See Dr. Rock's preface to his "Descriptive Catalogue of TEXTILE
+FABRICS" in the Kensington Museum.
+
+
+[Decoration]
+
+CUT WORK OR APPLIQUE.
+
+Decorative cut work is of infinite variety, but may be divided into
+two groups, "inlaid applique" and "onlaid applique."
+
+       *       *       *       *       *
+
+"_Inlaid_" applique consists in tracing the same pattern on two
+different fabrics, say a gold cloth and a crimson velvet; then cutting
+both out carefully, and inlaying the gold flowers into the crimson
+velvet ground, and the crimson flowers into the gold ground.
+
+This kind of work may be seen constantly in Italian rooms of the
+seventeenth century, and the alternate breadths of crimson and gold
+give a very fine effect as of pilasters, and in general are enriched
+by a valance applied at the top, and a plain border at the bottom.
+
+The _inlaid_ part is sewn down with thread, and covered with cord or
+couchings of floss silk. Sometimes narrow ribbons or fine strips of
+cut silk are stitched over the edges to keep them down flat.
+
+       *       *       *       *       *
+
+"_Onlaid_ applique" is done by cutting out the pattern in one or many
+coloured materials, and laying it down on an intact ground of another
+material. Parts are often shaded with a brush, high lights and details
+worked in with stitches of silk, and sometimes whole flowers or
+figures are embroidered, cut out, and couched down. This sort of work
+is extremely amusing, and gives scope to much play of fancy and
+ingenuity, and when artistically composed it is sometimes very
+beautiful.
+
+Another style of "onlaid applique" is only worked in solid outlines,
+laid down in ribbon or cord, sometimes in both. This was much in vogue
+in the time of Queen Anne, and for a hundred years after.
+
+[Illustration: No. 20.]
+
+The ribbon, very soft and thick, sometimes figured, sometimes plain,
+was manufactured with a stout thread on each side, which could be
+drawn, and so regulate the ribbon and enable it to follow the flow of
+the pattern.
+
+The German, French, and Italians often enriched this style of work
+with a flower, embroidered and applied thrown in here and there. Very
+small fringes also were introduced into the pattern, or arabesqued.
+
+"Cut work," like the appellation "Feather stitch," has a totally
+different meaning when it is given to white embroidery, and it has
+nothing to do with applique, but takes its name from the fact that the
+pattern is mostly cut or punched out, and then edged with button-hole
+or plain overlaid stitch.
+
+In working applique it is best, although not absolutely necessary, to
+have the design traced on the material to be used as a ground, which
+must then be framed as for ordinary embroidery. A copy of the design
+must be made on tracing-paper, and the outlines carefully pricked out
+with a needle or pin, laying the paper on several folds of flannel or
+cloth for greater convenience in pricking.
+
+A pad, made of a long strip of flannel about four inches wide, rolled
+very tightly, must be made ready, and some pounce made of about equal
+quantities of finely powdered charcoal and pipe-clay. The leaf or
+scroll which is wanted for the work must now be selected, and the
+pricked design laid face downwards on the fabric which is to be
+applied. The flannel pad must be dipped in the pounce and rubbed well
+into the outlines of the pricked design, which must be held firmly in
+its place with the left hand. On lifting the tracing-paper, the design
+will be found to be marked out on the material distinctly enough for
+it to be cut out with a sharp pair of scissors. The pounce can
+afterwards be dusted off.
+
+The leaf or scroll having been thus cut out must be fastened in its
+place on the design with small pins, and then carefully sewn down. The
+edges are then finished off by stitches of embroidery or by a couching
+line (_see_ page 39). The stems are frequently worked in with stem
+stitching or couching, and the leaves enriched by large veinings of
+crewel or silk work, or in conventional designs, with some of the many
+varieties of herringboning.
+
+       *       *       *       *       *
+
+_Gold Embroidery_ on velvet or satin grounds requires to be worked on
+a strong even linen, and then cut out and applied in the same manner
+as ordinary applique. Where a particularly rich and raised effect is
+required any embroidery may be treated in this manner. It is of course
+more troublesome, but quite repays the labour spent upon it by the
+increased beauty of the work.
+
+The transfer of old embroideries on to a new ground is usually done by
+applique, although we have already described a better process at page
+39.
