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diff --git a/28269-8.txt b/28269-8.txt new file mode 100644 index 0000000..f6e1f60 --- /dev/null +++ b/28269-8.txt @@ -0,0 +1,6332 @@ +Project Gutenberg's Art in Needlework, by Lewis F. Day and Mary Buckle + +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: Art in Needlework + A Book about Embroidery + +Author: Lewis F. Day + Mary Buckle + +Release Date: March 7, 2009 [EBook #28269] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ART IN NEEDLEWORK *** + + + + +Produced by Constanze Hofmann and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + Transcriber's Note: + +The printed Errata have been corrected in the text. A few additional +printer's errors have been corrected, details of the corrections can be +found at the end of this e-text. + + * * * * * + + + + +ART IN NEEDLEWORK + + + + +TEXT-BOOKS OF ORNAMENTAL DESIGN + + +ART IN NEEDLEWORK + +A BOOK ABOUT EMBROIDERY + +BY + +LEWIS F. DAY + +AUTHOR OF 'WINDOWS,' 'ALPHABETS,' +'NATURE IN ORNAMENT' AND OTHER +TEXT-BOOKS OF ORNAMENTAL DESIGN + +& MARY BUCKLE + + +LONDON: +B. T. BATSFORD 94 HIGH HOLBORN +1900 + +BRADBURY, AGNEW, & CO. LD., PRINTERS, +LONDON AND TONBRIDGE. + + + + +PREFACE. + + +Embroidery may be looked at from more points of view than it would be +possible in a book like this to take up seriously. Merely to hover round +the subject and glance casually at it would serve no useful purpose. It +may be as well, therefore, to define our standpoint: we look at the art +from its practical side, not, of course, neglecting the artistic, for +the practical use of embroidery is to be beautiful. + +The custom has been, since woman learnt to kill time with the needle, to +think of embroidery too much as an idle accomplishment. It is more than +that. At the very least it is a handicraft: at the best it is an art. +This contention may be to take it rather seriously; but if one esteemed +it less it would hardly be worth writing about, and the book, when +written, would not be worth the attention of students of embroidery, +needleworkers, and designers of needlework to whom it is addressed. It +sets forth to show what decorative stitching is, how it is done, and +what it can do. It is illustrated by samplers of stitches; by diagrams, +to explain the way stitches are done; and by examples of old and modern +work, to show the artistic application of the stitches. + +A feature in the book is the series of samplers designed to show not +only what are the available stitches, but the groups into which they +naturally gather themselves, as well as the use to which they may be +put: and the back of the sampler is given too: the reader has only to +turn the page to see the other side of the stitching--which to a +needlewoman is often the more helpful. Lest that should not be enough, +the stitches are described in the text, and a marginal note shows at a +glance where the description is given. This should be read needle and +thread in hand--or skipped. Samplers and other examples of needlework +are uniformly on a scale large enough to show the stitch quite plainly. +The examples of old work illustrate always, in the first place, some +point of workmanship; still they are chosen with some view to their +artistic interest. + +In other respects Art is not overlooked; but it is Art in harness. +Design is discussed with reference to stitch and stuff, and stitch and +stuff with reference to their use in ornament. It has been endeavoured +also to show the effect needlework has had upon pattern, and the ways in +which design is affected by the circumstance that it is to be +embroidered. + +The joint authorship of the work needs, perhaps, a word of explanation. +This is not just a man's book on a woman's subject. The scheme of it is +mine, and I have written it, but with the co-operation throughout of +Miss Mary Buckle. Our classification of the stitches is the result of +many a conference between us. The description of the way the stitches +are worked, and so forth, is my rendering of her description, +supplemented by practical demonstration with the needle. She has primed +me with technical information, and been always at hand to keep me from +technical error. With reference to design and art I speak for myself. + +My thanks are due to the authorities at South Kensington for allowing us +to handle the treasures of the national collection, and to photograph +them for illustration; to Mrs. Walter Crane, Miss Mabel Keighley, and +Miss C. P. Shrewsbury, for permission to reproduce their handiwork; to +Miss Argles, Mrs. Buxton Morrish, Colonel Green, R.E., and Messrs. +Morris and Co., for the loan of work belonging to them; and to Miss +Chart for working the cross-stitch sampler. + +I must also acknowledge the part my daughter has had in the production +of this book: without her constant help it could never have been +written. + + LEWIS F. DAY. + + _January 1st, 1900._ + + + + +CONTENTS. + + + CHAP. PAGE + + 1. EMBROIDERY AND EMBROIDERY STITCHES 1 + + 2. CANVAS STITCHES 12 + + 3. CREWEL-STITCH 26 + + 4. CHAIN-STITCH 38 + + 5. HERRING-BONE-STITCH 47 + + 6. BUTTONHOLE-STITCH 55 + + 7. FEATHER AND ORIENTAL STITCHES 62 + + 8. ROPE AND KNOT STITCHES 71 + + 9. INTERLACINGS, SURFACE STITCHES, AND DIAPERS 83 + + 10. SATIN-STITCH AND ITS OFFSHOOTS 91 + + 11. DARNING 106 + + 12. LAID-WORK 112 + + 13. COUCHING 122 + + 14. COUCHED GOLD 131 + + 15. APPLIQUÉ 144 + + 16. INLAY, MOSAIC, AND CUT-WORK 153 + + 17. EMBROIDERY IN RELIEF 159 + + 18. RAISED GOLD 165 + + 19. QUILTING 172 + + 20. STITCH GROUPS 175 + + 21. ONE STITCH OR MANY? 180 + + 22. OUTLINE 185 + + 23. SHADING 188 + + 24. FIGURE EMBROIDERY 198 + + 25. THE DIRECTION OF THE STITCH 208 + + 26. CHURCH WORK 216 + + 27. A PLEA FOR SIMPLICITY 225 + + 28. EMBROIDERY DESIGN 232 + + 29. EMBROIDERY MATERIALS 242 + + 30. A WORD TO THE WORKER 250 + + + + +DESCRIPTIVE LIST OF ILLUSTRATIONS. + + +1. TAPESTRY--to illustrate work on a warp not on a web. From Akhmin in +Upper Egypt. Ancient Coptic. (In the Victoria and Albert Museum.) + +2. DRAWN-WORK ON FINE LINEN, embroidered with gold and colour. Oriental. +(From the collection of Mrs. Lewis F. Day.) + +3. DARNING AND SATIN-STITCH on square mesh--The darning leaf, green, +follows the lines of the stuff; outlined with yellow, veined with pink +and white; stem, yellow, its foliation pink, outlined with white, and +ribbed with blue and white. Italian. 17th century. (V. & A. M.) + +4. CROSS-STITCH UPON LINEN. Hungarian. Compare Illustration 45. + +5. CROSS-STITCH SAMPLER--A and B, solid; C, line work; D, +stroke-stitch--called also Holbein-stitch; E, stroke and cross stitches +combined. + +6. CANVAS-STITCH in coloured silk upon linen. The band Italian, the +foliated diaper Oriental. (Mrs. L. F. D.) + +7. CANVAS-STITCH--Design comparatively free, but showing in its outline +the influence of the rectangular lines of the weaving. Cretan. (Mrs. L. +F. D.) + +8. CANVAS-STITCH SAMPLER--A, tent-stitch; B, half-cross-stitch; C, +cushion-stitch; D, Moorish-stitch, so called; E, plait-stitch; F, +couching on canvas. + +9. CUSHION AND SATIN-STITCHES UPON CANVAS--The Satin-stitches follow the +lines of the stuff, and form a diaper built upon them. Compare +Illustration 71. + +10. TWO VARIETIES OF CANVAS-STITCH, the pattern in the bare linen, the +background worked--A, plait-stitch, the ornament outlined; B, stitches +drawn tightly together so as to pull the threads of the linen apart, +giving very much the effect of drawn-work. Compare Illustration 2. (Mrs. +L. F. D.) + +11. CREWEL-STITCH SAMPLER--A and C, crewel-stitch; B and D, +outline-stitch; E, back-stitch; F, spots; G and H, stem-stitch; J, +crewel and outline-stitches in combination. + +12. BACK OF CREWEL-STITCH SAMPLER. + +13. CREWEL-WORK--the stem only worked in crewel-stitch. Embroidered in +green, blue, and brown wools upon white cotton. Old English. (Coll. of +Miss Argles.) + +14. CREWEL-WORK, in which crewel-stitch hardly occurs. Embroidered in +coloured wools upon white cotton. Old English. (Coll. of J. M. Knapp, +Esq.) + +15. CREWEL-STITCH IN TWISTED SILK. The scroll in green upon a +brownish-purple ground; the smaller leafage upon the scroll in brighter +green; the flowers and butterflies in blue and pink. Modern. (Mrs. L. F. +Day.) + +16. CHAIN-STITCH AND KNOTS--Part of the same piece of work as +Illustration 24. Indian. (V. & A. M.) + +17. CHAIN-STITCH SAMPLER--A, chain-stitch solid and in line; B, magic +stitch; C, church chain; D, cable chain; E, Vandyke chain; F, +Mountmellic chain; G, Mountmellic cable--all so called. + +18. BACK OF CHAIN-STITCH SAMPLER. + +19. CHAIN AND SURFACE STITCHES--the latter a kind of buttonholing, only +occasionally worked _in_to the stuff. Part of a lectern cover in white +thread upon a thin, greyish white linen stuff. German, 14th century. (V. +& A. M.) + +20. HERRINGBONE SAMPLER--A, B, C, varieties of herring-bone; D, a +combination of A and C; E, fishbone; F, a close variety of A; G, +tapestry stitch, so called. + +21. BACK OF HERRINGBONE SAMPLER. + +22. BUTTONHOLE SAMPLER--A, B, C, ordinary buttonhole and variations upon +it; D, two rows of buttonhole worked slanting one into the other; E, +crossed buttonhole; F, tailor's buttonhole; G, ladder (called also +Cretan) stitch; H, herringbone buttonhole; J, buttonhole diaper. + +23. BACK OF BUTTONHOLE SAMPLER. + +24. BUTTONHOLE, CHAIN, AND KNOT STITCHES--chiefly in white floss silk on +dark purple satin, with touches of crimson at the points from which the +stitches radiate. The rings on the outer ground are not worked, but done +in the dyeing of the satin. Part of the same piece of work as 16. Modern +Indian from Surat. (V. & A. M.) + +25. FEATHER-STITCH SAMPLER--A to G, ordinary feather-stitch and its +variations; G G, feather chain. + +26. BACK OF FEATHER-STITCH SAMPLER. + +27. ORIENTAL-STITCH SAMPLER--A to E, Oriental-stitch and its varieties; +F, Oriental-stitch worked into buttonhole; G, not properly a form of +Oriental-stitch, though bearing some resemblance to it. + +28. BACK OF ORIENTAL-STITCH SAMPLER. + +29. ROPE AND KNOT-STITCH SAMPLER--A, rope-stitch; B, open rope-stitch; +C, what is called German knot-stitch; D, open German knot-stitch; E, Old +English knot-stitch, so called; F, bullion-stitch; G, French knots. + +30. BACK OF ROPE AND KNOT-STITCH SAMPLER. + +31. A TOUR-DE-FORCE IN KNOTS--Worked entirely in the one stitch; the +drawing lines expressed by voiding. In white and coloured silks upon a +very dark blue ground. Chinese. (Mrs. L. F. D.) + +32. INTERLACING-STITCH SAMPLER--A, Interlaced crewel-stitch; B, +interlaced back-stitch; C, back-stitch twice interlaced; D, interlaced +chain-stitch; E, interlaced darning; F, interlaced herringbone; G, +herringbone twice interlaced; H, an interlaced version of C in +Illustration 20; J, interlaced Oriental-stitch; K, interlaced +feather-stitch. + +33. BACK OF INTERLACING SAMPLER. + +34. SURFACE-STITCH SAMPLER--A, D, G, various surface stitches; B, +surface buttonhole; H and C, surface darning; E, Japanese darning, as it +is called; F, net passing; J, surface buttonhole over bars; K, surface +buttonhole over slanting stitches. + +35. LACE OR SURFACE-STITCH AND SATIN-STITCH, much of it worn away. In +straw-coloured floss upon pale blue silk. Part of a dress. French. Late +18th century. (Mrs. L. F. D.) + +36. SATIN-STITCH SAMPLER--Worked in floss, the stitch in various +directions, to give different effects. Incidentally it shows various +ways of breaking up a surface in satin-stitch. Compare with Illustration +38, which shows the effect of the stitch in twisted silk. + +37. BACK OF SATIN-STITCH SAMPLER. + +38. SATIN-STITCH IN COARSE TWISTED SILK. + +39. SATIN-STITCH IN TWISTED SILK--Outlines voided. Worked in white and +occasional red and yellow upon black satin. Indian. Modern. (V. & A. +M.) + +40. SATIN-STITCH AND, on the birds' bodies, PLUMAGE-STITCH--The ends of +the stalks worked in French knots; the veins of the leaves in fine white +cords laid on to the satin stitch. The outlines voided, and the voiding +occasionally worked across with stitches wide enough apart to show the +ground between. In white and bright-coloured silk floss upon a black +satin ground. Chinese. (Mrs. L. F. D.) + +41. SAMPLER--Showing offshoots from satin and crewel stitches, and +incidentally illustrating various ways of shading. A, crewel-stitch; B, +plumage-stitch, worked in the hand; C, split-stitch; D, plumage-stitch, +worked in the frame. + +42. BACK OF SAMPLER 41. + +43. DARNING SAMPLER--Except in the background the stitches follow the +lines of the drawing, regardless of the weaving of the stuff. The +customary outlining of the pattern is here omitted, to show how far it +may, or may not, be needful. + +44. DARNING--DESIGNED BY WILLIAM MORRIS. In delicate colours upon a +sea-green ground, outlined with black and white. Part of the border of a +table-cloth, the property of Messrs. Morris & Co. + +45. FLAT DARNING--Solid and open, following the lines of a square mesh, +and stepping in tune with it; the outline voided; all in white thread. +Old German. (Gewerbs Museum, Munich.) + +46. LAID-WORK SAMPLER, showing various ways (split-stitch and couching) +in which the sewing down may be done, and the various directions it may +take--vertical, horizontal, following the ornamental forms, or crossing +them. + +47. LAID-WORK--The couching crosses the flower forms in straight lines; +and in the eye of the flower where the threads cross, the two are sewn +down at a single stitch. The spiral stems a sort of laid cord. Flower in +blue, sewn with blue and outlined with gold; leaves, a bright fresh +green stitched with olive. Japanese. (V. & A. M.) + +48. LAID-WORK. The sewing down of the leaves crosses them in curved +lines which suggest roundness. The stem in gold basket pattern. Part of +a coverlet. Worked upon a cedar-coloured ground chiefly in dark blue and +white, the blue couched with white, the white and other colours couched +with red. Indo-Portuguese. 17th century. (V. & A. M.) + +49. LAID-WORK AND SOME SURFACE-STITCH. The stitching which sews down the +floss takes the direction of the scroll, &c., and gives drawing. The +surface work in the stems is done upon a ladder of stitches across. Part +of a chalice veil. Italian. Early 17th century. (V. & A. M.) + +50. LAID-WORK SAMPLER--The straight lines of laid floss varied in colour +to suggest shading. The stalk padded, and the pattern made by the +stitching upon it thereby emphasised. + +51. BULLION AND COUCHED CORD--A, The somewhat loose design of the border +in bullion shows rather plainly the way it is done. B, The solid discs +of spiral cord are unusual, but most characteristic of the method of +couching. The stitches sewing down the cord are not apparent. Oriental. +(Mrs. L. F. D.) + +52. SAMPLER OF COUCHED SILK--The broad central band and the narrow +beaded lines are in floss, and show the effect of sewing it more or less +tightly down. The two intermediate bands are in cord couched with +threads in the direction of its twist, not very easily distinguishable +unless by contrast of colour. + +53. COUCHING IN LOOPED THREADS--The effect is not unlike that of +chain-stitch or fine knotting. Rather over actual size. Worked in bright +colours upon a pale green crêpe ground. Chinese. (Mrs. L. F. D.) + +54. REVERSE COUCHING--Showing on the face of it no sign of couching. +(After the manner of the Syon Cope.) + +55. BACK OF REVERSE COUCHING--Showing the parallel lines of couched +linen thread which sew down the silk upon the surface (Illustration 54). +The zigzag pattern of the stitching might equally well have taken other +lines. + +56. COUCHED GOLD SAMPLER--A, B, C, D, flat work; E, part flat, part +raised; F, G, H, J, basket and other patterns raised over cords. + +57. COUCHING IN VARIOUS DIAPER PATTERNS, OUTLINED IN PART WITH "PLATE." +Silver on pale pink silk. (Coll. of Mrs. T. Buxton Morrish.) + +58. GOLD COUCHING IN OPEN THREADS--A, The lines of gold which form a +scale pattern on the dragon's body, are wide enough apart to let the red +ground grin through. Elsewhere the couching, contrary to mediæval +practice, follows the shapes, line within line until they are occupied. +The floss embroidery, in white and colours, is in surface-satin-stitch. +Chinese. B, The open lines of gold look somehow richer than if the metal +had been worked solid upon the crimson ground. Old Venetian. (Mrs. L. F. +D.) + +59. COUCHED OUTLINE WORK; only an occasional detail worked solid; +suggests damascening. The border is in gold, the filling in silver, +thread on a greyish-green velvet. Part of an Italian housing or +saddlecloth. 16th century. (V. & A. M.) + +60. APPLIQUÉ--Satin upon velvet, outlined with two threads of gold +couching. + +61. APPLIQUÉ PANEL--Designed and executed by Miss Mabel Keighley, +illustrating a poem by William Morris. (The property of the artist.) + +62. A. COUNTER-CHANGE PATTERN, INLAY OR APPLIQUÉ.--Yellow satin and +crimson velvet. The outline, which is in gold, falls chiefly upon the +yellow, so as not to disturb the exact balance of light and dark, which +it is essential to preserve in counter-change. Part of a stole. Spanish. +16th century (V. & A. M.) + + B. APPLIQUÉ, of deep crimson velvet upon white +satin, outlined with paler red cord. The outlines, meeting together, +form a stem of double cord. Italian. 17th century. (V. & A. M.) + +63. APPLIQUÉ, with couched outline, and stitching upon the appliqué band +or ribbon. The dots in the centre of the grapes are French knots. The +pattern is in satin of various colours, upon a figured green silk +damask, outlined with yellow silk sewn down with yellow. Italian. (V. & +A. M.) + +64. INLAY IN COLOURED CLOTHS, outlined with chain stitch. Magic stitch +also occurs. A characteristic example of the kind of work done at +Retsht, in Persia. (Mrs. L. F. D.) + +65. CUT-WORK IN LINEN--A fret of this kind was often outlined with +coloured silk, and the detail within the fretted outline further +embroidered in coloured silk. (Coll. of Mrs. Drake.) + +66. SAMPLER OF RAISED WORK, showing underlays: A, of cloth; B, of +twisted cords; C, of parchment; D, of cotton wool; E, first of cotton +cord and then of cotton thread; F, of cord; G, of string; H, of sewing. + +67. RAISED WORK, showing underlay of linen, and the way it is sewn +down--The work is in flax thread, red, yellow, and white, upon a blue +linen ground. The stem is dotted with white beads, the ground with gold +spangles. Part of an altar frontal. German. 15th century. (V. & A. M.) + +68. RAISED GOLD BASKET PATTERNS, &c., upon white satin. The stalk in +flat wire. Spanish. 17th century. (Mrs. L. F. D.) + +69. QUILT, WORKED IN CHAIN-STITCH from the back--which has precisely the +effect of back-stitch. Yellow silk upon white linen. Old English. (V. & +A. M.) + +70. RAISED QUILTING, in black silk upon pale sea-green satin. Part of +the border of a prayer cushion. Old Persian. (Mrs. L. F. D.) + +71. DIAPER OF SATIN-STITCH IN THE MAKING--Something between +canvas-stitch and satin-stitch. The leafage is in tent-stitch. Compare +with Illustration 9. (V. & A. M.) + +72. STITCHES IN COMBINATION--Among them Oriental, ladder, buttonhole, +chain, crewel, satin, and herringbone stitches, worked in dark blue silk +upon unbleached linen. Old Cretan, so called. (Mrs. L. F. D.) + +73. FINE NEEDLEWORK UPON CAMBRIC--the substance of which is apparent +upon the upper edge of the work. In the ground-work of the pattern +generally the threads are drawn together to form an open net. The +stitches occurring in the collar of which this is part are, buttonhole, +satin, chain, herringbone, cross, and back stitches. The outline is +mostly in fine cross-stitch. Nothing could exceed the delicacy of the +workmanship, which is in its kind perfect. Old English. (Coll. of Col. +Green, R.E.) + +74. PART OF A DESIGN BY WALTER CRANE, cunningly adapted to execution in +needlework. Shows the direction of the stitch, and the part it can be +made to play in expressing form. Worked in coloured silks upon linen by +Mrs. Walter Crane, whose property the work is. + +75. SHADING IN CHAIN-STITCH in silk and chenille upon a satin ground. +The shading very deliberately schemed by the designer. In natural +colours upon white. French. Louis Seize. (V. & A. M.) + +76. SHADING IN SHORT STITCHES; picturesque to the point of a touch of +white in the glistening yellow of the dove's eye. Chenille, in +chain-stitch, is used for the wreath and in the leaves of the flower +sprigs. These are in colours, the birds are in silvery greys, all on a +white satin ground. French. Louis Seize. (V. & A. M.) + +77. SHADING IN LONG-AND-SHORT AND SPLIT STITCHES, with more regard to +expression of form than to neatness of execution. German. 16th century. +(V. & A. M.) + +78. CHAIN-STITCH, showing in the figures of the little men what a +draughtsman can express in a few stitches. Full size. Chinese. (Mrs. L. +F. D.) + +79. FIGURE WORK--The flesh in straight upright stitches, the drapery +laid and couched. English. 15th century. (V. & A. M.) + +80. CONSUMMATE FIGURE EMBROIDERY--Canvas ground entirely covered. Flesh +in coloured silks, short-stitch; drapery coloured silks over gold, which +only gleams through in the lighter parts. Architecture closely couched +gold. Part of an orphrey. Florentine. 16th century. (V. & A. M.) + +81. CHINESE FIGURES--The flesh in short satin-stitches, the rest in +chain-stitch; chiefly in blue and white upon a figured white silk +ground. About actual size. (Mrs. L. F. D.) + +82. SATIN-STITCH, showing the influence of its direction upon the tone +of colour. The pattern is all in one shade of yellow-brown floss upon +white linen. The outline steps with the weaving, and so shows connection +between satin and canvas stitches. Italian, 17th century. (V. & A. M.) + +83. MEANINGLESS DIRECTION OF STITCH--Satin and herring-bone stitches. +From an altar-cloth. German. 17th century. (V. & A. M.) + +84. MORE EXPRESSIVE LINES OF STITCHING--To compare with Illustration 83. + +85. SATIN AND PLUMAGE STITCHES chiefly, the bird's crest in French +knots, the clouds about him in knotted braid. The direction of the +stitch is most artfully chosen, and the precision of the work is +faultless. The satin ground is of brilliant orange-red; the crane, +white, with black tail feathers, scarlet crest, and yellow beak and +legs; the clouds, black and white and blue. Japanese. (Mrs. L. F. D.) + +86. RENAISSANCE CHURCH WORK IN GOLD AND SILVER, partly flat, partly in +relief, upon pale blue satin, with touches of pink and crimson silk to +give emphasis. Spanish. 18th century. Compare the stem with Illustration +66, B. (V. & A. M.) + +87. GOTHIC CHURCH WORK--The flesh, &c., in split-stitch; the vine-leaves +green, getting yellower as it nears the crimson silk ground. Part of a +cope embroidered with a representation of the Tree of Jesse. English. +Ca. 1340. (V. & A. M.) + +88. MODERN CHURCH WORK ON LINEN, in long-and-short stitch. Veins padded +with embroidery cotton and worked over with two threads of filo-floss, a +green and a blue; the rest of the leaves worked in one shade of stout +floss. All this applied to velvet with a couching of brown filoselle, +and the tendrils added. Designed and executed by Miss C. P. Shrewsbury. +(The property of the artist.) + +89. SIMPLE STITCHING ON LINEN, the broader bands in a canvas stitch in +yellow, the finer lines in back-stitch in pale grey silk. Italian. (Mrs. +L. F. D.) + +90. SIMPLE COUCHED OUTLINE WORK, in purplish silk cord upon linen. Part +of an altar-cloth. Italian. 16th century. (V. & A. M.) + +91. RENAISSANCE ORNAMENT--Most gracefully designed arabesque. The raised +outline (couched) has somewhat the effect of cloisons, the satin-stitch +(in colours) of brilliant enamel. It is upon a white satin ground. The +foreshortened face in the picture is _painted_ upon satin. Italian. Ca. +1700. (V. & A. M.) + +92. APPLIQUÉ DESIGN, in yellow satin upon crimson velvet--Double +outline; next the red, white, sewn with pale blue; next the yellow, +gold. Midrib of the leaf couched silver. Spanish, 16th century. (V. & A. +M.) + +93. SATIN-STITCH--except that the heart-shaped features at the base and +the lily-shaped flowers, of which only the tips are shown, are outlined +with fine white cord. Part of a fan, worked by Miss Buckle, from a +design by L. F. D. (The property of the worker.) + +94. LEATHER APPLIQUÉ UPON VELVET--The stitching well within the edge of +the leather. + + + + +ERRATA. + +Page 30. Diagram belongs to G (Stem-Stitch) described on page 32, not C +(Thick Crewel-Stitch). + +Page 125, 2nd line. For "lower" read "upper." + + + + +ART IN NEEDLEWORK. + + + + +EMBROIDERY AND STITCHING. + + +Embroidery begins with the needle, and the needle (thorn, fish-bone, or +whatever it may have been) came into use so soon as ever savages had the +wit to sew skins and things together to keep themselves warm--modesty, +we may take it, was an afterthought--and if the stitches made any sort +of pattern, as coarse stitching naturally would, that was _embroidery_. + +The term is often vaguely used to denote all kinds of ornamental +needlework, and some with which the needle has nothing to do. That is +misleading; though it is true that embroidery does touch, on the one +side, _tapestry_, which may be described as a kind of embroidery with +the shuttle, and, on the other, _lace_, which is needlework pure and +simple, construction "in the air" as the Italian name has it. + +The term is used in common parlance to express any kind of superficial +or superfluous ornamentation. A poet is said to embroider the truth. +But such metaphorical use of the word hints at the real nature of the +work--embellishment, enrichment, _added_. If added, there must first of +all be something it is added _to_--the material, that is to say, on +which the needlework is done. In weaving (even tapestry weaving) the +pattern is got by the inter-threading of warp and weft. In lace, too, it +is got out of the threads which make the stuff. In embroidery it is got +by threads worked _on_ a fabric first of all woven on the loom, or, it +might be, netted. + +There is inevitably a certain amount of overlapping of the crafts. For +instance, take a form of embroidery common in all countries, Eastern, +Hungarian, or nearer home, in which certain of the weft threads of the +linen are _drawn out_, and the needlework is executed upon the warp +threads thus revealed. This is, strictly speaking, a sort of tapestry +with the needle, just as, it was explained, tapestry itself may be +described as a sort of embroidery with the shuttle. That will be clearly +seen by reference to Illustration 1, which shows a fragment of ancient +tapestry found in a Coptic tomb in Upper Egypt. In the lower portion of +it the pattern appears light on dark. As a matter of fact, it was +wrought in white and red upon a linen warp; but, as it happened, only +the white threads were of linen, like the warp, the red were woollen, +and in the course of fifteen hundred years or so much of this red wool +has perished, leaving the white pattern intact on the warp, the +threads of which are laid bare in the upper part of the illustration. + +[Illustration: 1. TAPESTRY, SHOWING WARP.] + +It is on just such upright lines of warp that all tapestry, properly so +called, is worked--whether with the shuttle or with the needle makes no +matter--and there is good reason, therefore, for the name of "tapestry +stitch" to describe needlework upon the warp threads only of a material +(usually linen) from which some of the weft threads have been +_withdrawn_. + +The only difference between true tapestry and drawn work, an example of +which is here given, is, that the one is done on a warp that has not +before been woven upon, and the other on a warp from which the weft +threads have been _drawn_. The distinction, therefore, between tapestry +and embroidery is, that, worked on a warp, as in Illustration 1, it is +tapestry; worked on a mesh, as in Illustration 3, it is embroidery. + +[Illustration: 2. DRAWN WORK.] + +With regard, again, to lace. That is itself a web, independent of any +groundwork or foundation to support it. But it is possible to work it +_over_ a silken or other surface; and there is a kind of embroidery +which only floats on the surface of the material without penetrating it. +A fragment of last century silk given in Illustration 35 shows plainly +what is meant. + +[Illustration: 3. STITCHING ON A SQUARE MESH.] + +Embroidery is enrichment by means of the needle. To embroider is to work +_on_ something: a groundwork is presupposed. And we usually understand +by embroidery, needlework in thread (it may be wool, cotton, linen, +silk, gold, no matter what) upon a textile material, no matter what. In +short, it is the decoration of a material woven in thread by means still +of thread. It is thus _the_ consistent way of ornamenting stuff--most +consistent of all when one kind of thread is employed throughout, as in +the case of linen upon linen, silk upon silk. The enrichment may, +however, rightly be, and oftenest is, perhaps, in a material nobler than +the stuff enriched, in silk upon linen, in wool upon cotton, in gold +upon velvet. The advisability of working upon a precious stuff in thread +_less_ precious is open to question. It does not seem to have been +satisfactorily done; but if it were only the background that was worked, +and the pattern were so schemed as almost to cover it, so that, in fact, +very little of the more beautiful texture was sacrificed, and you had +still a sumptuous pattern on a less attractive background--why not? But +then it would be because you wanted that less precious texture there. +The excuse of economy would scarcely hold good. + +In the case of a material in itself unsightly, the one course is to +cover it entirely with stitching, as did the Persian and other +untireable people of the East. But not they only. The famous Syon cope +is so covered. Much of the work so done, all-over work that is to say, +competes in effect with tapestry or other weaving; and its purpose was +similar: it is a sort of amateur way of working your own stuff. But in +character it is no more nearly related to the work of the loom than +other needlework--it is still work _on_ stuff. For all-over embroidery +one chooses, naturally, a coarse canvas ground to work on; but it more +often happens that one chooses canvas because one means to cover it, +than that one works all over a ground because it is unpresentable. + +Embroidery is merely an affair of stitching; and the first thing needful +alike to the worker in it and the designer for it is, a thorough +acquaintance with the stitches; not, of course, with every modification +of a modification of a stitch which individual ingenuity may have +devised--it would need the space of an encyclopædia to chronicle them +all--but with the broadly marked varieties of stitch which have been +employed to best purpose in ornament. + +They are derived, naturally, from the stitches first used for quite +practical and prosaic purposes--buttonhole stitch, for example, to keep +the edges of the stuff from fraying; herring-bone, to strengthen and +disguise a seam; darning, to make good a worn surface; and so on. + +The difficulty of discussing them is greatly increased by the haphazard +way in which they are commonly named. A stitch is called Greek, Spanish, +Mexican, or what not, according to the country whence came the work in +which some one first found it. Each names it after his or her individual +discovery, or calls it, perhaps, vaguely Oriental; and so we have any +number of names for the same stitch, names which to different people +stand often for quite different stitches. + +When this confusion is complicated by the invention of a new name for +every conceivable combination of thread-strokes, or for each slightest +variation upon an old stitch, and even for a stitch worked from left to +right instead of from right to left, or for a stitch worked rather +longer than usual, the task of reducing them to order seems almost +hopeless. + +Nor do the quasi-learned descriptions of old stitches help us much. One +reads about _opus_ this and _opus_ that, until one begins to wonder +where, amidst all this parade of science, art comes in. But you have not +far to go in the study of the authorities to discover that, though they +may concur in using certain high-sounding Latin terms, they are not of +the same mind as to their meaning. In one thing they all agree, foreign +writers as well as English, and that is, as to the difficulty of +identifying the stitch referred to by ancient writers, themselves +probably not acquainted with the _technique_ of stitching, and as likely +as not to call it by a wrong name. It is easier, for example, to talk of +_Opus Anglicanum_ than to say precisely what it was, further than that +it described work done in England; and for that we have the simple +word--English. There is nothing to show that mediæval English work +contained stitches not used elsewhere. The stitches probably all come +from the East. + +Nomenclature, then, is a snare. Why not drop titles, and call stitches +by the plainest and least mistakable names? It will be seen, if we +reduce them to their native simplicity, that they fall into +fairly-marked groups, or families, which can be discussed each under its +own head. + +Stitches may be grouped in all manner of arbitrary ways--according to +their provenance, according to their effect, according to their use, and +so on. The most natural way of grouping them is according to their +structure; not with regard to whence they came, or what they do, but +according to what they are, the way they are worked. This, at all +events, is no arbitrary classification, and this is the plan it is +proposed here to adopt. + +The use of such classification hardly needs pointing out. + +A survey of the stitches is the necessary preliminary, either to the +design or to the execution of needlework. How else suit the design to +the stitch, the stitch to the design? In order to do the one the artist +must be quite at home among the stitches; in order to do the other the +embroidress must have sympathy enough with a design to choose the stitch +or stitches which will best