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+      The Project Gutenberg eBook of Art in Needlework, by Lewis F. Day
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+<pre>
+
+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
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+Internet Archive/American Libraries.)
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+</pre>
+
+
+
+
+<div class="notes">
+<p><b>Transcriber's Note:</b></p>
+<p>A number of typographical errors have been corrected. They are
+shown in the text with <ins class="correction" title="like this">mouse-hover popups</ins>.</p>
+<p>All greyscale images have been provided as thumbnails. A larger
+version of those images is available by clicking on the link below the image.</p>
+<p>The numerous full page images have been moved to the nearest paragraph break, the
+page numbers for these pages have been omitted. Where the index links to such a page, the
+link goes directly to the image in question.</p>
+</div>
+
+<h1>ART IN NEEDLEWORK</h1>
+
+<div class="figcenter pad">
+  <img src="images/frontcover.jpg" width="569" height="896"
+      alt="Frontispiece" />
+</div>
+
+
+<p class="titlepage">TEXT-BOOKS OF ORNAMENTAL DESIGN</p>
+
+
+<h1>ART IN NEEDLEWORK</h1>
+
+<p class="titlepage">A BOOK ABOUT EMBROIDERY<br />
+BY<br />
+<span class="big">LEWIS F. DAY</span><br />
+AUTHOR OF 'WINDOWS,' 'ALPHABETS,'<br />
+'NATURE IN ORNAMENT' AND OTHER<br />
+TEXT-BOOKS OF ORNAMENTAL DESIGN<br />
+<span class="big">&amp; MARY BUCKLE</span></p>
+
+
+<p class="titlepage">LONDON:<br />
+B. T. BATSFORD 94 HIGH HOLBORN<br />
+1900</p>
+
+<p class="titlepage small">BRADBURY, AGNEW, &amp; CO. LD., PRINTERS,<br />
+LONDON AND TONBRIDGE.</p>
+
+
+
+
+<h2>PREFACE.<span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></h2>
+
+
+<p>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.</p>
+
+<p>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;<span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span> 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.</p>
+
+<p>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&mdash;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&mdash;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.</p>
+
+<p>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.</p>
+
+<p>The joint authorship of the work needs, perhaps,<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p class="right">LEWIS F. DAY.</p>
+<p><i>January 1st, 1900.</i></p>
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.<span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></h2>
+
+<div class="toc">
+<ol>
+<li><a href="#EMBROIDERY_AND_STITCHING">EMBROIDERY AND EMBROIDERY STITCHES</a>         <span class="ralign">  1</span></li>
+<li><a href="#CANVAS_STITCHES">CANVAS STITCHES</a>                            <span class="ralign"> 12</span></li>
+<li><a href="#CREWEL-STITCH">CREWEL-STITCH</a>                              <span class="ralign"> 26</span></li>
+<li><a href="#CHAIN-STITCH">CHAIN-STITCH</a>                               <span class="ralign"> 38</span></li>
+<li><a href="#HERRING-BONE_STITCH">HERRING-BONE-STITCH</a>                        <span class="ralign"> 47</span></li>
+<li><a href="#BUTTONHOLE-STITCH">BUTTONHOLE-STITCH</a>                          <span class="ralign"> 55</span></li>
+<li><a href="#FEATHER_AND_ORIENTAL_STITCHES">FEATHER AND ORIENTAL STITCHES</a>              <span class="ralign"> 62</span></li>
+<li><a href="#ROPE_AND_KNOT_STITCHES">ROPE AND KNOT STITCHES</a>                     <span class="ralign"> 71</span></li>
+<li><a href="#INTERLACINGS_SURFACE_STITCHES_AND_DIAPERS">INTERLACINGS, SURFACE STITCHES, AND DIAPERS</a><span class="ralign"> 83</span></li>
+<li><a href="#SATIN-STITCH_AND_ITS_OFFSHOOTS">SATIN-STITCH AND ITS OFFSHOOTS</a>             <span class="ralign"> 91</span></li>
+<li><a href="#DARNING">DARNING</a>                                    <span class="ralign">106</span></li>
+<li><a href="#LAID-WORK">LAID-WORK</a>                                  <span class="ralign">112</span></li>
+<li><a href="#COUCHING">COUCHING</a>                                   <span class="ralign">122</span></li>
+<li><a href="#COUCHED_GOLD">COUCHED GOLD</a>                               <span class="ralign">131</span></li>
+<li><a href="#APPLIQUE">APPLIQU�</a>                                   <span class="ralign">144</span></li>
+<li><a href="#INLAY_MOSAIC_CUT-WORK">INLAY, MOSAIC, AND CUT-WORK</a>                <span class="ralign">153</span></li>
+<li><a href="#EMBROIDERY_IN_RELIEF">EMBROIDERY IN RELIEF</a>                       <span class="ralign">159</span></li>
+<li><a href="#RAISED_GOLD">RAISED GOLD</a>                                <span class="ralign">165</span></li>
+<li><a href="#QUILTING">QUILTING</a>                                   <span class="ralign">172</span></li>
+<li><a href="#STITCH_GROUPS">STITCH GROUPS</a>                              <span class="ralign">175</span></li>
+<li><a href="#ONE_STITCH_OR_MANY">ONE STITCH OR MANY?</a>                        <span class="ralign">180</span></li>
+<li><a href="#OUTLINE">OUTLINE</a>                                    <span class="ralign">185</span></li>
+<li><a href="#SHADING">SHADING</a>                                    <span class="ralign">188</span></li>
+<li><a href="#FIGURE_EMBROIDERY">FIGURE EMBROIDERY</a>                          <span class="ralign">198</span></li>
+<li><a href="#THE_DIRECTION_OF_THE_STITCH">THE DIRECTION OF THE STITCH</a>                <span class="ralign">208</span></li>
+<li><a href="#CHURCH_WORK">CHURCH WORK </a>                               <span class="ralign">216</span></li>
+<li><a href="#A_PLEA_FOR_SIMPLICITY">A PLEA FOR SIMPLICITY</a>                      <span class="ralign">225</span></li>
+<li><a href="#EMBROIDERY_DESIGN">EMBROIDERY DESIGN</a>                          <span class="ralign">232</span></li>
+<li><a href="#EMBROIDERY_MATERIALS">EMBROIDERY MATERIALS</a>                       <span class="ralign">242</span></li>
+<li><a href="#A_WORD_TO_THE_WORKER">A WORD TO THE WORKER</a>                       <span class="ralign">250</span></li>
+</ol>
+</div>
+
+
+<h2><a name="DESCRIPTIVE_LIST_OF_ILLUSTRATIONS" id="DESCRIPTIVE_LIST_OF_ILLUSTRATIONS"></a>DESCRIPTIVE LIST OF ILLUSTRATIONS.<span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span></h2>
+
+<ol class="illulist">
+<li><span class="smcap lowercase"><a href="#i027">TAPESTRY</a></span>&mdash;to illustrate work on a warp not on a web. From Akhmin in
+Upper Egypt. Ancient Coptic. (In the Victoria and Albert Museum.)</li>
+
+<li><span class="smcap lowercase"><a href="#i028">DRAWN-WORK ON FINE LINEN</a></span>, embroidered with gold and colour. Oriental.
+(From the collection of Mrs. Lewis F. Day.)</li>
+
+<li><span class="smcap lowercase"><a href="#i029">DARNING AND SATIN-STITCH</a></span> on square mesh&mdash;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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i037">CROSS-STITCH UPON LINEN.</a></span> Hungarian. Compare Illustration <a href="#i135">45</a>.</li>
+
+<li><span class="smcap lowercase"><a href="#i039">CROSS-STITCH SAMPLER</a></span>&mdash;A and B, solid; C, line work; D,
+stroke-stitch&mdash;called also Holbein-stitch; E, stroke and cross stitches
+combined.</li>
+
+<li><span class="smcap lowercase"><a href="#i041">CANVAS-STITCH</a></span> in coloured silk upon linen. The band Italian, the
+foliated diaper Oriental. (Mrs. L. F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i042">CANVAS-STITCH</a></span>&mdash;Design comparatively free, but showing in its outline
+the influence of the rectangular lines of the weaving. Cretan. (Mrs. L.
+F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i043">CANVAS-STITCH SAMPLER</a></span>&mdash;A, tent-stitch; B, half-cross-stitch; C,
+cushion-stitch; D, Moorish-stitch, so called; E, plait-stitch; F,
+couching on canvas.<span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i044">CUSHION AND SATIN-STITCHES UPON CANVAS</a></span>&mdash;The Satin-stitches follow the
+lines of the stuff, and form a diaper built upon them. Compare
+Illustration <a href="#i201">71</a>.</li>
+
+<li><span class="smcap lowercase"><a href="#i047">TWO VARIETIES OF CANVAS-STITCH</a></span>, the pattern in the bare linen, the
+background worked&mdash;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 <a href="#i028">2</a>. (Mrs.
+L. F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i051">CREWEL-STITCH SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i052">BACK OF CREWEL-STITCH SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i055">CREWEL-WORK</a></span>&mdash;the stem only worked in crewel-stitch. Embroidered in
+green, blue, and brown wools upon white cotton. Old English. (Coll. of
+Miss Argles.)</li>
+
+<li><span class="smcap lowercase"><a href="#i057">CREWEL-WORK</a></span>, in which crewel-stitch hardly occurs. Embroidered in
+coloured wools upon white cotton. Old English. (Coll. of J. M. Knapp,
+Esq.)</li>
+
+<li><span class="smcap lowercase"><a href="#i059">CREWEL-STITCH IN TWISTED SILK</a></span>. 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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i062">CHAIN-STITCH AND KNOTS</a></span>&mdash;Part of the same piece of work as
+Illustration <a href="#i084">24</a>. Indian. (V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i063">CHAIN-STITCH SAMPLER</a></span>&mdash;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&mdash;all so called.</li>
+
+<li><span class="smcap lowercase"><a href="#i064">BACK OF CHAIN-STITCH SAMPLER</a></span>.<span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i069">CHAIN AND SURFACE STITCHES</a></span>&mdash;the latter a kind of buttonholing, only
+occasionally worked <i>in</i>to the stuff. Part of a lectern cover in white
+thread upon a thin, greyish white linen stuff. German, 14th century. (V.
+&amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i073">HERRINGBONE SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i074">BACK OF HERRINGBONE SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i081">BUTTONHOLE SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i082">BACK OF BUTTONHOLE SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i084">BUTTONHOLE, CHAIN, AND KNOT STITCHES</a></span>&mdash;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 <a href="#i062">16</a>. Modern
+Indian from Surat. (V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i087">FEATHER-STITCH SAMPLER</a></span>&mdash;A to G, ordinary feather-stitch and its
+variations; G G, feather chain.</li>
+
+<li><span class="smcap lowercase"><a href="#i088">BACK OF FEATHER-STITCH SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i091">ORIENTAL-STITCH SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i092">BACK OF ORIENTAL-STITCH SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i097">ROPE AND KNOT-STITCH SAMPLER</a></span>&mdash;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.<span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i098">BACK OF ROPE AND KNOT-STITCH SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i103">A TOUR-DE-FORCE IN KNOTS</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i105">INTERLACING-STITCH SAMPLER</a></span>&mdash;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 <a href="#i073">20</a>; J, interlaced Oriental-stitch; K, interlaced
+feather-stitch.</li>
+
+<li><span class="smcap lowercase"><a href="#i106">BACK OF INTERLACING SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i109">SURFACE-STITCH SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i111">LACE OR SURFACE-STITCH AND SATIN-STITCH</a></span>, 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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i117">SATIN-STITCH SAMPLER</a></span>&mdash;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
+<a href="#i119">38</a>, which shows the effect of the stitch in twisted silk.</li>
+
+<li><span class="smcap lowercase"><a href="#i118">BACK OF SATIN-STITCH SAMPLER</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i119">SATIN-STITCH IN COARSE TWISTED SILK</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i121">SATIN-STITCH IN TWISTED SILK</a></span>&mdash;Outlines voided. Worked in white and
+occasional red and yellow upon black satin. Indian. Modern. (V. &amp; A.