+
+In transferring old needlework it is necessary to cut away the ground
+close to the edge of the embroidery. It is then placed on the new
+material, which has been previously framed, and the outline tacked
+down. The best way of finishing is then to work in the edges with
+silks _dyed exactly to match_ the colours in the old work. If properly
+done, it is impossible to discover which are old and which new
+stitches, and only by examining the back, that the work has been
+transferred at all.
+
+We used the words "_dyed to match_" advisedly, as it is impossible
+otherwise to procure new silks which will correspond with the old.
+
+Embroidery transferred in this manner is as good as it was in its
+first days, and in many cases is much better, for time often has the
+same mellowing and beautifying effect in embroideries as in paintings.
+
+A less expensive, but also a much less charming, method is to edge
+the old embroidery after applying it to the new ground with a cord or
+line of couching.
+
+With this treatment it is, however, always easy to perceive that the
+work has been transferred.
+
+For almost all kinds of applique it is necessary to back the material;
+and it is done in this manner:--
+
+A piece of thin cotton or linen fabric is stretched tightly on to a
+board with tacks or drawing-pins. It is then covered smoothly, and
+completely, with paste. The wrong side of the velvet, satin, serge, or
+whatever is to be used in the work, is then pressed firmly down on the
+pasted surface with the hands, and then left to dry.
+
+In giving the foregoing account of the most typical stitches, we hope
+we have succeeded in showing the principle on which each should be
+worked. They form the basis of all embroidery, and their numerous
+modifications cannot be fully discussed in the limit we have
+prescribed to ourselves. It is sufficient to observe that the
+instruction we have tried to impart is that which it is absolutely
+necessary for the needleworker to master thoroughly before she
+attempts to cope with the artistic element of her work. That it is a
+creative art is undoubted, for no two pieces of embroidery are alike
+unless executed by the same hand, and from the same design.
+
+For the advanced artist there is a store of instruction in the fine
+collection at South Kensington, which, seen by the light of Dr. Rock's
+invaluable "Catalogue of Textile Fabrics," is an education in itself,
+of which the ethnological as well as the artistic interest cannot be
+over-estimated, and it is within the reach of all who can find time to
+bestow upon it.
+
+
+STRETCHING AND FINISHING.
+
+Always avoid using an iron to embroidery. It flattens the work, and is
+apt to injure the colour. For embroidery on linen, unless very badly
+done, it will be found quite sufficient to stretch the work as tightly
+as possible with white tacks or drawing-pins on a clean board, and
+damp it evenly with a sponge. Leave it until quite dry, and then
+unfasten it, and, if necessary, comb out the fringe. If it is new
+work, it should not be fringed until after it has been stretched.
+
+For crewel work on cloth or serge, it is sometimes necessary to rub a
+little shoemaker's paste on to the back of the embroidery, while it is
+tightly stretched. When pasting can be avoided, it is always better to
+do without it; but it serves to steady the work in some cases, and
+makes it wear better. Unless it is absolutely necessary, it is better
+not to paste the back of screen panels, whatever may be the materials
+on which they are worked; but more especially satin or velvet, as it
+interferes with the straining of the work by the cabinet-maker.
+
+       *       *       *       *       *
+
+We give a recipe for EMBROIDERY PASTE, which is said to be
+excellent:--Three and a half spoonfuls of flour, and as much powdered
+resin as will lie on a half-penny. Mix these well and smoothly with
+half a pint of water, and pour it into an iron saucepan. Put in one
+teaspoonful of essence of cloves, and go on stirring till it boils.
+Let it boil for five minutes, and turn it into a gallipot to cool.
+
+    N.B.--Let the gallipot have in it a muslin bag: the
+    water can then be drained out from time to time, and the
+    paste will be much better.
+
+
+CLEANING.
+
+Good crewels will always wash or clean without injury; but the cheap
+and inferior worsteds will not do so. Ordinary crewel work on linen
+may be washed at home, by plunging it into a lather made by water in
+which bran has been boiled, or even with simple soap-suds, so long as
+no soda or washing-powder is used. It should be carefully rinsed
+without wringing, and hung up to dry. When almost dry, it may be
+stretched out with drawing-pins on a board, and will not require
+ironing.