render it. An artist who thinks the working +out of his sketch none of his business is no practical designer; the +worker who thinks design a thing apart from her is only a worker. + +This is not the moment to urge upon the needlewoman the study of design, +but to urge upon the designer the study of stitches. Nothing is more +impractical than to make a design without realising the labour involved +in its execution. Any one not in sympathy with stitching may possibly +design a beautiful piece of needlework, but no one will get all that is +to be got out of the needle without knowing all about it. One must +understand the ways in which work can be done in order to determine the +way it shall in any particular case be done. + +Certain stitches answer certain purposes, and strictly only those. The +designer must know which stitch answers which purpose, or he will in the +first place waste the labour of the embroidress, and in the second miss +his effect, which is to waste his own pains too. The effective worker +(designer or embroiderer) is the one who works with judgment--and you +cannot judge unless you know. When it is remembered that the character +of needlework, and by rights also the character of its design, depends +upon the stitch, there will be no occasion to insist further upon the +necessity of a comprehensive survey of the stitches. + +A stitch may be defined as the thread left on the surface of the cloth +or what not, after each ply of the needle. + +And the simple straightforward stitches of this kind are not so many as +one might suppose. They may be reduced indeed to a comparatively few +types, as will be seen in the following chapters. + + + + +CANVAS STITCHES. + + +The simplest, as it is most likely the earliest used, stitch-group is +what might best be called CANVAS stitch--of which cross-stitch is +perhaps the most familiar type, the class of stitches which come of +following, as it is only natural to do, the mesh of a coarse canvas, +net, or open web upon which the work is done. + +A stitch bears always, or should bear, some relation to the material on +which it is worked; but canvas or very coarse linen almost compels a +stitch based upon the cross lines of its woof, and indeed suggests +designs of equally rigid construction. That is so in embroidery no +matter where. In ancient Byzantine or Coptic work, in modern Cretan +work, and in peasant embroidery all the world over, pattern work on +coarse linen has run persistently into angular lines--in which, because +of that very angularity, the plain outcome of a way of working, we find +artistic character. Artistic design is always expressive of its mode of +workmanship. + +Work of this kind is not too lightly to be dismissed. There is art in +the rendering of form by means of angular outlines, art in the choice +of forms which can be expressed by such lines. It is not uncharitable +to surmise that one reason why such work (once so universal and now +quite out of fashion) is not popular with needlewomen may be, the demand +it makes upon the designer's draughtmanship: it is much easier, for +example, to draw a stag than to render the creature satisfactorily +within jagged lines determined by a linen mesh. + +[Illustration: 4. CROSS-STITCH.] + +The piquancy about natural or other forms thus reduced to angularity +argues, of course, no affectation of quaintness on the part of the +worker, but was the unavoidable outcome of her way of work. There is a +pronounced and early limit to art of this rather naïve kind, but that +there is art in some of the very simplest and most modest peasant work +built up on those lines no artist will deny. The art in it is usually in +proportion to its modesty. Nothing is more futile than to put it to +anything like pictorial purpose. The wonderfully wrought pictures in +tent-stitch, for example, bequeathed to us by the 17th century, are +painful object lessons in what not to do. + +The origin of the term cross-stitch is not far to seek: the stitches +worked upon the square mesh do cross. But, falling naturally into the +lines of the mesh which governs them, they present not so much the +appearance of crosses as of squares, reminding one of the tesseræ +employed in mosaic. + +[Sidenote: TO WORK CROSS STITCH.] + +To explain the process of working cross-stitch would be teaching one's +grandmother indeed. It is simply, as its name implies, crossing one +stitch by another, following always the lines of the canvas. But the +important thing about it is that the stitches must cross always in the +same way; and, more than that, they must be worked in the same +direction, or the mere fact that the stitches at the _back_ of the work +do not run in the same way will disturb the evenness of the surface. +What looks like a seam on the sampler opposite is the result of filling +up a gap in the ground with stitches necessarily worked in vertical, +whereas the ground generally is in horizontal, lines. On the face of the +work the stitches cross all in the same way. + +The common use of cross-stitch and the somewhat geometric kind of +pattern to which it lends itself are shown in the sampler, Illustration +5. + +The broad and simple leafage, worked solid (A) or left in the plain +canvas upon a groundwork of solid stitching (B), and the fretted +diaper on vertical and horizontal lines (C), show the most +straightforward ways of using it. + +[Illustration: 5. CROSS-STITCH SAMPLER.] + +The criss-cross of alternating cross-stitches and open canvas framed by +the key pattern (C) shows a means of getting something like a tint +halfway between solid work and plain ground. The mere work line--or +"stroke-stitch," not crossed (D), is a perfectly fair way of getting a +delicate effect; but the design has a way of working out rather less +happily than it promised. + +The addition of such stroke-stitches to solid cross-stitch (E) is not at +best a very happy device. It strikes one always as a confession of +dissatisfaction on the part of the worker with the simple means of her +choice. As a device for, as it were, correcting the stepped outline it +is at its worst. Timid workers are always afraid of the stepped outline +which a coarse mesh gives. In that they are wrong. One should employ +canvas stitch only where there is no objection to a line which keeps +step with the canvas; then there is a positive charm (for frank people +at least) in the frank confession of the way the work is done. + +There are many degrees in the frankness with which this convention has +been accepted, according perhaps to the coarseness of the canvas ground, +perhaps to the personality of the worker. The animal forms at the top of +Illustration 6 are uncompromisingly square; the floral devices on the +same page, though they fall, as it were inevitably, into square lines, +are less rigidly formal. The inevitableness of the square line is +apparent in the sprig below (7). It was evidently meant to be freely +drawn, but the influence of the mesh betrays itself; and the design, if +it loses something in grace, gains also thereby in character. + +[Illustration: 6. CANVAS-STITCH.] + +[Illustration: 7. CANVAS-STITCH.] + +There is literally no end to the variety of stitches, as they are +called, belonging to this group, and their names are a babel of +confusion. Florentine, Parisian, Hungarian, Spanish, Moorish, Cashmere, +Milanese, Gobelin, are only a few of them; but they stand, as a rule, +rather for stitch arrangements than for stitches. A small selection of +them is given in Illustration 8. + +[Sidenote: TENT-STITCH A.] + +What is known as tent-stitch (A in the sampler opposite) is a sort of +half cross-stitch; its peculiarity is that it covers only one thread of +the canvas at a stroke, and is therefore on a more minute scale than +stitches which are two or three threads wide, as cross-stitch may, and +cushion-stitch must, be. It derives its name from the old word tenture, +or tenter (_tendere_, to stretch), the frame on which the embroidress +distended her canvas. The word has gone out of use, but we still speak +of tenter-hooks. The stitch is serviceable enough in its way, but is +discredited by the monstrous abuse of it referred to already. A picture +in tent-stitch is even more foolish than a picture in mosaic. It cannot +come anywhere near to pictorial effect; the tesseræ will pronounce +themselves, and spoil it. + +[Illustration: 8. CANVAS-STITCH SAMPLER.] + +[Illustration: 9. CUSHION AND SATIN STITCHES.] + +[Sidenote: CROSS-STITCH B.] + +This kind of half cross-stitch worked on the larger scale of ordinary +cross-stitch would look meagre. It is filled out, therefore (B), by +horizontal lines of the thread laid across the canvas, and over these +the stitch is worked. + +[Sidenote: CUSHION-STITCH C.] + +Cushion-stitch consists of diagonal lines of upright stitches, measuring +in the sampler (C) six threads of the canvas, so that after each stitch +the needle may be brought out just three threads lower than where it was +put in. By working in zigzag instead of diagonal lines, a familiar +pattern is produced, more often described as "Florentine;" but the +stitch is in any case the same. + +[Sidenote: CANVAS-STITCH D.] + +The stitch at D (sometimes called Moorish stitch) is begun by working a +row of short vertical stitches, slightly apart, and completed by +diagonal stitches joining them. + +Unless the silk employed is full and soft, this may not completely cover +the canvas, in which case the diagonal stitches must further be crossed +as shown on Illustration 89. + +If the linen is loosely woven and the thread is tightly drawn in the +working, the mesh is pulled apart, giving the effect of an open lattice +of the kind shown at B, on Illustration 10, in which the threads of the +linen are not drawn out but drawn together. + +[Sidenote: CANVAS-STITCH E.] + +The way of working the stitch at E is described on page 51, under the +name of "fish-bone." Worked on canvas it has somewhat the effect of +plaiting, and goes by the name of "plait-stitch." It is worked in +horizontal rows alternately from left to right and from right to left. + +[Sidenote: CANVAS-STITCH F.] + +The stitch at F is a sort of couching (see page 124). Diagonal lines of +thread are first laid from edge to edge of the ground space, and these +are sewn down by short overcasting stitches in the cross direction. + +Admirable canvas stitch work has been done upon linen in silk of one +colour--red, green, or blue--and it was a common practice to +work the background leaving the pattern in the bare stuff. It +prevailed in countries lying far apart, though probably not without +inter-communication. In fact, the influence of Oriental work upon +European has been so great that even experts hesitate sometimes to say +whether a particular piece of work is Turkish or Italian. In Italian +work, at least, it was usual to get over the angularity of silhouette +inherent in canvas stitches by working an outline separately. When that +is thin, the effect is proportionately feeble. The broader outline +(shown at A, Illustration 10) justifies itself, and in the case of a +stitch which falls into horizontal lines, it appears to be necessary. +This is plait stitch, known also by the name of Spanish stitch--not that +it is in any way peculiar to Spain. It is allied to herring-bone-stitch, +to which a special chapter is devoted. + +[Illustration: 10. PLAIT AND OPEN CANVAS STITCHES.] + +Darning is also employed as a canvas stitch. There is beautiful 16th +century Italian work (in coloured silks on dark net of the very open +square mesh of the period), which is most effective, and in which there +is no pretence of disguising the stepped outline; and in the very early +days of Christian art in Egypt and Byzantium, linen was darned in little +square tufts of wool upstanding on its surface, which look so much like +the tesseræ of mosaic that it seems as if they must have been worked in +deliberate imitation of it. + +Again, in the 15th century satin-stitch was worked on fine linen with +strict regard to the lines of its web; and the Persians, ancient and +modern, embroider white silk upon linen, also in satin-stitch, +preserving piously the rectangular and diagonal lines given by the +material. They have their reward in producing most characteristic +needlework. The diapered ground in Illustration 9 (page 20) is +satin-stitch upon coarse linen. + +The filling-in patterns used to such delicate and dainty purpose in the +marvellous work on fine cambric (Illustration 73) which competes in +effect with lace, though it is strictly embroidery, all follow in their +design the lines of the fabric, and are worked thread by thread +according to its woof: they afford again instances of perfect adaptation +of stitch to material and of design to stitch. + +Satin and other stitches were worked by the old Italians (Illustration +3) on square-meshed canvas, frankly on the square lines given by it, for +the filling in of ornamental details, though the outline might be much +less formal. That is to say, the surface of freely-drawn leaves, &c., +instead of being worked solid, was diapered over with more or less open +pattern work constructed on the lines of the weaving. + +A cunning use of the square mesh of canvas has sometimes been made to +guide the worker upon other fabrics, such as velvet. This was first +faced with net: the design was then worked, over that, on to and into +the velvet, and the threads of the canvas were then drawn out. That is a +device which may serve on occasion. The design may even be traced upon +the net. + + + + +CREWEL-STITCH. + + +For work in the hand, CREWEL-STITCH is perhaps, on the whole, the +easiest and most useful of stitches; whence it comes that people +sometimes vaguely call all embroidery crewel work; though, as a matter +of fact, the stitch properly so called was never very commonly employed, +even when the work was done in "crewel," the double thread of twisted +wool from which it takes its name. + +[Illustration: THE WORKING OF A ON CREWEL-STITCH SAMPLER.] + +[Illustration: 11. CREWEL-STITCH SAMPLER.] + +[Illustration: 12. CREWEL-STITCH SAMPLER (BACK).] + +[Sidenote: TO WORK A.] + +CREWEL-STITCH proper is shown at A on the sampler opposite, where it is +used for line work. It is worked as follows:--Having made a start in the +usual way, keep your thread downwards under your left thumb and below +your needle--that is, to the right; then take up with the needle, say +1/8th of an inch of the stuff, and bring it out through the hole made in +starting the stitch, taking care not to pierce the thread. This gives +the first half stitch. If you proceed in the same way your next stitch +will be full length. The test of good workmanship is that at the back it +should look like back-stitch (Illustration 12), described on page 30. + +[Illustration: THE WORKING OF B ON CREWEL-STITCH SAMPLER.] + +[Sidenote: TO WORK B.] + +OUTLINE-STITCH (B on sampler) differs from crewel-stitch only in that +the thread is always kept upwards above the needle, that is to the left. +In so doing the thread is apt to untwist itself, and wants constantly +re-twisting. The stitch is useful for single lines and for outlining +solid work. The muddled effect of much crewel work is due to the +confusion of this stitch with crewel-stitch proper. + +[Sidenote: TO WORK C.] + +THICK CREWEL-STITCH (C on sampler) is only a little wider than ordinary +crewel-stitch, but gives a heavier line, in higher relief. In effect it +resembles rope-stitch, but it is more simply worked. You begin as in +ordinary crewel-stitch, but after the first half-stitch you take up +1/8th of an inch of the material in advance of the last stitch, and +bring out your needle at the point where the first half-stitch began. +You proceed, always putting your needle in 1/8th of an inch in front of, +and bringing it out 1/8th of an inch behind, the last stitch, so as to +have always 1/4th of an inch of the stuff on your needle. + +[Illustration: THE WORKING OF G ON CREWEL-STITCH SAMPLER.] + +[Sidenote: TO WORK D.] + +THICK OUTLINE-STITCH (D on sampler) is like thick crewel-stitch with the +exception that, as in ordinary outline-stitch (B), you keep your thread +always above the needle to the left. + +[Sidenote: TO WORK E.] + +In BACK-STITCH (E), instead of first bringing the needle out at the +point where the embroidery is to begin, you bring it out 1/8th of an +inch in advance of it. Then, putting your needle back, you take up this +1/8th together with another 1/8th in advance. For the next stitch you +put your needle into the hole made by the last stitch, and so on, taking +care not to split the last thread in so doing. + +[Sidenote: TO WORK F.] + +To work the SPOTS (F) on sampler--having made a back-stitch, bring your +needle out through the same hole as before, and make another back-stitch +above it, so that you have, in what appears to be one stitch, two +thicknesses of thread; then bring your needle out some distance in +advance of the last stitch, and proceed as before. The distance between +the stitches is determined by the effect you desire to produce. The +thread should not be drawn too tight. + +[Illustration: 13. CREWEL WORK AND CREWEL-STITCH.] + +[Sidenote: TO WORK G.] + +You begin STEM-STITCH (G) with the usual half-stitch. Then, holding the +thread downwards, instead of proceeding as in crewel-stitch (A) you +slant your needle so as to bring it out a thread or two higher up than +the half-stitch, but precisely above it. You next put the needle in +1/8th of an inch in advance of the last stitch, and, as before, bring it +out again in a slanting direction a thread or two higher. At the back of +the work (Illustration 12) the stitches lie in a slanting direction. + +[Sidenote: TO WORK H.] + +To work wider STEM-STITCH (H). After the first two stitches, bring your +needle out precisely above and in a line with them, and put it in again +1/8th of an inch in advance of the last stitch, producing a longer +stroke, which gives the measure of those following. The slanting +stitches at the back (Illustration 12) are only two-thirds of the length +of those on the face. + +CREWEL AND OUTLINE STITCHES worked (J) side by side give somewhat the +effect of a braid. The importance of not confusing them, already +referred to, is here apparent. + +CREWEL-STITCH is worked SOLID in the heart-shape in the centre of the +sampler. On the left side the rows of stitching follow the outline of +the heart; on the right they are more upright, merely conforming a +little to the shape to be filled. This is the better method. + +[Illustration: 14. CREWEL WORK IN VARIOUS STITCHES.] + +[Sidenote: TO WORK SOLID CREWEL-STITCH.] + +The way to work solid crewel-stitch will be best explained by an +instance. Suppose a leaf to be worked. You begin by outlining it; if it +is a wide leaf, you further work a centre line where the main rib would +be, and then work row within row of stitches until the space is filled. +If on arriving at the point of your leaf, instead of going round the +edge, you work back by the side of the first row of stitching, there +results a streakiness of texture, apparent in the stem on Illustration +13. What you get is, in effect, a combination of crewel and outline +stitches, as at J, which in the other case only occurs in the centre of +the shape where the files of stitches meet. + +To represent shading in crewel-stitch, to which it is admirably suited +(A, Illustration 41), it is well to work from the darkest shadows to the +highest lights. And it is expedient to map out on the stuff the outline +of the space to be covered by each shade of thread. There is no +difficulty then in working round that shape, as above explained. + +In solid crewel the stitches should quite cover the ground without +pressing too closely one against the other. + +[Illustration: 15. CREWEL-STITCH IN TWISTED SILK.] + +It does not seem that Englishwomen of the 17th century were ever very +faithful to the stitch we know by the name of crewel. Old examples of +work done entirely in crewel-stitch, as distinguished from what is +called crewel work, are seldom if ever to be met with. The stitch occurs +in most of the old English embroidery in wool; but it is astonishing, +when one comes to examine the quilts and curtains of a couple of hundred +years or so ago, how very little of the woolwork on them is in +crewel-stitch. The detail on Illustration 13 was chosen because it +contained more of it than any other equal portion of a handsome and +typical English hanging; but it is only in the main stem, and in some of +the outlines, that the stitch is used. And that appears to have been the +prevailing practice--to use crewel-stitch for stems and outlines, and +for little else but the very simplest forms. The filling in of the +leafage, the diapering within the leaf shapes, and the smaller and more +elaborate details generally were done in long-and-short-stitch, or +whatever came handiest. In fact, the thing to be represented, fruit, +berry, flower, or what not, seems to have suggested the stitch, which it +must be confessed was sometimes only a sort of scramble to get an +effect. + +Of course the artist always chooses her stitch, and she is free to alter +it as occasion may demand; but a good workwoman (and the embroidress is +a needlewoman first and an artist afterwards, perhaps) adopts in every +case a method, and departs from it only for very good reason. It looks +as if our ancestors had set to work without system or guiding principle +at all. No doubt they got a bold and striking effect in their +bed-hangings and the like; but there is in their work a lack of that +conscious aim which goes to make art. Theirs is art of the rather +artless sort which is just now so popular. Happily it was kept in the +way it should go by a strict adherence to traditional pattern, which for +the time being seems to have gone completely out of fashion. + +Quite in the traditional manner is Illustration 14. One would fancy at +first sight that the work was almost entirely in crewel-stitch. As a +matter of fact, there is little which answers to the name, as an +examination of the back of the work shows plainly enough. What the +stitches are it is not easy to say. The mystery of many a stitch is to +be unravelled only by literally picking out the threads, which one is +not always at liberty to do, although, in the ardour of research, a keen +embroidress will do it--not without remorse in the case of beautiful +work, but relentlessly all the same. + +The only piece of embroidery entirely in crewel-stitch which I could +find for illustration (15) is worked, as it happens, in silk; nor was +the worker aware that in so working she was doing anything out of the +common. Another instance of crewel-stitch is given in the divided skirt, +let us call it, of the personage in Illustration 72. + +Beautiful back-stitching occurs in the Italian work on Illustration 89, +and the stitch is used for sewing down the _appliqué_ in Illustration +94. + + + + +CHAIN-STITCH. + + +[Illustration: 16. CHAIN-STITCH AND KNOTS.] + +CHAIN and TAMBOUR STITCH are in effect practically the same, and present +the same rather granular surface. The difference between them is that +chain-stitch is done in the hand with an ordinary needle, and +tambour-stitch in a frame with a hook sharper at the turning point than +an ordinary crochet hook. One takes it rather for granted that work +which was presumably done in the hand (a large quilt, for example) is +chain-stitch, and that what seems to have been done in a frame is +tambour work, though it is possible, but not advisable of course, to +work chain-stitch in a frame. + +Chain-stitch is not to be confounded with split-stitch (see page 105), +which somewhat resembles it. + +[Illustration: 17. CHAIN-STITCH SAMPLER.] + +[Illustration: 18. CHAIN-STITCH SAMPLER (BACK).] + +[Sidenote: TO WORK A.] + +To work chain-stitch (A on the sampler, Illustration 17) bring the +needle out, hold the thread down with the left thumb, put the needle +in again at the hole through which you brought it out, take up 1/4 of an +inch of stuff, and draw the thread through: that gives you the first +link of the chain. The back of the work (18) looks like back-stitch. In +fact, in the quilted coverlet, Illustration 69 (as in much similar work +of the period), the outline pattern, which you might take for +back-stitching, proves to have been worked from the back in +chain-stitch. The same thing occurs in the case of the Persian quilt in +Illustration 70. + +[Sidenote: TO WORK B.] + +A playful variation upon chain-stitch (B on the sampler, Illustration +17) is effected by the use of two threads of different colour. Take in +your needle a dark and a light thread, say the dark one to the left, and +bring them out at the point at which your work begins. Hold the dark +thread under your thumb, and, keeping the light one to the right, well +out of the way, draw both threads through; this makes a dark link; the +light thread disappears, and comes out again to the left of the dark +one, ready to be held under the thumb while you make a light link. This +"magic stitch," as it has been called, is no new invention. It is to be +found in Persian, Indian, and Italian Renaissance work. An instance of +it occurs in Illustration 64. + +[Sidenote: TO WORK C.] + +A variety of chain-stitch (C on the sampler, Illustration 17) used often +in church work, more solid in appearance, the links not being so open, +is rather differently done. Begin a little in advance of the starting +point of your work, hold the thread under your thumb, put the needle in +again at the starting point slightly to the left, bring your needle out +about 1/8th of an inch below where it first went in but precisely on the +same line, and you have the first link of your chain. + +[Sidenote: TO WORK D.] + +To work what is known as cable-chain (D on the sampler, Illustration 17) +keep your thread to the right, put in your needle, pointing downwards, a +little below the starting point, and bring it out about 1/4th of an inch +below where you put it in; then put it through the little stitch just +formed, from right to left, hold your thread towards the left under your +thumb, put your needle through the stitch now in process of making from +right to left, draw up the thread, and the first two links of your chain +are made. + +[Sidenote: TO WORK E.] + +A zigzag chain, of a rather fancy description, goes by the name of +Vandyke chain (E on the sampler, Illustration 17). To make it, bring +your needle out at a point which is to be the left edge of your work, +and make a slanting chain-stitch from left to right; then, putting your +needle into that, make another slanting stitch, this time from right to +left--and so to and fro to the end. + +[Sidenote: TO WORK F.] + +The braid-stitch shown at F on the sampler (Illustration 17) is worked +as follows, horizontally from right to left. Bring your needle out at a +point which is to be the lower edge of your work, throw your thread +round to the left, and, keeping it all the time loosely under your +thumb, put your needle under the thread and twist it once round to the +right. Then, at the upper edge of your work, put in the needle and slide +the thread towards the right, bring the needle out exactly below where +you put it in, carry your thread under the needle towards the left, draw +the thread tight, and your first stitch is done. + +[Illustration: THE WORKING OF F ON CHAIN-STITCH SAMPLER.] + +[Sidenote: TO WORK G.] + +A yet more fanciful variety of braid-stitch (G on the sampler, +Illustration 17) is worked vertically, downwards. Having, as before, put +your needle under the thread and twisted it once round, put it in at a +point which is to be the left edge of your work, and, instead of +bringing it out immediately below that point, slant it to the right, +bringing it out on that edge of the work, and finish your stitch as in +the case of F. + +These braid-stitches look best worked in stout thread of close texture. + +In covering a surface with chain-stitch (needlework or tambour) the +usual plan is to follow the contour of the design, working chain within +chain until the leaf or whatever it may be is filled in. This stitch is +rarely worked in lines across the forms, but it has been effectively +used in that way, following always the lines of the warp and weft of the +stuff. Even in that case the successive lines of stitching should be all +in one direction--not running backwards and forwards--or it will result +in a sort of pattern of braided lines. The reason for the more usual +practice of following the outline of the design is obvious. The stitch +lends itself to sweeping, even to perfectly spiral, lines--such as occur +in Greek wave patterns: it was, in fact, made use of in that way by the +Greeks some four or five centuries B.C. + +[Illustration: THE WORKING OF G ON CHAIN-STITCH SAMPLER.] + + +[Illustration: 19. CHAIN AND SURFACE STITCHES.] + +We owe the tambour frame, they say, to China; but it has been largely +used, and abused indeed, in England. Tambour work, when once you have +the trick of it, is very quickly done--in about one-sixth of the time it +would take to do it with the needle. It has the further advantage that +it serves equally well for embroidery on a light or on a heavy stuff, +and that it is most lasting. The misfortune is that the sewing machine +has learnt to do something at once so like it and so mechanically even, +as to discredit genuine hand-work, whether tambour work or chain-stitch. +For all that, neither is to be despised. If they have often a mechanical +appearance that is not all the fault of the stitch: the worker is to +blame. Indian embroiderers depart sometimes so far from mechanical +precision as to shock the admirers of monotonously even work. Artistic +use of chain stitch is made in many of our illustrations: for outlines +in Illustrations 24 and 72; for surface covering in Mr. Crane's lion, +Illustration 74; to represent landscape in Illustration 78, where +everything except the faces of the little men is in chain-stitch; and +again for figure work in Illustration 81. In Illustration 19 it occurs +in association with a curious surface stitch; in Illustration 64 it is +used to outline and otherwise supplement inlay. The old Italians did not +disdain to use it. In fact, wherever artists have employed it, they show +that there is nothing inherently inartistic about the stitch. + + + + +HERRING-BONE STITCH. + + +HERRING-BONE is the name by which it is customary to distinguish a +variety of stitches somewhat resembling the spine of a fish such as the +herring. It would be simpler to describe them as "fish-bone;" but that +term has been appropriated to describe a particular variety of it. One +would have thought it more convenient to use fish for the generic term, +and a particular fish for the specific. However, it saves confusion to +use names as far as possible in their accepted sense. + +It will be seen from the sampler, Illustration 20, that this stitch may +be worked open or tolerably close; but in the latter case it loses +something of its distinctive character. Fine lines may be worked in it, +but it appears most suited to the working of broadish bands and other +more or less even-sided or, it may be, tapering forms, more feathery in +effect than fish-bone-like, such as are shown at E on sampler. + +Ordinary herring-bone is such a familiar stitch that the necessity of +describing it is rather a matter of literary consistency than of +practical importance. + +The two simpler forms of herring-bone (it is always worked from left to +right, and begun with a half-stitch) marked A and C on the sampler are +strikingly different in appearance, and are worked in different ways--as +will be seen at once by reference to the back of the sampler +(Illustration 21), where the stitches take in the one case a horizontal +and in the other a vertical direction. + +[Sidenote: TO WORK A.] + +To work A, bring your needle out about the centre of the line to be +worked; put it into the lower edge of the line about 1/8th of an inch +further on; take up this much of the stuff, and, keeping the thread to +the right, above the needle, draw it through. Then, with the thread +below it, to the right, put your needle into the upper edge of the line +1/4th of an inch further on, and, turning it backwards, take up again +1/8th of an inch of stuff, bringing it out immediately above where it +went in on the lower edge. + +[Sidenote: TO WORK B.] + +What is called "Indian Herring-bone" (B) is merely stitch A worked in +longer and more slanting stitches, so that there is room between them +for a second row in another colour, the two colours being, of course, +properly interlaced. + +[Sidenote: TO WORK C.] + +To work C, bring your needle out as for A, and, putting it in at the +upper edge of the line to be worked and pointing it downwards, whilst +your thread lies to the right, take up ever so small a piece of the +stuff. Then, slightly in advance of the last stitch, the thread still to +the right, your needle now pointing upwards, take another similar +stitch from the lower edge. + +[Illustration: 20. HERRING-BONE SAMPLER.] + +[Illustration: 21. HERRING-BONE SAMPLER (BACK).] + +[Sidenote: TO WORK D.] + +The variety at D is merely a combination of A and C, as may be seen by +reference to the back of the sampler (opposite); though the short +horizontal stitches there seen meet, instead of being wide apart as in +the case of A. + +[Illustration: THE WORKING OF E ON HERRING-BONE SAMPLER.] + +[Sidenote: TO WORK E.] + +What is known as "fish-bone" is illustrated in the three feathery shapes +on the sampler (E), two of which are worked rather open. It is +characteristic of this stitch that it has a sort of spine up the centre +where the threads cross. Suppose the stitch to be worked horizontally. +Bring your needle out on the under edge of the spine about 1/4th of an +inch from the starting point of the work, and put it in on the upper +edge of the work at the starting point, bringing it out immediately +below that on the lower edge of the work. Put it in again on the upper +edge of the spine, rather in advance of where it came out on the lower +edge of