+M.)<span class='pagenum'><a name="Page_xv" id="Page_xv">[xv]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i123">SATIN-STITCH</a> AND</span>, on the birds' bodies, <span class="smcap lowercase">PLUMAGE-STITCH</span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i125">SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i126">BACK OF SAMPLER 41</a></span>.</li>
+
+<li><span class="smcap lowercase"><a href="#i131">DARNING SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i133">DARNING&mdash;DESIGNED BY WILLIAM MORRIS</a></span>. 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 &amp; Co.</li>
+
+<li><span class="smcap lowercase"><a href="#i135">FLAT DARNING</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i137">LAID-WORK SAMPLER</a></span>, showing various ways (split-stitch and couching)
+in which the sewing down may be done, and the various directions it may
+take&mdash;vertical, horizontal, following the ornamental forms, or crossing
+them.</li>
+
+<li><span class="smcap lowercase"><a href="#i139">LAID-WORK</a></span>&mdash;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. &amp; A. M.)<span class='pagenum'><a name="Page_xvi" id="Page_xvi">[xvi]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i141">LAID-WORK</a></span>. 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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i143">LAID-WORK AND SOME SURFACE-STITCH</a></span>. The stitching which sews down the
+floss takes the direction of the scroll, &amp;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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i144">LAID-WORK SAMPLER</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i147">BULLION AND COUCHED CORD</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i149">SAMPLER OF COUCHED SILK</a></span>&mdash;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.</li>
+
+<li><span class="smcap lowercase"><a href="#i151">COUCHING IN LOOPED THREADS</a></span>&mdash;The effect is not unlike that of
+chain-stitch or fine knotting. Rather over actual size. Worked in bright
+colours upon a pale green cr&ecirc;pe ground. Chinese. (Mrs. L. F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i152">REVERSE COUCHING</a></span>&mdash;Showing on the face of it no sign of couching.
+(After the manner of the Syon Cope.)</li>
+
+<li><span class="smcap lowercase"><a href="#i153">BACK OF REVERSE COUCHING</a></span>&mdash;Showing the parallel lines of couched
+linen thread which sew down the silk upon the surface (Illustration <a href="#i152">54</a>).
+The zigzag pattern of the stitching might equally well have taken other
+lines.<span class='pagenum'><a name="Page_xvii" id="Page_xvii">[xvii]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i157">COUCHED GOLD SAMPLER</a></span>&mdash;A, B, C, D, flat work; E, part flat, part
+raised; F, G, H, J, basket and other patterns raised over cords.</li>
+
+<li><span class="smcap lowercase"><a href="#i159">COUCHING IN VARIOUS DIAPER PATTERNS</a></span>, <span class="smcap lowercase">OUTLINED IN PART WITH "PLATE."</span>
+Silver on pale pink silk. (Coll. of Mrs. T. Buxton Morrish.)</li>
+
+<li><span class="smcap lowercase"><a href="#i161">GOLD COUCHING IN OPEN THREADS</a></span>&mdash;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 medi&aelig;val
+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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i163">COUCHED OUTLINE WORK</a></span>; 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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i165">APPLIQU&Eacute;</a></span>&mdash;Satin upon velvet, outlined with two threads of gold
+couching.</li>
+
+<li><span class="smcap lowercase"><a href="#i171">APPLIQU&Eacute; PANEL</a></span>&mdash;Designed and executed by Miss Mabel Keighley,
+illustrating a poem by William Morris. (The property of the artist.)</li>
+
+<li><p><span class="smcap lowercase"><a href="#i173">A. COUNTER-CHANGE PATTERN</a>, INLAY OR APPLIQU&Eacute;.</span>&mdash;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. &amp; A. M.)</p>
+
+<p><span class="smcap lowercase">B. APPLIQU&Eacute;</span>, 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. &amp; A. M.)<span class='pagenum'><a name="Page_xviii" id="Page_xviii">[xviii]</a></span></p></li>
+
+<li><span class="smcap lowercase"><a href="#i175">APPLIQU&Eacute;</a></span>, with couched outline, and stitching upon the appliqu&eacute; 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. &amp;
+A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i179">INLAY IN COLOURED CLOTHS</a></span>, 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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i181">CUT-WORK IN LINEN</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i185">SAMPLER OF RAISED WORK</a></span>, 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.</li>
+
+<li><span class="smcap lowercase"><a href="#i187">RAISED WORK</a></span>, showing underlay of linen, and the way it is sewn
+down&mdash;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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i191">RAISED GOLD BASKET PATTERNS</a></span>, &amp;c., upon white satin. The stalk in
+flat wire. Spanish. 17th century. (Mrs. L. F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i196">QUILT, WORKED IN CHAIN-STITCH</a></span> from the back&mdash;which has precisely the
+effect of back-stitch. Yellow silk upon white linen. Old English. (V. &amp;
+A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i198">RAISED QUILTING</a></span>, in black silk upon pale sea-green satin. Part of
+the border of a prayer cushion. Old Persian. (Mrs. L. F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i201">DIAPER OF SATIN-STITCH IN THE MAKING</a></span>&mdash;Something between
+canvas-stitch and satin-stitch. The leafage is in tent-stitch. Compare
+with Illustration <a href="#i044">9</a>. (V. &amp; A. M.)<span class='pagenum'><a name="Page_xix" id="Page_xix">[xix]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i205">STITCHES IN COMBINATION</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i207">FINE NEEDLEWORK UPON CAMBRIC</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i213">PART OF A DESIGN BY WALTER CRANE</a></span>, 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.</li>
+
+<li><span class="smcap lowercase"><a href="#i215">SHADING IN CHAIN-STITCH</a></span> 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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i217">SHADING IN SHORT STITCHES</a></span>; 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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i219">SHADING IN LONG-AND-SHORT AND SPLIT STITCHES</a></span>, with more regard to
+expression of form than to neatness of execution. German. 16th century.
+(V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i226">CHAIN-STITCH</a></span>, showing in the figures of the little men what a
+draughtsman can express in a few stitches. Full size. Chinese. (Mrs. L.
+F. D.)<span class='pagenum'><a name="Page_xx" id="Page_xx">[xx]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i227">FIGURE WORK</a></span>&mdash;The flesh in straight upright stitches, the drapery
+laid and couched. English. 15th century. (V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i229">CONSUMMATE FIGURE EMBROIDERY</a></span>&mdash;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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i231">CHINESE FIGURES</a></span>&mdash;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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i233">SATIN-STITCH</a></span>, 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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i235">MEANINGLESS DIRECTION OF STITCH</a></span>&mdash;Satin and herring-bone stitches.
+From an altar-cloth. German. 17th century. (V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i236">MORE EXPRESSIVE LINES OF STITCHING</a></span>&mdash;To compare with Illustration <a href="#i235">83</a>.</li>
+
+<li><span class="smcap lowercase"><a href="#i237">SATIN AND PLUMAGE STITCHES</a></span> 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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i241">RENAISSANCE CHURCH WORK IN GOLD AND SILVER</a></span>, 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
+<a href="#i185">66</a>, B. (V. &amp; A. M.)<span class='pagenum'><a name="Page_xxi" id="Page_xxi">[xxi]</a></span></li>
+
+<li><span class="smcap lowercase"><a href="#i245">GOTHIC CHURCH WORK</a></span>&mdash;The flesh, &amp;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. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i247">MODERN CHURCH WORK ON LINEN</a></span>, 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.)</li>
+
+<li><span class="smcap lowercase"><a href="#i251">SIMPLE STITCHING ON LINEN</a></span>, the broader bands in a canvas stitch in
+yellow, the finer lines in back-stitch in pale grey silk. Italian. (Mrs.
+L. F. D.)</li>
+
+<li><span class="smcap lowercase"><a href="#i253">SIMPLE COUCHED OUTLINE WORK</a></span>, in purplish silk cord upon linen. Part
+of an altar-cloth. Italian. 16th century. (V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i259">RENAISSANCE ORNAMENT</a></span>&mdash;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 <i>painted</i> upon satin. Italian. Ca.
+1700. (V. &amp; A. M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i261">APPLIQU&Eacute; DESIGN</a></span>, in yellow satin upon crimson velvet&mdash;Double
+outline; next the red, white, sewn with pale blue; next the yellow,
+gold. Midrib of the leaf couched silver. Spanish, 16th century. (V. &amp; A.
+M.)</li>
+
+<li><span class="smcap lowercase"><a href="#i263">SATIN-STITCH</a></span>&mdash;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 <ins class="correction" title="an">fan</ins>, worked by Miss Buckle, from a
+design by L. F. D. (The property of the worker.)</li>
+
+<li><span class="smcap lowercase"><a href="#i271">LEATHER APPLIQU&Eacute; UPON VELVET</a></span>&mdash;The stitching well within the edge of
+the leather.</li>
+</ol>
+
+
+<h2><a name="Errata" id="Errata"></a><span class="smcap">Errata.</span></h2>
+
+<p>Page <a href="#Page_30">30</a>. Diagram belongs to G (Stem-Stitch) described on page <a href="#Page_32">32</a>, not C
+(Thick Crewel-Stitch).</p>
+
+<p>Page <a href="#Page_125">125</a>, 2nd line. For "lower" read "upper."</p>
+
+
+
+<h1>ART IN NEEDLEWORK.<span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></h1>
+
+
+
+<h2><a name="EMBROIDERY_AND_STITCHING" id="EMBROIDERY_AND_STITCHING"></a>EMBROIDERY AND STITCHING.</h2>
+
+
+<p>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&mdash;modesty,
+we may take it, was an afterthought&mdash;and if the stitches made any sort
+of pattern, as coarse stitching naturally would, that was <i>embroidery</i>.</p>
+
+<p>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, <i>tapestry</i>, which may be described as a kind of embroidery with
+the shuttle, and, on the other, <i>lace</i>, which is needlework pure and
+simple, construction "in the air" as the Italian name has it.</p>
+
+<p>The term is used in common parlance to express any kind of superficial
+or superfluous ornamentation. A poet is said to embroider the truth.<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span>
+But such metaphorical use of the word hints at the real nature of the
+work&mdash;embellishment, enrichment, <i>added</i>. If added, there must first of
+all be something it is added <i>to</i>&mdash;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 <i>on</i> a fabric first of all woven on the loom, or, it
+might be, netted.</p>
+
+<p>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 <i>drawn out</i>, 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 <a href="#i027">1</a>, 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<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> white pattern intact on the warp, the
+threads of which are laid bare in the upper part of the illustration.</p>
+
+<p><a id="i027" name="i027"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti027.jpg" width="248" height="413"
+      alt="" />
+<p class="linktext"><a href="images/i027.jpg">larger image</a></p>
+<p class="caption">1. TAPESTRY, SHOWING WARP.</p>
+</div>
+
+<p>It is on just such upright lines of warp that all tapestry, properly so
+called, is worked&mdash;whether with the shuttle or with the needle makes no
+matter&mdash;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
+<i>withdrawn</i>.</p>
+
+<p>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 <i>drawn</i>. The distinction, therefore, between tapestry
+and embroidery is, that, worked on a warp, as in Illustration <a href="#i027">1</a>, it is
+tapestry; worked on a mesh, as in Illustration <a href="#i029">3</a>, it is embroidery.</p>
+
+<p><a id="i028" name="i028"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti028.jpg" width="148" height="162"
+      alt="" />
+<p class="linktext"><a href="images/i028.jpg">larger image</a></p>
+<p class="caption">2. DRAWN WORK.</p>
+</div>
+
+<p>With regard, again, to lace. That is itself a web, independent of any
+groundwork or foundation<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> to support it. But it is possible to work it
+<i>over</i> 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 <a href="#i111">35</a> shows plainly
+what is meant.</p>
+
+<p><a id="i029" name="i029"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti029.jpg" width="273" height="451"
+      alt="" />
+<p class="linktext"><a href="images/i029.jpg">larger image</a></p>
+<p class="caption">3. STITCHING ON A SQUARE MESH.</p>
+</div>
+
+<p>Embroidery is enrichment by means of the needle. To embroider is to work
+<i>on</i> 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 <i>the</i> consistent way of ornamenting stuff&mdash;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
+<i>less</i> 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&mdash;why not? But
+then it would be because you wanted that less<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> precious texture there.