+
+Embroidery on cloth or serge may often be cleaned with benzoline,
+applied with a piece of clean flannel; but in any case, where a piece
+of work is much soiled, or in the case of fine d'oyleys, it is safer
+to send it to the cleaner's.
+
+       *       *       *       *       *
+
+    _Messrs. Pullar and Son, Perth Dye Works, are very
+    successful in cleaning all kinds of embroidery without
+    injuring it._
+
+    _In many cases it may be well dyed--the silk in which
+    the design is worked always showing a different shade
+    from the ground._
+
+
+
+
+[Decoration]
+
+APPENDIX.
+
+DESIGNS FOR EMBROIDERY.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+DESCRIPTION OF THE PLATES.
+
+
+No. 1.--DESIGN FOR WALL-PANEL. By Mr. E. Burne-Jones.
+
+    Worked in outline on neutral-tinted hand-woven linen in
+    brown crewel. This style of embroidery is very suitable
+    for internal decoration, where a good broad effect is
+    required without a large amount of labour. A frieze or
+    dado, or complete panelling of a room, may be worked in
+    this way at a comparatively small cost.
+
+No. 2.--DESIGN FOR WALL OR SCREEN PANEL. By Mr. Walter Crane.
+Representing the Four Elements.
+
+    Embroidered in crewels on a silk ground of dead gold
+    colour partly outlined.
+
+No. 3.--DESIGN FOR QUILT OR TABLE COVER. By Mr. George Aitchison.
+
+    A border of sunflowers and pomegranates, with powderings
+    of the same for the centre.
+
+    This has been embroidered on cream-coloured satin de
+    chine in solid crewel work, with charming effect, both
+    for a counterpane and curtains.
+
+No. 4.--DESIGN FOR WALL PANELLING OR CURTAINS. By Mr. Fairfax Wade.
+
+    To be worked in outline and solid embroidery, in silk or
+    filoselle, on satin de chine.
+
+No. 5.--DESIGN FOR QUILT OR COUVRE-PIED. By Mr. Fairfax Wade. To
+introduce squares of Greek or guipure lace.
+
+    Worked in golden shades of silk on linen, lined with
+    silk of the same colour. The embroidery is partly solid
+    and partly outline, very fine and delicate.
+
+No. 6.--DESIGN FOR SOFA-BACK COVER. By Mr. W. Morris.
+
+    Worked on hand-woven linen in two shades of
+    gold-coloured silks. Outline.
+
+No. 7.--DESIGN FOR SOFA-BACK COVER OR PIANO PANEL. By Mr. George
+Aitchison.
+
+    Worked in two shades of blue silk on hand-woven linen or
+    satin de chine.
+
+No. 8.--DESIGN FOR APPLIQUE. By Mr. Fairfax Wade.
+
+Nos. 9 and 10.--DESIGNS FOR CHAIR-SEATS OR CUSHIONS. By Miss Jekyll.
+Periwinkle and Iris.
+
+No. 11.--DESIGN FOR BORDER. By Miss Webster. To be worked in outline
+in silk or crewel.
+
+No. 12.--DESIGN FOR BORDER FOR CURTAIN OR TABLE COVER. Designed by
+Miss Burnside, of the R.S.A.N.
+
+No. 13.--TABLE BORDER. Designed by Mr. Fairfax Wade. Conventional
+Buttercup. To be worked either solid or in outline.
+
+No. 14.--TABLE BORDER. Designed by Mr. Walter Crane. For solid
+embroidery in crewel or silk.
+
+No. 15.--TABLE BORDER. Designed by Mr. Walter Crane. For solid
+embroidery in crewel or silk.
+
+No. 16.--BORDER. Designed by Miss Mary Herbert, R.S.A.N. For crewel or
+silk embroidery, either in outline or solid.
+
+No. 17.--TWO PANELS. Designed by Rev. Selwyn Image. Representing Juno
+and Minerva.
+
+No. 18.--TWO PANELS. Designed by Rev. Selwyn Image. Representing Venus
+and Proserpine. To be worked in outline on linen, as No. 1, or in
+coloured silks on a groundwork of satin de chine.
+
+No. 19.--WALL HANGING. Designed by Mr. W. Morris. To be worked on
+linen in outline.