it before, and bring it out on the lower edge of this spine +immediately below where it entered. + +[Illustration: THE WORKING OF F ON HERRING-BONE SAMPLER.] + +[Sidenote: TO WORK F.] + +In close herring-bone (F on the sampler, Illustration 20) you have +always a long stitch from left to right, crossed by a shorter stitch +which goes from right to left. Having made a half stitch, bring the +needle out at the beginning of the line to be worked, at the lower edge, +and put it in 1/8th of an inch from the beginning of the upper edge. +Bring it out again at the beginning of this edge and put it in at the +lower edge 1/4th of an inch from the beginning, bringing it out on the +same edge 1/8th of an inch from the beginning. Put the needle in again +on the upper edge 1/8th of an inch in front of the last stitch on that +edge, and bring it out again, without splitting the thread, on the same +edge as the hole where the last stitch went in. + +If you wish to cover a surface with herring-bone-stitch, you work it, of +course, close, so that each successive stitch touches its foregoer at +the point where the needle enters the stuff (F on the sampler, +Illustration 20). It will be seen that at the back (21) this looks like +a double row of back-stitching. Worked straight across a wide leaf, as +in the lower half of sampler, it is naturally very loose. A better +method of working is shown in the side leaves, which are worked in two +halves, beginning at the base of a leaf on one side and working down to +it on the other. There is here just the suggestion of a mid-rib between +the two rows. + +[Illustration: THE WORKING OF G ON HERRING-BONE SAMPLER.] + +[Sidenote: TO WORK G.] + +The stitch at G on sampler, having the effect of higher relief than +ordinary close herring-bone (F), is sometimes misleadingly described as +tapestry stitch. It is worked, as the back of the sampler (21) clearly +shows, in quite a different way. You get there parallel rows of double +stitches. Having made a half-stitch entering the material at the upper +edge of the work, bring the needle out on the lower edge of it +immediately opposite. Then, going back, put it in at the beginning of +the upper edge, and bring it out at the beginning of the lower one. +Thence take a long slanting stitch upwards from left to right, bring the +needle out on the lower edge immediately opposite, cross it by a rather +shorter stitch from right to left, entering the stuff at the point where +the first half-stitch ended, bring this out on the lower edge, opposite, +and the stitch is done. + +The artistic use of herring-bone-stitch is shown in the leaves of the +tulip (84), and a closer variety of it in the pink, or whatever the +flower may be, in the hand of the little figure on Illustration 72. + + + + +BUTTONHOLE-STITCH. + + +BUTTONHOLE is more useful in ornament than one might expect a stitch +with such a very utilitarian name to be. It is, as its common use would +lead one to suppose, pre-eminently a one-edged stitch, a stitch with +which to mark emphatically the outside edge of a form. There is, +however, a two-edged variety known as ladder-stitch, shown in the two +horn shapes on the sampler, Illustration 22. + +By the use of two rows back to back, leaf forms may be fairly expressed. +In the leaves on the sampler, the edge of the stitch is used to +emphasise the mid rib, leaving a serrated edge to the leaves. The +character of the stitch would have been better preserved by working the +other way about, and marking the edge of the leaves by a clear-cut line, +as in the case of the solid leaves in Illustration 73. + +The stitch may be used for covering a ground or other broad surface, as +in the pot shape (J) on the sampler, where the diaper pattern produced +by its means explains itself the better for being worked in two shades +of colour. + +The simpler forms of the stitch are the more useful. Worked in the form +of a wheel, as in the rosettes at the side of the vase shape (A), the +ornamental use of the stitch is obvious. + +[Sidenote: TO WORK A.] + +One need hardly describe BUTTONHOLE STITCH. The simple form of it (A) is +worked by (when you have brought your needle out) keeping the thread +under your thumb to the right, whilst you put the needle in again at a +higher point slightly to the right, and bring it out immediately below, +close to where it came out before. This and other one-edged stitches of +the kind are sometimes called "blanket-stitch." + +The only difference between versions such as B and C on the sampler, and +simple buttonhole, is that the stitches vary in length according to the +worker's fancy. + +[Sidenote: TO WORK E.] + +The CROSSED BUTTONHOLE STITCH at E is worked by first making a stitch +sloping to the right, and then a smaller buttonhole-stitch across this +from the left. + +The border marked D in sampler consists merely of two rows of slanting +buttonhole-stitch worked one into the other. Needlewomen have wilful +ways of making what should be upright stitches slant awkwardly in all +manner of ways, with the result that they look as if they had been +pulled out of the straight. + +[Illustration: 22. BUTTONHOLE SAMPLER.] + +[Illustration: 23. BUTTONHOLE SAMPLER (BACK).] + +[Sidenote: TO WORK F.] + +The border at F, known as "TAILOR'S BUTTONHOLE," is worked with the firm +edge from you, instead of towards you, as you work ordinary +buttonhole. Bringing the thread out at the upper edge of the work to the +left, and letting it lie on that side, you put your needle in again +still on the same edge, and bring it out, immediately below, on the +lower one. You then, before drawing the thread quite through, put your +needle into the loop from behind, and tighten it upwards. + +[Illustration: THE WORKING OF H ON BUTTONHOLE SAMPLER.] + +[Sidenote: TO WORK G.] + +In order to make your ladder-stitch (G) square at the end, you begin by +making a bar of the width the stitch is to be. Then, holding the thread +under your thumb to the right, you put the needle in at the top of the +bar and, slanting it towards the right, bring it out on a level with the +other end of the bar somewhat to the right. This makes a triangle. With +the point of your needle, pull the slanting thread out at the top, to +form a square; insert the needle; slant it again to the right; draw it +out as before, and you have your second triangle. + +[Sidenote: TO WORK H.] + +The difference between the working of the lattice-like band at H, and +ladder-stitch G, is that, having completed your first triangle, you +make, by buttonholing a stitch, a second triangle pointing the other +way, which completes a rectangular shape. + +[Illustration: 24. BUTTONHOLE, CHAIN, AND KNOT STITCHES.] + +In the solid work shown at J, you make five buttonhole-stitches, +gathering them to a point at the base, then another five, and so on. +Repeat the process, this time point upwards, and you have the first band +of the pot shape. + +Characteristic and most beautiful use is made of buttonhole stitch in +the piece of Indian work in Illustration 24, where it is outlined with +chain stitch, which goes most perfectly with it. + +Cut work, such as that on Illustration 65, is strengthened by outlining +it in buttonhole-stitch. + +Ladder-stitch occurs in the cusped shapes framing certain flowers in +Illustration 72, embroidered all in blue silk on linen. It is not +infrequent in Oriental work, and, in fact, goes sometimes by the name of +Cretan-stitch on that account. + + + + +FEATHER AND ORIENTAL STITCHES. + + +FEATHER-STITCH is simply buttonholing in a slanting direction, first to +the right side and then to the left, keeping the needle strokes in the +centre closer together or farther apart according to the effect to be +produced. + +It owes its name, of course, to the more or less feathery effect +resulting from its rather open character. Like buttonhole, it may be +worked solid, as in the leaf and petal forms on the sampler, +Illustration 25, but it is better suited to cover narrow than broad +surfaces. The jagged outline which it gives makes it useful in +embroidering plumage, but it is not to be confounded with what is called +"plumage-stitch," which is not feather-stitch at all, but a version of +satin-stitch. + +The feathery stem (A) on the sampler is simply a buttonholing worked +alternately from right to left and left to right. + +[Sidenote: TO WORK B.] + +The border line at B requires rather more explanation. Presume it to be +worked vertically. Bring your needle out at the left edge of the band; +put it in at the right edge immediately opposite, keeping your thread +under the needle to the right; bring it out again still on the right +edge a little lower down, and then, keeping your thread to the left, put +the needle in on the left edge, opposite to where you last brought it +out, and bring it out again on the same edge a little lower down. + +[Illustration: 25. FEATHER-STITCH SAMPLER.] + +[Illustration: 26. FEATHER-STITCH SAMPLER (BACK).] + +The border at C is merely an elaboration of the above, with three +slanting stitches on each edge instead of a single one in the direction +of the band. + +[Illustration: THE WORKING OF G G ON FEATHER-STITCH SAMPLER.] + +Bands D, E, F, G, are variations of ordinary feather-stitch, requiring +no further explanation than the back view of the work (26) affords. On +the face of the sampler it will be noticed that lines have been drawn +for the guidance of the worker. These are always four in number, +indicating at once, that the stitch is made with four strokes of the +needle, and the points at which it is put in and out of the stuff. + +[Sidenote: TO WORK G G.] + +In working G G, suppose four guiding lines to have been drawn as +above--numbered, 1, 2, 3, 4, from left to right. Bring your needle out +at the top of line 1. Make a chain-stitch slanting downwards from line 1 +to line 2. Put your needle into line 3 about 1/8th of an inch lower +down, and, slanting it upwards, bring it out on line 4 level with the +point where you last brought it out. Make a chain-stitch slanting +downwards this time from right to left, and bring your needle out on +line 3. Lastly, put your needle into line 2, 1/8th of an inch below the +last stitch, and, slanting it upwards, bring it out on line 1. + +Feather-stitch is not adapted to covering broad surfaces solidly, but +may be used for narrow ones. + +ORIENTAL-STITCH is the name given to a close kind of feather-stitch much +used in Eastern work. The difference at once apparent to the eye between +the two is that, whereas for the mid-rib of a band or leaf of +feather-stitching (25) you have cross lines, in Oriental-stitch (27) you +have a straight line--longer or shorter as the case may be. + +Oriental-stitch, sometimes called "Antique-stitch," is a stitch in three +strokes, just as feather-stitch is a stitch in four. It is usually +worked horizontally, though shown upright on the sampler, Illustration +27. Like feather-stitch (see diagram), it is worked on four guiding +lines, faintly visible on the sampler. + +[Sidenote: TO WORK A, B, C.] + +Stitches A, B, and C are worked in precisely the same way. Bring your +needle out at the top of line 1. Keep the thread under your thumb to the +right and put your needle in at the top of line 4, bringing it out into +line 3 on the same level. Then put it in again at line 2, just on the +other side of the thread, and bring it out on line 1 ready to begin the +next stitch. + +[Illustration: 27. ORIENTAL-STITCH SAMPLER.] + +[Illustration: 28. ORIENTAL-STITCH SAMPLER (BACK).] + +It will be seen that the length of the central part (or mid-rib, as it +was called above) makes the whole difference between the three varieties +of stitch. In A the three parts are equal: in B the mid-rib is narrow: +in C it is broad, as is most plainly seen on the back of the sampler +(28). The difference is only a difference of proportion. + +[Illustration: THE WORKING OF A, B, C ON ORIENTAL-STITCH SAMPLER.] + +[Sidenote: TO WORK D.] + +The sloping stitch at D is worked in the same way as A, B, C, except +that instead of straight strokes with the needle you make slanting ones. + +[Sidenote: TO WORK E.] + +Stitch E differs from D in that the side strokes slant both in the same +direction. It is worked from right to left instead of from left to +right. + +[Sidenote: TO WORK F.] + +Stitch F is a combination of buttonhole and Oriental stitches. Between +two rows of buttonholing (dark on sampler) a single row of +Oriental-stitch is worked. + +The stitch employed for the central stalk, G, has really no business on +this sampler, except that it has something of the appearance of a +continuous Oriental-stitch. + +Oriental-stitch is one of the stitches used in Illustration 72. + + + + +ROPE AND KNOT STITCHES. + + +A single sampler is devoted to ROPE and KNOTTED STITCHES, more nearly +akin than they look, for rope-stitch is all but knotted as it is worked. + +ROPE-STITCH is so called because of its appearance. It takes a large +amount of silk or wool to work it, but the effect is correspondingly +rich. It is worked from right to left, and is easier to work in curved +lines than in straight. + +[Sidenote: TO WORK A, B.] + +Lines A on the sampler, Illustration 29, represent the ordinary +appearance of the stitch; its construction is more apparent in the +central stalk B, which is a less usual form of the same stitch, worked +wider apart. + +[Illustration: THE WORKING OF A, B, ON ROPE-STITCH SAMPLER.] + +Having brought out your needle at the right end of the work, hold part +of the thread towards the left, under the thumb, the rest of it falling +to the right; put your needle in above where it came out, slant it +towards you, and bring it out again a little in advance of where it came +out before, and just below the thread held under your thumb. Draw the +thread through, and there results a stitch which looks rather like a +distorted chain stitch (B). The next step is to make another similar +stitch so close to the foregoing one that it overlaps it partly. It is +this overlapping which gives the stitch the raised and rope-like +appearance seen at A. + +[Illustration: THE WORKING OF C ON ROPE-STITCH SAMPLER.] + +[Sidenote: TO WORK C.] + +A knotted line (C in the sampler, Illustration 29) is produced by what +is known as "GERMAN KNOT-STITCH," effective only in thick soft silk or +wool. Begin as in rope stitch, keeping your thread in the same position. +Then put your needle into the stuff just above the thread stretched +under your thumb, and bring it out just below and in a line with where +it went in; lastly, keep the needle above the loose end of the thread, +draw it through, tightening the thread upwards, and you have the first +of your knots: the rest follow at intervals determined by your wants. + +[Sidenote: TO WORK D.] + +The more open stitch at D is practically the same thing, except that +in crossing the running thread you take up more of the stuff on each +side of it. + +[Illustration: 29. ROPE-STITCH AND KNOT-STITCH SAMPLER.] + +[Illustration: 30. ROPE-STITCH AND KNOT-STITCH SAMPLER (BACK).] + +[Sidenote: TO WORK E.] + +What is known by the name of "OLD ENGLISH KNOT-STITCH" (E) is a much +more complicated stitch. Keeping your thread well out of the way to the +right, put your needle in to the left, and take up vertically a piece of +the stuff the width of the line to be worked at its widest, and draw the +thread through. Then, keeping it under the thumb to the left, put your +needle, eye first, downwards, through the slanting stitch just made; +draw the thread not too tight, and, keeping it as before under the +thumb, put your needle, eye first, this time through the upper half only +of the slanting stitch, making a kind of buttonhole-stitch round the +last, and draw out your thread. + +These knotted rope stitches, call them what you will, are rather ragged +and fussy--not much more than fancy stitches--of no great importance. +KNOTS used separately are of much more artistic account. + +[Sidenote: TO WORK F.] + +BULLION or ROLL-STITCH is shown in its simplest form in the petals of +the flowers F on the sampler, Illustration 29. To work one such petal, +begin by attaching the thread very firmly; bring your needle out at the +base of the petal, put it in at the tip, and bring it out once more at +the base, only drawing it partly through. With your right hand wind the +thread, say seven times, round the projecting point of the needle from +left to right. Then, holding the coils under your left thumb, your +thread to the right, draw your needle and thread through; and, dropping +the needle, and catching the thread round your little finger, take hold +of the thread with your thumb and first finger and draw the coiled +stitch to the right, tightening it gently until quite firm. Lastly, put +the needle through at the tip of the petal, and the stitch is complete +and ready to be fastened off. + +[Illustration: THE WORKING OF F ON KNOT-STITCH SAMPLER.] + +The leaves of these flowers consist simply of two bullion stitches. The +bullion knots at the side of the central stalk are curled by taking up +in the first instance only the smallest piece of the stuff. + +[Sidenote: TO WORK G.] + +To work FRENCH KNOTS (G), having brought out your needle at the point +where the knot is to be, hold the thread under your thumb, and, letting +it lie to the right, put your needle under the stretched part of it. +Turn the needle so as to twist the thread once round it. That done, put +the needle in again about where it came out, draw it through from the +back, and bring it out where the next knot is to be. + +For large knots use two or more threads of silk, and do not twist them +more than once. With a single thread you may twist twice, but the result +of twisting three or four times is never happy. + +[Illustration: THE WORKING OF G ON KNOT-STITCH SAMPLER.] + +The use of knots is shown to perfection in Illustration 24. Worked there +in white silk floss upon a dark purple ground, they are quite pearly in +appearance, whether in rows between the border lines, or scattered over +the ground. They are most useful in holding the design together, giving +it mass, and go admirably with chain-stitching, to which, when close +together, they have at first sight some likeness. A single line of knots +may almost be mistaken for chain-stitch; but of themselves they do not +make a good outline, lacking firmness. A happier use of them is to +fringe an outline, as for example in the peacock's tail on page 38; but +this kind of thing must be used with reticence, or it results in a +rather rococo effect. Good use is sometimes made of knots to pearl the +inner edge of a pattern worked in outline, or to pattern the ornament +(instead of the ground) all over. Differencing of this kind may be an +afterthought--and a happy one--affording as it does a ready means of +qualifying the colour or texture of ground, or pattern, or part of +either, which may not have worked out quite to the embroiderer's liking. + +The obvious fitness of knots to represent the stamens of flowers is +exemplified in Illustration 93. Worked close together, they represent +admirably the eyes of composite flowers, as on the sampler; they give, +again, valuable variety of texture to the crest of the stork in +Illustration 85. + +The effect of knotting in the mass is shown in Illustration 31, +embroidered entirely in knots, contradicting, it might seem, what was +said above about its unfitness for outline work. The lines, even the +voided ones, are here as sharp as could be; but then, it is not many of +us who work, knot by knot, with the marvellous precision of a Chinaman. +His knotted texture is not, however, always what it seems. He has a way +of producing a knotted line by first knotting his thread (it may be done +with a netting needle), and then stitching it down on to the surface of +the material, which gives a pearled or beaded line not readily +distinguishable from knot stitch. + +[Illustration: 31. A TOUR DE FORCE IN KNOTS.] + +The Japanese embroiderer, instead of knotting his own thread, employed +very often a crinkled braid. This is shown in the cloud work in +Illustration 85. The only true knotting there is in the top-knot of the +bird. + +[Illustration: 32. INTERLACING-STITCH SAMPLER.] + +[Illustration: 33. INTERLACING-STITCH SAMPLER (BACK).] + + + + +INTERLACINGS, SURFACE STITCHES, AND DIAPERS. + + +The samplers so far discussed bring us, with the exception of Darning, +Satin-stitch, and some stitches presently to be mentioned, practically +to the end of the stitches, deserving to be so called, generally in use. + +By combining two or more stitches endless complications may be made; and +there may be occasions when, for one purpose or another, it may be +necessary, as well as amusing, to invent them. In this way stitches are +also sometimes worked upon stitches, as shown on the sampler, +Illustration 32. You will see, on referring to the back of it (33), that +only the white silk is worked into the stuff: the dark is surface work +only. There is no end to such possible INTERLACINGS. Those on the +sampler do not need much explanation; but it may be as well to say that +A starts with crewel-stitching; B and C with back-stitching; D with +chain-stitching; E with darning or running; F, G, and H with varieties +of herring-bone-stitch; J with Oriental-stitch; and K with +feather-stitch. The interlacing on the surface of these is shown in +darker silk. C and G undergo a second course of interlacing. + +The danger of splitting the first stitches in working the interlacing +ones, is avoided by passing the needle eye-first through them. + +Other surface work, sometimes called LACE-STITCH, is illustrated in the +sampler, Illustration 34. There is really no limit to patterns of this +kind. Some are better worked in a frame, but that is very much a matter +of personal practice. + +[Illustration: THE WORKING OF F ON INTERLACING-STITCH SAMPLER.] + +[Sidenote: TO WORK H, 34.] + +In the Surface Darning at H (34) long threads are first carried from +edge to edge of the square, there only piercing the stuff, and then +darned across by other stitches, again only piercing it at the edges. + +An oblique version of this is given at C (34). + +[Sidenote: TO WORK B, 34.] + +The Lace Buttonholing at B (34) is worked as follows:--Buttonhole three +stitches into the stuff from left to right, not quite close together, +and further on three more; then, working from right to left, make three +buttonhole stitches into the thread connecting the stitch groups; but do +not stitch into the stuff except at the ends of the rows. The last row +must, of course, be worked into the stuff again. + +[Illustration: 34. SURFACE-STITCH SAMPLER.] + +[Sidenote: TO WORK F, 34.] + +Net Passing, as at F (34), is not very differently worked from A or B. +It is much more open, and the first row of horizontal stitches is +crossed by two opposite rows of oblique stitches, which are made to +interlace. + +[Sidenote: TO WORK G, 34.] + +The square at G is worked by first making rows of short upright stitches +worked into the stuff, and then threading loose stitches through them. + +[Sidenote: TO WORK D, 34.] + +The square at D is worked on the open lattice shown; the solid parts are +produced by interlacing stitches from side to side, starting at the +angle. + +In the square at E (Japanese Darning) horizontal lines are first darned, +and then zigzag lines are worked between them, much as in G; but, as +they penetrate the material, this is scarcely a surface stitch. + +[Sidenote: TO WORK A, 34.] + +The horizontal lines at top and bottom of the square at A are +back-stitching, the intermediate ones simply long threads carried from +one side to the other; they are laced together by lines looped round +them. + +[Sidenote: TO WORK L, 34.] + +The band at L is begun by making horizontal bar stitches. A row of +crewel-stitch and one of outline-stitch, worked on to the bars, and not +into the stuff, makes the central chain. + +[Sidenote: TO WORK K, 34.] + +The band at K is merely surface buttonholing over a series of slanting +stitches. + +[Sidenote: TO WORK J, 34.] + +The band at J is buttonhole stitching wide apart, the bars filled in +with surface crewel-stitch. + +[Illustration: 35. LACE OR SURFACE STITCH.] + +Most delicate surface stitching occurs in Illustration 35, the fine +net being worked only from edge to edge of the spaces it fills, and not +elsewhere entering the stuff; which accounts for most of it being worn +away. The flower or scroll-work is _bonâ fide_ embroidery, worked +through the stuff. The delicate network of fine stitching, which once +covered the whole of the background, is for the most part neither more +nor less than a floating gossamer of lacework. One cannot deny that that +is embroidery, though it has to be said that _lace-stitches_ are +employed in it. + +Stern embroiderers would like to deny it. Of course it is frivolous, and +in a sense flimsy, but it is also delicate and dainty to a degree. It is +suited only to dress, and that of the most exquisite kind. A French +marquise of the Regency might have worn it, and possibly did wear it, +with entire propriety--if the word is not out of keeping with the +period. + +The frailty of this kind of thing is too obvious to need mention, and +that, of course, is a strong argument against it. + +All attempt to give separate names to diapers of this kind, whether +worked upon the surface or into the stuff, is futile. They ought not +even to be called stitches, being, in fact, neither more nor less than +stitch patterns, to which there is no possible limit, unless it be the +limit of human invention. Every ingenious workwoman will find out +patterns of her own more or less. They are very useful for filling in +surfaces (pattern or background) which it may be inexpedient to work +more solidly. + +The greater part of such patterns are geometric (Illustrations 35 and +73), following, that is to say, the mesh of the material, and making no +secret of it. On Illustration 3 you see very plainly how the rectangular +diaperings are built up geometrically on the square lines of the mesh, +as was practically inevitable working on such a ground. The relation of +stitch to stuff is here obvious. + +The choice of stitch patterns of this kind is invariably left to the +needlewoman. The utmost a designer need do is to indicate on his drawing +that a "full," "open," or "intermediate" diaper is to be used. And the +alternation of lighter and heavier diapers should be planned, and not +left altogether to impulse, though the pattern may be. Moreover, there +is room for the exercise of considerable taste in the choice of simpler +or more elaborate patterns, freer or more geometric. Many a time the +shape of the space to be filled, as well as its extent, will suggest the +appropriate ornament. The diaper design is not, of course, drawn on the +stuff, but points of guidance may be indicated through a kind of fine +stencil plate. + +The patterns used for background diapering need not, as a rule, be +intrinsically so interesting as those which diaper the design itself, +nor are they usually so full. They take more often the form of spot or +sprig patterns, not continuous, in which the geometric construction is +not so obvious, nor even necessary. In either case the prime object of +the stitching is not so much to make ornamental patterns as to give a +tint to the stuff without entirely hiding it with work; and the worker +chooses a lighter or heavier diaper according to the tint required. If +the work is all in white it is texture, instead of tint, that is aimed +at. + +For a background, simple darning more or less open, in stitches not too +regular, is often the best solution of the difficulty. The effect of the +ground grinning through is delightful. + + + + +SATIN-STITCH AND ITS OFFSHOOTS. + + +SATIN-STITCH is _par excellence_ the stitch for fine silkwork. I do not +know if the name of "satin-stitch" comes from its being so largely +employed upon satin, or from the effect of the work itself, which would +certainly justify the title, so smooth and satin-like is its surface. +Given a material of which the texture is quite smooth and even, showing +no mesh, satin-stitch seems the most natural and obvious way of working +upon it. In it the embroidress works with short, straight strokes of the +needle, just as a pen draughtsman lays side by side the strokes of his +pen; but, as she cannot, of course, leave off her stroke as the penman +does, she has perforce to bring back the thread on the under side of the +stuff, so that, if very carefully done, the work is the same on both +sides. + +Satin-stitch, however, need not be, and never was, confined to work upon +silk or satin. In fact, it was not only worked upon fine linen, but +often followed the lines of its mesh, stepping, as in Illustration 9, to +the tune of the stuff. This may be described as satin-stitch in the +making--at any rate, it is the elementary form of it, its relation to +canvas-stitch being apparent on the face of it. Still, beautiful and +most accomplished work has been done in it alike by Mediæval, +Renaissance, and Oriental needleworkers. + +[Sidenote: TO WORK A, 36.] + +To cover a space with regular vertical satin stitches (A on the sampler, +Illustration 36), the best way of proceeding is to begin in the centre +of the space and work from left to right. That half done, begin again in +the centre and work from right to left. + +In order to make sure of a crisp and even edge to your forms, always let +the needle enter the stuff there, as it is not easy to find the point +you want from the back. + +In working a second row of stitches, proceed as before, only planting +your needle between the stitches already done. Fasten off with a few +tiny surface stitches and cut off the silk on the right side of the +stuff: it will be worked over. + +[Sidenote: TO WORK B, 36.] + +To cover a space with horizontal satin stitches (B on sampler), begin at +the top, and work from left to right. The longer stretches there are +not, of course, crossed at one stitch; they take several stitches, +dovetailed, as it were, so as not to give lines. + +The easiest, most satisfactory, and generally most effective way of +working flat satin stitch is in oblique or radiating lines (C, D, E), +working in those instances, as in the case of A, from the centre, +first from left to right and then from right to left. + +[Illustration: 36. SATIN-STITCH SAMPLER.] + +[Illustration: 37. SATIN-STITCH SAMPLER (BACK).] + +Stems, narrow leaflets, and the like, are best worked always in stitches +which run diagonally and not straight across the form. + +In the case of stems or other lines curved and worked obliquely, the +stitches must be very much closer on the inner side of the curve than on +the outside: occasionally a half-stitch may be necessary to keep the +direction of the lines right, in which case the inside end of the +half-stitch must be quite covered by the stitch next following. + +[Illustration: 38. SATIN-STITCH IN COARSE TWISTED SILK.] + +Satin-stitch is seen at its best when worked in floss. Coarse or twisted +silk looks coarse in this stitch, as may be seen by comparing the petal +D in the sampler, Illustration 36, with the petal in twisted silk here +given (38). Marvellously skilful as are the needle-workers of India +(Illustration 39), they get rather broken lines when they work in thick +twisted silk. The precision of line a skilled worker can get in floss is +wonderful. An Oriental will get sweeping lines as clean and firm as if +they had been drawn with a pen, and this not merely in the case of an +outline, but in voided lines of which each side has to be drawn with the +needle. The voided outline, by the way, as on Illustrations 39, 40, is +not only the frankest way of defining form, but seems peculiarly proper +to satin-stitch; and it is a test of skill in workmanship: it is so easy +to disguise uneven stitching by an outline in some other stitch. The +voiding in the wings of the birds in Illustration 40 is perfect; and the +softening of the voided line, at the start of the wing in one case and +the tail in the other, by cross stitching in threads comparatively wide +apart, is quite the right thing to do. It would have been more in +keeping to void the veins of the lotus leaves than to plant them on in +cord. + +Satin-stitch must not be too long, and it is often a serious +consideration with the designer how to break up the surfaces to be +covered so that only shortish stitches need be used. You might follow +the veining of a leaf, for example, and work from vein to vein. But all +leaves are not naturally veined in the most accommodating manner. +Treatment is accordingly necessary, and so we arrive at a convention +appropriate to embroidery of this kind. It takes a draughtsman properly +to express form by stitch distribution. The Chinese convention in the +lotus flowers (Illustration 40) is admirable. + +[Illustration: 39. SATIN-STITCH IN FINE TWISTED SILK.] + +It is the rule of the game to lay satin-stitch very evenly. Worked in +floss, the mere surface of satin-stitch is beautiful. A further charm +lies in the way it lends itself to gradation of colour. Beautiful +results may be obtained by the use of perfectly flat tints of colour, as +in Illustration 40; but the subtlest as well as the most deliberate +gradation of tint may be most perfectly rendered in satin-stitch. + +[Sidenote: TO WORK SURFACE SATIN-STITCH.] + +SURFACE SATIN-STITCH (not the same on both sides), though it looks very +much like ordinary satin-stitch, is worked in another way. The needle, +that is to say, after each stitch is brought _immediately_ up again, and +the silk is carried back on the upper instead of the under side of the +stuff. Considerable economy of silk is effected by thus keeping the +thread as much as possible on the surface, but the effect is apt to be +proportionately poorer. Moreover, the work is not so lasting as when it +is solid. The satin-stitch on Illustration 58 is all surface work. It +looks loose, which it is always apt to do, unless it is kept stretched +on the frame, on which, of course, satin-stitch is for the most part +worked. Very effective Indian work