+The excuse of economy would scarcely hold good.</p>
+
+<p>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&mdash;it is still work <i>on</i> 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.</p>
+
+<p>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&mdash;it would need the space of an encyclop&aelig;dia to chronicle them
+all&mdash;but with the broadly marked varieties of stitch which have been
+employed to best purpose in ornament.</p>
+
+<p>They are derived, naturally, from the stitches first used for quite
+practical and prosaic purposes&mdash;buttonhole<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>Nor do the quasi-learned descriptions of old stitches help us much. One
+reads about <i>opus</i> this and <i>opus</i> 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.<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> 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 <i>technique</i> of stitching, and as likely
+as not to call it by a wrong name. It is easier, for example, to talk of
+<i>Opus Anglicanum</i> than to say precisely what it was, further than that
+it described work done in England; and for that we have the simple
+word&mdash;English. There is nothing to show that medi&aelig;val English work
+contained stitches not used elsewhere. The stitches probably all come
+from the East.</p>
+
+<p>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.</p>
+
+<p>Stitches may be grouped in all manner of arbitrary ways&mdash;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.<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p>
+
+<p>The use of such classification hardly needs pointing out.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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,<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> 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&mdash;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.</p>
+
+<p>A stitch may be defined as the thread left on the surface of the cloth
+or what not, after each ply of the needle.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="CANVAS_STITCHES" id="CANVAS_STITCHES"></a>CANVAS STITCHES.<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span></h2>
+
+
+<p>The simplest, as it is most likely the earliest used, stitch-group is
+what might best be called <span class="smcap">Canvas</span> stitch&mdash;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.</p>
+
+<p>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&mdash;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.</p>
+
+<p>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<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> 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.</p>
+
+<p><a id="i037" name="i037"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti037.jpg" width="269" height="159"
+      alt="" />
+<p class="linktext"><a href="images/i037.jpg">larger image</a></p>
+<p class="caption">4. CROSS-STITCH.</p>
+</div>
+
+<p>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 na&iuml;ve 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<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> 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.</p>
+
+<p>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 tesser&aelig;
+employed in mosaic.</p>
+
+<div class="sidenote"><span class="smcap lowercase">TO WORK CROSS STITCH.</span></div>
+
+<p>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 <i>back</i> 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.</p>
+
+<p>The common use of cross-stitch and the somewhat geometric kind of
+pattern to which it lends itself are shown in the sampler, Illustration
+<a href="#i039">5</a>.</p>
+
+<p>The broad and simple leafage, worked solid (A) or left in the plain
+canvas upon a groundwork of<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> solid stitching (B), and the fretted
+diaper on vertical and horizontal lines (C), show the most
+straightforward ways of using it.</p>
+
+<p><a id="i039" name="i039"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti039.jpg" width="303" height="470"
+      alt="" />
+<p class="linktext"><a href="images/i039.jpg">larger image</a></p>
+<p class="caption">5. CROSS-STITCH SAMPLER.</p>
+</div>
+
+<p>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&mdash;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.</p>
+
+<p>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.</p>
+
+<p>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 <a href="#i041">6</a> are uncompromisingly square; the floral devices on<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> 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 (<a href="#i042">7</a>). 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.</p>
+
+<p><a id="i041" name="i041"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti041.jpg" width="279" height="453"
+      alt="" />
+<p class="linktext"><a href="images/i041.jpg">larger image</a></p>
+<p class="caption">6. CANVAS-STITCH.</p>
+</div>
+
+<p><a id="i042" name="i042"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti042.jpg" width="166" height="197"
+      alt="" />
+<p class="linktext"><a href="images/i042.jpg">larger image</a></p>
+<p class="caption">7. CANVAS-STITCH.</p>
+</div>
+
+<p>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 <a href="#i043">8</a>.</p>
+
+<div class="sidenote"><span class="smcap">tent-stitch A.</span></div>
+
+<p>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<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> 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 (<i>tendere</i>, 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 tesser&aelig; will pronounce
+themselves, and spoil it.</p>
+
+<p><a id="i043" name="i043"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti043.jpg" width="284" height="431"
+      alt="" />
+<p class="linktext"><a href="images/i043.jpg">larger image</a></p>
+<p class="caption">8. CANVAS-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i044" name="i044"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti044.jpg" width="275" height="185"
+      alt="" />
+<p class="linktext"><a href="images/i044.jpg">larger image</a></p>
+<p class="caption">9. CUSHION AND SATIN STITCHES.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">cross-stitch B.</span></div>
+
+<p>This kind of half cross-stitch worked on the larger scale of ordinary
+cross-stitch would look<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> meagre. It is filled out, therefore (B), by
+horizontal lines of the thread laid across the canvas, and over these
+the stitch is worked.</p>
+
+<div class="sidenote"><span class="smcap">cushion-stitch C.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">canvas-stitch D.</span></div>
+
+<p>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.</p>
+
+<p>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 <a href="#i251">89</a>.</p>
+
+<p>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 <a href="#i047">10</a>, in which the threads of the
+linen are not drawn out but drawn together.</p>
+
+<div class="sidenote"><span class="smcap">canvas-stitch E.</span></div>
+
+<p>The way of working the stitch at E is described on page <a href="#Page_51">51</a>, under the
+name of "fish-bone." Worked on canvas it has somewhat the effect of
+plaiting, and goes by the name of "plait-stitch."<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> It is worked in
+horizontal rows alternately from left to right and from right to left.</p>
+
+<div class="sidenote"><span class="smcap">canvas-stitch F.</span></div>
+
+<p>The stitch at F is a sort of couching (see page <a href="#Page_124">124</a>). 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.</p>
+
+<p>Admirable canvas stitch work has been done upon linen in silk of one
+colour&mdash;red, green, or blue&mdash;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 <a href="#i047">10</a>) 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&mdash;not that
+it is in any way peculiar to Spain. It is allied to herring-bone-stitch,
+to which a special chapter is devoted.</p>
+
+<p><a id="i047" name="i047"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti047.jpg" width="288" height="459"
+      alt="" />
+<p class="linktext"><a href="images/i047.jpg">larger image</a></p>
+<p class="caption">10. PLAIT AND OPEN CANVAS STITCHES.</p>
+</div>
+
+<p>Darning is also employed as a canvas stitch. There is beautiful 16th
+century Italian work (in<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> 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 tesser&aelig; of mosaic that it seems as if they must have been worked in
+deliberate imitation of it.</p>
+
+<p>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 <a href="#i044">9</a> (page <a href="#Page_20">20</a>) is
+satin-stitch upon coarse linen.</p>
+
+<p>The filling-in patterns used to such delicate and dainty purpose in the
+marvellous work on fine cambric (Illustration <a href="#i207">73</a>) 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.</p>
+
+<p>Satin and other stitches were worked by the old Italians (Illustration
+<a href="#i029">3</a>) on square-meshed canvas, frankly on the square lines given by it, for
+the filling in of ornamental details, though the<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> outline might be much
+less formal. That is to say, the surface of freely-drawn leaves, &amp;c.,
+instead of being worked solid, was diapered over with more or less open
+pattern work constructed on the lines of the weaving.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="CREWEL-STITCH" id="CREWEL-STITCH"></a>CREWEL-STITCH.<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span></h2>
+
+
+<p>For work in the hand, <span class="smcap">Crewel-Stitch</span> 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.</p>
+
+<p><a id="i050" name="i050"></a></p>
+<div class="figcenter pad">
+    <img src="images/i050.jpg" width="268" height="277"
+      alt="" />
+<p class="caption smcap">the working of A on crewel-stitch sampler.</p>
+</div>
+
+<p><a id="i051" name="i051"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti051.jpg" width="270" height="451"
+      alt="" />
+<p class="linktext"><a href="images/i051.jpg">larger image</a></p>
+<p class="caption">11. CREWEL-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i052" name="i052"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti052.jpg" width="277" height="455"
+      alt="" />
+<p class="linktext"><a href="images/i052.jpg">larger image</a></p>
+<p class="caption">12. CREWEL-STITCH SAMPLER (BACK).</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work A.</span></div>
+
+<p><span class="smcap">Crewel-Stitch</span> proper is shown at A on the sampler opposite, where it is
+used for line work. It is worked as follows:&mdash;Having made a start in the
+usual way, keep your thread downwards under your left thumb and below
+your needle&mdash;that is,<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> to the right; then take up with the needle, say
+&#8539;th 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 <a href="#i052">12</a>), described on page <a href="#Page_30">30</a>.</p>
+
+<p><a id="i053" name="i053"></a></p>
+<div class="figcenter pad">
+    <img src="images/i053.jpg" width="238" height="206"
+      alt="" />
+<p class="caption smcap">the working of B on crewel-stitch sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work B.</span></div>
+
+<p><span class="smcap">Outline-Stitch</span> (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.</p>
+
+<div class="sidenote"><span class="smcap">to work C.</span></div>
+
+<p><span class="smcap">Thick Crewel-Stitch</span> (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
+&#8539;th of<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span> 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 &#8539;th of an inch in front of,
+and bringing it out &#8539;th of an inch behind, the last stitch, so as to
+have always &frac14;th of an inch of the stuff on your needle.</p>
+
+<p><a id="i054" name="i054"></a></p>
+<div class="figcenter pad">
+    <img src="images/i054.jpg" width="277" height="134"
+      alt="" />
+<p class="caption smcap">the working of <ins class="correction" title="C">G</ins> on crewel-stitch sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work D.</span></div>
+
+<p><span class="smcap">Thick Outline-Stitch</span> (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.</p>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>In <span class="smcap">Back-Stitch</span> (E), instead of first bringing the needle out at the
+point where the embroidery is to begin, you bring it out &#8539;th of an
+inch in advance of it. Then, putting your needle back, you take up this
+&#8539;th together with another &#8539;th 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.</p>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p>To work the <span class="smcap">Spots</span> (F) on sampler&mdash;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<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> 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.</p>
+
+<p><a id="i055" name="i055"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti055.jpg" width="275" height="457"
+      alt="" />
+<p class="linktext"><a href="images/i055.jpg">larger image</a></p>
+<p class="caption">13. CREWEL WORK AND CREWEL-STITCH.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work G.</span></div>
+
+<p>You begin <span class="smcap">Stem-Stitch</span> (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
+&#8539;th 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 <a href="#i052">12</a>) the stitches lie in a slanting direction.</p>
+
+<div class="sidenote"><span class="smcap">to work H.</span></div>
+
+<p>To work wider <span class="smcap">Stem-Stitch</span> (H). After the first two stitches, bring your
+needle out precisely above and in a line with them, and put it in again
+&#8539;th 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 <a href="#i052">12</a>) are only two-thirds of the length
+of those on the face.</p>
+
+<p><span class="smcap">Crewel and Outline Stitches</span> worked (J) side by side give somewhat the
+effect of a braid. The importance of not confusing them, already
+referred to, is here apparent.</p>
+
+<p><span class="smcap">Crewel-Stitch</span> is worked <span class="smcap lowercase">SOLID</span> in the heart-shape in the centre of the
+sampler. On the left side the rows of stitching follow the outline of<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>
+the heart; on the right they are more upright, merely conforming a
+little to the shape to be filled. This is the better method.</p>
+
+<p><a id="i057" name="i057"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti057.jpg" width="266" height="452"
+      alt="" />
+<p class="linktext"><a href="images/i057.jpg">larger image</a></p>
+<p class="caption">14. CREWEL WORK IN VARIOUS STITCHES.</p>
+</div>
+
+<div class="sidenote"><span class="smcap lowercase">TO WORK SOLID CREWEL-STITCH.</span></div>
+
+<p>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
+<a href="#i055">13</a>. 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.</p>
+
+<p>To represent shading in crewel-stitch, to which it is admirably suited
+(A, Illustration <a href="#i125">41</a>), 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.</p>
+
+<p>In solid crewel the stitches should quite cover the ground without
+pressing too closely one against the other.</p>
+
+<p><a id="i059" name="i059"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti059.jpg" width="274" height="447"
+      alt="" />
+<p class="linktext"><a href="images/i059.jpg">larger image</a></p>
+<p class="caption">15. CREWEL-STITCH IN TWISTED SILK.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>
+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 <a href="#i055">13</a> 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&mdash;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.</p>
+
+<p>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<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> 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.</p>