+
+No. 20.--WALL HANGING. Designed by Mr. W. Morris. Worked on linen.
+Background in Silk Cushion Stitch.
+
+No. 21.--BORDER FOR APPLIQUE. Copied from Ancient Italian work.
+
+No. 22.--ITALIAN DESIGN. A Specimen. Showing the application of
+transposed Applique.
+
+
+[Illustration: 1. DESIGN FOR WALL PANEL. _By E. Burne-Jones._]
+
+
+[Illustration: 2. DESIGN FOR WALL PANEL. _By Walter Crane._]
+
+
+[Illustration: 3. DESIGN FOR A QUILT OR TABLE COVER. _By George
+Aitchison._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 4. DESIGN FOR WALL PANEL OR CURTAIN. _By Fairfax
+Wade._]
+
+
+[Illustration: 5. DESIGN FOR A QUILT OR COUVRE-PIED. _By Fairfax
+Wade._]
+
+
+[Illustration: 6. DESIGN FOR A SOFA-BACK COVER. _By William Morris._]
+
+
+[Illustration: 7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL. _By
+George Aitchison._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 8. DESIGN FOR APPLIQUE. _By Fairfax Wade._]
+
+
+[Illustration: DESIGNS FOR CHAIR-SEATS OR CUSHIONS. (9. PERIWINKLE 10.
+IRIS.) _By Miss Jekyll._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 11. DESIGN FOR A BORDER. _By Miss Webster._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 12. DESIGN FOR A BORDER FOR A CURTAIN OR TABLE COVER.
+_By Miss Burnside._]
+
+
+[Illustration: DESIGNS FOR TABLE BORDERS. _No. 13 by Fairfax Wade; 14
+and 15 by Walter Crane; 16 by Mary Herbert._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 17. TWO DESIGNS FOR WALL PANELS--"JUNO" AND "MINERVA."
+_By the Rev. Selwyn Image._]
+
+
+[Illustration: 18. TWO DESIGNS FOR WALL PANELS--"VENUS" AND
+"PROSERPINE." _By the Rev. Selwyn Image._]
+
+
+[Illustration: 19. DESIGN FOR WALL-HANGING. _By William Morris._]
+
+
+[Illustration: 20. DESIGN FOR WALL-HANGING. _By William Morris._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 21. DESIGN FOR BORDER FOR APPLIQUE. _From Ancient
+Italian Work._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+[Illustration: 22. ITALIAN DESIGN. _Showing the application of
+transposed Applique._
+
+Vincent Brooks Day & Son, Lith.]
+
+
+
+
+[Decoration]
+
+Royal School of Art-Needlework.
+
+
+_Incorporated under "The Companies' Acts, 1862 and 1867," by licence
+of the Board of Trade, granted under 30 and 31 Vic., c. 131, sec. 23._
+
+Share Capital, L10,000, in 1000 Shares of L10 each. Debenture Capital,
+L10,000, to be issued in Debentures of L50 each.
+
+
+Patrons.
+
+    HER MAJESTY THE QUEEN.
+    H.R.H. THE PRINCE OF WALES.
+    H.R.H. THE PRINCESS OF WALES.
+
+President.
+
+    H.R.H. THE PRINCESS CHRISTIAN OF SCHLESWIG-HOLSTEIN.
+    _Princess of Great Britain and Ireland._
+
+Vice-President.
+
+    THE LADY MARIAN ALFORD.
+
+Managing Committee.
+
+    THE COUNTESS SPENCER.
+    THE COUNTESS COWPER.
+    THE COUNTESS BROWNLOW.
+    THE VISCOUNTESS DOWNE.
+    THE LADY SARAH SPENCER.
+    THE HON. LADY WELBY GREGORY.
+    THE HON. MRS. PERCY WYNDHAM.
+    MRS. EDWARD BARING.
+    (_With power to add to their number._)
+
+Honorary Members of the Managing Committee.
+
+    THE LADY CHARLOTTE SCHREIBER.
+    THE HON. LADY HAMILTON-GORDON.
+    THE LADY FITZHARDINGE.
+    THE HON. MRS. STUART WORTLEY.
+
+Finance Committee.
+
+    THE DUKE OF WESTMINSTER, K.G.
+    THE EARL BROWNLOW.