is done of this kind--loose and +flimsy, but serving a distinct artistic purpose. It is to embroidery of +more serious kind what scene painting is to mural decoration. + +[Illustration: 40. CHINESE SATIN-STITCH.] + +Embroidery is often described as being in "long-and-short-stitch," a +term properly descriptive not of a stitch, but of its dimensions. +Whether you use stitches of equal or of unequal length is a question +merely of the adaptation of the stitch to its use in any given instance; +there is nothing gained by calling an arrangement of alternating +stitches, "long and short," or by calling them "plumage-stitch," or, +which is more misleading, "feather-stitch," when they radiate so as to +follow the form, say, of a bird's breast. The bodies of the birds in +Illustrations 40 and 85 are in plumage-stitch so called. This adaptation +of stitch to bird or other forms gives the effect of fine feathering +perfectly. But why apply the term "satin-stitch" exclusively to parallel +lines of stitches all of a length? + +"Long-and-short-stitch," then, is a sort of satin-stitch; only, instead +of the stitches being all of equal length, they are worked one _into_ +the others or _between_ them, as in the faces in Illustrations 79 and +80. + +A little further removed from satin-stitch is what is known as +"split-stitch," in which the needle is brought up _through_ the +foregoing stitch, and splits it. The way of working this stitch is more +fully given on page 105. + +The worker adapts, as a matter of course, the length of the stitch to +the work to be done, directing it also according to the form to be +expressed, and so arrives, almost before he is aware of it, by way of +satin-stitch, at what is called plumage-stitch. + +[Illustration: 41. OFFSHOOTS FROM SATIN AND CREWEL STITCHES.] + +[Illustration: 42. OFFSHOOTS FROM SATIN AND CREWEL STITCHES (BACK).] + +The distinction between the stitches so far described is plain +enough, and an all-round embroidress learns to work them; but workers +end in working their own way, modifying the stitch according to the work +it is put to do, and produce results which it would be difficult to +describe and pedantic to find fault with. Even short, however, of such +individual treatment, the mere adaptation of the stitch to the lines of +the design removes it from the normal. It makes a difference, too, +whether it is worked in a frame or in the hand: in the one case you see +more likeness to one stitch, in the other to another. The flower at B, +for example, and the leaf at D, on the sampler, Illustration 41, are +both worked in what is commonly called "plumage," or "embroidery" +stitch, though the term "dovetail," sometimes used, seems to describe it +better. Instance B, however, is worked in the hand, and D in a +frame--from which very fact it follows that the worker is naturally +disposed to regard B as akin to crewel-stitch and D to satin-stitch, +between which two stitches "dovetail" may be regarded as the connecting +link. + +[Illustration: THE WORKING OF B ON SAMPLER 41.] + +[Sidenote: TO WORK B, 41.] + +The petals at B are worked in the method illustrated in the diagram +overleaf. The first step is to edge the shape with satin-stitches in +threes, successively long, shorter, and quite short. This done, starting +at the base again, you put your needle in on the upper or right side of +the first short stitch, and bring it out through the long stitch (as +shown in the diagram). You then make a short stitch by putting your +needle downwards through the material, and taking up a small piece of +it. You have finally only to draw the needle through, and it is in +position to make another long stitch. As the concentric rings of +stitching become smaller, you make, of course, shorter stitches, and you +need no longer pierce the thread of the long stitch. + +[Sidenote: TO WORK D, 41.] + +The working of the scroll at D on the sampler, Illustration 41, needs no +detailed explanation. Anyone who is acquainted with the way satin-stitch +is worked (it has already been sufficiently explained), and has read the +above account of the working of B, will understand at once how that is +worked in the frame. + +It will be seen that there is a slight difference in effect between the +two, arising from the fact that work done in the hand is necessarily +more loosely and not quite so evenly done as that on a frame. + +[Sidenote: TO WORK SPLIT-STITCH C, 41.] + +Split-stitch (C on the sampler), again, resembles either crewel-stitch +or satin-stitch, according as it is worked in the hand or on a frame. In +working in the hand, you take a rather shorter stitch back than in +crewel-stitch, piercing with the needle the thread which is to form the +next stitch. In working on a frame, you bring your needle always up +through the last-made satin-stitch in order to start the next. Whichever +way it is done, split-stitch is often difficult to distinguish without +minute examination from chain-stitch. Further reference to its use is +made in the chapter on shading. It may be interesting to compare it with +crewel-stitch (A on the sampler), which is also a favourite stitch for +shading. + + + + +DARNING. + + +It is the peculiarity of DARNING and RUNNING that you make several +stitches at one passing of the needle. + +Darning and running amount practically to the same thing. Darning might +be described as consecutive lines of running. The difference is, in the +main, a matter of multiplication; but the distinction is sometimes made +that in running the stitches may be the same length on the face as on +the reverse of the stuff, whereas in darning the thread is mainly on the +surface, only dipping for the space of a single thread or so below it. + +It results from the way of working that you get in darning an +interrupted line characteristic of the stitch. What is called "double +darning," by which the breaks in the single darning are made good, has +in effect no character of darning whatever. + +Darning has a homely sound, but it is useful for more than mending. In +embroidery you no longer use it to replace threads worn away, but build +up upon the scaffolding of a merely serviceable material what may be a +gorgeous design in silk. + +[Illustration: 43. DARNING SAMPLER.] + +Darning is worked, of course, in rows backwards and forwards; but if the +stitches are long and in the direction of the weft, it is as well not to +run the returning row next to the one just done, but to leave space for +a second course of darning afterwards between the open rows. + +The darning of the sampler, Illustration 43, is very simple. The flower +is darned in stitches of fairly equal length, taking up one thread of +the material, and covering a space of almost a quarter of an inch before +taking up the next thread. The outline of a petal is first worked, and +successive rows of darning follow the lines of the flower, expressing to +some extent its form. Much depends upon the direction of the stitch. + +The texture of the work depends upon the length of the stitches, and on +the amount of the stuff showing through. + +Darning is usually supplemented by outlining. The sampler is designed to +show how far one can dispense with it. The flower stalk is defined by +darning the first row in a darker colour; for the rest, voiding is +employed, but it is not easy to void in darning. + +The background is darned diaper fashion. It gives, that is to say, +deliberately diagonal lines. A background irregularly darned should be +irregular enough never to run into lines not contemplated by the worker. + +[Illustration: 44. DARNING DESIGNED BY WILLIAM MORRIS.] + +In the case of large leaves, veined, the veining should be worked +first, the stitches between them radiating outwards to the edge of the +leaf. + +More accomplished work in darning is shown in the border by William +Morris in Illustration 44, where it appears, however, much flatter than +in the coloured silk. It is worked solid, the radiating stitches +accommodating themselves to the forms of the leaves and petals, which, +in fact, are designed with a view to their execution in this way. They +are defined by outline-stitching--light or dark as occasion seemed to +require. + +Mention has already been made of darning _à propos_ of canvas-stitch; +and there is a sort of natural correspondence between the _mécanique_ of +darning in its simplest form and the network of open threads which gives +to rectangular darning, like the German work in Illustration 45, +character which more than compensates for its angularity in outline. The +darning is there quite even in workmanship, but it is, as will be seen, +of different degrees of strength--lighter for the surface of the +pattern, heavier for the outline. + +You may qualify the colour of a stuff by lightly darning it with silk of +another shade, and very subtle tints may be got by thus, as it were, +veiling a coloured ground with silks of various hues. + +[Illustration: 45. FLAT DARNING UPON A SQUARE MESH.] + + + + +LAID-WORK. + + +The necessity for something like what is called "LAID-WORK" is best +shown by reference to satin-stitch. It was said in reference to it that +satin-stitches should not be too long. There is a great deal of Eastern +work in which surface satin-stitch, or its equivalent, floats so loosely +upon the face of the stuff that it can only be described as flimsy. +Nothing could be more beautiful in its way than certain Soudanese +embroidery, in which coloured floss in stitches an inch or more long +lies glistening on the stuff without any interruption of threads to +fasten it down. + +Embroidery of this kind, however, hardly comes within the scope of +practical work. Long, loose stitches want sewing down. Some compromise +has to be made between art and beauty. The problem is to make the work +strong enough without seriously disturbing its lustrous surface, and the +solution of it is "laid-work," at which we arrive thus almost by +necessity. + +[Illustration: 46. LAID-WORK SAMPLER.] + +It involves no new stitch, but is only another way of using stitches +already described. In laid-work, long tresses of silk, as William Morris +called them, floss by preference, are thrown backwards and forwards +across the face of the stuff, only just piercing it at the edges of the +forms, and back again. These silken tresses are then caught down and +kept, I will not say close to the ground, but in their place upon it, by +lines of stitching in the cross direction. + +Laid-work is not, at the best, a very strong or lasting kind of +embroidery (it needs to be carefully covered up even as it is worked), +but by no other means is the silky beauty of coloured floss so perfectly +set forth. It is hardly worth doing in anything but floss. + +Laid-work lends itself also to gradation of colour within certain +limits--the limits, that is to say, of the straight parallel lines in +which the silk is laid: the direction of these is determined often by +the lines of sewing which are to cross them. In any case the direction +of the threads is here more than ever important. The sewing down must +take lines and may form patterns. + +The sampler, Illustration 46, wants little or no explanation. It +illustrates the various ways of laying. In the leaf the floss is sewn +down with split-stitch, which forms the veining. Elsewhere it is kept in +place by "couching," a process presently to be described. For the +outlines, split-stitch and couching are employed. The last row of laid +work in the grounding is purposely pulled out of the straight by the +couching in order to give a waved edge. The diaper which represents the +seeding of the flower is not, properly speaking, laid-work: single +threads of white purse silk are there couched down with dark. + +[Illustration: 47. JAPANESE LAID-WORK.] + +For the transverse stitching, for which also it is best to use floss, +either split-stitch may be used, as in the leaf in the sampler, +Illustration 46, or a thread may be laid across and sewn down--couched, +as it is called--as in the flower. The closer the cross lines the +stronger the work, but the less lustrous the effect. + +Laid floss may be employed to glorify the entire surface of a linen +material, as in the sampler or for the pattern only upon a ground worth +showing, as in Illustrations 47, 48, 49. + +Laid-work will not give anything like modelling, and it is not best +suited to figure design except where it is quite flatly treated. An +instance of its use in figure work occurs on Illustration 79. It is +effective when quite naively and simply used in cross lines which do not +appear to take any account of the forms crossed--as, for example, in +Illustration 47, where the stitching does not pretend to express more +than a flat surface. The floss, however, is there carefully laid at a +different angle of inclination in each petal, so as to give variety of +colour. The lines of sewing vary according to the lines of the laid +floss, but do not cross them at right angles. The important thing is, of +course, that they should catch the laid "tresses" at intervals not too +far apart. If the lines which sew down the floss have also to express +drawing, as in the case of the bird's wings in Illustration 48, the +underlying floss must be laid in lines which they will cross. In the +case of the leaves in the same piece of work, the floss is laid in the +direction in which the leaf grows, and the stitching across, which sews +it down, is slightly curved so as to suggest roundness in them. + +[Illustration: 48. INDO-PORTUGUESE LAID-WORK.] + +A more finished piece of work is shown in Illustration 49, where the +laid floss crosses the forms, and the sewing down takes very much the +place of veining in the flower, and of ribs in the scroll, expressing +about as much modelling as can be expressed this way, and more, perhaps, +than it is advisable often to attempt. + +The sewing down asserts itself most, of course, when it is in a colour +contrasting with the laid floss, as it does in the leaves in the smaller +sampler overleaf. + +The stitching down makes usually a pattern more or less conspicuous. On +this same sampler it does so very deliberately in the case of the broad +stalk. The rather sudden variation of the colour shown there in the +leaves is harmless enough in bold work, to which the process is best +suited. One may be too careful in gradating the tints: timidity in this +respect prevails too much among modern needlewomen: an artist in floss +should not want her work to look like a gradated wash of colour. The +Italians of the 16th and 17th centuries (see Illustration 49) were not +afraid of rather abrupt transition in the shades of colour they used for +laid-work. + +[Illustration: 49. ITALIAN LAID-WORK.] + +[Illustration: 50. LAID SAMPLER.] + +When laid floss is kept in place by threads themselves sewn down across +it, such threads are called "couched," and the work itself may be +described as laid and couched. Hence arises some confusion between the +two methods of work--laying and couching. It saves confusion to make a +sharp distinction between the two--using the term "laid" only for +stitches (floss) first loosely laid upon the surface of the stuff and +then sewn down by cross lines of stitching of whatever kind, and +"couched" for the sewing down of cords, &c. (silk or gold), thread by +thread or in pairs. Laid floss is sewn down _en masse_, couched silk in +single or double threads; and accordingly laid answers best for surface +covering, couched for outlining, except in the case of gold, which even +for surface covering is always couched. + + + + +COUCHING + + +COUCHING is the sewing down of one thread by another--as in the outline +of the flower on the laid sampler, Illustration 46. The stitches with +which it is sewn down, thread by thread, or, in the case of gold, two +threads at a time, are best worked from right to left; or, in outlining, +from outside the forms inwards, and a waxed thread is often used for the +purpose. Naturally the cord to be sewn down should be held fairly +tightly in place to keep the line even. + +It is usual in couching to sew down the silk or cord with stitches +crossing it at right angles, except in the case of a twisted cord, which +should be sewn down with stitches in the direction of the twist. + +Couching is best done in a frame; but it may be done in the hand by +means of buttonhole-stitch. + +[Illustration: 51. A. BULLION. B. COUCHED CORD.] + +When a surface is covered with couching, as in the seeding of the flower +in the sampler, Illustration 46, the sewing down stitches make a +pattern--all the plainer there, because the stitching is in a +contrasting shade of colour. It is quite permissible to call attention +to the stitching if it suits your artistic purpose. To disguise it by +sewing _through_ the cord is not a workmanlike practice. A worker should +frankly accept a method of work and get character out of it. + +Embroidresses have a clever way of untwisting a cord before each stitch +and twisting it again after stitching through it--between the strands, +that is to say, in which the stitching is lost. The device is rather too +clever. It shows a cord with no visible means of attachment to the +ground, which is not desirable, however much desired. There is no +advantage in attaching cords to the surface of silk so that they look as +if they had been glued on to it. Conjuring tricks are highly amusing, +but one does not think very highly of conjurers. Personally, I would +much rather have seen more plainly the way the cord is sewn down in the +graceful cross in Illustration 51, a design perfectly adapted to +couching, and yet unlike the usual thing. + +Where it is softish silk which is stitched down, it makes a great +difference whether it is loosely held and tightly sewn, or the contrary. +Contrast the short puffy lines nearest the corners in the sampler, +Illustration 52, with the longer ones between the broad and narrow +bands. The broad band is worked in rows of double filoselle, of various +shades, sewn down with single filoselle. In the narrower bands twisted +silk is sewn down with stitches in the direction of its twist. This is +more plainly seen in the upper of the two bands, where the +sloping stitches are lighter in colour than the cord sewn down. + +[Illustration: 52. COUCHING SAMPLER.] + +Characteristic use is made of rather puffy couching in the ornament of +the lady's dress in Miss Keighley's panel, Illustration 61, where it has +very much the richness of embroidery in seed pearls. + +It was a common practice in Germany in the 16th century to work in solid +couching upon cloth, employing a twisted thread and sewing it with +stitches in the direction of the twist, so that at first sight one does +not recognise it as couching. It looks like rather coarse stitching in +the direction of the forms, and expresses shading very well. The cloth +ground accounts, perhaps, for the choice of method: the material is not +otherwise a pleasant one to embroider upon. + +A rather earlier German method was to couch in parallel lines of white +upon white linen, and so get relief and texture but no modelling, though +the drawing was helped by varying the direction of the parallel lines. + +The entire surface of a linen ground was sometimes covered with couched +threads of silk or fine wool--some of it in vertical and horizontal +lines, some of it in the direction of the pattern. This, again, was a +German practice, as may be seen in the Hildesheim Cope at South +Kensington. + +All-over couching may be used with advantage to renew the ground of +embroidery so worn as to be unsightly; and is more lasting than +laid-work for the purpose. It is laborious to do, but more satisfactory +when done than remounting; and one or the other is a necessity +sometimes. The effect of age is, up to a certain point, pleasing: rags +are not. + +[Illustration: 53. COUCHING IN LOOPED THREADS.] + +Couching, however (except with gold), was more commonly used for +outlining, and is quite peculiarly suited to give a firm line. A +beautiful example of outline work in coloured silk upon white linen is +pictured in Illustration 90, in which the lines of delicate Renaissance +arabesque are perfectly preserved. The rare practice of such work as +this, notwithstanding its distinction, is perhaps sufficiently accounted +for by its modesty. It is true, it wants well-considered and definitely +drawn design, and there is no possible fudging with it. + +[Illustration: 54. REVERSE COUCHING.] + +The value of a couched cord as an outline to stitching (satin-stitch in +this instance) is shown in Illustration 91, in which the singularly +well-schemed and well-drawn lines of the ornament are given with +faultless precision. This is a portion of an altogether admirable frame +to an altogether foolish picture in needlework, of which a fragment only +is shown. + +The appropriateness of couched cord to the outlining of inlay or of +appliqué is seen in the two examples which form Illustration 62. In the +one (A) it defines the clear-cut counterchange pattern; in the other +(B), being of a tint intermediate between the ground and the ornament, +it softens the contrast between them. An interesting technical point in +the design of this last is the way the cord outlining the leaves makes a +sufficiently thick stalk, coming together, as it naturally does, double +at the ends of the leaves. + +[Illustration: 55. REVERSE COUCHING (BACK).] + +This occurs again in Illustration 63, where the double threads which +form the stalks, though separately stitched down, are couched again at +intervals by bands crossing the two--at the springing of the stalks and +tendrils, for example, where joins inevitably occur. The cords forming +the central stalk are in one case looped. + +Fantastic use has often been made of the looping of couched cord. The +Spanish embroiderers made most ornamental use of a wee loop at the +points of the leaves where the cord must turn; but the device of looping +may easily be used to frivolous purpose. A regularly looped line at once +suggests lace. A perplexing Chinese practice is to couch fine cord in +little loops so close together that they touch. A surface filled in +after this manner, as in the butterflies on Illustration 53, might pass +at first sight for French knots or chain-stitch: it is really another +method of all-over couching. + +A double course of couching forms the outline in Illustration 92, one +of filoselle and one of cord, separately sewn; but the tendrils, which +are of silver thread, are sewn down both threads at a time with double +stitches, very obvious in the illustration. Over the couched silver +threads which form the main rib of the leaf a pattern is stitched in +silk. + +_A propos_ of couching, mention must be made of a way of working used in +the famous Syon Cope by way of background, and figured overleaf +(Illustration 54). The ground stuff is linen, twofold, and it is worked +in silk, which lies nearly all upon the surface. The stitch runs from +point to point of the zigzag pattern; there it penetrates the stuff, is +carried round a thread of flax laid at the back of the material, and is +brought to the surface again through the hole made by the needle in +passing down. That is to say, the silken thread only _dips_ through the +linen at the points in the pattern, and is there caught down by a thread +of flax on the under-surface of the linen. The reverse of the work +(Illustration 55) shows a surface of flax threads couched with silk, for +which reason the method may be described as reverse couching. On the +face it gives an admirable surface diaper, flat without being +mechanical. It is easily worked with a blunt needle; with a sharp one +there would be a danger of splitting the stitch. It is a kind of work on +which two persons might be employed, one on either side of the stuff. + + + + +COUCHED GOLD. + + +In olden days silk does not appear to have been couched in the East. On +the other hand, it was the custom to couch gold thread in Europe at +least as early as the twelfth century; so that the method was probably +first used for gold, which, except in the form of thin wire or +extraordinarily fine thread, is not quite the thing to stitch with. +Besides, it was natural to wish to keep the precious metal on the +surface, and not waste it at the back of the stuff. + +A distinguishing feature about gold is that by common consent it is used +double and sewn down two threads at a time. This is not merely an +economy of work; but, except in the case of thick cords or strips of +gold, it has a more satisfactory effect--why it is not easy to say. +Panels A, B, C, in the sampler, Illustration 56, are couched in double +threads, D in single cords. + +Gold couching is there used, as it mostly is, to cover a surface. In +doing that, it is usual to sew the threads firmly down at the edges of +the forms and cut them very sharply off; but they may equally well be +carried backwards and forwards across the face of the stuff. The slight +swelling of the gold thread where it turns gives emphasis to the +outline; but the turning wants carefully doing, and the gold thread must +not be too thick. If you use a large needle (to clear the way for the +thread), the turning of the gold may take place on the back instead of +on the face of the material, but only in the case of very fine thread. + +Gold threads often want stroking into position. This may be done with +what is called a "pierce"; but a good stiletto, or even a very large +needle, will answer the purpose. Sharply pointed scissors are +indispensable. + +In solid couching the stitches run almost inevitably into pattern; and +it is customary, therefore, to start with the assumption that they will, +and deliberately to make them into pattern--to work them, that is to +say, in vertical, diagonal, or cross lines as at A, in zigzags as at B, +or in some more complicated diaper pattern as at C, where the stitching +is purposely in pronounced colour, that the pattern may be quite clearly +seen; at D it has more its proper value, that the effect of it may be +better appreciated. The pattern may, of course, be helped by the colour +of the stitching, and there is some art in making the necessary stitches +into appropriate pattern. + +[Illustration: 56. COUCHED GOLD SAMPLER.] + +In fact the ornamentist, being an ornamentist, naturally takes advantage +of the necessity of stitching, to pattern his metallic surfaces with +diaper, using often, as in the scroll in Illustration 57, a diversity +of patterns, which gives at once varied texture and fanciful interest to +the surface. There is quite an epitome of little diapers in that +fragment of needlework; and one can hardly doubt that the embroiderer +found it great fun to contrive them. The flat strips of metal +emphasising the backs of the curves are sometimes twisted as they are +sewn. + +The other diapers on the sampler, F, G, H, J, 56, are emphasised by the +relief given to them by underlying cords, purposely left bare in parts +to show the structure. These underlying cords must be firmly sewn on to +the linen ground, and if the stitching follows the direction of the +twist in them, the round surface is not so likely to be roughened by it. +By rights, the cords should be laid farther apart than in the sampler, +where the attempt to force the effect (for purposes of explanation) has +not proved very successful. An infinity of basket patterns, as these may +be called (basket _stitches_ they are not), may be devised by varying +the intervals at which the gold threads are sewn down, and the number of +cords they cross at a time. + +[Illustration: 57. COUCHED SILVER.] + +The central panel of the sampler (E) shows a combination of flat and +raised gold. The outline of the heart is corded; the centre of it is +raised by stitching, first with crewel wool and then with gold-coloured +floss across that (it is difficult to prevent _white_ stuffing from +showing through gold). This gives only a hint of what may be done in +the way of raised ornament upon a flat gold ground, and was done in +mediæval work. A single cord may be sewn down to make a pattern in +relief, leafage, scrollwork, or what not, which, when the surface is all +worked over with gold, has very much the effect of gilt gesso. If, for +any reason, heavy work of this kind is to be done on silk or satin, that +must first be backed with strong linen. + +In mediæval and church work generally the double threads are usually +laid close together, forming, as in the diapers on sampler, a solid +surface of gold; and that was largely done in Oriental embroidery +too--in Chinese, for example, where, however, the threads, instead of +being couched in straight lines, follow the outlines of the design, and +are worked ring within ring until the space is filled, as in the +dragon's face, A, Illustration 58. There is here, as in the working of +his body, a certain economy of gold; a small amount of the ground is +allowed to show between the lines of double gold thread--not enough to +tell as ground, but enough to give a tint of the ground colour to the +metal. Further, in this more open couching the direction of the lines of +couching goes for more than in solid work. The pattern made by the gold +thread is here not only ornamental but suggestive of the scaly body of +the creature. It will be seen, too, how, in the working of the legs, +the relatively compact gold threads are kept well within the outline, by +which means anything like harshness of silhouette is avoided. + +[Illustration: 58. COUCHED GOLD NOT QUITE SOLID.] + +That this less solid manner was not confined to the far East is shown by +the Venetian valance, B, on the lower part of the page, which has very +much the appearance of gold lace. + +A good example of outline (single thread) in gold is given in +Illustration 59, part of an Italian housing, which reminds one both in +effect and in design of damascening, to which it is in some respects +equivalent; only, instead of gold and silver wire beaten into black iron +or steel, we have gold and silver thread sewn on to dark velvet. The +design recalls also the French bookbindings of the period of Henri II., +in which the tooled ornament was precisely of this character. The +resemblance is none the less that an occasional detail is worked more +solidly; but, in the main, this is outline work, and a beautiful example +of it. The art in work of that kind is, of course, largely in the +design. Gold thread work in spiral forms has very much the effect of +filagree in gold wire. + +The next step is where the cords of gold enclose little touches of +embroidery in coloured floss, as in Illustration 91. These have the +value of so many jewels or bits of bright enamel. In fact, just as +outline work in simple gold thread resembles damascening or filagree, so +this outlining of little spaces of coloured silk suggests enamel. The +cord of the embroiderer answers to the cloisons of the enameller, the +surfaces of shining floss to the films of vitreous enamel. + +[Illustration: 59. COUCHED OUTLINE WORK.] + +Appliqué embroidery is constantly edged with gold or silver thread. An +effective, if rather rude, example of this, the thread here again +double, is given in Illustration 60. + +In couching more than one thread at a time there is a difficulty in +turning the angles. The threads give, of necessity, only gently rounded +forms. To get anything like a sharp point, you must stop short with the +inner thread before reaching the extreme turning point, and take it up +again on your way back. What applies to two threads, applies of course +still more forcibly to three. + +The colour with which gold thread is sewn is a question of considerable +importance. If the stitches are close enough together to make solid +work, they give a flush of colour to the gold. Advantage is commonly +taken of this both in mediæval and Oriental work to warm the tint by +sewing it down with red. The Chinese will even work with a deeper and a +paler red to get two coppery shades. White stitching pales the gold, +yellow modifies it least, green cools it, and blue makes it greener. The +closer the stitches, the deeper the tint, of course. + +[Illustration: 60. APPLIQUÉ--SATIN ON VELVET.] + +You can get thus various shades of gold out of the same thread, and even +gradation from one to another, as may be seen in a great deal of +Spanish work of the 16th century, in which the gold ornament is often +quite delicately shaded from yellowish gold to ruddy copper on the one +hand, and to bronzy green on the other. Similar use may be made of +vari-coloured silks in couching white or other cord; but gold reflects +the colour much better than silk, and gives much more subtle effects. + +The Flemings and Italians of the early Renaissance went further. They +had a way of laying threads of gold and sewing them so closely over with +coloured silk that in many parts it quite hid the gold. Only in +proportion as they wanted to lighten the colour of the draperies in +their pictorial embroideries did they space the stitches farther and +farther apart, and let the gold gleam through. Except in the high lights +it did not pronounce itself positively. The effect is not unlike what is +seen in paintings of the primitive school, where the high lights of the +red and blue draperies are hatched with gold. The practice of the +embroiderer may be reminiscent of that, or that may be the origin of the +primitive painters' convention. It is more as if the embroiderer wanted +to represent a precious tissue, a stuff shot with gold. + +Illustration 80 gives part of a figure worked in this way, relieved +against a more golden architectural background rendered by the very same +double threads of gold which run through the figures. In the +architecture, however, they are couched in stitches which are never so +near as to take away from the effect of the gold. The two degrees of +obscuring or clouding gold by oversewing are here shown in most +instructive contrast. The cords, as usual, are laid in horizontal +courses. That was the convenient way of working; but it resulted in a +corded look, which has very much the appearance of tapestry; and there +is no doubt that resemblance