+
+<p>Quite in the traditional manner is Illustration <a href="#i057">14</a>. 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&mdash;not without remorse in the case of beautiful
+work, but relentlessly all the same.</p>
+
+<p>The only piece of embroidery entirely in crewel-stitch which I could
+find for illustration (<a href="#i059">15</a>) 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 <a href="#i205">72</a>.</p>
+
+<p>Beautiful back-stitching occurs in the Italian work on Illustration <a href="#i251">89</a>,
+and the stitch is used for sewing down the <i>appliqu&eacute;</i> in Illustration
+<a href="#i271">94</a>.</p>
+
+
+
+<h2><a name="CHAIN-STITCH" id="CHAIN-STITCH"></a>CHAIN-STITCH.<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span></h2>
+
+
+<p><a id="i062" name="i062"></a></p>
+<div class="figleft">
+    <img src="images/ti062.jpg" width="133" height="150"
+      alt="" />
+<p class="linktext"><a href="images/i062.jpg">larger image</a></p>
+<p class="caption">16. CHAIN-STITCH AND KNOTS.</p>
+</div>
+
+<p><span class="smcap">Chain</span> and <span class="smcap">Tambour Stitch</span> 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.</p>
+
+<p>Chain-stitch is not to be confounded with split-stitch (see page <a href="#Page_105">105</a>),
+which somewhat resembles it.</p>
+
+<div class="sidenote"><span class="smcap">to work A.</span></div>
+
+<p>To work chain-stitch (A on the sampler, Illustration <a href="#i063">17</a>) bring the
+needle out, hold the thread<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> down with the left thumb, put the needle
+in again at the hole through which you brought it out, take up &frac14; of an
+inch of stuff, and draw the thread through: that gives you the first
+link of the chain. The back of the work (<a href="#i064">18</a>) looks like back-stitch. In
+fact, in the quilted coverlet, Illustration <a href="#i196">69</a> (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 <a href="#i198">70</a>.</p>
+
+<p><a id="i063" name="i063"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti063.jpg" width="273" height="454"
+      alt="" />
+<p class="linktext"><a href="images/i063.jpg">larger image</a></p>
+<p class="caption">17. CHAIN-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i064" name="i064"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti064.jpg" width="277" height="457"
+      alt="" />
+<p class="linktext"><a href="images/i064.jpg">larger image</a></p>
+<p class="caption">18. CHAIN-STITCH SAMPLER (BACK).</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work B.</span></div>
+
+<p>A playful variation upon chain-stitch (B on the sampler, Illustration
+<a href="#i063">17</a>) 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 <a href="#i179">64</a>.</p>
+
+<div class="sidenote"><span class="smcap">to work C.</span></div>
+
+<p>A variety of chain-stitch (C on the sampler, Illustration <a href="#i063">17</a>) used often
+in church work, more solid in appearance, the links not being so open,<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>
+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 &#8539;th of an inch below where it first went in but precisely on the
+same line, and you have the first link of your chain.</p>
+
+<div class="sidenote"><span class="smcap">to work D.</span></div>
+
+<p>To work what is known as cable-chain (D on the sampler, Illustration <a href="#i063">17</a>)
+keep your thread to the right, put in your needle, pointing downwards, a
+little below the starting point, and bring it out about &frac14;th 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.</p>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>A zigzag chain, of a rather fancy description, goes by the name of
+Vandyke chain (E on the sampler, Illustration <a href="#i063">17</a>). 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&mdash;and so to and fro to the end.</p>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p>The braid-stitch shown at F on the sampler (Illustration <a href="#i063">17</a>) 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,<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> 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.</p>
+
+<p><a id="i067" name="i067"></a></p>
+<div class="figcenter pad">
+    <img src="images/i067.jpg" width="251" height="223"
+      alt="" />
+<p class="caption smcap">the working of F on chain-stitch sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work G.</span></div>
+
+<p>A yet more fanciful variety of braid-stitch (G on the sampler,
+Illustration <a href="#i063">17</a>) 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.</p>
+
+<p>These braid-stitches look best worked in stout thread of close texture.</p>
+
+<p>In covering a surface with chain-stitch (needlework or tambour) the
+usual plan is to follow the<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span> 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&mdash;not running backwards and forwards&mdash;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&mdash;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 <span class="smcap lowercase">B.C.</span></p>
+
+<p><a id="i068" name="i068"></a></p>
+<div class="figcenter pad">
+    <img src="images/i068.jpg" width="121" height="332"
+      alt="" />
+<p class="caption smcap">the working of G on chain-stitch sampler.</p>
+</div>
+
+<p><a id="i069" name="i069"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti069.jpg" width="431" height="274"
+      alt="" />
+<p class="linktext"><a href="images/i069.jpg">larger image</a></p>
+<p class="caption">19. CHAIN AND SURFACE STITCHES.</p>
+</div>
+
+<p>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&mdash;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<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span> 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 <a href="#i084">24</a> and <a href="#i205">72</a>; for surface covering in Mr. Crane's lion,
+Illustration <a href="#i213">74</a>; to represent landscape in Illustration <a href="#i226">78</a>, where
+everything except the faces of the little men is in chain-stitch; and
+again for figure work in Illustration <a href="#i231">81</a>. In Illustration <a href="#i069">19</a> it occurs
+in association with a curious surface stitch; in Illustration <a href="#i179">64</a> 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.</p>
+
+
+
+<h2><a name="HERRING-BONE_STITCH" id="HERRING-BONE_STITCH"></a>HERRING-BONE STITCH.<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></h2>
+
+
+<p><span class="smcap">Herring-bone</span> 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.</p>
+
+<p>It will be seen from the sampler, Illustration <a href="#i073">20</a>, 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.</p>
+
+<p>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.<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p>
+
+<p>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&mdash;as
+will be seen at once by reference to the back of the sampler
+(Illustration <a href="#i074">21</a>), where the stitches take in the one case a horizontal
+and in the other a vertical direction.</p>
+
+<div class="sidenote"><span class="smcap">to work A.</span></div>
+
+<p>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 &#8539;th 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
+&frac14;th of an inch further on, and, turning it backwards, take up again
+&#8539;th of an inch of stuff, bringing it out immediately above where it
+went in on the lower edge.</p>
+
+<div class="sidenote"><span class="smcap">to work B.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work C.</span></div>
+
+<p>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,<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span> your needle now pointing upwards, take another similar
+stitch from the lower edge.</p>
+
+<p><a id="i073" name="i073"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti073.jpg" width="274" height="455"
+      alt="" />
+<p class="linktext"><a href="images/i073.jpg">larger image</a></p>
+<p class="caption">20. HERRING-BONE SAMPLER.</p>
+</div>
+
+<p><a id="i074" name="i074"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti074.jpg" width="271" height="451"
+      alt="" />
+<p class="linktext"><a href="images/i074.jpg">larger image</a></p>
+<p class="caption">21. HERRING-BONE SAMPLER (BACK).</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work D.</span></div>
+
+<p>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.</p>
+
+<p><a id="i075" name="i075"></a></p>
+<div class="figcenter pad">
+    <img src="images/i075.jpg" width="293" height="185"
+      alt="" />
+<p class="caption smcap">the working of E on herring-bone sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>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 &frac14;th 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<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span> 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.</p>
+
+<p><a id="i076" name="i076"></a></p>
+<div class="figcenter pad">
+    <img src="images/i076.jpg" width="326" height="157"
+      alt="" />
+<p class="caption smcap">the working of F on herring-bone sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p>In close herring-bone (F on the sampler, Illustration <a href="#i073">20</a>) 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 &#8539;th 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 &frac14;th of an inch from the beginning, bringing it out on the
+same edge &#8539;th of an inch from the beginning. Put the needle in again
+on the upper edge &#8539;th 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.</p>
+
+<p>If you wish to cover a surface with herring-bone-stitch, you work it, of
+course, close, so that each<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span> successive stitch touches its foregoer at
+the point where the needle enters the stuff (F on the sampler,
+Illustration <a href="#i073">20</a>). It will be seen that at the back (<a href="#i074">21</a>) 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.</p>
+
+<p><a id="i077" name="i077"></a></p>
+<div class="figcenter pad">
+    <img src="images/i077.jpg" width="321" height="220"
+      alt="" />
+<p class="caption smcap">the working of G on herring-bone sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work G.</span></div>
+
+<p>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 (<a href="#i074">21</a>) clearly
+shows, in quite a different way. You get there parallel rows of double
+stitches. Having<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span> 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.</p>
+
+<p>The artistic use of herring-bone-stitch is shown in the leaves of the
+tulip (<a href="#i236">84</a>), and a closer variety of it in the pink, or whatever the
+flower may be, in the hand of the little figure on Illustration <a href="#i205">72</a>.</p>
+
+
+
+<h2><a name="BUTTONHOLE-STITCH" id="BUTTONHOLE-STITCH"></a>BUTTONHOLE-STITCH.<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span></h2>
+
+
+<p><span class="smcap">Buttonhole</span> 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 <a href="#i081">22</a>.</p>
+
+<p>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 <a href="#i207">73</a>.</p>
+
+<p>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.</p>
+
+<p>The simpler forms of the stitch are the more<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span> 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.</p>
+
+<div class="sidenote"><span class="smcap">to work A.</span></div>
+
+<p>One need hardly describe <span class="smcap">Buttonhole Stitch</span>. 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."</p>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>The <span class="smcap">Crossed Buttonhole Stitch</span> at E is worked by first making a stitch
+sloping to the right, and then a smaller buttonhole-stitch across this
+from the left.</p>
+
+<p>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.</p>
+
+<p><a id="i081" name="i081"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti081.jpg" width="274" height="452"
+      alt="" />
+<p class="linktext"><a href="images/i081.jpg">larger image</a></p>
+<p class="caption">22. BUTTONHOLE SAMPLER.</p>
+</div>
+
+<p><a id="i082" name="i082"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti082.jpg" width="268" height="461"
+      alt="" />
+<p class="linktext"><a href="images/i082.jpg">larger image</a></p>
+<p class="caption">23. BUTTONHOLE SAMPLER (BACK).</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p>The border at F, known as "<span class="smcap">Tailor's Buttonhole</span>," is worked with the firm
+edge from you, instead of towards you, as you work ordinary<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>
+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.</p>
+
+<p><a id="i083" name="i083"></a></p>
+<div class="figcenter pad">
+    <img src="images/i083.jpg" width="131" height="235"
+      alt="" />
+<p class="caption smcap">the working of H on buttonhole sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work G.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work H.</span></div>
+
+<p>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.</p>
+
+<p><a id="i084" name="i084"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti084.jpg" width="239" height="385"
+      alt="" />
+<p class="linktext"><a href="images/i084.jpg">larger image</a></p>
+<p class="caption">24. BUTTONHOLE, CHAIN, AND KNOT STITCHES.</p>
+</div>
+
+<p>In the solid work shown at J, you make five<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span> 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.</p>
+
+<p>Characteristic and most beautiful use is made of buttonhole stitch in
+the piece of Indian work in Illustration <a href="#i084">24</a>, where it is outlined with
+chain stitch, which goes most perfectly with it.</p>
+
+<p>Cut work, such as that on Illustration <a href="#i181">65</a>, is strengthened by outlining
+it in buttonhole-stitch.</p>
+
+<p>Ladder-stitch occurs in the cusped shapes framing certain flowers in
+Illustration <a href="#i205">72</a>, 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.</p>
+
+
+
+<h2><a name="FEATHER_AND_ORIENTAL_STITCHES" id="FEATHER_AND_ORIENTAL_STITCHES"></a>FEATHER AND ORIENTAL STITCHES.<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span></h2>
+
+
+<p><span class="smcap">Feather-stitch</span> 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.</p>
+
+<p>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 <a href="#i087">25</a>, 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.</p>
+
+<p>The feathery stem (A) on <ins class="correction" title="missing in original">the</ins> sampler is simply a buttonholing worked
+alternately from right to left and left to right.</p>
+
+<div class="sidenote"><span class="smcap">to work B.</span></div>
+
+<p>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;<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span> 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.</p>
+
+<p><a id="i087" name="i087"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti087.jpg" width="267" height="453"
+      alt="" />
+<p class="linktext"><a href="images/i087.jpg">larger image</a></p>
+<p class="caption">25. FEATHER-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i088" name="i088"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti088.jpg" width="271" height="457"
+      alt="" />
+<p class="linktext"><a href="images/i088.jpg">larger image</a></p>
+<p class="caption">26. FEATHER-STITCH SAMPLER (BACK).</p>
+</div>
+
+<p>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.</p>
+
+<p><a id="i089" name="i089"></a></p>
+<div class="figcenter pad">
+    <img src="images/i089.jpg" width="151" height="313"
+      alt="" />
+<p class="caption smcap">the working of G G on feather-stitch sampler.</p>
+</div>
+
+<p>Bands D, E, F, G, are variations of ordinary feather-stitch, requiring
+no further explanation than the back view of the work (<a href="#i088">26</a>) 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.</p>