+    THE LORD SUDELEY.
+    SIR COUTTS LINDSAY, BART.
+    THE RIGHT HON. SIR WILLIAM HENRY GREGORY, K.C.M.G.
+    MICHAEL BIDDULPH, ESQ., M.P.
+    EDMUND OLDFIELD, ESQ.
+
+Bankers.
+
+    LONDON AND COUNTY BANK, Albert Gate Branch.
+
+Solicitors.
+
+    MESSRS. TRINDERS & CURTIS-HAYWARD, 4, Bishopsgate Street
+    Within, E.C.
+
+Offices.
+
+    EXHIBITION ROAD, SOUTH KENSINGTON.
+
+
+PROSPECTUS.
+
+The School was founded in 1872, under the Presidency of H.R.H. the
+Princess Christian of Schleswig-Holstein, for the twofold purpose of
+supplying suitable employment for Gentlewomen and restoring Ornamental
+Needlework to the high place it once held among the decorative arts.
+
+It was first established, under the title of School of Art-Needlework,
+in Sloane Street; but in 1875 was removed to the present premises in
+the Exhibition Road, and Her Majesty the Queen was graciously pleased
+to grant to it the prefix of "Royal."
+
+The Royal School of Art-Needlework exhibited at the Centennial
+Exhibition of Philadelphia, 1876, and received a Certificate of
+Award--medals not being granted to institutions or corporate bodies. A
+Silver Medal was also granted by the Jurors of the International
+Exhibition, Paris, 1878, for embroideries exhibited there.
+
+The result of seven years' experience of the working of the School has
+shown that the objects for which it was formed are appreciated by the
+public, and has justified its establishment on a permanent basis. This
+has accordingly been effected under a special licence from the Board
+of Trade, granted under authority of an Act of Parliament which
+authorizes the incorporation of associations _not_ constituted for
+purposes of profit.
+
+The ultimate profits of the Association, after payment of all
+Debentures, are to be applied to such charitable or other purposes as
+the Association may from time to time determine, not being
+inconsistent with the provisions of the Memorandum of Association,
+which require that the Shareholders shall not take any personal profit
+out of the Association.
+
+The government of the School is vested in:
+
+    First.--A President, Vice-President, and General
+    Council.
+
+    Second.--A Managing Committee to be selected from the
+    General Council, except as to Honorary Members to be
+    nominated by the Managing Committee.
+
+    Third.--A Finance Committee, of whom a majority are to
+    be elected by the Shareholders, and the remainder
+    nominated by the Managing Committee. The sanction of
+    this Committee is required for all expenditure.
+
+Agencies have now been opened in Liverpool, Manchester, Leeds,
+Norwich, Birmingham and Glasgow; and a member of the staff has been
+sent out to take charge of the School of Art-Needlework in
+Philadelphia.
+
+The Show Rooms are open from 10 a.m. to 6 p.m. in Summer, and to 5
+p.m. in Winter, and close on Saturdays at 2 p.m.
+
+All letters must be addressed "The Secretary."
+
+Lists of designs, prices of prepared and finished work, terms for
+lessons, and addresses of Provincial Agents, may be obtained by
+writing to the Secretary.
+
+A Branch School for Scotland has now been opened in Glasgow. Show
+Rooms at 108, St. Vincent Street.
+
+
+
+
+[Decoration]
+
+ROYAL SCHOOL OF ART-NEEDLEWORK.
+EXHIBITION ROAD,
+SOUTH KENSINGTON.
+
+
+PREPARED WORK.
+
+[Decoration]
+
+Work can be obtained from the ROYAL SCHOOL OF ART-NEEDLEWORK having a
+design traced, a portion of the embroidery commenced, and sufficient
+materials for finishing. Ladies' own materials will be traced and
+prepared for working if desired. Dresses must be cut out and tacked
+together before being sent to the School, and lines marked on the
+material to show where the design is to be placed.
+
+When an order for prepared work is executed exactly by the directions
+given, or when the selection of Design or Colouring is left to the
+School, _the work cannot be exchanged or taken back_.
+
+The materials supplied with the work are considered more than
+sufficient to finish it, and if more are required afterwards they must
+be purchased separately.
+
+A few specimen prices are quoted, but _no estimates can be given for
+prepared work_, except in cases of large orders where a great quantity
+of material is supplied.