to tapestry was in the end consciously +sought. That the method here employed was laborious needs no saying; but +it gave most beautiful, if pictorial, results. + + + + +APPLIQUÉ. + + +Embroidery, it has been shown, is much of it on the surface of the +stuff, not just needle stitches, but the stitching-on of +something--cord, gold thread, or whatever it may be. And instances have +been given where the design of such work was not merely in outline, but +where certain details were filled in with stitching. Yet another +practice, and one more strictly in keeping with the onlaying of cord, +was to onlay the solid also, applying, that is to say, the surface +colour also in the form of pieces of silk cut to shape. + +Patterns of this kind may be conceived as line work developing into +leafy terminations, the APPLIQUÉ only an adjunct to couching +(Illustration 63); or they may be thought of as massive work eked out +with line: the appliqué, that is to say, the main thing, the couching +only supplementary (Illustration 92). An intermediate kind is where +outline and mass--couching and appliqué--play parts of equal importance +in the scheme of design (Illustration 60). + +Couched cord or filoselle is useful in covering the raw edge of the +onlay, not so much masking the joints as making them sightly. + +Appliqué must be carefully and exactly done, and is best worked in a +frame. It is almost as much a man's work as a woman's. Embroidery proper +is properly woman's work; but here, as in the case of tailoring, the man +comes in. The getting ready for appliqué is not the kind of thing a +woman can do best. + +The finishing may sometimes be done in the hand, and very bold, coarse +work may possibly be worked throughout in the hand, and outlined with +buttonhole-stitch (chain-stitch is not so appropriate); but when a +couched outline is employed it must be done in a frame, and, indeed, +work with any pretensions to finish is invariably begun and finished in +the frame. + +[Sidenote: TO WORK APPLIQUÉ] + +To work appliqué you want, in fact, two frames--one on which to mount +the material to be embroidered, and another on which to mount the +material to be applied. The backing in each case should be of smooth +holland. This is stretched on to the frame, and then pasted with stiff +starch or what not; the silk or velvet is laid on to it and stroked with +a soft rag until it adheres, and is left to dry gently. When dry, the +outlines of the complete design are traced upon the one, and those of +the details to be applied upon the other. (You may paste, of course, +silks of two or three colours upon one backing for this.) The stuff to +be applied is then loosened from its frame, the details are cleanly cut +out with scissors, or, better still, a knife (in either case sharp), and +transferred to their place in the design on the other frame. There they +are kept in position by short steel pins planted upright into the stuff +until you are sure they fit, and then tacked firmly down, with care that +the stitches are such as will be quite covered by the final couching, +chain stitch, or whatever is to be your outline. + +In the case of silk or other delicate material, peculiar care must be +taken that the paste is not moist enough to penetrate the stuff; but an +experienced worker has no fear of that. + +A firm outline is a condition of appliqué, and couched cord fulfils it +most perfectly. Much depends upon a tasteful and tactful choice of +colour for it. You fatten your pattern by outlining it with a colour +which goes with it (Illustration 62, B). You thin it by one which goes +into the ground. Very subtle use may be made of a double outline or of a +corded line upon couched floss. There is a double outline to the +ornament in Illustration 92: the inner one next to the yellow satin +appliqué is of gold, the outer one next the crimson velvet ground is of +white sewn with pale blue. This gives emphasis to the bold forms of the +leafage. The mid-rib there is of silver couching; the minor veinings are +stitched in silk, and are rather insignificant. + +[Illustration: 61. APPLIQUÉ PANEL BY MISS KEIGHLEY.] + +The less there is of extra stitching on appliqué the better as a rule. +It disturbs the breadth, which is so valuable a characteristic of onlay. +In no case is much mixing of methods to be desired; but if appliqué is +to be supplemented, it had best be with couching, which is not so much +stitching as stitched down, itself another form of applied work. + +Appliqué of itself is not, of course, adapted to pictorial work, but +that in association with judicious stitching and couching it may be used +to admirable decorative purpose in figure design is shown by Miss Mabel +Keighley's panel, Illustration 61. What an artist may do depends upon +the artist. Miss Keighley's panel indicates the use that may be made of +texture in the stuff onlaid. + +Appliqué is especially appropriate to bold church work, fulfilling +perfectly that condition of legibility so desirable in work necessarily +seen oftenest from afar. Broadly designed, it may be as fine in its way +as a piece of mediæval stained glass, and it gives to silk and velvet +their true worth. The pattern may be readable as far off as you can +distinguish colour. + +[Illustration: 62. A. COUNTERCHANGE. B. APPLIQUÉ.] + +Appliqué work is thought by some to be an inferior kind of embroidery, +which it is not. It is not a lower but another kind of needlework, in +which more is made of the stuff than of the stitching. In it the craft +of the needleworker is not carried to its limit; but, on the other +hand, it makes great demands upon design. You cannot begin by just +throwing about sprays of natural flowers. It calls peremptorily for +treatment--by which test the decorative artist stands or falls. +Effective it must be; coarse it may be; vulgar it should not be; trivial +it can hardly be; mere prettiness is beyond its scope; but it lends +itself to dignity of design and nobility of treatment. Of course, it is +not popular. + +A usual form of appliqué is in satin upon velvet. Velvet on satin (B, +Illustration 62) is comparatively rare; but it may be very beautiful, +though there is a danger that it may look like weaving. + +Silk upon silk (figured damask) is shown in Illustration 63, designed to +be seen from a nearer point of view, and less pronounced in pattern +accordingly. The strap work, applied in ribbon, is broken by cross +stitches in couples, which take away from the severity of the lines. The +grape bunches are onlaid, each in one piece of silk, the forms of the +separate grapes expressed by couching. The French knots in the centre of +the grapes add greatly to the richness of the surface. The leaves are in +one piece. It would have been possible to use two or three, joining them +at the veins. + +[Illustration: 63. APPLIQUÉ--SILK ON SILK DAMASK.] + +The application of leather to velvet, as in Illustration 94, allows +modification in the way of execution, and of design adapted to it. +Leather does not fray, and needs, therefore, no sewing over at the edge, +but only sewing down, which may be done, as in this case, well within +the edge of the material, giving the effect of a double outline. The +Chinese do small work in linen, making similar use of the stitching +within the outline, but turning the cut edge of the stuff under; it +would not do to leave it raw. On a bolder scale, but in precisely the +same manner, is embroidered the wonderful tent of François Ier., taken +at the battle of Pavia, and now in the Armoury at Madrid--obviously Arab +work. Something of the kind was done also in Morocco, which points to +leather work as the possible origin of this method. + +Another ingenious Chinese notion is to sew down little five-petalled +flowers (turned under at the edges) with long stamen stitches radiating +from a central eye of knots. + + + + +INLAY, MOSAIC, CUT-WORK. + + +A step beyond the process of onlaying is INLAY, where one material is +not laid on to the other, but into it, both being perhaps backed by a +common material. The process is, in fact, precisely analogous to that +inlay of brass and tortoiseshell which goes by the name of its inventor, +Boule. The work is difficult, but thorough. It does not recommend itself +to those who want to get effect cheaply. The process is suited only to +close-textured stuffs, such as cloth, which do not fray. + +[Sidenote: TO WORK INLAY.] + +The materials are not pasted on to linen, as in the case of appliqué. +The cloth to be inlaid is placed upon the other, and both are cut +through with one action of the knife, so that the parts cannot but fit. +The coherent piece of material (the ground, say, of the pattern) is then +laid upon a piece of strong linen already in a frame; the vacant spaces +in it are filled up by pieces of the other stuff, and all is tacked down +in place. That done, the work is taken out of the frame, and the edges +sewn together. The backing can then, if necessary, be removed; and in +Oriental work it generally was. + +Inlay lends itself most invitingly to COUNTERCHANGE in design, as seen +in the stole at A, Illustration 62. Light and dark, ground and pattern, +are there identical. You cannot say either is ground; each forms the +ground to the other. And from the mere fact of the counterchanging you +gather that it is inlaid, and not onlaid. + +[Sidenote: TO WORK COUNTERCHANGE.] + +Prior to inlaying in materials which are at all likely to fray, you +first back them with paper, thin but tough, firmly pasted; then, having +tacked the two together, and pinned them with drawing-pins on to a +board, you slip between it and the stuff a sheet of glass, and with a +very sharp knife (kept sharp by an oilstone at hand) cut out the +pattern. What was cut out of one material has only to be fitted into the +other, and sewn together as before, and you have two pieces of inlaid +work--what is the ground in one forming the pattern in the other, and +_vice versâ_. By this ingenious means there is absolutely no waste of +stuff. You get, moreover, almost invariably a broad and dignified +effect: the process does not lend itself to triviality. It was used by +the Italians, and more especially by the Spaniards of the Renaissance, +who borrowed the idea, of course, from the Arabs. + +[Illustration: 64. INLAY IN COLOURED CLOTHS.] + +In India they still inlay in cloth most marvellously, not only +counterchanging the pattern, but inlaying the inlays with smaller +patternwork, thus combining great simplicity of effect with wonderful +minuteness of detail. They mask the joins with chain-stitch, the +colour of it artfully chosen with regard to the two colours of the cloth +it divides or joins. Further, they often patch together pieces of this +kind of inlay. + +Inlay itself is a sort of PATCHWORK. You cut pieces out of your cloth, +and patch it with pieces of another colour, covering the joins perhaps, +as on Illustration 64, with chain stitch, which gives it some +resemblance to cloisonné enamel, the cloisons being of chain-stitch. + +Where there is no one ground stuff to be patched, but a number of +vari-coloured pieces of stuff are sewn together, they form a veritable +Mosaic, reminding one, in coloured stuffs, of what the mediæval glaziers +did in coloured glass. Admirable heraldic work was done in Germany by +this method; and it is still employed for flag making. The stuffs used +should be as nearly as possible of one substance. In patchwork of +loosely-textured material each separate piece of stuff may be cut large, +turned in at the edge, and oversewn on the wrong side. + +[Illustration: 65. CUT-WORK IN LINEN.] + +The relation of CUT-WORK to inlay is clear--in fact, the one is the +first step towards the other. You have only to stop short of the actual +inlaying, and you have cut-work. Fill up the parts cut out in +Illustration 65 with coloured stuff, and it would be inlay. The +needlewoman has preferred to sew over the raw edges of the stuff, and +give us a perfect piece of FRETWORK in linen. It is part of the game +in cut-work to make the fret coherent, whole in itself. The design +should tell its own tale. "Ties" of buttonhole-stitch, or what not, are +not necessary, provided the designer knows how to plan a fret pattern. +Their introduction brings the work nearer to lace than embroidery. The +sewing-over may be in chain-stitch, satin-stitch (as in Illustration +65), or in buttonhole-stitch--which last is strongest. + +As, in the case of appliqué, inlay, and mosaic, an embroidered outline +is usually necessary to cover the join, so in the case of cut-work +sewing-over is necessary to keep the edges from fraying. It may +sometimes be advisable to supplement this outlining by further stitching +to express veining, or give other minute details--just as the +glassworker, when he could not get detail small enough by means of +glazing, had recourse to painting to help him out. But there is danger +in calling in auxiliaries. It is best to design with a view to the +method of work to be employed, and to keep within its limits. To worry +the surface of applied, inlaid, or cut stuff with finnikin stitchery, is +practically to confess either the inadequacy of the design or the +fidgetiness of the worker. It should need, as a rule, no such +enrichment. + + + + +EMBROIDERY IN RELIEF. + + +Embroidery being work _upon_ a stuff, it is inevitably raised, however +imperceptibly, above the surface of it. But there is a charm in the +unevenness of surface and texture thus produced; and the aim has +consequently often been to make the difference of level between +ground-stuff and embroidery more appreciable by UNDERLAY or padding of +some kind. The abuse of this kind of thing need not blind us to the +advantages it offers. + +There are various ways of raising embroidery, the principal of which are +illustrated on the sampler overleaf. + +[Sidenote: TO WORK A (66).] + +In sprig A the underlay is of closely-woven cloth, darker in colour than +would be advisable except for the purpose of showing what it is: it is +as well in the ordinary way to choose a cloth more or less of the colour +the embroidery is to be. The cloth is cut with sharp scissors carefully +to shape, but a little within the outline, and pasted on to the linen. +When perfectly dry, it is worked over with thick corded silk couched in +the ordinary way. + +[Sidenote: TO WORK B.] + +The raised line at B reveals the way the stem in Illustration 86 was +worked. Two cords of smooth string (macramé, for example) are twisted +and tacked in place. Over this floss is worked in close satin-stitch. + +[Sidenote: TO WORK C.] + +In sprig C the underlay is of parchment, lightly stitched in place. The +use of a double underlay in parts gives additional relief. The +embroidery upon this (in slightly twisted silk) is in satin-stitch. + +[Sidenote: TO WORK D.] + +The leaf shapes at D are padded with cotton wool, cut out as nearly as +possible to the shape required, and tacked down with fine cotton. They +are then worked over with floss in satin-stitch. The stalks are not +padded with cotton wool, but first worked with crewel wool, which, being +soft and elastic, forms an excellent ground for working over in floss +silk. + +[Sidenote: TO WORK E.] + +In working a stalk like that at E, you first lay down a double layer of +soft, thick cotton, and then work over it with flatter cotton (made +expressly for padding) in slanting satin-stitch. Three threads of smooth +round silk are then attached to one side of the padding and carried +diagonally across to the other side, where they are sewn down with +strong thread of the same colour close to the underlay, so that the +stitches may not show. They are then brought back to the side from which +they started, sewn down, and returned again, and so backwards and +forwards to the end. The crossing threads make a sort of pattern, and it +is a point of good workmanship that they should cross regularly. Such +pattern is more obvious when threads of three different shades of colour +are employed. Threads of twisted silk may, of course, be equally well +used this way without padding underneath. + +[Illustration: 66. RAISED WORK SAMPLER.] + +[Sidenote: TO WORK F.] + +In sprig F the underlay is of cardboard, pasted on to the linen. It is +worked over with purse silk, to and fro across the forms, and sewn down +at the margin with finer silk. This is a method of work often employed +when gold thread is used. + +[Sidenote: TO WORK G.] + +In sprig G the underlay or stuffing is of string, sewn down with +stitches always in the direction of the twist. It is worked over with +floss in satin-stitch. + +[Sidenote: TO WORK H.] + +In sprig H the underwork consists of stitching in soft cotton, over +which thick silk is embroidered in bullion-stitch. The rule is to work +the first stitching in such a direction that the surface work crosses it +at right angles. The small leaf is worked over with fine purse silk in +satin-stitch, which is used also for the stalk. + +In the smaller sampler of laid-work, Illustration 50, the broad stem is +twice underlaid with crewel, excellent for this soft sort of padding, on +account of its elasticity. The leaves have there only one layer of +understitching. + +Raised work in white upon white is often used for purposes which make it +inevitable that sooner or later the work will be washed. That is a +consideration which the embroidress must not leave out of account. In +any case, work over stitchery is more durable than over loose padding +such as cotton wool. + +[Illustration: 67. RAISED WORK SHOWING UNDERLAY.] + +The 15th century work reproduced in Illustration 67 is in flax thread on +linen, and the underlay (laid bare in the topmost flower) is of stiff +linen, sewn down, not at the margins as in the case of the parchment on +the sampler (Illustration 66), but by a row of stitching up the centre +of each petal. The veins of the leaves in Illustration 88 are padded +with embroidery cotton and worked over with filo-floss. The leaves +themselves are not padded, though the sewing down of the veins upon +them, as well as the fact that they are applied on to the velvet ground, +gives some appearance of relief. + + + + +RAISED GOLD. + + +Our sampler of raised work is done in silk. Underlaying is more often +used to raise work in gold, to which in most respects it is best suited. +The methods shown in the sampler would answer almost equally well for +gold, except that working in gold one would not at H (66) use +bullion-stitch, but bullion, first covering the underlay of stitching +with smoothly-laid yellow floss. + +BULLION consists of closely coiled wire. It is made by winding fine wire +tightly and closely round a core of stouter wire. When this central core +of wire is withdrawn, you have a long hollow tube of spirally twisted +wire. This the embroidress cuts into short lengths as required, and sews +on to the silk--as she would a long bead or bugle. Its use is +illustrated at A in Illustration 51, where the stems of triple gold cord +are tied down at intervals by clasps of bullion, and the leaves, again, +are filled in with the same. + +It was the mediæval fashion to encrust the robes of kings and pontiffs +with pearls and precious stones mounted in gold: the early Byzantine +form of crown was practically a velvet cap, on to which were sewn +plaques of gorgeous enamel and mounted stones. When to such work +embroidery was added, it was not unnatural that it should vie with the +gold setting. As a matter of fact, its design was often only a +translation into needlework of the forms proper to the goldsmith. + +Yet more openly in rivalry with goldsmiths' work was some of the +embroidery of the Renaissance, in which the idea--a most mistaken one, +of course--seems to have been to imitate beaten metal. This led +inevitably to excessively high relief in gold embroidery. You may see in +17th century church work the height to which relief can be carried, and +the depth to which ecclesiastical taste can sink. + +The Spaniards were, perhaps, the greatest sinners in this respect, +seeking, as they did, richness at all cost; but it must be confessed +that, in the 16th century at least, they produced most gorgeous results: +there is in the treasury of the cathedral at Toledo an altar frontal in +gold, silver, and coral, and a yet more beautiful mantle of the Virgin +in silver and pearls upon a gold ground, which make one loth to +dogmatise. + +[Illustration: 68. RAISED GOLD.] + +The preciousness of gold and silver, points, in the nature of things, to +their use for church vestments and the like; and high relief gives, no +doubt, value to the metal; but the consideration of its intrinsic +value leads quickly to display. The artistic value of gold is not so +much that it looks gorgeous as that it glorifies the colour caught, so +to speak, in its meshes. + +Admitting that there is reason for relief in gold embroidery--it catches +the light as flat gold does not--one feels that the very slightest +modelling is usually enough. Reference was made (page 136) to the effect +of gilt gesso obtained in raised gold thread: that really is about the +degree of relief it is safe to adopt in gold embroidery, the relief that +is readily got by laying on gesso with a brush, not carving or modelling +it; and the characteristically blunt forms got by that means repeat +themselves when you work with the needle. + +There is ample relief in the gold embroidery on Illustrations 68 and 86. +The first of these shows both flat and raised work: the latter +illustrates not only various degrees of relief, but several ways of +underlaying. It scarcely needs pointing out that the flatter serrated +leaves are worked over parchment or paper, and the puffy parts of the +flowers over softer padding. Allusion has already been made (page 159) +to the way the stalk is worked over twisted cords, as on the sampler, +Illustration 66. The patterns in which the gold is worked do not tell +quite so plainly here as on Illustration 68, where the basket pattern is +more pronounced. In the stalk there flat gold wire is used, and again in +the broken surface towards the top of the plate. + +SPANGLES of gold may be used with admirable effect, at the risk, +perhaps, of a rather tinselly look; but that has been often most +skilfully avoided both in mediæval work and in Oriental. In India great +and very cunning use is made of spangles, by the Parsees in particular, +who, by the way, embroider with gold wire. + +Gold foil may be cut to any shape and sewn on to embroidery, but +spangles take mainly one of two shapes, best distinguished as disc-like +and ring-like. The discs are flat, pierced in the centre, and sewn down +usually with two or three radiating stitches (A, Illustration 51, and +Illustration 67). The rings may be attached by a single thread. They can +easily be made to overlap like fish scales, and most elaborately +embossed pictures have been worked in this way. There is a vestment in +the cathedral at Granada which is a marvel to see; but not the thing to +do, surely. + +Relief is easily overdone, in figure work so easily that one may say +safety is to be found only in the most delicate relief. To make figures +look round is to make them look stuffed. That stuffy images are to be +found in mediæval church work is only too true. In Gothic art one finds +this quaint, perhaps, but it is perilously near the laughable. The point +of the ridiculous is plainly overpassed in English work of the 17th +century, which degenerates at last into mere doll work--the dolls duly +stuffed and dressed in most childish fashion, their drapery, in actual +folds, projecting. Some really admirable needlework was wasted upon this +kind of thing, which has absolutely no value, except as an object-lesson +in the frivolity of the Stuarts and their on-hangers. + + + + +QUILTING. + + +A most legitimate use of padding is in the form of QUILTING, where it +serves a useful as well as an ornamental purpose. To quilt is to stitch +one cloth upon another with something soft between (or without anything +between). Our word "counterpane" is derived from "contre-poinct," a +corruption of the French word for back-stitch, or "quilting" stitch, as +it was called. + +If you merely stitch two thicknesses of stuff together in a pattern, +such as that on Illustration 69, the stuff between the stitches has a +tendency to rise: the two layers of stuff do not lie close except where +they are held together by the stitching, and a very pleasantly uneven +surface results. This effect is enhanced if between the two stuffs there +is a layer of something soft. If, now, you keep down the groundwork of +your design by comparatively frequent stitches diapering it, you get a +pattern in relief, more or less, according to the substance of your +padding. + +Another way is to pad the pattern only, as in Illustration 70, where the +padding is of soft cord. + +[Illustration: 69. QUILTING, DONE IN CHAIN-STITCH FROM THE BACK.] + +A cunning way of padding is first to stitch the outline of the design, +and then from the back to insert the stuffing. You first pierce the +stuff with a stiletto, and, having pushed in the cord, cotton, or what +not, efface as far as possible the piercing: the stuffing has then not +much temptation to escape from its confinement. + +The Persians do most elaborate quilting on fine white linen, which they +sew with yellow silk; but the pattern is stuffed with cords of blue +cotton, the colour of which just grins through the white sufficiently to +cool it, and to distinguish it from the creamy white ground made warmer +by the yellow stitching. + +Quilting is most often done in white upon colour, or in one colour upon +white. Yellow silk on white linen (as in the case of Illustration 69) +was a favourite combination, and is always a delicate one. But there is +no reason why a variety of colours should not be used in a counterpane. +When you stitch down the ground with coloured silk you give it, of +course, colour as well as flatness. + +[Illustration: 70. RAISED QUILTING.] + + + + +STITCH GROUPS. + + +There are all sorts of ways in which stitches might be +grouped:--according to the order of time in which historically they came +into use; according as they are worked through and through the stuff or +lie mostly on its surface; according as they are conveniently worked in +the hand or necessitate the use of a frame; and in other ways too many +to mention. It is not difficult, for example, to imagine a +classification according to which the satin-stitch in Illustration 71 +would figure as a canvas stitch. + +In the Samplers they are grouped according to their construction, that +seeming to us the most practical for purposes of description. They might +for other purposes more conveniently be classed some other way. At all +events, it is helpful to group them. Designer and worker alike will go +straighter to the point if once they get clearly into their minds the +stitches and their use, and the range of each--what it can do, what it +can best do, what it can ill do, what it cannot do at all. + +Anyone, having mastered the stitches and grasped their scope, can group +them for herself, say, into stitches suited (1) to line work, (2) to +all-over work, (3) to shading, and so on. + +These she might again subdivide. Of line stitches, for example, some are +best suited for straight lines, others for curved; some for broad lines, +others for narrow; some for even lines, others for unequal; some for +outlining, others for veining. + +And, further, of all-over stitches some give a plain surface, others a +patterned one; some do best for flat surfaces, others for modelled; some +look best in big patches, some answer only for small spaces. + +With regard to shading stitches, there are various ways (see the chapter +on shading) of giving gradation of colour and of indicating relief or +modelling. + +Some stitches, of course, are adapted to various uses, as crewel, chain, +and satin stitches--naturally the most in use. Workers generally end in +adopting certain stitches as their own. That is all right, so long as +they do not forget that there are other stitches which might on occasion +serve their purpose. Anyway, they should begin by knowing what stitches +there are. Until they know, and know too what each can do, they are +hardly in a position to determine which of them will best do what they +want. + +Our Samplers show the use to which the stitches on them may be put. + +[Illustration: 71. SATIN-STITCH IN THE MAKING.] + +By way of _résumé_, it may be added that for line work, more or less +fine, crewel, chain, back and rope stitches, and couched cord are most +suitable; crewel for long lines especially, and rope stitch for both +curved and straight lines; for a boundary line, buttonhole is most +emphatic; for broader lines, herring-bone, feather, and Oriental +stitches answer better; ladder-stitch has the advantage of a firm edge +on both sides of it. Satin and chain stitches, couching and laying, and +basket work make good bands, but are not peculiarly adapted to that +purpose. + +For covering broad surfaces, crewel, chain, and satin stitches +(including, of course, what are called long-and-short and plumage +stitches) serve admirably, as does also darning and laid-work; and for +gold thread, couching. French knots do best for small surfaces only. The +stitches most useful for purposes of shading are mentioned later on. + +No sort of classification is possible until the number of stitches has +been reduced to the necessary few, and all fancy stitches struck out of +the list. Enquiry should also be made into the title of each stitch to +the name by which it is known; and the names themselves should be +brought down to a minimum. + +Reduce them to the fewest any needlewoman will allow, and they are +still, if not too many, more than are logically required. Some of them, +too, describe not stitches, but ways of using a stitch. The term +long-and-short, it has already been explained (page 100), has less to +do with a particular stitch than its proportion, and the term +plumage-stitch refers more to the direction of the stitch than to the +stitch itself. And so with other stitches. It is its oblique direction +only which distinguishes stem-stitch from other short stitches of the +kind. Running, again, amounts to no more than proportioning stitches to +the mesh of the stuff, and taking several of them at one passing of the +needle; and darning is but rows of running side by side. The term +split-stitch describes no new stitch, but a particular treatment to +which a crewel or a satin stitch is submitted. + +The foregoing summaries of stitches are only by way of suggestion, +something to set the embroidress thinking for herself. She must choose +her own method; but it would help her, I think, to schedule the stitches +for herself according to her own ways and wants. The most suitable +stitch may not suit every one. Individual preference and individual +aptitude count for something. It is not a question of what is +demonstrably best, but of what best suits you. + + + + +ONE STITCH, OR MANY? + + +The first thing to be settled with regard to the choice of stitch is +whether to employ one stitch throughout, or a variety of stitches. Much +will depend upon the effect desired. Good work has been done in either +way; but one may safely say, in the first place, that it is as well not +to introduce variety of stitch without good cause--there is safety in +simplicity--and in the second, that stitches should be chosen to go +together, in order that the work may look all of a piece. When the +various stitches are well chosen, it is difficult at a glance to +distinguish one from another. + +A great variety of stitches in one piece of work is worrying, if not +bewildering. It is as well not to use too many, to keep in the main to +one or two, but not to be afraid of using a third, or a fourth, to do +what the stitch or stitches mainly relied upon cannot do. + +[Illustration: 72. STITCHES IN COMBINATION.] + +It tends also towards simplicity of effect if you use your stitches with +some system, not haphazard, and in subordination one to the other; there +must be no quarrelling among them for superiority. You should determine, +that is to say, at the outset, which stitch shall be employed for +filling, which for outline; or which for stalks, which for leaves, and +which for flowers. Or, supposing you adopt one general stitch +throughout, and introduce others, you should know why, and make up your +mind to employ your second for emphasis of form, your third for contrast +of texture, or for some other quite definite purpose. + +It is not possible here to point out in detail the system on which the +various examples illustrated have been worked; the reader must worry +that out for herself. But one may just point out in passing how well the +various stitches go together in some few instances. + +Nothing could be more harmonious, for example, than the combination of +knot, chain, and buttonhole stitches in Illustration 24; or of ladder, +Oriental, herring-bone, and other stitches in Illustration 72. Again, in +Illustration 85 the contrast between satin-stitch in the bird and +couched cord for the clouding is most judicious, as is the knotting of +the bird's crest. Laid floss contrasts, again, admirably with couched +gold in Illustrations 47, 48, 49, and satin-stitch with couching in +Illustration 91, where the gold is reserved mainly for outline, but on +occasion serves to emphasise a detail. + +[Illustration: 73. FINE NEEDLEWORK UPON LINEN.] + +Couched gold and surface satin-stitch are used together again in +Illustration 58, each for its specific purpose. The harmony between +appliqué work and couching or chain-stitch outline has been alluded to +already. + +A danger to be kept in view when working in one stitch only is, lest it +should look like a woven textile, as it might if very evenly worked. +Some kinds of embroidery seem hardly worth doing nowadays, because they +suggest the loom. That may be a reason for some complexity of stitch, in +which lurks that other danger of losing simplicity and breadth. The +lace-like appearance of the needlework upon fine linen in Illustration +73, results chiefly from the extraordinary delicacy with which it is +done, but it owes something also to the variety of stitch and of +stitch-pattern employed in it. + + + + +OUTLINE. + + +The use of outline in embroidery hardly needs pointing out. It is often +the obvious way of defining a pattern, as, for example, where there is +only a faint difference in depth of tint between the pattern and its +background; in appliqué work it is necessary to mask the joins; and it +is by itself a delightful means of diapering a surface with not too +obtrusive pattern. + +Allusion to the stitches suitable to outline has been made already (see +stitch-groups), as well as to the colour of outlining, _à propos_ of +appliqué. It is difficult to overrate the importance of this question of +colour in the case of outline; but there are no rules to be laid down, +except that a coloured outline is nearly always preferable to a black +one. The Germans of the 16th century were given to indulging in black +outlines, and you may see in their work how it hardened the effect, +whereas a coloured outline may define without harshness. The Spaniards, +on the other hand, realised the value of colour, and would, for example, +outline gold and silver upon a dark green ground in red, with admirable +effect. A double outline, for which there is often opportunity in bold +work, may be turned to good account. Among the successful combinations +which come to mind is an appliqué pattern in yellow and white upon dark +green, outlined first with gold cord, and then, next the green, with a +paler and brighter green. Another is a pattern chiefly in yellow upon +purple, outlined first with yellow couched with gold, and next the +ground with silver. In the case of couched cord or gold, the colour of +the stitching counts also. + +Stitches from the edge of a leaf or what not, inwards, alternately long +and short, though they form an edge to the leaf, are not properly +outlining. This is rather a stopping short of solid work than outlining, +though it often goes by that name. + +The first condition of a good outline stitch is that it should be, as it +were, supple, so as to follow the flow of the form. At the same time it +should be firm. Fancy stitches look fussy; and a spikey outline is worse +than none at all. + +There is absolutely no substantial ground for the theory that outlines +should be worked in a stitch not used elsewhere in the work. On the +contrary, it is a good rule not to introduce extra stitches into the +work unless they give something which the stitches already employed will +not give. The simplest way is always safest. + +An outline affords a ready means of clearing up edges; but it should not +be looked upon merely as a device for the disguise of slovenliness. +Unless the colour scheme should necessitate an outline, an embroidress, +sure of her skill, will often prefer not to outline her work, and to get +even the drawing lines within the pattern, by VOIDING. She will leave, +that is to say, a line of ground-stuff clear between the petals of her +flowers, or what not; which line, by the way, should be narrower than it +is meant to appear, as it looks always broader than it is. It is more +difficult, it must be owned, thus to work along two sides of a line of +ground-stuff than to work a single line of stitching, but it is within +the compass of any skilled worker; and skilled workers have delighted in +voiding even when their work was on a small scale necessitating fine +lines of voiding (Illustrations 39 and 40). + +In work on a bold scale there is no difficulty about it; and it would be +remarkable that it is so seldom used, were it not that the uncertain +worker likes to have a chance of clearing up ragged edges, and that +voiding implies a broader and more dignified treatment of design than it +is the fashion to affect. + + + + +SHADING. + + +One arrives inevitably at gradation of colour in embroidery; the +question is how best to get it. But, before mentioning the ways in which +it may be got, it seems necessary to protest that shading is not a +matter of course. Perfectly beautiful work may be done, and ought more +often to be done, in merely flat needlework; the gloss of the silk and +its varying colour as it catches the light according to the direction of +the stitching, are quite enough to prevent a monotonously flat effect. + +Still, embroidery affords such scope for gradation of colour, not, +practically, to be got by any process of weaving, that a colourist may +well revel in the delights of colour which silks of various dyes allow. +And so long as colour is the end in view there is not much danger that a +colourist will go wrong. + +[Illustration: 74. PART OF A DESIGN BY WALTER CRANE.] + +The use of shading in embroidery is rather to get gradation of colour +than relief of form. As to the stitch to be employed, that is partly a +personal matter, partly a question of what is to be done. The stitch +must be adapted to the kind of shading, or the shading must be +designed to suit the stitch. It makes all the difference in the world, +whether your shading is deliberately done, or whether one shade is meant +to merge into another. In the best work it is always done with decision. +There is nothing vague or casual, for example, about the shading of Mr. +Crane's animals on Illustration 74. Everywhere the shading is _drawn_, +either in lines or as a sharply defined mass. Given a drawing in which +the shadows are properly planned and crisply drawn like that, and you +may use what stitch you please. + +[Illustration: 75. SHADING IN CHAIN-STITCH.] + +The more natural way of shading is to let the stitches follow the lines +of the drawing, and so make use of them to express form, as with the +strokes of the pen or pencil upon paper. Thus, in mediæval figurework +prior to the 15th century, the faces were usually done in split stitch, +worked concentrically from the middle of the cheek outward, and so +suggesting the roundness of the face (Illustration 87). But just as +there is a system of shading according to which the draughtsman makes +all his strokes in one direction (slanting usually), so the embroidress +may, if she prefer, take her stitches all one way; and in the 15th and +16th centuries the fashion was to work flesh in short-satin stitches +always in the vertical direction (Illustration 79). The term +"long-and-short-stitch" is frequently used by way of describing the +stitch. It does not, as I have said, help us much. The stitches are in +the first place only satin-stitches worked not in even rows, as in +Illustration 40, but so that there is no line of demarcation between one +row and another. And this, in the case of gradated colour, makes the +shading softer. The words long-and-short apply strictly only to the +outer row of stitches. You begin, that is to say, with alternately long +and short stitches. If you work after that with stitches of equal +length, they necessarily alternate or dovetail. If the form to be worked +necessitates radiation in the stitching, there results a texture +something like the feathering of a bird's breast (Illustration 85), +whence the name plumage-stitch, another term describing not so much a +stitch as the use of a stitch. + +No matter what the stitch, one must be able to draw in order to express +form: it is rather more difficult to draw with a needle than with a pen, +that is all. True, the designer may do that for you, and make such a +workmanlike drawing that there is no mistaking it; but it takes a +skilled draughtsman to do it. + +[Illustration: 76. SHADING IN SHORT STITCHES.] + +In flattish decorative work, where the drawing is in firm lines, as in +Illustration 87, the task of the embroidress is relatively easy--there +is not much shading, for example, in the drapery of King Abias, and the +vine leaves are merely worked with yellower green towards the edges. +Even where there is strong shading, a draughtsman who knows his +business may make shading easy by drawing his shadows with firm +outlines. The taste of the artist who designed the roses in Illustration +75 is too pictorial to win the heart of any one with a leaning towards +severity of design; too much relief is sought; but the way he has got it +shows the master workman; he has deliberately laid in _flat_ washes of +colour, each with its precise outline, which the worker had only to +follow faithfully with flat tambour work. A design like that, given the +working drawing, asks little of the worker beyond patient care: of the +designer it asks considerable knowledge. + +A yet more pictorial effect is produced in much the same way, this time +in satin stitch, in Illustration 76. The artist has for the most part +drawn his shadows with crisp brush strokes, which the worker had no +difficulty in following; but there is some rounding of the birds' bodies +which a merely mechanical worker could not have got. In fact, there are +indications that this is the work more of a painter than of an +embroidress, who would have acknowledged by her stitches the feathering +of the birds' necks as well as their roundness. + +[Illustration: 77. SHADING IN LONG-AND-SHORT AND SPLIT STITCHES.] + +You can embroider, of course, without knowing much about drawing; but +you cannot go far in the direction of shading (not drawn for you, or +only vaguely drawn) without the appreciation of form which comes only of +knowing and understanding. There is evidence of such knowledge and +understanding in the working of the lion in Illustration 77. That is +not a triumph of even stitching; but it is a triumph of drawing with the +needle. The short satin and split stitches are not placed with the +regularity so dear to the human machine, but they express the design +perfectly. The embroiderer of that lion was an artist, perhaps the +artist who designed it. "It might be a _man's_ work," was the verdict of +an embroidress. At all events it is the work of some one who could draw, +and only a draughtsman or draughtswoman could have worked it. + +This is not said wholly in praise of shading. Embroidery ought, for the +most part, to do very well without it. The point to insist upon is that, +if shading is employed at all, it should mean something, and not be mere +fumbling after form. + +The charm of shading in embroidery is not the roundness of form which +you get, but the gradation of colour which it gives. This may be very +delicately and subtly got by split-stitch, which renders that stitch so +valuable in the rendering of flesh tints. But the blending of colour +into colour which is universally admired is not quite so admirable as +people think. One may easily employ too many shades of colour, easily +merge them too imperceptibly one into the other, getting only unmeaning +softness. An artist prefers to see few shades employed, and those chosen +with judgment and placed with deliberate intention. If they mean +something, there is no harm in letting it be seen where they meet: broad +masses give breadth: vagueness generally means ignorance. That is, +perhaps, why one dislikes it, and why it is so common. + + + + +FIGURE EMBROIDERY. + + +To an accomplished needlewoman embroidery offers every scope for art, +short of the pictorial; and the artist is not only justified in +lavishing work upon it, but often bound to do so, more especially when +it comes to working with materials in themselves rich and costly. A +beautiful material, if you are to better it (and if not why work upon it +at all?), must be beautifully worked. Costly material is worth precious +work; and there should be by rights a preciousness about the needlework +employed upon it, preciousness of design and of execution. To put the +value into the material is mere vulgarity. + +It seems to an artist almost to go without saying, that the labour on +work claiming to be art should be in excess of the value of the stuff +which goes to make it. What we really prize is the hand work and the +brain work of the artist; and the more precious the stuff he employs, +the more strictly he is bound to make artistic use of it. I do not mean +by that _pictorial_ use. You can get, no doubt, with the needle effects +more or less pictorial--most often less; but, when got, they are usually +at the best rather inferior to the picture of which they are a copy. + +Work done should be better always than the design for it, which was a +project only, a promise. The fulfilment should be something more. A +design of which the promise is not likely to be fulfilled in the +working-out is, for its purpose, ill-designed. To say that you would +rather have the drawing from which it was done (and that is what you +feel about "needle pictures") is most severely to condemn either the +designer or the worker, or perhaps both. Only a competent figure +painter, for example, can be trusted to render flesh with the needle; +her success is in proportion to her skill with the implement, but in any +case less than what might be achieved in painting: then why choose the +needle? + +Admitting that a painter who by choice or chance takes to the needle may +paint with it satisfactorily enough, that does not go to prove the +needle a likely tool to paint with. It is anything but that. There was +never a greater mistake than to suppose, as some do who should know +better, that, to raise embroidery to the rank of art, figure work is +necessary. The truth is that only by rare exception does embroidered +figure work rise to the rank of art: the rule is that it is degraded, +the more surely as it aims at picture. And that is why, for all that has +been done in the way of wonderful picture work, say by the Italians and +the Flemings of the Early Renaissance, the pictorial is not the form of +design best suited to embroidery. + +Needlework, like any other decorative craft, demands treatment in the +design, and the human figure submits less humbly to the necessary +modification than other forms of life. Animals, for instance, lend +themselves more readily to it, and so do birds; fur and feathers are +obviously translatable into stitches. Leaves and flowers accommodate +themselves perhaps better still; but each is best when it is only the +motive, not the model, of design. If only, then, on account of the +greater difficulty in treating it, the figure is not the form of design +most likely to do credit to the needle, and it is absurd to argue that, +figure work being the noblest form of design, therefore the noblest form +of embroidery must include it. + +The embroidress entirely in sympathy with her materials will not want +telling that the needle lends itself better to forms less fixed in their +proportions than the human figure; the decorator will feel that there is +about fine ornament a nobility of its own which stands in need of no +pictorial support; the unbiassed critic will admit that figure design of +any but the most severely decorative kind is really outside the scope of +needle and thread; and that the desire to introduce it arises, not out +of craftsmanlikeness, but out of an ambition which does not pay much +regard to the conditions proper to needlework. Those conditions should +be a law to the needlewoman. What though she be a painter too? She is +painting now with a needle. It is futile to attempt what could be better +done with a brush. She should be content to work the way of the needle. +Common sense asks that much at least of loyalty to the art she has +chosen to adopt. + +Wonderful and almost incredibly pictorial effects have been obtained +with the needle; but that does not mean to say it was a wise thing to +attempt them. The result may be astonishing and yet not worth the pains. +The pains of flesh-painting with the needle (if not the impossibility of +it for all practical purposes) is confessed by the habit which arose of +actually painting the flesh in water colour upon satin. Paint on satin, +if you like. There may be occasions when there is no time to stitch, and +it is necessary for some ceremonial and more or less theatric purpose to +paint what had better have been worked. The more frankly such work +acknowledges its temporary and makeshift character the better. Scene +painting is art, until you are asked to take it for landscape painting. +Anyway, the mixture of painting and embroidery is not to be endured; and +it is a poor-spirited embroidress who will thus confess her weakness and +call on painting to help her out. It does not even do that, it fails +absolutely to produce the desired effect. The painting quarrels with +the stitching, and there is after all no semblance of that unity which +is the very essence of picture. + +[Illustration: 78. CHINESE CHAIN-STITCHING.] + +An instance of painted flesh occurs upon Illustration 91. Can any one, +in view of the bordering to the picture, doubt that the worker had much +better have kept to what she could do, and do perfectly, ornament? An +example, on the other hand, of what may be done in the way of expressing +action in the fewest and simplest chain stitches (if only you know the +form you want to represent and can manage your needle) is given in the +wee figures in the landscape above (78). + +[Illustration: 79. FIFTEENTH CENTURY FIGURE WORK.] + +In speaking of the necessary treatment of the human figure (as of other +natural form) in needlework, it is not meant to contend that there is +one only way of treating it consistently, or that there are no more +than two or three ways. There are various ways, some no doubt yet to be +devised, but they must be the ways of the needle. The flesh, of course, +is the main difficulty. A Gothic practice, and not the least happy one, +was to show the flesh in the naked linen of the ground, only just +working the outlines of the features in black or brown. Another way was +to work the face in split stitch, as already explained, and over that +the markings of the features, the fine lines in short satin-stitches, +the broader in split-stitch, as shown in the figure of King Abias in +Illustration 87. + +The general treatment of the figure there is of course in the manner of +the 14th century, better suited, from its severe simplicity, for +rendering in needlework than later and more pictorial forms of +composition. That needlework can, however, in capable hands, go farther +than that is shown in Illustration 79, a rather threadbare specimen of +15th century work, in which the character of the man's face is admirably +expressed. It is first worked in short, straight stitches, all of white, +and over that the drawing lines are worked in brown. The artist gets her +effect in the simplest possible way, and apparently with the greatest +ease. + +[Illustration: 80. SIXTEENTH CENTURY ITALIAN FIGURE WORK.] + +More like painting is the head in Illustration 80, worked in short +stitches of various shades, which give something of the colour as well +as the modelling of flesh. This is a triumph in its way. It goes about +as far as the needle can go, and further than, except under rare +conditions, it ought to go. But it may do that and yet be needlework. + +Equally wonderful in their miniature way are the faces of the little +people on Illustration 81, about the size of your finger nail. They are +worked in solid satin-stitch, and the two layers of silk (back and +front) give a substance fairly thick but at the same time yielding, so +that when the stitches for the mouth and eyes are sewn tightly over it +they sink in, and, as it were, push up the floss between and give +relief. The nose is worked in extra satin-stitch over the other, and the +slight depression at the end of the stitch gives lines of drawing. This +trenches upon modelling, but, on such a minute scale, does not amount to +very pronounced departure from the flat. The method employed does not +lend itself to larger work. + +The last word on the question as to what one may do with the needle is, +that you may do what you _can_; but it is best to seek by means of it +what it can best do, and always to make much of the texture of silk, and +of the quality of pure and lustrous colour which it gives--in short, to +work _with_ your materials. + +[Illustration: 81. CHINESE FIGURES.] + + + + +THE DIRECTION OF THE STITCH. + + +The effect of any stitch is vastly varied, according to the use made of +it. Satin-stitch, it was shown (38), worked in twisted silk, ceases to +have any appearance of satin; and it makes all the difference whether +the stitches are long or short, close together or wide apart. More +important than all is the direction of the stitch. By that alone you can +recognise the artist in needlework. + +The DIRECTION of the stitch deserves consideration from two points of +view--that of colour and that of form. First as to colour. It is not +sufficiently realised that every alteration in the direction of the +stitch means variety of tone, if not of tint. Take a feather in your +hand, and turn it about, so that now one side of the quill now the other +catches the light; or notice the alternate stripes of brighter and +greyer green on a fresh-trimmed lawn, where the roller has bent the +blades of grass first this way and then that. So it is with the colour +of silken stitches. The pattern opposite (82) looks as if it had been +embroidered in two shades of silk; in the work itself it has still more +that appearance; but it is all in one shade of brownish gold: the +difference which you see is merely the effect of light upon it. The +horizontal stitches, as it happens, catch the light; the vertical ones +do not. Had the light come from a different point, the effect might have +been reversed. If there had been diagonal stitches from right to left, +they would have given a third tint; and, if there had been others from +left to right, they would have given a fourth. + +[Illustration: 82. INFLUENCE OF STITCH-DIRECTION UPON COLOUR.] + +Suppose a pattern in which the leaves were worked horizontally, the +flowers vertically, and the stalks in the direction of their growth, all +in one stitch and in one colour, there would be a very appreciable +difference in tone between leaves, flowers, and stalks. In gold, the +difference would be yet more striking. And that is one reason why gold +backgrounds are worked in diapers; not so much for the sake of pattern +as to get variety of broken tint. + +In the famous Syon Cope the direction of the stitching is frankly +independent of the design. That is to say, that, while the pattern +radiates naturally from the neck, the stitches do not follow suit, but +go all one way--the way of the stuff. This, though rather a brutal +solution of the difficulty, saves all afterthought as to what direction +the stitches shall take; but it has very much the effect of weaving. The +embroiderer of the 13th century was not afraid of that (aimed at it, +perhaps?), and was, apparently, afraid of letting go the leading strings +of warp and weft. + +When stitches follow the direction of the form embroidered, +accommodating themselves to it, all manner of subtle change of tone +results. You get, not only variety of colour, but more than a suggestion +of form. + +That is the second point to be considered. + +[Illustration: 83. MEANINGLESS DIRECTION OF STITCH.] + +The direction taken by the stitch always helps to explain the drawing; +or, if the needlewoman cannot draw, to show that she cannot--as, for +example, in the tulip herewith (83). A less intelligent management of +the stitch it would be hard to find. The needlestrokes, far from helping +in the very slightest degree to explain the folding over of the petals, +directly contradict the drawing. The flower might almost have been +designed to show how not to do it; but it is a piece of old work, quite +seriously done, only without knowing. The embroidress is free, of +course, to work her stitches in a direction which does not express form +at all, so as to give a flat tint, in which is no hint of modelling; but +the intention is here quite obviously naturalistic. The rendering below +(84) shows the direction the stitches should have taken. The turn-over +of the petals is even there not very clearly expressed, but that is the +fault of the drawing (very much on a par with the workmanship), from +which it would not have been fair to depart. + +[Illustration: 84. MORE EXPRESSIVE LINES OF STITCHING.] + +A more clever fulfilment of the naturalistic intention is to be seen in +Illustration 76. The drawing of the doves is in the rather loose manner +of the period of Marie Antoinette; but the treatment of the stitch is +clever in its way--the way, as I have said, rather of painting than of +embroidery, giving as it does the roundness of the birds' bodies but no +hint of actual feathering, such as you find in the bird in Illustration +85. There, every stitch helps to explain the feathering. By a discreet +use of what I must persist in calling the same stitch (that is, +satin-stitch and the variety of it called plumage-stitch) the +embroiderer has rendered with equal perfection the sweep of the broad +wing feathers and the fluffy feathering of the breast. It is by means of +the direction of the stitch, too, that the drawing of the neck is so +perfectly rendered. + +[Illustration: 85. SATIN AND PLUMAGE STITCHES.] + +The direction of the stitch is varied to some purpose in the head in +Illustration 80, where the flesh is all in straight upright stitches, +whilst the hair is stitched in the direction of its growth. + +The five petals on the satin-stitch sampler (Illustration 36)--to +descend from the masterly to the elementary--show something of the +difference it makes in what direction the stitch is worked. It matters +more, of course, in some stitches than in others; but in most cases the +direction of the stitch suggests form, and needs accordingly to be +considered. + +It scarcely needs further pointing out how the direction of the stitch +may help to explain the construction of the form, as in the case of +leaves, for example, where the veining may be suggested; or of stalks, +where the fibre may be indicated. There is no law as to the direction of +stitch, except that it should be considered. You may follow the +direction of the forms, you may cross them, you may deliberately lay +your stitches in the most arbitrary manner; but, whatever you do, you +must do it with intelligent purpose. An artist or a workwoman can tell +at once whether your stitch was laid just so because you meant it or +because you knew no better. + +Having laid your stitches deliberately, it is best to leave them, and +not to work over them with other stitching. Stitching over stitching was +resorted to whenever elaboration was the fashion; but the simpler and +more direct method is the best. The way the veins are laid in cord over +the satin-stitch in the lotus leaves in Illustration 40 is the one fault +to be found with an all but perfect piece of work. + +The stitching over the laid silver mid-rib in Illustration 92 is better +judged. It may be said, generally speaking, that except where, as in the +case of laid-work, the first stitching was done in anticipation of a +second, and the work would be incomplete without it, stitching over +stitches should be indulged in only with moderation. + +Stitching is sometimes done not merely over stitches, but upon the +surface of them, not penetrating the ground-stuff. Unless, in such a +case, the first stitching is of such compact character as to want no +strengthening, it amounts almost to a sin against practicality not to +take advantage of the second stitching to make it firmer. + + + + +CHURCH WORK. + + +It is customary to draw a distinction between church, or ecclesiastical +as it is called, and other embroidery; but it is a distinction without +much difference. Certain kinds of work are doubtless best suited to the +dignity of church ceremonial, and to the breadth of architectural +decoration; accordingly, certain processes of work have been adopted for +church purposes, and are taken as a matter of course--too much as a +matter of course. The fact is, work precisely like that employed on +vestments and the like (Illustration 86) was used also for the caparison +of horses and other equally profane purposes. + +[Illustration: 86. RENAISSANCE CHURCH WORK.] + +Practical considerations, alike of ceremonial and decoration, make it +imperative that church work should be effective: religious sentiment +insists that it should be of the best and richest, unsparingly, and even +lavishly given; common sense dictates that the loving labour spent upon +it should not be lost. And these and other such considerations involve +methods of work which, by constant use for church purposes, have come to +be classed as ecclesiastical embroidery. But there is no consecrated +stitch, no stitch exclusively belonging to the church, none probably +invented by it. For embroidery is a primitive art--clothes were stitched +before ever churches were furnished; and European methods of embroidery +are all derived from Oriental work, which found its way westwards at a +very early date. Phrygia (sometimes credited with the invention of +embroidery) passed it on to Greece, and Greece to Italy, the gate of +European art. + +Christianity produced new forms of design, but not new ways of work. The +methods adopted in the nunneries of the West were those which had +already been perfected in the harems of the East. + +Embroidery for the church must naturally take count of the church, both +as a building and as a place of worship; but, as apart from all other +needlework, there is no such thing as church embroidery; and the +branding of one very dull kind of thing with that name is in the +interest neither of art nor of the church, but only of business. +"Ecclesiastical art" is just a trade-term, covering a vast amount of +soulless work. There is in the nature of things no reason why art should +be reserved for secular purposes, and only manufacture be encouraged by +the clergy. The test of fitness for religious service is religious +feeling; but that is hardly more likely to be found in the output of the +church furnisher (trade patterns overladen with stock symbols), than in +the stitching of the devout needlewoman, working for the glory of God, +in whose service of old the best work was done. + +Many of the examples of old work given on these pages are from church +vestments, altar furniture, and the like; information on that point will +be found in the descriptive index of illustrations at the beginning of +the book; but they are here discussed from the point of view of +workmanship, with as little reference as possible to religious or other +use: that is a question apart from art. + +The distinguishing features of church work should be, in the first +place, its devotional spirit, and, in the second, its consummate +workmanship. In it, indeed, we might expect to find work beyond the +rivalry of trade controlled by conditions of time and money. Even then +it would be but the more perfect expression of the same art which in its +degree ennobled things of civic and domestic use. + +Church embroidery, as usually practised in these days, is not only the +most frigid and rigid in design, but the hardest and most mechanical in +execution--which last arises in great part from the way it is done. It +is not embroidered straight upon the silk or velvet which forms the +groundwork of the design, but separately on linen. The pattern thus +worked is cut out, and either pasted straight on to the ground-stuff, +or, if the linen is at all loose, first mounted on thin paper and then +cut out and pasted on to the velvet, where it is kept under pressure +until it is dry. In either case the edges have eventually to be worked +over. + +This habit of working on linen or canvas and applying the embroidery +ready worked on to the richer stuff, though early used on occasion, does +not seem to have been common until a period when manufacture generally +usurped the place of art. The work in Illustration 87 was done directly +on to the silk. In the latter half of the 18th century there was a +regular trade in embroidery ready to sew on, by which means purveyors +could turn out in a day or two what would have taken months to +embroider. + +Even if it had been the invariable mediæval practice to work sprays or +what not upon canvas and apply them bodily to the velvet, that would not +make it the more workmanlike or straightforward way of working. If +needle stitches are the ostensible means of getting an effect upon a +stuff, it seems only right they should be stitched upon that stuff. To +work the details apart and then clap them on to it, stands to embroidery +very much in the relation of hedge-carpentering to joinery. Nor is it +usually happy in result. Occasionally, as in the case of Miss C. P. +Shrewsbury's vine-leaf pattern (Illustration 88), it disarms criticism. +More often it looks stuck-on. A way of avoiding that look is to add +judicious after-stitching on the stuff itself; and this must not be +confined to the sewing on or outlining merely, but allowed to wander +playfully over the field, so as to draw your eye away from the margin of +the applied patch, and lead you to infer that, some of the needlework +being obviously done on the velvet, all of it is. But to disguise in +this way the line of demarcation, even if you succeed in doing it, is at +best the art of prevarication. + +[Illustration: 87. GOTHIC CHURCH WORK.] + +No doubt it is difficult to work upon velvet. The stuff is not very +sympathetic, and the stitching has a way of sinking into the pile, and +being, as it were, drowned in it. But the trailing spirals of +split-stitch which play about the applied spots in many a mediæval altar +cloth hold their own quite well enough to show that silk can be worked +straight on to the velvet. + +That gold may be equally well worked straight on to velvet may be seen +in any Indian saddle cloth. Heavy work of this kind may be rather man's +work than woman's; but that is not the point. The question is, how to +get the best results; and the answer is, by working on the stuff. + +It may be argued that in this way you cannot get very high relief; but +the occasions for high relief are, at the best, rare. If you want actual +modelling, as in the Spanish work referred to in