+
+<div class="sidenote"><span class="smcap">to work G G.</span></div>
+
+<p>In working G G, suppose four guiding lines to have been drawn as
+above&mdash;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 &#8539;th of an inch lower
+down, and, slanting it upwards,<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span> 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, &#8539;th of an inch below the
+last stitch, and, slanting it upwards, bring it out on line 1.</p>
+
+<p>Feather-stitch is not adapted to covering broad surfaces solidly, but
+may be used for narrow ones.</p>
+
+<p><span class="smcap">Oriental-stitch</span> 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 (<a href="#i087">25</a>) you have cross lines, in Oriental-stitch (<a href="#i091">27</a>) you
+have a straight line&mdash;longer or shorter as the case may be.</p>
+
+<p>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
+<a href="#i091">27</a>. Like feather-stitch (see diagram), it is worked on four guiding
+lines, faintly visible on the sampler.</p>
+
+<div class="sidenote"><span class="smcap">to work A, B, C.</span></div>
+
+<p>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.</p>
+
+<p><a id="i091" name="i091"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti091.jpg" width="260" height="446"
+      alt="" />
+<p class="linktext"><a href="images/i091.jpg">larger image</a></p>
+<p class="caption">27. ORIENTAL-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i092" name="i092"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti092.jpg" width="265" height="450"
+      alt="" />
+<p class="linktext"><a href="images/i092.jpg">larger image</a></p>
+<p class="caption">28. ORIENTAL-STITCH SAMPLER (BACK).</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>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
+(<a href="#i092">28</a>). The difference is only a difference of proportion.</p>
+
+<p><a id="i093" name="i093"></a></p>
+<div class="figcenter pad">
+    <img src="images/i093.jpg" width="371" height="250"
+      alt="" />
+<p class="caption smcap">the working of A, B, C on oriental-stitch sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work D.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p>Stitch F is a combination of buttonhole and Oriental stitches. Between
+two rows of buttonholing<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span> (dark on sampler) a single row of
+Oriental-stitch is worked.</p>
+
+<p>The stitch employed for the central stalk, G, has really no business on
+this sampler, except that it has something <ins class="correction" title="missing in original">of</ins> the appearance of a
+continuous Oriental-stitch.</p>
+
+<p>Oriental-stitch is one of the stitches used in Illustration <a href="#i205">72</a>.</p>
+
+
+
+<h2><a name="ROPE_AND_KNOT_STITCHES" id="ROPE_AND_KNOT_STITCHES"></a>ROPE AND KNOT STITCHES.<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></h2>
+
+
+<p>A single sampler is devoted to <span class="smcap">Rope</span> and <span class="smcap">Knotted Stitches</span>, more nearly
+akin than they look, for rope-stitch is all but knotted as it is worked.</p>
+
+<p><span class="smcap">Rope-stitch</span> 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.</p>
+
+<div class="sidenote"><span class="smcap">to work A, B.</span></div>
+
+<p>Lines A on the sampler, Illustration <a href="#i097">29</a>, 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.</p>
+
+<p><a id="i095" name="i095"></a></p>
+<div class="figcenter pad">
+    <img src="images/i095.jpg" width="239" height="182"
+      alt="" />
+<p class="caption smcap">the working of A, B, on rope-stitch sampler.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span> 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.</p>
+
+<p><a id="i096" name="i096"></a></p>
+<div class="figcenter pad">
+    <img src="images/i096.jpg" width="199" height="178"
+      alt="" />
+<p class="caption smcap">the working of C on rope-stitch sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work C.</span></div>
+
+<p>A knotted line (C in the sampler, Illustration <a href="#i097">29</a>) is produced by what
+is known as "<span class="smcap">German Knot-stitch</span>," 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.</p>
+
+<div class="sidenote"><span class="smcap">to work D.</span></div>
+
+<p>The more open stitch at D is practically the same<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span> thing, except that
+in crossing the running thread you take up more of the stuff on each
+side of it.</p>
+
+<p><a id="i097" name="i097"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti097.jpg" width="267" height="456"
+      alt="" />
+<p class="linktext"><a href="images/i097.jpg">larger image</a></p>
+<p class="caption">29. ROPE-STITCH AND KNOT-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i098" name="i098"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti098.jpg" width="269" height="461"
+      alt="" />
+<p class="linktext"><a href="images/i098.jpg">larger image</a></p>
+<p class="caption">30. ROPE-STITCH AND KNOT-STITCH SAMPLER (BACK).</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>What is known by the name of "<span class="smcap">Old English Knot-stitch</span>" (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.</p>
+
+<p>These knotted rope stitches, call them what you will, are rather ragged
+and fussy&mdash;not much more than fancy stitches&mdash;of no great importance.
+<span class="smcap">Knots</span> used separately are of much more artistic account.</p>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p><span class="smcap">Bullion</span> or <span class="smcap">Roll-stitch</span> is shown in its simplest form in the petals of
+the flowers F on the sampler, Illustration <a href="#i097">29</a>. 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,<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span> 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.</p>
+
+<p><a id="i100" name="i100"></a></p>
+<div class="figcenter pad">
+    <img src="images/i100.jpg" width="375" height="294"
+      alt="" />
+<p class="caption smcap">the working of F on knot-stitch sampler.</p>
+</div>
+
+<p>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.<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p>
+
+<div class="sidenote"><span class="smcap">to work G.</span></div>
+
+<p>To work <span class="smcap">French Knots</span> (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.</p>
+
+<p>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.</p>
+
+<p><a id="i101" name="i101"></a></p>
+<div class="figcenter pad">
+    <img src="images/i101.jpg" width="206" height="121"
+      alt="" />
+<p class="caption smcap">the working of G on knot-stitch sampler.</p>
+</div>
+
+<p>The use of knots is shown to perfection in Illustration <a href="#i084">24</a>. 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<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span> outline, as for example in the peacock's tail on page <a href="#Page_38">38</a>; 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&mdash;and a happy one&mdash;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.</p>
+
+<p>The obvious fitness of knots to represent the stamens of flowers is
+exemplified in Illustration <a href="#i263">93</a>. 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 <a href="#i237">85</a>.</p>
+
+<p>The effect of knotting in the mass is shown in Illustration <a href="#i103">31</a>,
+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<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> pearled or beaded line not readily
+distinguishable from knot stitch.</p>
+
+<p><a id="i103" name="i103"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti103.jpg" width="434" height="287"
+      alt="" />
+<p class="linktext"><a href="images/i103.jpg">larger image</a></p>
+<p class="caption">31. A TOUR DE FORCE IN KNOTS.</p>
+</div>
+
+<p>The Japanese embroiderer, instead of knotting his own thread, employed
+very often a crinkled braid. This is shown in the cloud work in
+Illustration <a href="#i237">85</a>. The only true knotting there is in the top-knot of the
+bird.</p>
+
+<p><a id="i105" name="i105"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti105.jpg" width="272" height="473"
+      alt="" />
+<p class="linktext"><a href="images/i105.jpg">larger image</a></p>
+<p class="caption">32. INTERLACING-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i106" name="i106"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti106.jpg" width="270" height="461"
+      alt="" />
+<p class="linktext"><a href="images/i106.jpg">larger image</a></p>
+<p class="caption">33. INTERLACING-STITCH SAMPLER (BACK).</p>
+</div>
+
+
+
+<h2><a name="INTERLACINGS_SURFACE_STITCHES_AND_DIAPERS" id="INTERLACINGS_SURFACE_STITCHES_AND_DIAPERS"></a>INTERLACINGS, SURFACE STITCHES, AND DIAPERS.<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span></h2>
+
+
+<p>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.</p>
+
+<p>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 <a href="#i105">32</a>. You will see, on referring to the back of it (<a href="#i106">33</a>), that
+only the white silk is worked into the stuff: the dark is surface work
+only. There is no end to such possible <span class="smcap lowercase">INTERLACINGS</span>. 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<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span> surface of these is shown in
+darker silk. C and G undergo a second course of interlacing.</p>
+
+<p>The danger of splitting the first stitches in working the interlacing
+ones, is avoided by passing the needle eye-first through them.</p>
+
+<p>Other surface work, sometimes called <span class="smcap lowercase">LACE-STITCH</span>, is illustrated in the
+sampler, Illustration <a href="#i109">34</a>. 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.</p>
+
+<p><a id="i108" name="i108"></a></p>
+<div class="figcenter pad">
+    <img src="images/i108.jpg" width="222" height="140"
+      alt="" />
+<p class="caption smcap">the working of F on interlacing-stitch sampler.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work H, <a href="#i109">34</a>.</span></div>
+
+<p>In the Surface Darning at H (<a href="#i109">34</a>) 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.</p>
+
+<p>An oblique version of this is given at C (<a href="#i109">34</a>).</p>
+
+<div class="sidenote"><span class="smcap">to work B, <a href="#i109">34</a>.</span></div>
+
+<p>The Lace Buttonholing at B (<a href="#i109">34</a>) is worked as follows:&mdash;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.</p>
+
+<p><a id="i109" name="i109"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti109.jpg" width="270" height="455"
+      alt="" />
+<p class="linktext"><a href="images/i109.jpg">larger image</a></p>
+<p class="caption">34. SURFACE-STITCH SAMPLER.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work F, <a href="#i109">34</a>.</span></div>
+
+<p><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>Net Passing, as at F (<a href="#i109">34</a>), 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.</p>
+
+<div class="sidenote"><span class="smcap">to work G, <a href="#i109">34</a>.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work D, <a href="#i109">34</a>.</span></div>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work A, <a href="#i109">34</a>.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work L, <a href="#i109">34</a>.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work K, <a href="#i109">34</a>.</span></div>
+
+<p>The band at K is merely surface buttonholing over a series of slanting
+stitches.</p>
+
+<div class="sidenote"><span class="smcap">to work J, <a href="#i109">34</a>.</span></div>
+
+<p>The band at J is buttonhole stitching wide apart, the bars filled in
+with surface crewel-stitch.</p>
+
+<p><a id="i111" name="i111"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti111.jpg" width="269" height="448"
+      alt="" />
+<p class="linktext"><a href="images/i111.jpg">larger image</a></p>
+<p class="caption">35. LACE OR SURFACE STITCH.</p>
+</div>
+
+<p>Most delicate surface stitching occurs in Illustration<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span> <a href="#i111">35</a>, 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 <i>bon&acirc; fide</i> 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 <i>lace-stitches</i> are
+employed in it.</p>
+
+<p>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&mdash;if the word is not out of keeping with the
+period.</p>
+
+<p>The frailty of this kind of thing is too obvious to need mention, and
+that, of course, is a strong argument against it.</p>
+
+<p>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<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span> filling in
+surfaces (pattern or background) which it may be inexpedient to work
+more solidly.</p>
+
+<p>The greater part of such patterns are geometric (Illustrations <a href="#i111">35</a> and
+<a href="#i207">73</a>), following, that is to say, the mesh of the material, and making no
+secret of it. On Illustration <a href="#i029">3</a> 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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> 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.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="SATIN-STITCH_AND_ITS_OFFSHOOTS" id="SATIN-STITCH_AND_ITS_OFFSHOOTS"></a>SATIN-STITCH AND ITS OFFSHOOTS.<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></h2>
+
+
+<p><span class="smcap">Satin-stitch</span> is <i>par excellence</i> 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.</p>
+
+<p>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 <a href="#i044">9</a>, to
+the tune of the stuff. This may be described as satin-stitch in the
+making&mdash;at any<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span> 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 Medi&aelig;val,
+Renaissance, and Oriental needleworkers.</p>
+
+<div class="sidenote"><span class="smcap">to work A, <a href="#i117">36</a>.</span></div>
+
+<p>To cover a space with regular vertical satin stitches (A on the sampler,
+Illustration <a href="#i117">36</a>), 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work B, <a href="#i117">36</a>.</span></div>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span> centre,
+first from left to right and then from right to left.</p>
+
+<p><a id="i117" name="i117"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti117.jpg" width="280" height="463"
+      alt="" />
+<p class="linktext"><a href="images/i117.jpg">larger image</a></p>
+<p class="caption">36. SATIN-STITCH SAMPLER.</p>
+</div>
+
+<p><a id="i118" name="i118"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti118.jpg" width="274" height="461"
+      alt="" />
+<p class="linktext"><a href="images/i118.jpg">larger image</a></p>
+<p class="caption">37. SATIN-STITCH SAMPLER (BACK).</p>
+</div>
+
+<p>Stems, narrow leaflets, and the like, are best worked always in stitches
+which run diagonally and not straight across the form.</p>
+
+<p>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.</p>
+
+<p><a id="i119" name="i119"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti119.jpg" width="143" height="203"
+      alt="" />
+<p class="linktext"><a href="images/i119.jpg">larger image</a></p>
+<p class="caption">38. SATIN-STITCH IN COARSE TWISTED SILK.</p>
+</div>
+
+<p>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 <a href="#i117">36</a>, with the petal in twisted silk here
+given (<a href="#i119">38</a>). Marvellously skilful as are the needle-workers of India
+(Illustration <a href="#i121">39</a>), 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<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span>
+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 <a href="#i121">39</a>, <a href="#i123">40</a>, 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 <a href="#i123">40</a> 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.</p>
+
+<p>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 <a href="#i123">40</a>) is admirable.</p>