+
+_All Designs supplied are Copyright of the Royal School of
+Art-Needlework, and must not be made use of for purposes of sale._
+
+Designs on paper are not supplied under any circumstances, nor can
+work be sent out on approbation.
+
+All work supplied is stamped with the monogram of the ROYAL SCHOOL OF
+ART-NEEDLEWORK, as above, in addition to the letters P. W.
+
+    N.B.--_An extra charge is made for all designs not
+    ordinarily used for Prepared Work._
+
+
+APPROXIMATE PRICES OF PREPARED WORK AND MATERIALS.
+
+TABLE COVERS, on Diagonal, from L1 1s. to L5 5s.
+
+  "      "    Serge         "   18s. to L3 3s.
+
+LINEN TABLE COVERS, yard square, 14s. 6d. to L1 10s.
+
+CHAIR BACK COVERS, Linen, 7s. 6d. to L1 1s.
+
+BORDERS, on Linen, suitable for Table Covers or Dresses, from 5s. per
+yard.
+
+BORDERS, on Serge or Diagonal, suitable for Table Covers or Dresses,
+from 7s. per yard.
+
+BORDERS, on Serge or Diagonal, suitable for Curtains, Chimney
+Valances, &c., from 13s. per yard.
+
+    N.B.--_If several yards are ordered of one pattern the
+    price is lower._
+
+BANNER SCREENS, Linen (various), 8s. 6d. to 15s. 6d.
+
+   "      "     Diagonal, 12s. 6d. to L2 2s.
+
+BABIES' BLANKETS, from 14s. 6d.
+
+BATH BLANKETS, yard square, 17s. 6d.; yard and a half square, 26s.
+
+CHILDREN'S DRESS, from 18s. to L1 10s.
+
+TENNIS APRONS, from L1 1s.
+
+CUSHIONS, Linen, 7s. 6d. to 12s 6d.; on Diagonal, &c., 10s. 6d. to
+L1 1s.
+
+TOILET MATS or D'OYLEY, 8 inches square, from L1 6s. to L3 3s. per
+dozen.
+
+FOLDING SCREENS, on Sailcloth, L1 1s. to L1 10s. per panel.
+
+
+CREWELS.
+
+Crewels are sold at the rate of 8d. per ounce skein, or in
+quarter-pound bundles, containing not more than four shades, at 2s. In
+quarter-pound bundles, containing selected colours, at 3s.
+
+EMBROIDERY SILKS, at 6s. 6d. per ounce reel, and 3s. 3d. per
+half-ounce reel of one shade; or at 8s. per ounce of selected colours.
+
+FILOSELLE, 3s. 6d. per ounce.
+
+NEEDLES, 9d. per packet.
+
+MATERIALS, suitable for embroidery, such as Homespuns, Fancy Linens,
+Serge, Diagonal, Utrecht Velvet, Satin de Chine, &c. &c., may be
+purchased at the School.
+
+NOT LESS THAN ONE YARD SOLD.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+LIST OF DESIGNS.
+
+
+CHAIR BACKS.
+
+Honeysuckle, Bramble, Poppy, Passion Flower, Taxonia, Wild Rose, Apple
+Blossom, Orange with Flowers, Virginia Creeper, Fish and Bulrushes,
+Winter Cherry, Corn Flower, Hops, Carnations, Cherry, Daisy Powdered,
+Primrose Powdered, Faust Motto, Iris Seed, Japanese, Jessamine,
+Lantern Plant, Periwinkle, Potato, Zynia, Tiger Lily, Geranium,
+Burrage, Corncockle, Hawthorn, Daffodil, Iris, Love-in-a-Mist, &c.
+&c., with many conventional designs.
+
+
+NARROW BORDERS.
+
+SUITABLE FOR DRESSES OR TABLE COVERS.
+
+Love-in-a-Mist, Daisy, Poppy, Honeysuckle, Strawberry, Forget-me-Not,
+Flax, Jessamine, Blackberry, Virginia Creeper, Hawthorn, Daffodil,
+Cowslip, Cherry, Buttercup, Mountain Ash, Ragged Robin, Potentilla,
+Apple Blossom, Strawberry and Blossom, Christmas Rose, &c. &c., also
+many conventional designs.