a previous chapter, +that must, of course, be worked separately, built up, as it were, upon +the canvas and worked over. And there is no reason why it should not, +for in no case does it appear to be stitching. In fact, it aims +deliberately at the effect of chased and beaten metal. + +[Illustration: 88. MODERN CHURCH WORK BY MISS SHREWSBURY.] + +Heavy appliqué of any kind affects, of course, not only the thickness +but the flexibility of the material thus enriched--an important +consideration if it is meant to hang in folds. + + + + +A PLEA FOR SIMPLICITY. + + +The simplest patterns are by no means the least beautiful. It is too +much the fashion to underrate the artistic value of the less pretentious +forms of needlework, and especially of flat ornament, which +has, nevertheless, its own very important place in decoration. As for +geometric pattern, that is quite beneath consideration--it is so +mechanical! Mechanical is a word as easily spoken as another; but if +needlework is mechanical, that is more often the fault of the +needlewoman than of the mechanism she employs. The Orientals, who +indulged so freely in geometric device, were the least mechanical of +workers. It is our rigid way of working it which robs geometric ornament +of its charm. The needleworker has less than ever occasion to be afraid +of geometric pattern; for it is peculiarly difficult to get in it that +appearance of rule-and-compass-work which makes ornament so dull. + +The one real objection to geometric pattern is that it is nowadays so +cheaply and so mechanically got by _weaving_ that, however freely it may +be rendered, there is a danger of its suggesting mechanical production, +which embroidery emphatically ought not to do. There is a similar +objection nowadays to some stitches, such, for example, as chain-stitch +and back-stitch, which suggest the sewing-machine. + +Embroidery does not to-day take quite the place it once did. It was +used, for example, by the early Coptic Christians to supplement +tapestry. That is to say, what they could not weave they stitched; it +was only to get more delicate detail than their tapestry loom would +allow, that they had recourse to the needle. Needlework was, in fact, an +adjunct to weaving. Later, in mediæval times, the Germans of Cologne, +for their church vestments and the like, wove what they could, and +enriched their woven figures with embroidery. + +Again, a great deal of Oriental embroidery, and of peasant work +everywhere, is merely the result of circumstances. Where money is scarce +and time is of no account, it answers a woman's purpose to do for +herself with her needle what might in some respects be even better done +on the loom. Her preference for handwork is not that it has artistic +possibilities, but that it costs her less. She would in many cases +prefer the more mechanically produced fabric, if she could get it at the +same price. We do not find that Orientals reject the productions of the +power-loom--which they would do if they had the artistic instincts with +which we credit them. + +[Illustration: 89. SIMPLE STITCHING ON LINEN.] + +It results from our conditions of to-day that there are some kinds of +needlework we admire, which yet are not worth our doing, such, for +example, as the all-over work, which does not amount to more than simple +diaper, and which really is not so much embroidering on a textile as +converting it into one of another kind. Glorified instances of this kind +of work occur in the shawl work of Cashmere, and in those beautiful bits +of Persian stitching which remind one of carpet-work in miniature, if +they are not in fact related to carpet-weaving. + +Embroidery was at one time the readiest, and practically the only, means +of getting enrichment of certain kinds. To-day we get machine +embroidery. As machinery is perfected, and learns to do what formerly +could be done only by the needle, hand-workers get pushed aside and fall +out of work. Their chance is, in keeping always in advance of the +machine. There is this hope for them, that the monotony of machine-made +things produces in the end a reaction in favour of handwork--provided +always it gives us something which manufacture cannot. Possibly also +there is scope for amateurs and home-artists in that combination of +embroidery and hand-weaving with which the power-loom, though it has +superseded it, does not enter into competition. + +[Illustration: 90. SIMPLE COUCHING ON LINEN.] + +It is not so much for geometric ornament as for simple pattern that I +here make my plea, for that reticent work of which so much was at one +time done in this country--mere back-stitching, for example, or what +looks like it, in yellow silk upon white linen; or the modest diaper, +archaic, if you like, but inevitably characteristic, in which the +naïveté of the sampler seems always to linger; or again, the admirably +simple work in Illustration 89. This last does not show so delicately in +the photographic reproduction as it should, because, being in grey and +yellow on white linen, the relative value of the two shades of colour is +lost in the process. In the original the broader yellow bands are much +more in tone with the ground, and do not assert themselves so much. Such +as it is, only an artist could have designed that border-work, and any +neat-handed woman could have embroidered it. + +Think again of the delicate work in white on white, too familiar to need +illustration, which makes no loud claim to be art, but is content to be +beautiful! Is that to be a thing altogether of the past now that we have +Art Needlework? Art needlework! It has helped put an end to the patience +of the modern worker, and to inspire her too often with ambitions quite +beyond her powers of fulfilment. + +What one misses in the work of the present day is that reticent and +unpretending stitchery, which, thinking to be no more than a labour of +loving patience, is really a work of art, better deserving the title +than a flaunting floral quilt which goes by the name of "art +needlework"--designed apparently to worry the eye by day and to give bad +dreams by night to whoever may have the misfortune to sleep under it. Is +anyone nowadays modest enough to do work such as the couching in outline +in Illustration 90? Yet what distinction there is about it! + + + + +EMBROIDERY DESIGN. + + +Perfect art results only when designer and worker are entirely in +sympathy, when the designer knows quite what the worker can do with her +materials, and when the worker not only understands what the designer +meant, but feels with him. And it is the test of a practical designer +that he not only knows the conditions under which his design is to be +carried out, but is ready to submit to them. + +The distinction here made between designer and embroiderer is not +casual, but afore-thought, notwithstanding the division of labour it +implies. Enthusiasm has a habit of outrunning reason. Because in some +branches of industry subdivision of labour has been carried to absurd +excess, it is the fashion to demand in all branches of it the autograph +work of one person, which is no less absurd. To try and link together +faculties which Nature has for the most part put asunder, is futile. + +That designer and worker should be one and the same person is an ideal, +but one only very occasionally fulfilled. When that happens +(Illustrations 61 and 88) it is well. But the attempt to realise it +commonly works out in one of two ways: either a good design is spoilt in +the working for want of executive skill on the part of the designer, or +good workmanship is spent on poor design, as good, perhaps, as one has +any right to expect of a skilled needleworker. + +The fact is, you can only make out all the world to be designers by +reducing design to what all the world can do. And that is not much. +There is a point of view from which it does not amount to design at all. + +The study of design forms part of the education of an embroidress, not +so much that she may design what she works, but that she may know in the +first place what good design is, and, in the second, be equal to the +ever-recurring occasion when a design has to be modified or adapted. If, +in thus manipulating design not hers, she should discover a faculty of +invention, she will want no telling to exercise it. A designer wants no +encouragement to design--she designs. + +There would be no occasion to insist upon this, were it not for the +prevalence at the present moment of the idea that a worker, in whatever +art or handicraft, is in artistic duty bound to design whatever she puts +hand to do. That is a theory as false as it is unkind; let no +embroidress be discouraged by it. Let her, unless she is inwardly +impelled to invent, remain content to do good needlework. That is her +art. Her business as an artist is to make beautiful things. Co-operation +in the making of them is no crime. + +And what, then, about originality? Originality is a gift beyond price. +But it is not a thing which even the designer should struggle after. It +comes, if it is there. There is a revengeful consolation for the pain we +suffer from design about us writhing to be up-to-date, in the thought +that its contortions tell what pain it cost to do. The birth of beauty +is a less agonising travail; and the thing to seek is beauty, not +novelty. Whoever planned the lines of the border in Illustration 91, or +treated the leafage in Illustration 92, was not trying to be original, +but determined to do his best. Artists and workers of individuality and +character are themselves, without being so much as aware that +originality has gone out of them. + +[Illustration: 91. RENAISSANCE ORNAMENT.] + +To assume, then, that every needlewoman is, or can ever be, competent to +design what she embroiders, is to make very small account of design. How +is it possible to take design seriously and yet think it is to be +mastered without years of patient study, which few workwomen can or will +devote to it? Any cultivated woman may for herself invent (if it is to +be called invention) something better worth working than is to be bought +ready to work. And that may do for many purposes, so long as it does not +claim to be more than it is; but in the case of really important work, +to be executed at considerable cost not only of material, but of patient +labour, surely it is worth giving serious thought to its design. The +scant consideration commonly given to it shows how little the worker is +in earnest. Or has she thought? And is she persuaded that her artless +spray of flowers, or the ironed-off pattern she has bought, is all that +art could be? It would be rude to tell her she was wasting silk! How +should she know? + +The only way of knowing is to study, to look at good work, old work by +preference; it is worth no one's while to praise that unduly. And if in +all that is now so readily accessible she finds nothing to admire, +nothing which appeals to her, nothing which inspires her, then her case +is hopeless. If, on the other hand, she finds only so much as one style +of work sympathetic to her, studies that, lets its spirit sink into her, +tries to do something worthy of it, then she is on the right road. +Measure yourself with the best, not with the common run of work; and if +that should put you out of conceit with your own work, no great harm is +done; sooner or later you have got to come to a modest opinion of +yourself, if ever you are to do even moderate things. + +[Illustration: 92. LEAF TREATMENT IN APPLIQUÉ.] + +But the "best" above referred to does not necessarily mean the most +masterly. The best of a simple kind is not calculated to discourage +anyone--rather, it looks as if it must be easy to do that; and in trying +to do it you learn how much goes to the doing it. Good design need not +be of any great importance or pretensions. It may be quite simple, if +only it is right; if the lines are true, the colour harmonious; if it is +adapted to its place, to its use and purpose, to execution not only with +the needle but in the particular kind of needlework to be employed. + +There has of late years been something of a revival of needlework design +in schools of art, and some very promising and even most accomplished +work has been done; but in many instances, as it seems to me, it is +rather design which has been translated into needlework, than design +clearly made for execution with the needle. A really appropriate and +practical design for embroidery should be schemed not merely with a view +to its execution with the needle, but with a view to its execution in a +particular stitch or stitches--and possibly by a particular embroidress. +To be safe in designing work so minute as that on Illustration 93, one +must be sure of the needlewoman who is to execute it. + +[Illustration: 93. DELICATE SATIN-STITCH--WORKED BY MISS BUCKLE.] + +My reference to old work must not be taken to imply that design should +be in imitation of what has been done, or that it should follow on those +lines. Design was once upon a time traditional; but the chain of +tradition has snapped, and now conscious design must be eclectic--that +is to say, one must study old work to see what has been done, and how +it has been done, and then do one's own in one's own way. It is at least +as foolish to break quite away from what has been done as to tether +yourself to it. And in what has been done you will see, not only what is +worth doing, but what is not. That, each must judge for herself. For my +part, it seems to me the thing best worth doing is ornament. Any way, +this much is certain (and you have only to go to a museum to prove it), +that there is no need for needleworkers, unless their instinct draws +them that way, to take to needle painting, to pictures in silk, or even +to flower stitching. + +The limitations of embroidery are not so rigidly marked as the +boundaries of many another craft. There is little technical difficulty +in representing flowers, for example, very naturally--too naturally for +any dignified decorative purpose. Embroiderer or embroidery designer +will, as a matter of fact, be constantly inspired by flower forms, and +silk gives the pure colour of their petals as nearly as may be. But, +though the pattern be a veritable flower garden, the embroidress will +not forget, to use the happy phrase of William Morris, that she is +gardening with silks and gold threads. + +Let the needleworker study the work of the needle in preference to that +of the brush; let her aim at what stuff and threads will give her, and +give more readily than would something else. Let her work according to +the needle: take that for her guide, not be misled by what some other +tool can do better; do what the needle can do best, and be content with +that. That is the way to Art in Needlework, and the surest way. + + + + +EMBROIDERY MATERIALS. + + +Embroidery is not among the things which have to be done, and must be +done, therefore, as best one can do them. It is in the nature of a +superfluity: the excuse for it is that it is beautiful. It is not worth +doing unless it is done well, and in material worth the work done on it. +If you are going to spend the time you must spend to do good work, it is +worth while using good stuff, foolish to use anything else. The stuff +need not be costly, but it should be the best of its kind; and it should +be chosen with reference to the work to be done on it, and _vice versâ_. +A mean ground-stuff suggests, if it does not necessitate, its being +embroidered all over, ground-work as well as pattern; a worthier one, +that it should not be hidden altogether from view; a really beautiful +one, that enough of it should be left bare of ornament that its quality +may be appreciated. + +[Sidenote: STUFFS.] + +It goes without saying, that for big, bold stitching a proportionately +coarse ground-stuff should be used, and for delicate work, one of finer +texture; whether it be linen, woollen cloth, or silk, your purpose will +determine. + +Linen is a worthy ground-stuff, which may be worked on with flax thread, +crewel, or silk, but they should not be mixed. Cotton is hardly worth +embroidering. Of woollen stuffs, good plain cloth is an excellent ground +for work in wool or silk, but it is not pleasant to the touch in +working. Serge, if not too loose, may serve for curtains and the like, +but it is not so well worth working upon. Felt is beneath contempt. + +The nobler the material, the more essential it is that it should be of +the best. Poor satin is not "good enough to work on;" it looks poorer +than ever when it is embroidered. + +Satin should be stretched upon the frame the way of the stuff, and it +should not be forgotten that it has a right and a wrong way up. If it is +backed, the linen should be fine and smooth: on a coarse backing, the +satin gets quickly worn away, as you may see in many a piece of old work +that has gone ragged. + +"Roman satin" and what is called "_satin de luxe_" (perhaps because it +is not so luxurious as it pretends to be) are effective ground-stuffs +easy to work upon; but there is an odour of pretence about satin-faced +cotton. + +A corded silk is not good to embroider; the work on it looks hard; but a +close twill answers very well. Silk damask makes an admirable ground +beautifully broken in colour, if only it is simple and broad enough in +pattern. Generally speaking, you can hardly choose a design too big and +flat; but something depends upon the work to be done on it. In any case, +the pattern of the damask ought not to assert itself, and if you can't +make out its details, so much the better. + +Brocade asserts itself too much to form a good background. There is a +practice of embroidering the outlines, or certain details only, of +damask and brocade patterns. That is a fair way of further enriching a +rich stuff; but it is embroidery merely in the sense that it is +literally embroidered: the needlework is only supplementary to weaving. + +Tussah silk of the finer sort is easy to work in the hand. The thinner +and looser quality needs to be worked in a frame, and with smooth silk +not tightly twisted. + +[Sidenote: THREAD.] + +With regard to the thread to work with: The coarser kinds of flax are +best waxed before using. The crewel to be preferred is that not too +tightly twisted. Filoselle is well adapted to couching, and may be laid +double (24 threads). French floss is smooth, and does well for laid +work; for fine work bobbin floss, or what is called "church floss," is +better; the slight twist in filo-floss is against it; very thick floss +may be used for French knots. + +For couching gold, a very fine twisted silk does well. Purse silk, thick +and twisted, lends itself perfectly to basket work. Working in coloured +silks, one should take advantage of the quality of pure transparent +colour which silk takes in the dyeing. The palette of the embroiderer in +silk is superlatively rich. + +[Sidenote: GOLD.] + +The purest gold is generally made on a foundation of _red_ silk. +Japanese gold does not tarnish so readily as "passing," which is in some +respects superior to it. For stitching through, there is a finer thread, +called "tambour." Flat gold wire is known by the name of "plate," and +various twisted threads by the name of "purl." + +[Sidenote: CHENILLE.] + +A not very promising substance to embroider with is chenille. It came +into use in the latter half of the 17th century, and was still in +fashion in the time of Marie Antoinette. The use of it is shown in +Illustration 75, where the darker touches of the roses are worked in it. +Chenille seems to have been used instead of smooth silk, much as in +certain old-fashioned water-colour paintings gum was used with the +paint, or over it, to deepen the shadows. The material is used again in +the wreath on Illustration 76. It is worked there in chain-stitch with +the tambour needle: it may also be worked in satin-stitch; but the more +obvious way of using it is to couch it, cord by cord, with fine silk +thread. There is this against chenille, that its texture is not +sympathetic to the touch, and that there is a stuffy look about it +always. Nor does it seem ever quite to belong to the smooth satin ground +on which it is worked. + +[Sidenote: RIBBON.] + +[Sidenote: SHADED SILK.] + +There is less objection to embroidery in ribbon, which also had its day +in the 18th century. It was very much the fashion for court dresses +under Louis Seize--"_Broderie de faveur_," as it was called, whence our +"lady's favour"--_faveur_ being a narrow ribbon. Some beautiful work of +its kind was done in ribbon, sometimes _shaded_. Shaded silk, by the +way, may be used to artistic purpose. There is, for example, in the +treasury of Seville Cathedral a piece of work on velvet, 13th century, +it is said, rather Persian in character, in which the forms of certain +nondescript animals are at first sight puzzlingly prismatic in colour. +They turn out to be roughly worked in short stitches of parti-coloured +silk thread. The result is not altogether beautiful, but it is extremely +suggestive. + +[Sidenote: RIBBON.] + +The effect of ribbon work is happiest when it is not sewn through the +stuff after the manner of satin stitch, but lies on the surface of the +satin ground, and is only just caught down at the ends of the loops +which go to make leaves and petals. The twist of the ribbon where it +turns gives interest to the surface of the embroidery, which is always +more or less in relief upon the stuff, easy to crush, and of limited use +therefore. + +[Illustration: 94. LEATHER APPLIQUÉ UPON VELVET.] + +An effect of ribbon work, but of a harder kind, was produced by onlaying +narrow strips of card or parchment upon a silken ground, twisted about +after the fashion of ribbon. These, having been stitched in place, +were worked over in satin-stitch. The work has the merit of looking just +like what it is. But neither it nor ribbon embroidery is of any very +serious account. + +Passing reference has been made to other materials to embroider with +than thread. Gold wire, for example, and spangles, coral and pearls, +which have been used with admirable discretion, as well as to vulgar +purpose. Jewels also were lavished upon the embroidery of bishops' +mitres, gloves and other significant apparel, and in default of real +stones, imitations in glass, and eventually beads (or pearls) of glass, +in which we have possibly the origin of knots. Bead embroidery is at +least as old as ancient Egypt. Even atoms of looking-glass, sewn round +with silk, have been used to really beautiful effect (barbaric though it +may be) in Indian work. The question almost occurs: with what can one +not embroider? In Madras they produce most brilliant embroidery upon +muslin with the cases of beetles' wings. In the Mauritius they use +fish-scales; in North America, porcupine quills; and everywhere savage +tribes use seeds, shells, feathers, and the teeth and claws of animals. + +To return to more civilised work, there is embroidery in gold and silver +wire, allied to the art of the goldsmith, and on leather (Illustration +94), allied to the art of the saddler. It would be difficult to set any +limit to the directions in which embroidery may branch out, impossible +to describe them all. Happily, it is not necessary. A skilled worker +adapts herself to new conditions, and the conditions themselves dictate +the necessary modification of the familiar way. + + + + +A WORD TO THE WORKER. + + +A good workwoman will not encumber herself with too many tools; but she +will not shirk the expense of necessary implements, the simplest by +preference, and the best that are made. + +[Sidenote: NEEDLES.] + +Embroidery needles should have large eyes; the silk is not rubbed in +threading them, and they make way for the thread to pass smoothly +through the stuff. For working in twisted silk, the eye should be +roundish; for flat silk, long; for surface stitching or interlacing, a +blunt "tapestry needle" is best; for carrying cord or gold thread +through the stuff, a "rug needle." + +[Sidenote: THIMBLE.] + +For a thimble, choose an old one that has been worn quite smooth. + +[Sidenote: SCISSORS.] + +For scissors, be sure and have a strong, short, sharp and pointed +pair--the surgical instrument, not the fancy article. Nail scissors +would not be amiss but for the roughness of the file on the blades. + +[Sidenote: PINS.] + +For pins, use always steel ones; and for tacks, those which have been +tinned; or they will leave their mark behind them. + +[Sidenote: FRAMES.] + +For a frame, get the best you can afford; a cheap one is no economy; +but a stand for it is not always necessary. It should be rather wider +than might seem necessary, as the work should never extend to the full +width of the webbing. A tambour frame is also useful, though you have no +intention of doing tambour work. + +[Sidenote: TO STRETCH SILK.] + +In stretching silk (not backed with linen) upon a frame, some +preliminary care is necessary. The stuff should first be bordered with +strips of linen or strong tape, and into the two sides of this border +which are to be laced up a stout string should be tacked, to prevent it +from giving when the work is drawn tight. + +[Sidenote: FRAMING.] + +The way to put embroidery material (thus bordered or not) into a frame +is: first to sew it to the webbing (top and bottom), then to put the +laths or screws into the bars, tightening them evenly, and lastly to +lace it to the sides with fine string and a packing needle. + +[Sidenote: TRANSFERRING.] + +The ordinary ways of transferring a design to embroidery material are +well known: the outline may be traced down with a point over transfer +paper; it may be pricked upon paper and pounced upon the stuff in chalk +or charcoal, and then traced in with a brush or pen; or it (still the +outline only) may be stencilled. In any case, the outline marked upon +the stuff should be well within what is to be the actual outline of the +embroidery when worked. Another way, more peculiarly adapted to +needlework, is to trace the outline in ink upon fine tarlatan (leno +muslin will do for very coarse work), and, having laid this down upon +the stuff, to go over the lines again with a ruling pen and Indian ink +or colour. On a light stuff it is possible to use, instead of a pen, a +hard pencil. On a dark material one must use Chinese white, to which it +is well to add, not only a little gum (arabic), but a trace of ox-gall, +to make it work easily. One gets by this method naturally rather a +rotten line upon the ground-stuff, but it is enough for all practical +purposes. + +[Sidenote: KEEPING CLEAN.] + +Delicate work is easily rubbed and soiled in the working. It is only +reasonable precaution to protect it by a veil or covering of thin, soft, +white glazed lining, tacked round the edges on to the stuff. On this you +mark the four lines inclosing the actual embroidery, and, cutting +through three of them, you have a flap of lining, which you raise and +turn back when you are at work. If the work is very delicate, you may +make instead of one flap a succession of little ones; but you see then +only a portion of your work at a time, and cannot so well judge its +effect. + +[Sidenote: STARTING AND FINISHING.] + +In starting work, do not begin by making a knot in your thread; run a +few stitches (presently to be worked over) on the right side of the +stuff. In finishing, you run them at the back of the stuff; for greater +security still, one may end with a buttonhole-stitch. + +[Sidenote: PUCKERING.] + +There is less danger of puckering the stuff if you hold it over two +fingers (at least), keeping it taut and the thread loose. + +Working without a frame, it often comes handiest to hold the stuff +askew, and there is a natural inclination to pull it in that direction. +This temptation must be resisted, or puckering is sure to result. + +[Sidenote: DOUBLE THREAD.] + +In working with double silk or wool, it is better not to double back a +single thread, but to pass two separate threads through the eye of the +needle. The four threads (where these are turned back near the eye) make +way through the stuff for the double thread, which passes easily; +moreover, the thread by this means is not pulled too tight, and the +effect is richer. + +The stitch wants always adaptation to the work it has to do. In working +a curved line, for example, say in herring-bone-stitch, one is bound +always to take up a larger piece of stuff on its outside than on its +inner edge. + +When a thread runs short, it is better not to go on working with it, but +to take another; and in finishing off, remember to run the thread in the +direction opposite to that from which you are going to run the new one. +In starting the new stitch, you naturally bring your needle out as if it +were a continuation of that last made. + +[Sidenote: UNDOING.] + +If your work is faulty, cut it out and do it again. Unpicking is not so +satisfactory: it loosens the stuff to drag the thread back through it, +and the thread saved is of no further use. Beginners find it hard to +undo work once done; but a really good needlewoman never hesitates about +it--her one thought is to get the thing right. Don't break your thread +ever: that pulls it out of condition: cut it always. + +In working, it is well to keep strictly to the stitch you have chosen, +but not to the point of bigotry. One may finish off darning, for +example, at the edges with a satin stitch. The thing to avoid is +fudging. Moreover, stitches should be laid right at once; there should +be no boggling and botching, no working-over with stitches to make +good--that is not playing fair. + +[Sidenote: SMOOTHING.] + +When the needlework is done, do not finish it with a flat iron. That +finishes it in more senses than one. But suppose it is puckered? In that +case, stretch it and damp it. To do this, first tack on to it (as +explained on page 251) a frame of strong tape. Then, on a drawing-board +or other even wooden surface, lay a piece of clean calico, and on that, +face downwards, the embroidery, and, slightly stretching it, nail it +down by the tape with tin-tacks rather close together. If now you lay +upon it a damp cloth, the embroidery will absorb the moisture from it, +and when that is removed, should dry as flat as it is possible to get +it. + +A rather more daring plan is to damp the back of the stuff with a wet +sponge. The work, instead of being nailed on to a board, may just as +well be laced to a frame by the tape. In the case of raised embroidery +there must be between it and the wood, not a cloth merely, but a layer +of wadding. + +The damping above described may take the form of a thin paste or +stiffening, but upon silk or other such material this wants tenderly +doing. + +One last word as to thoroughness in needlework. Those who have really +not time to do much, should be satisfied with simple work. The desire to +make a great show with little work is a snare. Ladies make protest +always, "There is too much work in that." Well, if they are not prepared +to work, they may as well give themselves up to their play. There was no +labour shirked in the old work illustrated in these pages; and nothing +much worth doing was ever done without work, hard work, and plenty of +it. Should that thought frighten folk away, they may as well be scared +off at once. Art can do very well without them. + + + + + INDEX. + + + ADAPTATION of stitch, 103, 188, 253 + + ANTIQUE stitch, 66 + (_See also Oriental-stitch_) + + APPLIQUÉ, 140, 144 _et seq._, 220, 222, 224 + + ARAB work, 152 + + ARTLESS art, 37, 236 + + ATTACHMENT of cord, 124 + + + BACKSTITCH, 30, 37, 41, 53, 83, 86, 172, 226, 230 + + BASKET patterns, 134 + + BEADS, 248 + + BEGINNING & FINISHING, 252 + + BLANKET-STITCH, 56 + + BRAID-STITCH, 42, 43 + + BROAD surfaces (covering), 178 + + BROCADE, 244 + + BULLION, 165 + + BULLION-STITCH, 75, 76, 162, 165 + + BUTTONHOLE-STITCH, 8, 55 _et seq._, 69, 122, 145, 158, 178, 182 + + BUTTONHOLING (lace), 84, 86 + + BYZANTINE embroidery, 12, 24 + + + CABLE-CHAIN, 42 + + CANVAS, 7, 25 + + CANVAS stitches, 12 _et seq._ + + CANVAS-STITCH embroidery, 22 + + CARD underlay, 162, 246 + + CASHMERE embroidery, 228 + + CASHMERE-STITCH, 18 + + CHAIN-STITCH, 38 _et seq._, 61, 83, 129, 145, 156, 158, 178, 182, + 202, 226, 245 + + CHENILLE, 245 + + CHINESE embroidery, 78, 96, 129, 136, 140, 152 + + CHURCH work, 41, 136, 148, 166, 216 _et seq._ + + CLASSIFICATION of stitches, 9, 175 _et seq._ + + CLOTH, 125, 126, 159, 243 + + COLOUR, 110, 208 + + COLOUR gradation, 98, 114, 118 + + COLOUR and outline, 146, 185 + + COMBINATION of stitches, 182 + + COPTIC embroidery, 12, 226 + + " tapestry, 2 + + CORAL, 166, 248 + + CORD, 122 + + " (couched), 128, 144, 178, 182 + + " (attachment of), 124 + + COTTON, 243 + + COUCHED cord, 128, 144, 178, 182 + + " gold, 131 _et seq._, 182 + + " outline, 146 + + COUCHING, 22, 114, 120, 121, 122 _et seq._, 244 + + " (reverse), 130 + + COUNTERCHANGE, 154 + + CRETAN embroidery, 12 + + CRETAN-STITCH, 61 + (_See also Ladder-stitch_) + + CREWEL, 244 + + CREWEL-STITCH, 26 _et seq._, 83, 86, 103, 105, 178 + + " (surface), 86 + + CREWEL work, 26, 36, 37 + + CROSS-STITCH, 12, 14, 16 + + CROSSED buttonhole-stitch, 56 + + CUSHION-STITCH, 20, 21 + + CUT-WORK, 156 + + + DAMASK, 243, 244 + + DAMPING, 254, 255 + + DARNING, 8, 22, 83, 90, 106 _et seq._, 178, 179 + + " (Japanese), 86 + + " (surface), 84 + + DESIGN, 150, 219, 233 _et seq._ + + " traditional, 238, 240 + + DESIGN and stitch, 10, 238 + + DESIGNER and embroiderer, 232, 233 + + DIAPERS, 87, 88, 108, 132, 134, 210 + + DIRECTION of stitch, 92, 95, 108, 114, 136, 190, 208 _et seq._ + + DOUBLE darning, 106 + + " thread, 253 + + DOVETAIL-STITCH, 103, 104 + (_See also Embroidery and Plumage Stitches_) + + DRAWING with the needle, 192, 194, 196, 199, 211 + + DRAWN work, 2, 4 + + + EASTERN embroidery. + (_See Oriental_) + + EFFECT and stitch, 36, 78 + + EIGHTEENTH century embroidery, 220, 246 + + EMBROIDERY and painting, 201, 202 + + EMBROIDERY-STITCH, 103 + (_See also Plumage-stitch_) + + ENGLISH embroidery, 34, 36, 169 + + + FEATHER-STITCH, 62 _et seq._, 83, 100, 178 + + FELT, 243 + + FIFTEENTH century embroidery, 24, 164 + + FIGURE