+
+<p><a id="i121" name="i121"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti121.jpg" width="276" height="489"
+      alt="" />
+<p class="linktext"><a href="images/i121.jpg">larger image</a></p>
+<p class="caption">39. SATIN-STITCH IN FINE TWISTED SILK.</p>
+</div>
+
+<p>It is the rule of the game to lay satin-stitch very evenly. Worked in
+floss, the mere surface of<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span> 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 <a href="#i123">40</a>; but the subtlest as well as the most deliberate
+gradation of tint may be most perfectly rendered in satin-stitch.</p>
+
+<div class="sidenote"><span class="smcap lowercase">TO WORK SURFACE SATIN-STITCH.</span></div>
+
+<p><span class="smcap">Surface Satin-stitch</span> (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 <i>immediately</i> 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 <a href="#i161">58</a> 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&mdash;loose and
+flimsy, but serving a distinct artistic purpose. It is to embroidery of
+more serious kind what scene painting is to mural decoration.</p>
+
+<p><a id="i123" name="i123"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti123.jpg" width="269" height="449"
+      alt="" />
+<p class="linktext"><a href="images/i123.jpg">larger image</a></p>
+<p class="caption">40. CHINESE SATIN-STITCH.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span> 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 <a href="#i123">40</a> and <a href="#i237">85</a> 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?</p>
+
+<p>"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 <i>into</i>
+the others or <i>between</i> them, as in the faces in Illustrations <a href="#i227">79</a> and
+<a href="#i229">80</a>.</p>
+
+<p>A little further removed from satin-stitch is what is known as
+"split-stitch," in which the needle is brought up <i>through</i> the
+foregoing stitch, and splits it. The way of working this stitch is more
+fully given on page <a href="#Page_105">105</a>.</p>
+
+<p>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.</p>
+
+<p><a id="i125" name="i125"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti125.jpg" width="278" height="455"
+      alt="" />
+<p class="linktext"><a href="images/i125.jpg">larger image</a></p>
+<p class="caption">41. OFFSHOOTS FROM SATIN AND CREWEL STITCHES.</p>
+</div>
+
+<p><a id="i126" name="i126"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti126.jpg" width="273" height="461"
+      alt="" />
+<p class="linktext"><a href="images/i126.jpg">larger image</a></p>
+<p class="caption">42. OFFSHOOTS FROM SATIN AND CREWEL STITCHES (BACK).</p>
+</div>
+
+<p>The distinction between the stitches so far<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span> 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 <a href="#i125">41</a>, 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&mdash;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<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span> which two stitches "dovetail" may be regarded as the connecting
+link.</p>
+
+<p><a id="i127" name="i127"></a></p>
+<div class="figcenter pad">
+    <img src="images/i127.jpg" width="185" height="326"
+      alt="" />
+<p class="caption smcap">the working of B on sampler <a href="#i125">41</a>.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work B, <a href="#i125">41</a>.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work D, <a href="#i125">41</a>.</span></div>
+
+<p>The working of the scroll at D on the sampler, Illustration <a href="#i125">41</a>, 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.</p>
+
+<p>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.<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span></p>
+
+<div class="sidenote"><span class="smcap">to work split-stitch C, <a href="#i125">41</a>.</span></div>
+
+<p>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.</p>
+
+
+
+<h2><a name="DARNING" id="DARNING"></a>DARNING.<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span></h2>
+
+
+<p>It is the peculiarity of <span class="smcap">Darning</span> and <span class="smcap">Running</span> that you make several
+stitches at one passing of the needle.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p><a id="i131" name="i131"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti131.jpg" width="270" height="459"
+      alt="" />
+<p class="linktext"><a href="images/i131.jpg">larger image</a></p>
+<p class="caption">43. DARNING SAMPLER.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>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.</p>
+
+<p>The darning of the sampler, Illustration <a href="#i131">43</a>, 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.</p>
+
+<p>The texture of the work depends upon the length of the stitches, and on
+the amount of the stuff showing through.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p><a id="i133" name="i133"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti133.jpg" width="275" height="453"
+      alt="" />
+<p class="linktext"><a href="images/i133.jpg">larger image</a></p>
+<p class="caption">44. DARNING DESIGNED BY WILLIAM MORRIS.</p>
+</div>
+
+<p>In the case of large leaves, veined, the veining<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span> should be worked
+first, the stitches between them radiating outwards to the edge of the
+leaf.</p>
+
+<p>More accomplished work in darning is shown in the border by William
+Morris in Illustration <a href="#i133">44</a>, 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&mdash;light or dark as occasion seemed to
+require.</p>
+
+<p>Mention has already been made of darning <i>&agrave; propos</i> of canvas-stitch;
+and there is a sort of natural correspondence between the <i>m&eacute;canique</i> of
+darning in its simplest form and the network of open threads which gives
+to rectangular darning, like the German work in Illustration <a href="#i135">45</a>,
+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&mdash;lighter for the surface of the
+pattern, heavier for the outline.</p>
+
+<p>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.</p>
+
+<p><a id="i135" name="i135"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti135.jpg" width="269" height="451"
+      alt="" />
+<p class="linktext"><a href="images/i135.jpg">larger image</a></p>
+<p class="caption">45. FLAT DARNING UPON A SQUARE MESH.</p>
+</div>
+
+
+
+<h2><a name="LAID-WORK" id="LAID-WORK"></a>LAID-WORK.<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span></h2>
+
+
+<p>The necessity for something like what is called "<span class="smcap">Laid-work</span>" 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.</p>
+
+<p>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.</p>
+
+<p><a id="i137" name="i137"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti137.jpg" width="268" height="449"
+      alt="" />
+<p class="linktext"><a href="images/i137.jpg">larger image</a></p>
+<p class="caption">46. LAID-WORK SAMPLER.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>Laid-work lends itself also to gradation of colour within certain
+limits&mdash;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.</p>
+
+<p>The sampler, Illustration <a href="#i137">46</a>, 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<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span> 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.</p>
+
+<p><a id="i139" name="i139"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti139.jpg" width="270" height="435"
+      alt="" />
+<p class="linktext"><a href="images/i139.jpg">larger image</a></p>
+<p class="caption">47. JAPANESE LAID-WORK.</p>
+</div>
+
+<p>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 <a href="#i137">46</a>, or a thread may be laid across and sewn down&mdash;couched,
+as it is called&mdash;as in the flower. The closer the cross lines the
+stronger the work, but the less lustrous the effect.</p>
+
+<p>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 <a href="#i139">47</a>, <a href="#i141">48</a>, <a href="#i143">49</a>.</p>
+
+<p>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 <a href="#i227">79</a>. It is
+effective when quite naively and simply used in cross lines which do not
+appear to take any account of the forms crossed&mdash;as, for example, in
+Illustration <a href="#i139">47</a>, 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<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span> 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 <a href="#i141">48</a>, 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.</p>
+
+<p><a id="i141" name="i141"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti141.jpg" width="280" height="431"
+      alt="" />
+<p class="linktext"><a href="images/i141.jpg">larger image</a></p>
+<p class="caption">48. INDO-PORTUGUESE LAID-WORK.</p>
+</div>
+
+<p>A more finished piece of work is shown in Illustration <a href="#i143">49</a>, 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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span> wash of colour. The
+Italians of the 16th and 17th centuries (see Illustration <a href="#i143">49</a>) were not
+afraid of rather abrupt transition in the shades of colour they used for
+laid-work.</p>
+
+<p><a id="i143" name="i143"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti143.jpg" width="263" height="449"
+      alt="" />
+<p class="linktext"><a href="images/i143.jpg">larger image</a></p>
+<p class="caption">49. ITALIAN LAID-WORK.</p>
+</div>
+
+<p><a id="i144" name="i144"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti144.jpg" width="271" height="219"
+      alt="" />
+<p class="linktext"><a href="images/i144.jpg">larger image</a></p>
+<p class="caption">50. LAID SAMPLER.</p>
+</div>
+
+<p>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&mdash;laying and couching. It saves confusion to make a
+sharp distinction between the two&mdash;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<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span> whatever kind, and
+"couched" for the sewing down of cords, &amp;c. (silk or gold), thread by
+thread or in pairs. Laid floss is sewn down <i>en masse</i>, 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.</p>
+
+
+
+<h2><a name="COUCHING" id="COUCHING"></a>COUCHING<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></h2>
+
+
+<p><span class="smcap">Couching</span> is the sewing down of one thread by another&mdash;as in the outline
+of the flower on the laid sampler, Illustration <a href="#i137">46</a>. 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.</p>
+
+<p>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.</p>
+
+<p>Couching is best done in a frame; but it may be done in the hand by
+means of buttonhole-stitch.</p>
+
+<p><a id="i147" name="i147"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti147.jpg" width="273" height="441"
+      alt="" />
+<p class="linktext"><a href="images/i147.jpg">larger image</a></p>
+<p class="caption smcap">51. A. bullion. B. couched cord.</p>
+</div>
+
+<p>When a surface is covered with couching, as in the seeding of the flower
+in the sampler, Illustration <a href="#i137">46</a>, the sewing down stitches make a
+pattern&mdash;all the plainer there, because the stitching is in a
+contrasting shade of colour. It is quite<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span> permissible to call attention
+to the stitching if it suits your artistic purpose. To disguise it by
+sewing <i>through</i> the cord is not a workmanlike practice. A worker should
+frankly accept a method of work and get character out of it.</p>
+
+<p>Embroidresses have a clever way of untwisting a cord before each stitch
+and twisting it again after stitching through it&mdash;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 <a href="#i147">51</a>, a design perfectly adapted to
+couching, and yet unlike the usual thing.</p>
+
+<p>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 <a href="#i149">52</a>, 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<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span> stitches in the direction of its twist. This is
+more plainly seen in the <ins class="correction" title="lower">upper</ins> of the two bands, where the
+sloping stitches are lighter in colour than the cord sewn down.</p>
+
+<p><a id="i149" name="i149"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti149.jpg" width="275" height="196"
+      alt="" />
+<p class="linktext"><a href="images/i149.jpg">larger image</a></p>
+<p class="caption">52. COUCHING SAMPLER.</p>
+</div>
+
+<p>Characteristic use is made of rather puffy couching in the ornament of
+the lady's dress in Miss Keighley's panel, Illustration <a href="#i171">61</a>, where it has
+very much the richness of embroidery in seed pearls.</p>
+
+<p>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<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>The entire surface of a linen ground was sometimes covered with couched
+threads of silk or fine wool&mdash;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.</p>
+
+<p>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.</p>
+
+<p><a id="i151" name="i151"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti151.jpg" width="274" height="441"
+      alt="" />
+<p class="linktext"><a href="images/i151.jpg">larger image</a></p>
+<p class="caption">53. COUCHING IN LOOPED THREADS.</p>
+</div>
+
+<p>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 <a href="#i253">90</a>, in which the lines of delicate Renaissance
+arabesque are perfectly preserved. The rare practice of such work as<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span>
+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.</p>
+
+<p><a id="i152" name="i152"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti152.jpg" width="163" height="187"
+      alt="" />
+<p class="linktext"><a href="images/i152.jpg">larger image</a></p>
+<p class="caption">54. REVERSE COUCHING.</p>
+</div>
+
+<p>The value of a couched cord as an outline to stitching (satin-stitch in
+this instance) is shown in Illustration <a href="#i259">91</a>, 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.</p>
+
+<p>The appropriateness of couched cord to the outlining of inlay or of
+appliqu&eacute; is seen in the two examples which form Illustration <a href="#i173">62</a>. 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<span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span> together, as it naturally does, double
+at the ends of the leaves.</p>
+
+<p><a id="i153" name="i153"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti153.jpg" width="157" height="189"
+      alt="" />
+<p class="linktext"><a href="images/i153.jpg">larger image</a></p>
+<p class="caption">55. REVERSE COUCHING (BACK).</p>
+</div>
+
+<p>This occurs again in Illustration <a href="#i175">63</a>, where the double threads which
+form the stalks, though separately stitched down, are couched again at
+intervals by bands crossing the two&mdash;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.</p>
+
+<p>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 <a href="#i151">53</a>, might pass
+at first sight for French knots or chain-stitch: it is really another
+method of all-over couching.</p>
+
+<p>A double course of couching forms the outline in<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span> Illustration <a href="#i261">92</a>, 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.</p>
+
+<p><i>A propos</i> 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 <a href="#i152">54</a>). 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 <i>dips</i> 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 <a href="#i153">55</a>) 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.</p>
+
+
+
+<h2><a name="COUCHED_GOLD" id="COUCHED_GOLD"></a>COUCHED GOLD.<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span></h2>
+
+
+<p>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.</p>
+
+<p>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&mdash;why it is not easy to say.