+
+
+CURTAIN BORDERS.
+
+Sunflower, Pomegranate, Passion Flower, Taxonia, Poppy, Lilies,
+Magnolia, Orange, Hops, Marguerites, Love-in-a-Mist, Wild Rose,
+Arbutus, Chrysanthemum, Iris, Cowslip, Primrose, Apple, &c. &c.
+
+    _The same Designs can be had in Horizontal Borders for
+    Chimney Valances, wide Table Borders, and can be adapted
+    for any purpose._
+
+    N.B.--The Royal School of Art-Needlework has no Branch
+    School nor any Agency in London.
+
+
+
+
+Royal School of Art-Needlework.
+
+EXHIBITION ROAD, SOUTH KENSINGTON.
+
+
+    _September, 1878._
+
+The Committee of Management of the ROYAL SCHOOL OF ART-NEEDLEWORK has
+now organized Classes for Teaching Ornamental Needlework at their
+premises in the Exhibition Road, South Kensington.
+
+These Classes are especially established for the instruction of Ladies
+and Children, and include every kind of stitch in Crewel, Silk, and
+Gold.
+
+Ladies who wish to take lessons, or send their Children, are requested
+to send their names to the Secretary, who will inform them when to
+attend.
+
+Each Course will consist of Six Lessons.
+
+
+    CREWELS.
+
+    THIRD CLASS--SIX LESSONS.
+                                                     _L  s. d._
+    One Person                                        1  4  0
+    Two of same Family                                1 16  0
+    Three ditto                                       2  8  0
+
+
+    SILK AND APPLIQUE.
+
+    SECOND CLASS--SIX LESSONS.
+
+    One Person                                        1 10  0
+    Two of same Family                                2  5  0
+    Three ditto                                       3  0  0
+
+
+    ECCLESIASTICAL EMBROIDERY.
+
+    FIRST CLASS--SIX LESSONS.
+
+    One Person                                        2  0  0
+    Two of same Family                                3  0  0
+    Three ditto                                       4  0  0
+
+
+    SINGLE LESSONS.
+
+    One single Lesson (for 1 hour) on Lesson day      0  7  0
+    Ditto                ditto        Special day     0  8  6
+    Ditto on Ecclesiastical Work (at any time)        0 10  6
+
+Private Lessons at Home, 10s. 6d. the hour and expenses.
+
+_Special terms for Classes of Twelve and upwards._
+
+
+FINISHED WORK.
+
+CURTAIN BORDERS, on Serge or Diagonal Cloth, from L2 10s. to L10 10s.,
+    about 31/2 yards long.
+
+DRESS BORDERS, on ditto, from 7s. to 18s. per yard.
+
+  "      "     on House Flannel, from 3s. 6d. to 10s. 6d. per yard.
+
+CURTAIN BORDERS, on Linen, from L1 10s. to L6 6s. each.
+
+TABLE BORDERS, on Linen, from L1 1s. to L2 10s.
+
+CHAIR BACKS, on Linen, from 14s. 6d. to L2 10s.
+
+SOFA BACKS, on Linen and Silk, from L2 2s. to L10.
+
+TABLE COVERS, on Linen, from L1 3s. to L5.
+
+  "      "    Serge, from L1 1s. to L7.
+
+  "      "    Diagonal, from 30s. to L26.
+
+SMALL CHAIR SEATS, on Diagonal, from 13s. to L2 12s.
+
+LARGE   "     "    Serge, from 13s. to L3 3s.
+
+CUSHIONS, made up, from L2 2s. to L5 7s.
+
+CHILDREN'S DRESSES, from L1 1s. to L3 3s.
+
+    "      APRONS, from 12s. 6d. to L1 1s.
+
+CHILDREN'S FRENCH BLOUSES, 18s. 6d. to L2 3s.
+
+LADIES' LAWN TENNIS APRONS, from L1 5s. to L3 10s.
+
+LINEN D'OYLEYS, from L2 7s. to L8 8s. per dozen.
+
+TEA COSIES, on Diagonal, from 16s. 6d.
+
+KETTLEDRUM D'OYLEYS, each 5s. 6d. to 16s. 6d.
+
+SACHETS, with Mat to correspond, on Linen, from L1 6s.