work, 116, 169, 190, 198 _et seq._ + + FILLING-IN patterns, 24 + + FILO-FLOSS, 164, 244 + + FILOSELLE, 124, 144, 244 + + FISHBONE, 21, 47, 51 + + FLAX thread, 164, 244 + + FLEMISH embroidery, 142, 200 + + FLESH, 204, 206 + + FLORENTINE-STITCH, 18, 21 + (_See also Cushion stitch_) + + FLOSS, 95, 114, 116, 118, 120, 244 + + FORM and stitch, 44, 47, 100, 118, 176, 211, 253 + + FRAMING work, 251 + + FRENCH embroidery, 88, 245 + + " floss, 244 + + " knots, 77, 129, 150, 178, 244 + + + GEOMETRIC pattern, 225 + + GERMAN embroidery, 110, 125, 126, 156, 185, 226 + + GERMAN knot-stitch, 72 + + GOBELIN-STITCH, 18 + + GOLD, 210, 222, 245 + + " (couched), 131 _et seq._, 182 + + " (raised), 134, 136, 165 + + GOLD thread, 131, 245 + + " tinted by couching stitches, 142 + + " wire, 169, 248 + + + HALF-CROSS-STITCH, 20 + + HERALDIC embroidery, 156 + + HERRINGBONE-STITCH, 8, 22, 47 _et seq._, 83, 178, 182 + + HILDESHEIM cope (the), 126 + + HUNGARIAN embroidery, 2 + + " stitch, 18 + + + INDIAN embroidery, 41, 46, 61, 95, 98, 154, 169, 222, 248 + + INDIAN herring-bone, 48 + + INLAY, 153 + + INTERLACING stitches, 83 + + ITALIAN embroidery, 22, 24, 37, 46, 138 + + ITALIAN embroidery (Renaissance), 22, 41, 120, 142, 154, 199 + + + JAPANESE darning, 86, 87 + + " embroidery, 80 + + " gold, 245 + + JEWELS, 165, 248 + + + KNOT stitches, 72 _et seq._, 182 + + + LACE, 1, 2 + + LACE stitches, 84 _et seq._ + + LADDER-STITCH, 59, 61, 182 + + LAID-WORK, 112 _et seq._, 162, 178 + + LEATHER, 248 + + LEATHER on velvet, 150 + + LENGTH of stitch, 96, 100 + + LIMITATIONS of embroidery, 240 + + LINE work, 176, 178 + + LINEN, 164, 243 + + " (embroidery on), 24 + + LONG-AND-SHORT-STITCH, 36, 98, 100, 178, 190, 192 + + + MAGIC-STITCH, 41 + + MATERIAL (influence of on stitch), 12, 13, 16, 18, 24, 88, 91 + + MATERIALS, 242 _et seq._ + + MECHANICAL embroidery, 225 + + MEDIÆVAL work, 92, 136, 140, 190 + + MILANESE-STITCH, 18 + + MODELLING, 222 + + MODEST work, 230, 231 + + MOORISH-STITCH, 18, 21 + + MOROCCO embroidery, 152 + + + NEEDLE (tambour), 38, 245 + + NEEDLE pictures, 201 + + NEEDLES, 250 + + NET passing, 86 + + + OLD ENGLISH KNOT-STITCH, 75 + + OPUS Anglicanum, 9 + + ORIENTAL embroidery, 2, 22, 61, 92, 112, 136, 140, 153, 226 + + " stitch, 66 _et seq._, 83, 178, 182 + + ORIGINALITY, 234 + + OUTLINE, 22, 77, 108, 146, 158, 178, 184, 185 _et seq._ + + " (couched), 126, 128, 146 + + " (double), 146, 185, 186 + + " (stepped), 16, 24 + + " (voided), 96, 187 + + OUTLINE embroidery, 138 + + " stitch, 29, 30, 32, 86 + + + PADDING, 159, 172 + + PAINTING, 201, 202 + + PARCHMENT, 160, 168, 246 + + PARISIAN-STITCH, 18 + + PATCHWORK, 156 + + PEARLS, 165, 166, 248 + + PEASANT work, 12, 13, 226 + + PERSIAN embroidery, 7, 24, 41, 174, 228 + + PICTORIAL effect, 198, 199, 201 + + PICTURES (tent-stitch), 14, 20 + + PIERCE, 132 + + PINS, 146, 250 + + PLAIT-STITCH, 21 + + PLATE, 245 + + PLUMAGE-STITCH, 62, 100, 103, 178, 179, 192, 212 + + PRECIOUSNESS, 198 + + PURL, 245 + + PURSE silk, 116, 162 + + + QUILTING, 172 _et seq._ + + + RAISED gold, 134, 136, 165 _et seq._ + + " work, 134, 136, 159 _et seq._ + + RELIEF, 159 _et seq._, 166, 168, 169, 172, 222 + + RENAISSANCE embroidery, 41, 92, 142, 154, 166 + + RENEWING ground, 126 + + REVERSE-couching, 130 + + RIBBON, 150, 246 + + RIBBON work, 246 + + ROLL-STITCH, 75 + (_See also Bullion-stitch_) + + ROMAN satin, 243 + + ROPE-STITCH, 71 _et seq._, 178 + + RUNNING, 83, 106, 179 + + + SATIN, 243 + + " "de luxe", 243 + + " on velvet, 150 + + SATIN-STITCH, 24, 91 _et seq._, 103, 112, 128, 158, 160, + 162, 175, 178, 182, 192, 206, 212, 245 + + SATIN-STITCH (surface), 98, 282 + + SATIN-STITCH in the making, 91 + + SCISSORS, 250 + + SERGE, 243 + + SEVENTEENTH century embroidery, 14, 166 + + SHADED silk, 246 + + SHADING, 34, 176, 188 _et seq._ + + SILK, 146, 243 + + " (tussah), 244 + + " (twisted), 95, 124, 125 + + " on silk, 150 + + SILKS, 244 + + SILVER, 135, 138, 166 + + SIMPLICITY, 180, 236, 238 + + " (a plea for), 225 _et seq._ + + SIXTEENTH century embroidery, 22, 120, 125, 142, 185, 199 + + SOLID chain-stitch, 43, 44 + + " crewel-stitch, 32, 34 + + SOUDANESE embroidery, 112 + + SPANGLES, 169, 248 + + SPANISH embroidery, 129, 142, 154, 166, 185 + + SPANISH-STITCH, 18, 22 (_See also Plait-stitch_) + + SPLIT-STITCH, 38, 100, 105, 114, 179, 190, 196, 222 + + SPOT-STITCH, 30 + + STEM-STITCH, 32 + + STEMS, 95 + + STEPPED outline, 16, 24 + + STILETTO, 174 + + STITCH (definition of), 11 + + " adaptation, 103, 188, 253 + + " and effect, 36, 78 + + " and form, 44, 47, 100, 118, 176, 211, 253 + + " and stuff, 12, 13, 16, 18, 24, 88, 91 + + " groups, 9, 175 _et seq._ + + " names, 8, 9 + + " patterns, 87, 88 + + " and design, 10, 238 + + STITCHES, 7 + + STITCHING over stitching, 215 + + STRETCHING work, 251, 254 + + STRING, 159, 160, 162 + + STROKE-STITCH, 16 + + STUFFS, 242 + + SURFACE crewel-stitch, 86 + + " darning, 84 + + " satin-stitch, 98, 182 + + " stitches, 84 + + SYON COPE (the), 7, 130, 210 + + + TAILORS' buttonhole, 56 + + TAMBOUR, 245 + + " frame, 44 + + " needle, 38, 245 + + " stitch, 38 + + " work, 44, 194 + + TAPESTRY, 1, 2, 4, 143, 220 + + TAPESTRY-STITCH, 53 + + TENDRILS, 130 + + TENT-STITCH, 14, 18 + + THIMBLE, 250 + + THREAD, 244 + + TRADITIONAL design, 238, 240 + + TRANSFERRING design, 251 + + TURKISH embroidery, 22 + + TUSSAH silk, 244 + + TWISTED silk, 95, 124, 125 + + + UNDERLAY, 159, 160, 165 + + UNPICKING, 253 + + + VANDYKE chain, 42 + + VARIETY of method, 148, 158 + + " of stitch, 180 _et seq._ + + VELVET, 150, 222 + + VENETIAN embroidery, 138 + + VOIDING, 96, 187 + + + WEAVING, 2 + + WHITE on white, 162, 230 + + WOOL. (_See Crewel_) + + WOOLLEN stuffs, 243 + + THE END. + + BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE. + + + + _A LIST OF STANDARD BOOKS_ + ON + ORNAMENT & DECORATION, + INCLUDING + FURNITURE, WOOD-CARVING, METAL WORK, &c., + PUBLISHED BY + _B. T. BATSFORD, + 94, HIGH HOLBORN, LONDON, W.C._ + + +WINDOWS.--A BOOK ABOUT STAINED AND PAINTED GLASS. By LEWIS F. DAY. +Containing 410 pages, including 50 full-page Plates, and upwards of 200 +Illustrations in the text, all of Old Examples. Large 8vo, cloth gilt. +Price 21_s._ net. + + "Contains a more complete popular account--technical and + historical--of stained and painted glass than has previously + appeared in this country."--_The Times._ + + "The book is a masterpiece in its way ... amply illustrated and + carefully printed; it will long remain an authority on its + subject."--_The Art Journal._ + + "All for whom the subject of stained glass possesses an interest and + a charm, will peruse these pages with pleasure and profit."--_The + Morning Post._ + + "Mr. Day has done a worthy piece of work in more than his usual + admirable manner ... the illustrations are all good and some the + best black-and-white drawings of stained glass yet produced."--_The + Studio._ + +_Now Published, the most handy, useful, and comprehensive work on the +subject._ + + +ALPHABETS, OLD AND NEW. Containing 150 complete Alphabets, 30 Series of +Numerals, Numerous Facsimiles of Ancient Dates. Selected and arranged by +LEWIS F. DAY. Preceded by a short account of the Development of the +Alphabet. With Modern Examples specially Designed by _Walter Crane_, +_Patten Wilson_, _A. Beresford Pite_, the Author, and others. Crown 8vo, +art linen. Price 3_s._ 6_d._ net. + + "Mr. Day's explanation of the growth of form in letters is + particularly valuable.... Many excellent alphabets are given in + illustration of his remarks."--_The Studio._ + + "Everyone who employs practical lettering will be grateful for + 'Alphabets, Old and New.' Mr. Day has written a scholarly and pithy + introduction, and contributes some beautiful alphabets of his own + design."--_The Art Journal._ + + "A practical resumé of all that is to be known on the subject, + concisely and clearly stated."--_St. James' Gazette._ + + "It goes without saying that whatever Mr. Batsford publishes and Mr. + Day has to do with is presented in a good artistic form, complete, + and wherever that is possible, graceful."--_The Athenæum._ + + +ARCHITECTURE AMONG THE POETS. By H. HEATHCOTE STATHAM. With 13 +Illustrations. Square 8vo, artistically bound. Price 3_s._ 6_d._ net. + + "This little work does for architecture in relation to English + poetry what Mr. Phil Robinson has done for the birds and beasts. The + poet's appreciation of architecture is a delightful subject with + which Mr. Statham has become infected, not only illustrating his + points with quotations and his judgments with his reasons, but the + whole with a series of fanciful or suggestive sketches which add + considerably to the attractiveness of the book."--_The Magazine of + Art._ + + +THE DECORATION OF HOUSES. By EDITH WHARTON and OGDEN CODMAN, Architect. +204 pages of text, with 56 full-page Photographic Plates of Views of +Rooms, Doors, Ceilings, Fireplaces, various pieces of Furniture, &c., +from the Renaissance period. Large square 8vo, cloth gilt, price 12_s._ +6_d._ net. + +This volume, written by an American Lady Artist, and an Architect, +describes and illustrates in a very interesting way the Decorative +treatment of Rooms during the Renaissance period, and deduces principles +for the decoration, furnishing, and arrangements of Modern Houses. + + "... has illustrations which are beautiful ... because they + illustrate the sound and simple principle of decoration which the + authors put forward.... The book is one which should be in the + library of every man and woman of means, for its advice is + characterised by so much common sense as well as by the best of + taste."--_The Queen._ + + +THE HISTORIC STYLES OF ORNAMENT. Containing 1,500 examples from all +countries and all periods, exhibited on 100 Plates, mostly printed in +gold and colours. With historical and descriptive text translated from +the German of H. DOLMETSCH. Folio, handsomely bound in cloth, gilt, +price £1 5_s._ net. + +This work has been designed to serve as a practical guide for the +purpose of showing the development of Ornament, and the application of +colour to it in various countries through the epochs of history. The +work illustrates not only Flat Ornament, but also many Decorative +Objects, such as METAL-WORK, POTTERY AND PORCELAIN, LACE, ENAMEL, +MOSAIC, ILLUMINATION, STAINED GLASS, JEWELLERY, BOOKBINDING, &c., +showing the application of Ornament to Industrial Art. + + +_Just Published._ + +A MANUAL OF HISTORIC ORNAMENT, being an Account of the Development of +Architecture and the Historic Arts, for the use of Students and +Craftsmen. By RICHARD GLAZIER, A.R.I.B.A., Headmaster of the Manchester +School of Art. Containing 42 Plates and 100 Illustrations in the text. +Demy 8vo, cloth. Price 5_s._ + +The object of this book is to furnish students with a concise account of +Historic Ornament, in which the rise of each style is noted, and its +characteristic features illustrated. It contains upwards of 400 subjects +drawn by the author, and includes examples of Architectural Detail and +Plastic Ornament, Pottery, Textile Fabrics, Glass, Metal-work, Mosaic, +Painted Faïence, &c., &c. of various countries. + + +A MANUAL OF PRACTICAL INSTRUCTION IN THE ART OF BRASS REPOUSSÉ FOR +AMATEURS. By GAWTHORP (Art Metal Worker to H.R.H. the Prince of Wales). +Second and enlarged Edition. With 32 Illustrations, many from +photographs of executed designs. Crown 8vo, in wrapper. Price 1_s._ net. + + +OLD CLOCKS AND WATCHES AND THEIR MAKERS. By F. J. BRITTEN, Secretary of +the Horological Institute. Being an Account of the History of Clocks and +Watches, their Mechanism and Ornamentation, to which is appended a List +of 8,000 Old Makers, with descriptive Notes. Containing over 400 +Illustrations, many reproduced from photographs, of choice and curious +examples, of Clocks and Watches of the past in England and abroad, +including the finely-ornamented Bracket Clocks of the XVIIth Century, +with their ingenious mechanism, and the tall and elegant cases of the +XVIIIth Century, also a selection of Portraits of the most renowned +Masters of the Clockmaker's Art. 512 pages. Demy 8vo, cloth, gilt. Price +10_s._ net. + + +KING RENÉ'S HONEYMOON CABINET. A Monograph. By _John P. Seddon_, +Architect. Illustrated by 10 photographic reproductions of the Cabinet, +and the Panels, painted by the late SIR E. BURNE JONES, _Dante Gabriel +Rossetti_, and _Ford Madox Brown_. With a chapter on the Hereditary +Earls of Anjou, by G. H. BIRCH, F.S.A. Large 8vo, cloth, price 5_s._ +net. + +This interesting little work has been issued by the author to make known +and commemorate some early designs by the celebrated artists. Very few +copies are printed for sale. + + +_A small remainder, just reduced in price._ + +ANIMALS IN ORNAMENT. By Professor G. STURM. Containing 30 large +collotype plates, printed in tint, of designs suitable for Friezes, +Panels, Borders, Wall-papers, Carving, and all kinds of Surface +Decoration, &c. Large folio in portfolio, price 18_s._ net (published £1 +10_s._). + +A new and useful series of clever designs, showing how animal forms may +be adapted to decorative purposes with good effect. + + +A HISTORY OF DESIGN IN PAINTED GLASS.--From the Earliest Times to the +end of the Seventeenth Century. By N. H. J. WESTLAKE, F.S.A. Containing +467 illustrations with historical text. Four volumes, small folio, +cloth, price £5 10_s._, net £4 8_s._ + + _Very few copies remain for sale of this valuable work._ + + +MR. LEWIS F. DAY'S TEXT BOOKS OF ORNAMENTAL DESIGN. + +SOME PRINCIPLES OF EVERY-DAY ART.--INTRODUCTORY CHAPTERS ON THE ARTS NOT +FINE. Forming a Prefatory Volume to the Series of Text Books. Second +Edition, revised, containing 70 Illustrations (Third Thousand). Crown +8vo, art linen, price 3_s._ 6_d._, net 3_s._ + + "Authoritative as coming from a writer whose mastery of the subjects + is not to be disputed, and who is generous in imparting the + knowledge he acquired with difficulty. Mr. Day has taken much + trouble with the new edition."--_Architect._ + + "A good artist, and a sound thinker, Mr. Day has produced a book of + sterling value."--_Magazine of Art._ + + +THE ANATOMY OF PATTERN.--Containing: I. Introductory. II. Pattern +Dissections. III. Practical Pattern Planning. IV. The "Drop" Pattern. V. +Skeleton Plans. VI. Appropriate Pattern. Fourth Edition (Ninth +Thousand), revised, with 41 full-page Illustrations. Crown 8vo, art +linen, price 3_s._ 6_d._, net 3_s._ + + "... There are few men who know the science of their profession + better or can teach it as well as Mr. Lewis Day; few also who are + more gifted as practical decorators; and in anatomising pattern in + the way he has done in this manual--a way beautiful as well as + useful--he has performed a service not only to the students of his + profession, but also to the public."--_Academy._ + + +THE PLANNING OF ORNAMENT.--Containing: I. Introductory. II. The Use of +the Border. III. Within the Border. IV. Some Alternatives in Design. V. +On the Filling of the Circle and other Shapes. VI. Order and Accident. +Third Edition (Fifth Thousand), further revised, with 41 full-page +Illustrations, many of which have been re-drawn. Crown 8vo, art linen, +price 3_s._ 6_d._, net 3_s._ + + "Contains many apt and well-drawn illustrations; it is a highly + comprehensive, compact, and intelligent treatise on a subject which + is more difficult to treat than outsiders are likely to think. It is + a capital little book, from which no tyro (it is addressed to + improvable minds) can avoid gaining a good deal."--_Athenæum._ + + +THE APPLICATION OF ORNAMENT.--Containing: I. The Rationale of the +Conventional. II. What is Implied by Repetition. III. Where to Stop in +Ornament. IV. Style and Handicraft. V. The Teaching of the Tool. VI. +Some Superstitions. Third Edition (Sixth Thousand), further revised, +with 48 full-page Illustrations and 7 Woodcuts in the text. Crown 8vo, +art linen, price 3_s._ 6_d._, net 3_s._ + + "A most worthy supplement to the former work, and a distinct gain to + the art student who has already applied his art knowledge in a + practical manner, or who hopes yet to do so."--_Science and Art._ + + +ORNAMENTAL DESIGN.--Comprising the above Three Books, "ANATOMY OF +PATTERN," "PLANNING OF ORNAMENT," and "APPLICATION OF ORNAMENT," +handsomely bound in one volume, cloth gilt, price 10_s._ 6_d._, net +8_s._ 6_d._ + + +NATURE IN ORNAMENT.--With 123 full-page Plates and 192 Illustrations in +the text. Third Edition (Fifth Thousand). Thick crown 8vo, in handsome +cloth binding, richly gilt, price 12_s._ 6_d._, net 10_s._ + +CONTENTS: I. Introductory. II. Ornament in Nature. III. Nature in +Ornament. IV. The Simplification of Natural Forms. V. The Elaboration of +Natural Forms. VI. Consistency in the Modification of Nature. VII. +Parallel Renderings. VIII. More Parallels. IX. Tradition in Design. X. +Treatment. XI. Animals in Ornament. XII. The Element of the Grotesque. +XIII. Still Life in Ornament. XIV. Symbolic Ornament. + + "Amongst the best of our few good ornamental designers is Mr. Lewis + F. Day, who is the author of several books on ornamental art. + 'Nature in Ornament' is the latest of these, and is probably the + best. The treatise should be in the hands of every student of + ornamental design. It is profusely and admirably illustrated, and + well printed."--_Magazine of Art._ + + "A book more beautiful for its illustrations, or one more helpful to + Students of Art, can hardly be imagined."--_Queen._ + + +A HANDBOOK OF ORNAMENT.--With 300 Plates, containing about 3,000 +Illustrations of the Elements and Application of Decoration to Objects. +By F. S. MEYER, Professor at the School of Applied Art, Karlsruhe. Third +English Edition, revised by HUGH STANNUS, Lecturer on Applied Art at the +Royal College of Art, South Kensington. Thick 8vo, cloth gilt, gilt top, +price 12_s._ 6_d._, net 10_s._ + + "A Library, a Museum, an Encyclopædia and an Art School in one. To + rival it as a book of reference, one must fill a bookcase. The + quality of the drawings is unusually high, the choice of examples is + singularly good.... The work is practically an epitome of a hundred + Works on Design."--_Studio._ + + "The author's acquaintance with ornament amazes, and his three + thousand subjects are gleaned from the finest which the world + affords. As a treasury of ornament drawn to scale in all styles, and + derived from genuine concrete objects, we have nothing in England + which will not appear as poverty-stricken as compared with Professor + Meyer's book."--_Architect._ + + "The book is a mine of wealth even to an ordinary reader, while to + the Student of Art and Archæology it is simply indispensable as a + reference book. We know of no one work of its kind that approaches + it for comprehensiveness and historical accuracy."--_Science and + Art._ + + +A HANDBOOK OF ART SMITHING.--For the use of Practical Smiths, Designers +and others, and in Art and Technical Schools. By F. S. MEYER, Author of +"A Handbook of Ornament." Translated from the Second German Edition. +With an Introduction by J. STARKIE GARDNER. Containing 214 +Illustrations. Demy 8vo, cloth, price 6_s._, net 5_s._ + +Both the Artistic and Practical Branches of the subject are dealt with, +and the Illustrations give selected Examples of Ancient and Modern +Ironwork. The Volume thus fills the long-existing want of a Manual on +Ornamental Ironwork, and it is hoped will prove of value to all +interested in the subject. + + "Charmingly produced.... It is really a most excellent manual, + crowded with examples of ancient work, for the most part extremely + well selected."--_The Studio._ + + "Professor Meyer's work is a useful historical manual on art + smithing, based on a scientific classification of the subject, that + will be of service to all smiths, designers, and students of + technical and art schools. The illustrations are well drawn and + numerous."--_Building News._ + + +_Published with the Sanction of the Science and Art Department._ + + +FRENCH WOOD CARVINGS FROM THE NATIONAL MUSEUMS.--A Series of Examples +printed in Collotype from Photographs specially taken from the Carvings +direct. Edited by ELEANOR ROWE. Part I.: Late 15th and Early 16th +Century Examples; Part II.: 16th Century Work; Part III.: 17th and 18th +Centuries. The Three Series Complete, each containing 18 large folio +Plates, with descriptive letterpress. Folio, in portfolios, price 12_s._ +each net; or handsomely bound in one volume, £2 5_s._ net. + + "Students of the Art of Wood Carving will find a mine of + inexhaustible treasures in this series of illustrations of French + Wood Carvings.... Each plate is a work of art in itself; the + distribution of light and shade is admirably managed, and the + differences in relief are faithfully indicated, while every detail + is reproduced with a clearness that will prove invaluable to the + student. Sections are given with several of the plates."--_The + Queen._ + + "Needs only to be seen to be purchased by all interested in the + craft, whether archæologically or practically."--_The Studio._ + + +HINTS ON WOOD CARVING FOR BEGINNERS.--By ELEANOR ROWE. Fourth Edition, +revised and enlarged, Illustrated. 8vo, sewed, price 1_s._ in paper +covers, or bound in cloth, price 1_s._ 6_d._ + + "The most useful and practical small book on wood-carving we know + of."--_Builder._ + + "... Is a useful little book, full of sound directions and good + suggestions."--_Magazine of Art._ + + +HINTS ON CHIP CARVING.--(Class Teaching and other Northern Styles.) By +ELEANOR ROWE. 40 Illustrations. 8vo, sewed, price 1_s._ in paper covers, +or in cloth, price 1_s._ 6_d._ + + "A capital manual of instruction in a craft that ought to be most + popular."--_Saturday Review._ + + +DETAILS OF GOTHIC WOOD CARVING.--Being a Series of Drawings from +original work of the Fourteenth and Fifteenth Centuries. By FRANKLYN A. +CRALLAN. Containing 34 large Photo-lithographic Plates, with +introductory and descriptive text. Large 4to, in handsome cloth +portfolio, or bound in cloth gilt, price 28_s._, net 22_s._ + + "The examples are carefully drawn to a large size ... well selected + and very well executed."--_The Builder._ + + +PROGRESSIVE STUDIES AND DESIGNS FOR WOOD-CARVERS. By Miss E. R. PLOWDEN. +With a Preface by Miss ROWE. Consisting of five large folding sheets of +Illustrations (drawn full size), of a variety of objects suitable for +Wood Carving. With descriptive text. Second Edition, enlarged. 4to, in +portfolio. Price 5_s._ net. + + +ANCIENT WOOD AND IRONWORK IN CAMBRIDGE.--By W. B. REDFARN, the +Letterpress by JOHN WILLIS CLARK. 29 folio Lithographed Plates drawn to +a good scale. Cloth gilt, a handsome volume, price 10_s._ 6_d._, net +8_s._ 6_d._ + +This Work, giving an interesting and useful series of Examples, is but +little known. Very few copies remain. + + +HEPPLEWHITE'S CABINET-MAKER AND UPHOLSTERER'S GUIDE; or Repository of +Designs for every article of Household Furniture in the newest and most +approved taste. A complete facsimile reproduction of this rare work, +containing nearly 300 charming Designs on 128 Plates. Small folio, bound +in speckled cloth, gilt, old style, price £2 10_s._ net. (1794.) +_Original copies when met with fetch from £17 to £18._ + + "A beautiful replica, which every admirer of the author and period + should possess."--_Building News._ + + +CHIPPENDALE'S THE GENTLEMAN AND CABINET-MAKER'S DIRECTOR.--A complete +facsimile of the 3rd and rarest Edition, containing 200 Plates of +Designs of Chairs, Sofas, Beds and Couches, Tables, Library Book Cases, +Clock Cases, Stove Grates, &c., &c. Folio, strongly bound in half-cloth, +price £3 15_s._ net. (1762.) + + +SHERATON'S CABINET-MAKER AND UPHOLSTERER'S DRAWING-BOOK.--A complete +Facsimile Reproduction of the scarce Third Edition. With the rare +Appendix and Accompaniment complete. Containing in all 434 pages and 122 +Plates. 4to, cloth, price £2 10_s._ net. + + +EXAMPLES OF OLD FURNITURE, ENGLISH AND FOREIGN. Drawn and described by +ALFRED ERNEST CHANCELLOR. Containing 40 Photo-lithographic Plates +exhibiting some 100 examples of Elizabethan, Stuart, Queen Anne, +Georgian and Chippendale furniture; and an interesting variety of +Continental work. With historical and descriptive notes. Large 4to, +gilt, price £1 5_s._, net £1 1_s._ + + "In publishing his admirable collection of drawings of old + furniture, Mr. Chancellor secures the gratitude of all admirers of + the consummate craftsmanship of the past. His examples are selected + from a variety of sources with fine discrimination, all having an + expression and individuality of their own--qualities that are so + conspicuously lacking in the furniture of our own day. It forms a + very acceptable work."--_The Morning Post._ + + +FURNITURE AND DECORATION IN ENGLAND DURING THE XVIIITH CENTURY.--By J. +ALDAM HEATON. Two volumes, each of two parts, bound in four, large +folio, cloth, price £7 net. Containing upwards of 150 plates of +photographic reproductions from the published designs of R. & J. Adam, +Chippendale, Hepplewhite, Sheraton, Shearer, Pergolesi, Cipriani, Darly, +Johnson, Richardson, and all great English designers and cabinet-makers +of the period. + +This work forms an encyclopædic and almost inexhaustible treasury of +reference for all Furniture Designers, Painters, Interior Decorators, +Cabinet-makers, &c., since no artist of importance is unrepresented, and +a fair selection is in every case given of his work. + + +REMAINS OF ECCLESIASTICAL WOOD-WORK.--A Series of Examples of Stalls, +Screens, Book-Boards, Roofs, Pulpits, &c., containing 21 Plates +beautifully engraved on Copper, from drawings by T. TALBOT BURY, Archt. +4to, half-bound, price 10_s._ 6_d._, net 8_s._ 6_d._ + + +FLAT ORNAMENT: A PATTERN BOOK FOR DESIGNERS OF TEXTILES, EMBROIDERIES, +WALL PAPERS, INLAYS, &C., &C.--150 Plates, some printed in Colours, +exhibiting upwards of 500 Historical Examples of Textiles, Embroideries, +Paper Hangings, Tile Pavements, Intarsia Work, &c. With some Designs by +Dr. FISCHBACH. Imperial 4to boards, cloth back, price £1 5_s._, net +20_s._ + + +EXAMPLES OF ENGLISH MEDIÆVAL FOLIAGE AND COLOURED DECORATION.--By JAS. +K. COLLING, Architect, F.R.I.B.A. Taken from Buildings of the XIIth to +the XVth Century. Containing 76 Lithographic Plates, and 79 Woodcut +Illustrations, with Text. Royal 4to, cloth, gilt top, price 18_s._, net +15_s._ (published at £2 2_s._) + + +PLASTERING--PLAIN AND DECORATIVE. A Practical Treatise on the Art and +Craft of Plastering and Modelling. Including full descriptions of the +various Tools, Materials, Processes and Appliances employed. With over +50 full-page Plates, and about 500 smaller Illustrations in the Text. By +WILLIAM MILLAR. With an Introduction, treating of the History of the +Art, by G. T. ROBINSON, F.S.A. Thick 4to, cloth, containing 600 pages of +text, price 18_s._ net. + + "This new and in many senses remarkable treatise ... unquestionably + contains an immense amount of valuable first-hand information.... + 'Millar on Plastering' may be expected to be the standard authority + on the subject for many years to come.... A truly monumental + work."--_The Builder._ + + +A GRAMMAR OF JAPANESE ORNAMENT AND DESIGN.--Illustrated by 65 Plates, +many in Gold and Colours, representing all Classes of Natural and +Conventional Forms, drawn from the Originals, with introductory, +descriptive, and analytical text. By T. W. CUTLER, F.R.I.B.A. Imperial +4to, in elegant cloth binding, price £2 6_s._, £1 18_s._ net. + + +DECORATIVE WROUGHT IRONWORK OF THE 17TH AND 18TH CENTURIES.--By D. J. +EBBETTS. Containing 16 large Lithographic Plates, illustrating 70 +English examples of Screens, Grilles, Panels, Balustrades, &c. Folio, +boards, cloth back, price 12_s._ 6_d._, net 10_s._ + + +_A Facsimile reproduction of one of the rarest and most remarkable Books +of Designs ever published in England._ + + +A NEW BOOKE OF DRAWINGS OF IRONWORKE.--Invented and Desined by JOHN +TIJOU. Containing severall sortes of Iron Worke, as Gates, +Frontispieces, Balconies, Staircases, Pannells, &c., of which the most +part hath been wrought at the Royall Building of Hampton Court, &c. ALL +FOR THE USE OF THEM THAT WORKE IRON IN PERFECTION AND WITH ART. (Sold by +the author in London, 1693.) Containing 20 folio Plates. With +Introductory Note and Descriptions of the Plates by J. STARKIE GARDNER. +Folio, bound in boards, old style, price 25_s._ net. + +Only 150 copies were printed for England, and very few now remain. An +original copy is priced at £48 by Mr. Quaritch, the renowned bookseller. + + +JAPANESE ENCYCLOPÆDIA OF DESIGN. + +BOOK I.--Containing over 1,500 engraved curios, and most ingenious +Geometric Patterns of Circles, Medallions, &c., comprising Conventional +Details of Plants, Flowers, Leaves, Petals, also Birds, Fans, Animals, +Key Patterns, &c., &c. Oblong 12mo, fancy covers, price 2_s._ net. + +BOOK II.--Containing over 600 most original and effective Designs for +Diaper Ornament, giving the base lines to the design, also artistic +Miniature Picturesque Sketches. Oblong 12mo, price 2_s._ net. + +These books exhibit the varied charm and originality of conception of +Japanese Ornament, and form an inexhaustible field of design. + + +A DELIGHTFUL SERIES OF STUDIES OF BIRDS, IN MOST CHARACTERISTIC AND +LIFE-LIKE ATTITUDES, SURROUNDED WITH APPROPRIATE FOLIAGE AND +FLOWERS.--By the celebrated Japanese Artist, BAIREI KONO. In three +Books, 8vo, each containing 36 pages of highly artistic and decorative +Illustrations, printed in tints. Bound in fancy paper covers, price +10_s._ net. + + "In attitude and gesture and expression, these Birds, whether + perching or soaring, swooping or brooding, are + admirable."--_Magazine of Art._ + + +A NEW SERIES OF BIRD AND FLOWER STUDIES. BY WATANABE SIETEI, the +acknowledged leading living Artist in Japan. In 3 Books, containing +numerous exceedingly Artistic Sketches in various tints, 8vo, fancy +covers. Price 10_s._ net. + + +ARTISTS' SKETCH BOOKS.--A SERIES OF FIVE VOLUMES.--Vol. I.: Birds, +Flowers, and Plants, drawn in a Decorative Spirit. Vol. II.: Sketches of +Insects, Plants, &c., drawn for Designers. Vol. III.: Drawings of Fishes +and Marine Animals. Vol. IV.: Natural Scenery, Landscapes, &c. Vol. V.: +Scenes from Japanese Life, &c. 8vo, fancy covers. 7_s._ 6_d._ net. + + +THE ARCHITECTURE OF THE RENAISSANCE IN ITALY.--A General View for the +Use of Students and Others. By W. J. ANDERSON, A.R.I.B.A., Director of +Architecture, Glasgow School of Art. Second Edition, revised and +enlarged. Containing 64 full-page Plates, mostly reproduced from +Photographs, and 100 Illustrations in text. Large 8vo, cloth gilt, price +12_s._ 6_d._ net. + + "A delightful and scholarly work ... very fully + illustrated."--_Journal R.I.B.A._ + + "It is the work of a scholar taking a large view of his subject.... + The book affords easy and intelligible reading, and the arrangement + of the subject is excellent, though this was a matter of no small + difficulty."--_The Times._ + + "Should rank amongst the best architectural writings of the + day."--_The Edinburgh Review._ + + "We know of no book which furnishes such information and such + illustrations in so compact and attractive a form. For greater + excellence with the object in hand there is not one more + perspicuous."--_The Building News._ + + +A HISTORY OF ARCHITECTURE FOR THE STUDENT, CRAFTSMAN AND AMATEUR.--Being +a Comparative View of the Historical Styles from the Earliest Period. By +BANISTER FLETCHER, F.R.I.B.A., Professor of Architecture in King's +College, London, and B. F. FLETCHER, A.R.I.B.A. Containing 300 pages, +with 115 Collotype Plates, mostly from large Photographs, and other +Illustrations in the text. Third Edition, revised. Cr. 8vo, cloth gilt, +price 12_s._ 6_d._, net 10_s._ + + "We shall be amazed if it is not immediately recognised and adopted + as _par excellence_ the student's manual of the history of + architecture."--_The Architect._ + + "The general reader will read the book with not less profit than the + student, and will find in it quite as much as he is likely to retain + in his memory, and the architectural student in search of any + particular fact will readily find it in this most methodical + work.... As complete as it well can be."--_The Times._ + + "As a synopsis of architectural dates and styles, Professor Banister + Fletcher's work will fill a void in our literature, and become a + most useful manual."--_The Building News._ + + +THE ORDERS OF ARCHITECTURE: GREEK, ROMAN AND ITALIAN.--Edited with Notes +by R. PHENÉ SPIERS, F.S.A., F.R.I.B.A. Third Edition, revised and +enlarged, containing 26 Plates. 4to, cloth, price 10_s._ 6_d._, net +8_s._ 6_d._ + + "A most useful work for architectural students.... Mr. Spiers has + done excellent service in editing this work, and his notes on the + plates are very appropriate and useful."--_British Architect._ + + +RENAISSANCE ARCHITECTURE AND ORNAMENT IN SPAIN.--A Series of Examples +selected from the purest executed between the years 1500-1560. By ANDREW +N. PRENTICE, A.R.I.B.A. Containing 60 beautiful Plates, reproduced by +Photo-lithography and Photo Process from the author's drawings, of +Perspective Views and Geometrical Drawings, and details, in Stone, Wood, +and Metal. With short descriptive text. Folio, handsomely bound in cloth +gilt, price £2 10_s._, net £2 2_s._ + + "For the drawing and production of this book one can have no words + but praise.... It is a pleasure to have so good a record of such + admirable Architectural Drawing, free, firm and delicate."--_British + Architect._ + + +B. T. BATSFORD, 94, HIGH HOLBORN, LONDON. + + * * * * * + +Transcriber's Note: + +The following printer's errors have been corrected in the text: + + page xxi: + Part of a fan + "f" of "fan" not printed in original + + page 62: + The feathery stem (A) on the sampler + "the" missing in original + + page 70: + except that it has something of the appearance + "of" missing in original + + page 223: + in no case does it appear to be stitching + "t" of "it" not printed in original + + page 225: + forms of needlework + "froms" printed for "forms" in original + + + + + +End of Project Gutenberg's Art in Needlework, by Lewis F. 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