+Panels A, B, C, in the sampler, Illustration <a href="#i157">56</a>, are couched in double
+threads, D in single cords.</p>
+
+<p>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<span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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&mdash;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.</p>
+
+<p><a id="i157" name="i157"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti157.jpg" width="281" height="470"
+      alt="" />
+<p class="linktext"><a href="images/i157.jpg">larger image</a></p>
+<p class="caption">56. COUCHED GOLD SAMPLER.</p>
+</div>
+
+<p>In fact the ornamentist, being an ornamentist, naturally takes advantage
+of the necessity of stitching, to pattern his metallic surfaces with
+diaper,<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span> using often, as in the scroll in Illustration <a href="#i159">57</a>, 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.</p>
+
+<p>The other diapers on the sampler, F, G, H, J, <a href="#i157">56</a>, 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 <i>stitches</i> 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.</p>
+
+<p><a id="i159" name="i159"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti159.jpg" width="261" height="448"
+      alt="" />
+<p class="linktext"><a href="images/i159.jpg">larger image</a></p>
+<p class="caption">57. COUCHED SILVER.</p>
+</div>
+
+<p>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 <i>white</i> stuffing from
+showing through<span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span> 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
+medi&aelig;val 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.</p>
+
+<p>In medi&aelig;val 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&mdash;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 <a href="#i161">58</a>. 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&mdash;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<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span> of the legs,
+the relatively compact gold threads are kept well within the outline, by
+which means anything like harshness of silhouette is avoided.</p>
+
+<p><a id="i161" name="i161"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti161.jpg" width="270" height="418"
+      alt="" />
+<p class="linktext"><a href="images/i161.jpg">larger image</a></p>
+<p class="caption">58. COUCHED GOLD NOT QUITE SOLID.</p>
+</div>
+
+<p>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.</p>
+
+<p>A good example of outline (single thread) in gold is given in
+Illustration <a href="#i163">59</a>, 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.</p>
+
+<p>The next step is where the cords of gold enclose little touches of
+embroidery in coloured floss, as in Illustration <a href="#i259">91</a>. 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.<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span> The
+cord of the embroiderer answers to the cloisons of the enameller, the
+surfaces of shining floss to the films of vitreous enamel.</p>
+
+<p><a id="i163" name="i163"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti163.jpg" width="275" height="449"
+      alt="" />
+<p class="linktext"><a href="images/i163.jpg">larger image</a></p>
+<p class="caption">59. COUCHED OUTLINE WORK.</p>
+</div>
+
+<p>Appliqu&eacute; 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 <a href="#i165">60</a>.</p>
+
+<p>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.</p>
+
+<p>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 medi&aelig;val 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.</p>
+
+<p><a id="i165" name="i165"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti165.jpg" width="277" height="447"
+      alt="" />
+<p class="linktext"><a href="images/i165.jpg">larger image</a></p>
+<p class="caption">60. APPLIQU&Eacute;&mdash;SATIN ON VELVET.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span>
+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.</p>
+
+<p>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.</p>
+
+<p>Illustration <a href="#i229">80</a> 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<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span> 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.</p>
+
+
+
+<h2><a name="APPLIQUE" id="APPLIQUE"></a>APPLIQU&Eacute;.<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span></h2>
+
+
+<p>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&mdash;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.</p>
+
+<p>Patterns of this kind may be conceived as line work developing into
+leafy terminations, the <span class="smcap">Appliqu&eacute;</span> only an adjunct to couching
+(Illustration <a href="#i175">63</a>); or they may be thought of as massive work eked out
+with line: the appliqu&eacute;, that is to say, the main thing, the couching
+only supplementary (Illustration <a href="#i261">92</a>). An intermediate kind is where
+outline and mass&mdash;couching and appliqu&eacute;&mdash;play parts of equal importance
+in the scheme of design (Illustration <a href="#i165">60</a>).</p>
+
+<p>Couched cord or filoselle is useful in covering<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span> the raw edge of the
+onlay, not so much masking the joints as making them sightly.</p>
+
+<p>Appliqu&eacute; 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 appliqu&eacute; is not the kind of thing a
+woman can do best.</p>
+
+<p>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.</p>
+
+<div class="sidenote">TO WORK APPLIQU&Eacute;</div>
+
+<p>To work appliqu&eacute; you want, in fact, two frames&mdash;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<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>A firm outline is a condition of appliqu&eacute;, 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 <a href="#i173">62</a>, 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 <a href="#i261">92</a>: the inner one next to the yellow satin
+appliqu&eacute; 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.</p>
+
+<p><a id="i171" name="i171"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti171.jpg" width="417" height="320"
+      alt="" />
+<p class="linktext"><a href="images/i171.jpg">larger image</a></p>
+<p class="caption">61. APPLIQU&Eacute; PANEL BY MISS KEIGHLEY.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span>The less there is of extra stitching on appliqu&eacute; 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 appliqu&eacute; 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.</p>
+
+<p>Appliqu&eacute; 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 <a href="#i171">61</a>. 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.</p>
+
+<p>Appliqu&eacute; 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 medi&aelig;val 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.</p>
+
+<p><a id="i173" name="i173"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti173.jpg" width="283" height="453"
+      alt="" />
+<p class="linktext"><a href="images/i173.jpg">larger image</a></p>
+<p class="caption smcap">62. A. counterchange. B. appliqu&eacute;.</p>
+</div>
+
+<p>Appliqu&eacute; 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,<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span> it makes great demands upon design. You cannot begin by just
+throwing about sprays of natural flowers. It calls peremptorily for
+treatment&mdash;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.</p>
+
+<p>A usual form of appliqu&eacute; is in satin upon velvet. Velvet on satin (B,
+Illustration <a href="#i173">62</a>) is comparatively rare; but it may be very beautiful,
+though there is a danger that it may look like weaving.</p>
+
+<p>Silk upon silk (figured damask) is shown in Illustration <a href="#i175">63</a>, 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.</p>
+
+<p><a id="i175" name="i175"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti175.jpg" width="277" height="462"
+      alt="" />
+<p class="linktext"><a href="images/i175.jpg">larger image</a></p>
+<p class="caption">63. APPLIQU&Eacute;&mdash;SILK ON SILK DAMASK.</p>
+</div>
+
+<p>The application of leather to velvet, as in Illustration <a href="#i271">94</a>, 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,<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span> 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 Fran&ccedil;ois Ier., taken
+at the battle of Pavia, and now in the Armoury at Madrid&mdash;obviously Arab
+work. Something of the kind was done also in Morocco, which points to
+leather work as the possible origin of this method.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="INLAY_MOSAIC_CUT-WORK" id="INLAY_MOSAIC_CUT-WORK"></a>INLAY, MOSAIC, CUT-WORK.<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span></h2>
+
+
+<p>A step beyond the process of onlaying is <span class="smcap">Inlay</span>, 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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">TO WORK INLAY.</span></div>
+
+<p>The materials are not pasted on to linen, as in the case of appliqu&eacute;.
+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.<span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span></p>
+
+<p>Inlay lends itself most invitingly to <span class="smcap">Counterchange</span> in design, as seen
+in the stole at A, Illustration <a href="#i173">62</a>. 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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">TO WORK COUNTERCHANGE.</span></div>
+
+<p>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&mdash;what is the ground in one forming the pattern in the other, and
+<i>vice vers&acirc;</i>. 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.</p>
+
+<p><a id="i179" name="i179"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti179.jpg" width="443" height="287"
+      alt="" />
+<p class="linktext"><a href="images/i179.jpg">larger image</a></p>
+<p class="caption">64. INLAY IN COLOURED CLOTHS.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span> 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.</p>
+
+<p>Inlay itself is a sort of <span class="smcap">Patchwork</span>. You cut pieces out of your cloth,
+and patch it with pieces of another colour, covering the joins perhaps,
+as on Illustration <a href="#i179">64</a>, with chain stitch, which gives it some
+resemblance to cloisonn&eacute; enamel, the cloisons being of chain-stitch.</p>
+
+<p>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 medi&aelig;val 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.</p>
+
+<p><a id="i181" name="i181"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti181.jpg" width="441" height="239"
+      alt="" />
+<p class="linktext"><a href="images/i181.jpg">larger image</a></p>
+<p class="caption">65. CUT-WORK IN LINEN.</p>
+</div>
+
+<p>The relation of <span class="smcap">Cut-work</span> to inlay is clear&mdash;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 <a href="#i181">65</a> 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 <span class="smcap">Fretwork</span> in linen. It is part of<span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span> 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
+<a href="#i181">65</a>), or in buttonhole-stitch&mdash;which last is strongest.</p>
+
+<p>As, in the case of appliqu&eacute;, 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&mdash;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.</p>
+
+
+
+<h2><a name="EMBROIDERY_IN_RELIEF" id="EMBROIDERY_IN_RELIEF"></a>EMBROIDERY IN RELIEF.<span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span></h2>
+
+
+<p>Embroidery being work <i>upon</i> 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 <span class="smcap lowercase">UNDERLAY</span> or padding of
+some kind. The abuse of this kind of thing need not blind us to the
+advantages it offers.</p>
+
+<p>There are various ways of raising embroidery, the principal of which are
+illustrated on the sampler overleaf.</p>
+
+<div class="sidenote"><span class="smcap">to work A (<a href="#i185">66</a>).</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work B.</span></div>
+
+<p>The raised line at B reveals the way the stem in Illustration <a href="#i241">86</a> was
+worked. Two cords of smooth<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span> string (macram&eacute;, for example) are twisted
+and tacked in place. Over this floss is worked in close satin-stitch.</p>
+
+<div class="sidenote"><span class="smcap">to work C.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work D.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work E.</span></div>
+
+<p>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<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span> 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.</p>
+
+<p><a id="i185" name="i185"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti185.jpg" width="271" height="455"
+      alt="" />
+<p class="linktext"><a href="images/i185.jpg">larger image</a></p>
+<p class="caption">66. RAISED WORK SAMPLER.</p>
+</div>
+
+<div class="sidenote"><span class="smcap">to work F.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work G.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap">to work H.</span></div>
+
+<p>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.</p>
+
+<p>In the smaller sampler of laid-work, Illustration <a href="#i144">50</a>, 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.</p>
+
+<p>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<span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span> out of account. In
+any case, work over stitchery is more durable than over loose padding
+such as cotton wool.</p>
+
+<p><a id="i187" name="i187"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti187.jpg" width="275" height="433"
+      alt="" />
+<p class="linktext"><a href="images/i187.jpg">larger image</a></p>
+<p class="caption">67. RAISED WORK SHOWING UNDERLAY.</p>
+</div>
+
+<p>The 15th century work reproduced in Illustration <a href="#i187">67</a> 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 <a href="#i185">66</a>), but by a row of stitching up the centre
+of each petal. The veins of the leaves in Illustration <a href="#i247">88</a> 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.</p>
+
+
+
+<h2><a name="RAISED_GOLD" id="RAISED_GOLD"></a>RAISED GOLD.<span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span></h2>
+
+
+<p>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 (<a href="#i185">66</a>) use
+bullion-stitch, but bullion, first covering the underlay of stitching
+with smoothly-laid yellow floss.</p>
+
+<p><span class="smcap">Bullion</span> 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&mdash;as she would a long bead or bugle. Its use is
+illustrated at A in Illustration <a href="#i147">51</a>, 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.</p>
+
+<p>It was the medi&aelig;val 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<span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span> 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.</p>
+
+<p>Yet more openly in rivalry with goldsmiths' work was some of the
+embroidery of the Renaissance, in which the idea&mdash;a most mistaken one,
+of course&mdash;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.</p>
+
+<p>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.</p>
+
+<p><a id="i191" name="i191"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti191.jpg" width="270" height="447"
+      alt="" />
+<p class="linktext"><a href="images/i191.jpg">larger image</a></p>
+<p class="caption">68. RAISED GOLD.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span> 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.</p>
+
+<p>Admitting that there is reason for relief in gold embroidery&mdash;it catches
+the light as flat gold does not&mdash;one feels that the very slightest
+modelling is usually enough. Reference was made (page <a href="#Page_136">136</a>) 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.</p>
+
+<p>There is ample relief in the gold embroidery on Illustrations <a href="#i191">68</a> and <a href="#i241">86</a>.