+
+FOLDING SCREENS, from L13 to L100.
+
+CURTAINS, on Serge or Linen, from L10 to L60 per pair.
+
+MANTEL VALANCES, from L2 2s. to L10 10s.
+
+BANNER SCREENS, from L1 10s.
+
+COUNTERPANES, from L6 to L80.
+
+TABLE SCREENS, from L4 4s.
+
+LADIES' ALGERIAN HOODS, from L3 to L10.
+
+FANS, Mounted, from L2 7s. to L20.
+
+CARRIAGE RUGS, from L2 to L10.
+
+BLOTTER AND ENVELOPE BOX, from L8 8s.
+
+   "    on Linen, from L1 5s.
+
+ENVELOPE BOX, on Linen, from L3.
+
+PHOTOGRAPH FRAMES, from L1 10s.
+
+BELLOWS, from L1 17s.
+
+OPERA CLOAKS, from L3 3s.
+
+NIGHTINGALE DRESSING JACKET, from L2.
+
+BATH SLIPPERS, from 6s. 6d. per pair.
+
+WASHSTAND BACKS, from L1 5s.
+
+BLANKET MATS, for Bath, 15s. 6d.
+
+BERCEAUNETTE COVERS, from L1 10s.
+
+SUNSHADE COVERS, from L3 3s.
+
+PIANO PANELS, from L1 3s.
+
+BABIES' HEAD FLANNELS, from L1 3s.
+
+   "    CLOAKS, from L4 4s.
+
+HANDKERCHIEF SACHETS, from L3 3s.
+
+KNITTING POCKETS, from L1 1s.
+
+
+_P. O. Orders Payable to L. HIGGIN, Exhibition Road. Not more than 18
+Stamps received._
+
+
+AGENTS IN THE COUNTRY.
+
+_Liverpool_: Messrs. RUMNEY & LOVE, Bold Street.
+_Manchester_: Messrs. E. GOODALL & CO., King Street.
+_Leeds_: Messrs. MARSH, JONES, & CRIBBS.
+_Norwich_: Messrs. ROBERTSON & SONS, Queen Street.
+_Glasgow_: Messrs. ALEXANDER & HOWELL, 108, St. Vincent Street.
+_Birmingham_: Messrs. MANTON, SONS, & GILBERT.
+
+And for
+
+_America_: Messrs. TORREY, BRIGHT, & CAPEN, Boston.
+
+
+BRANCH SCHOOL FOR SCOTLAND:
+
+116, ST. VINCENT STREET, GLASGOW.
+
+All information to be obtained at the Show Rooms, 108, St. Vincent
+Street.
+
+
+
+
+As advertisements have from time to time appeared in various
+newspapers offering for sale designs of the Royal School of
+Art-Needlework, the Public is requested to note that no designs either
+on pricked paper, or in any other form than on commenced work, are, or
+ever have been, sold by the School, or supplied to any agent. Further,
+that no tracing powder is used in preparing the patterns, or sold for
+that purpose. All designs, therefore, offered as those of the Royal
+School are either entirely spurious, or are pirated from theirs.
+
+
+
+
+CHISWICK PRESS:--C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.
+
+
+
+
+Transcriber's Note
+
+Minor typographic errors in punctuation have been corrected without
+note.
+
+Hyphenation has been made consistent in the main body of the text
+without note. Please note that the author uses the term 'high light'
+rather than the more usual 'highlight'.
+
+The following amendments have been made:
+
+    Page 15--grounds amended to ground--"As ground for
+    embroidery it has an excellent effect."
+
+    Page 53--the page reference to Burden stitch has been
+    amended from 49 to 50.
+
+    The first 10 captioned illustrations (starting with
+    "No. 1.--STEM STITCH") have been made consistent with
+    the later illustrations, by the removal of the word
+    Illustration and a comma at the beginning of each
+    of those captions.
+
+    The two illustrations on page 81 (Plates 11 and 12) were
+    printed in reverse order in the original. The captions
+    have been amended to the correct numeric order in this
+    e-text.
+
+Currency indicators (s. and d.) were printed in italics in the original
+text. The convention has not been retained in this e-text.
+
+
+
+
+
+End of the Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HANDBOOK OF EMBROIDERY ***
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