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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 ***
+
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