+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 <a href="#Page_159">159</a>)
+to the way the stalk is worked over twisted cords, as on the sampler,
+Illustration <a href="#i185">66</a>. The patterns in which the gold is worked do not tell
+quite so plainly here as on Illustration <a href="#i191">68</a>, 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.<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+<p><span class="smcap">Spangles</span> 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 medi&aelig;val 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.</p>
+
+<p>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 <a href="#i147">51</a>, and
+Illustration <a href="#i187">67</a>). 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.</p>
+
+<p>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 medi&aelig;val 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&mdash;the dolls duly
+stuffed and dressed in most childish<span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span> 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.</p>
+
+
+
+<h2><a name="QUILTING" id="QUILTING"></a>QUILTING.<span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span></h2>
+
+
+<p>A most legitimate use of padding is in the form of <span class="smcap">Quilting</span>, 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.</p>
+
+<p>If you merely stitch two thicknesses of stuff together in a pattern,
+such as that on Illustration <a href="#i196">69</a>, 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.</p>
+
+<p>Another way is to pad the pattern only, as in Illustration <a href="#i198">70</a>, where the
+padding is of soft cord.</p>
+
+<p><a id="i196" name="i196"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti196.jpg" width="270" height="452"
+      alt="" />
+<p class="linktext"><a href="images/i196.jpg">larger image</a></p>
+<p class="caption">69. QUILTING, DONE IN CHAIN-STITCH FROM THE BACK.</p>
+</div>
+
+<p>A cunning way of padding is first to stitch the<span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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 <a href="#i196">69</a>)
+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.</p>
+
+<p><a id="i198" name="i198"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti198.jpg" width="267" height="445"
+      alt="" />
+<p class="linktext"><a href="images/i198.jpg">larger image</a></p>
+<p class="caption">70. RAISED QUILTING.</p>
+</div>
+
+
+
+<h2><a name="STITCH_GROUPS" id="STITCH_GROUPS"></a>STITCH GROUPS.<span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></h2>
+
+
+<p>There are all sorts of ways in which stitches might be
+grouped:&mdash;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 <a href="#i201">71</a>
+would figure as a canvas stitch.</p>
+
+<p>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&mdash;what it can do, what it
+can best do, what it can ill do, what it cannot do at all.</p>
+
+<p>Anyone, having mastered the stitches and grasped their scope, can group
+them for herself,<span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span> say, into stitches suited (1) to line work, (2) to
+all-over work, (3) to shading, and so on.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>Some stitches, of course, are adapted to various uses, as crewel, chain,
+and satin stitches&mdash;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.</p>
+
+<p>Our Samplers show the use to which the stitches on them may be put.</p>
+
+<p><a id="i201" name="i201"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti201.jpg" width="268" height="440"
+      alt="" />
+<p class="linktext"><a href="images/i201.jpg">larger image</a></p>
+<p class="caption">71. SATIN-STITCH IN THE MAKING.</p>
+</div>
+
+<p>By way of <i>r&eacute;sum&eacute;</i>, it may be added that for line<span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span> explained (page <a href="#Page_100">100</a>), 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.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="ONE_STITCH_OR_MANY" id="ONE_STITCH_OR_MANY"></a>ONE STITCH, OR MANY?<span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span></h2>
+
+
+<p>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&mdash;there is safety in
+simplicity&mdash;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.</p>
+
+<p>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.</p>
+
+<p><a id="i205" name="i205"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti205.jpg" width="273" height="462"
+      alt="" />
+<p class="linktext"><a href="images/i205.jpg">larger image</a></p>
+<p class="caption">72. STITCHES IN COMBINATION.</p>
+</div>
+
+<p>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,<span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>Nothing could be more harmonious, for example, than the combination of
+knot, chain, and buttonhole stitches in Illustration <a href="#i084">24</a>; or of ladder,
+Oriental, herring-bone, and other stitches in Illustration <a href="#i205">72</a>. Again, in
+Illustration <a href="#i237">85</a> 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 <a href="#i139">47</a>, <a href="#i141">48</a>, <a href="#i143">49</a>, and satin-stitch with couching in
+Illustration <a href="#i259">91</a>, where the gold is reserved mainly for outline, but on
+occasion serves to emphasise a detail.</p>
+
+<p><a id="i207" name="i207"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti207.jpg" width="437" height="281"
+      alt="" />
+<p class="linktext"><a href="images/i207.jpg">larger image</a></p>
+<p class="caption">73. FINE NEEDLEWORK UPON LINEN.</p>
+</div>
+
+<p>Couched gold and surface satin-stitch are used together again in
+Illustration <a href="#i161">58</a>, each for its specific purpose. The harmony between
+appliqu&eacute;<span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span> work and couching or chain-stitch outline has been alluded to
+already.</p>
+
+<p>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
+<a href="#i207">73</a>, 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.</p>
+
+
+
+<h2><a name="OUTLINE" id="OUTLINE"></a>OUTLINE.<span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span></h2>
+
+
+<p>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 appliqu&eacute; 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.</p>
+
+<p>Allusion to the stitches suitable to outline has been made already (see
+stitch-groups), as well as to the colour of outlining, <i>&agrave; propos</i> of
+appliqu&eacute;. 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<span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span> there is often opportunity in bold
+work, may be turned to good account. Among the successful combinations
+which come to mind is an appliqu&eacute; 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>An outline affords a ready means of clearing up edges; but it should not
+be looked upon merely<span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span> 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 <span class="smcap lowercase">VOIDING</span>. 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 <a href="#i121">39</a> and <a href="#i123">40</a>).</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="SHADING" id="SHADING"></a>SHADING.<span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span></h2>
+
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p><a id="i213" name="i213"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti213.jpg" width="435" height="275"
+      alt="" />
+<p class="linktext"><a href="images/i213.jpg">larger image</a></p>
+<p class="caption">74. PART OF A DESIGN BY WALTER CRANE.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_190" id="Page_190">[190]</a></span> 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 <a href="#i213">74</a>. Everywhere the shading is <i>drawn</i>,
+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.</p>
+
+<p><a id="i215" name="i215"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti215.jpg" width="261" height="436"
+      alt="" />
+<p class="linktext"><a href="images/i215.jpg">larger image</a></p>
+<p class="caption">75. SHADING IN CHAIN-STITCH.</p>
+</div>
+
+<p>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 medi&aelig;val 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 <a href="#i245">87</a>). 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 <a href="#i227">79</a>). The term
+"long-and-short-stitch" is frequently used by way of describing the
+stitch. It does not, as I have said, help<span class='pagenum'><a name="Page_192" id="Page_192">[192]</a></span> us much. The stitches are in
+the first place only satin-stitches worked not in even rows, as in
+Illustration <a href="#i123">40</a>, 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 <a href="#i237">85</a>),
+whence the name plumage-stitch, another term describing not so much a
+stitch as the use of a stitch.</p>
+
+<p>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.</p>
+
+<p><a id="i217" name="i217"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti217.jpg" width="267" height="371"
+      alt="" />
+<p class="linktext"><a href="images/i217.jpg">larger image</a></p>
+<p class="caption">76. SHADING IN SHORT STITCHES.</p>
+</div>
+
+<p>In flattish decorative work, where the drawing is in firm lines, as in
+Illustration <a href="#i245">87</a>, the task of the embroidress is relatively easy&mdash;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<span class='pagenum'><a name="Page_194" id="Page_194">[194]</a></span> 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
+<a href="#i215">75</a> 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 <i>flat</i> 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.</p>
+
+<p>A yet more pictorial effect is produced in much the same way, this time
+in satin stitch, in Illustration <a href="#i217">76</a>. 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.</p>
+
+<p><a id="i219" name="i219"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti219.jpg" width="273" height="438"
+      alt="" />
+<p class="linktext"><a href="images/i219.jpg">larger image</a></p>
+<p class="caption">77. SHADING IN LONG-AND-SHORT AND SPLIT STITCHES.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_196" id="Page_196">[196]</a></span> in the working of the lion in Illustration <a href="#i219">77</a>. 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 <i>man's</i> 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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_197" id="Page_197">[197]</a></span> 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.</p>
+
+
+
+<h2><a name="FIGURE_EMBROIDERY" id="FIGURE_EMBROIDERY"></a>FIGURE EMBROIDERY.<span class='pagenum'><a name="Page_198" id="Page_198">[198]</a></span></h2>
+
+
+<p>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.</p>
+
+<p>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 <i>pictorial</i> use. You can get, no doubt, with the needle effects
+more or less pictorial&mdash;most often less; but, when got, they are usually
+at the<span class='pagenum'><a name="Page_199" id="Page_199">[199]</a></span> best rather inferior to the picture of which they are a copy.</p>
+
+<p>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?</p>
+
+<p>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<span class='pagenum'><a name="Page_200" id="Page_200">[200]</a></span> and
+the Flemings of the Early Renaissance, the pictorial is not the form of
+design best suited to embroidery.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_201" id="Page_201">[201]</a></span> 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.</p>
+
+<p>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<span class='pagenum'><a name="Page_202" id="Page_202">[202]</a></span> with
+the stitching, and there is after all no semblance of that unity which
+is the very essence of picture.</p>
+
+<p><a id="i226" name="i226"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti226.jpg" width="264" height="154"
+      alt="" />
+<p class="linktext"><a href="images/i226.jpg">larger image</a></p>
+<p class="caption">78. CHINESE CHAIN-STITCHING.</p>
+</div>
+
+<p>An instance of painted flesh occurs upon Illustration <a href="#i259">91</a>. 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 (<a href="#i226">78</a>).</p>
+
+<p><a id="i227" name="i227"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti227.jpg" width="258" height="449"
+      alt="" />
+<p class="linktext"><a href="images/i227.jpg">larger image</a></p>
+<p class="caption">79. FIFTEENTH CENTURY FIGURE WORK.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_204" id="Page_204">[204]</a></span> 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 <a href="#i245">87</a>.</p>
+
+<p>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 <a href="#i227">79</a>, 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.</p>
+
+<p><a id="i229" name="i229"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti229.jpg" width="270" height="420"
+      alt="" />
+<p class="linktext"><a href="images/i229.jpg">larger image</a></p>
+<p class="caption">80. SIXTEENTH CENTURY ITALIAN FIGURE WORK.</p>
+</div>
+
+<p>More like painting is the head in Illustration <a href="#i229">80</a>, worked in short
+stitches of various shades, which give something of the colour as well
+as the<span class='pagenum'><a name="Page_206" id="Page_206">[206]</a></span> 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.</p>
+
+<p>Equally wonderful in their miniature way are the faces of the little
+people on Illustration <a href="#i231">81</a>, 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.</p>
+
+<p>The last word on the question as to what one may do with the needle is,
+that you may do what you <i>can</i>; 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&mdash;in short, to
+work <i>with</i> your materials.</p>
+
+<p><a id="i231" name="i231"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti231.jpg" width="259" height="370"
+      alt="" />
+<p class="linktext"><a href="images/i231.jpg">larger image</a></p>
+<p class="caption">81. CHINESE FIGURES.</p>
+</div>
+
+
+
+<h2><a name="THE_DIRECTION_OF_THE_STITCH" id="THE_DIRECTION_OF_THE_STITCH"></a>THE DIRECTION OF THE STITCH.<span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span></h2>
+
+
+<p>The effect of any stitch is vastly varied, according to the use made of
+it. Satin-stitch, it was shown (<a href="#i119">38</a>), 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.</p>
+
+<p>The <span class="smcap lowercase">DIRECTION</span> of the stitch deserves consideration from two points of
+view&mdash;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 (<a href="#i233">82</a>) looks as if it had been
+embroidered in two shades of silk; in the work itself it has still more
+that appearance; but<span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span> 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.</p>
+
+<p><a id="i233" name="i233"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti233.jpg" width="347" height="260"
+      alt="" />
+<p class="linktext"><a href="images/i233.jpg">larger image</a></p>
+<p class="caption">82. INFLUENCE OF STITCH-DIRECTION UPON COLOUR.</p>
+</div>
+
+<p>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.</p>
+
+<p>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&mdash;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,<span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span>
+perhaps?), and was, apparently, afraid of letting go the leading strings
+of warp and weft.</p>
+
+<p>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.</p>
+
+<p>That is the second point to be considered.</p>
+
+<p><a id="i235" name="i235"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti235.jpg" width="144" height="149"
+      alt="" />
+<p class="linktext"><a href="images/i235.jpg">larger image</a></p>
+<p class="caption">83. MEANINGLESS DIRECTION OF STITCH.</p>
+</div>
+
+<p>The direction taken by the stitch always helps to explain the drawing;
+or, if the needlewoman cannot draw, to show that she cannot&mdash;as, for
+example, in the tulip herewith (<a href="#i235">83</a>). 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<span class='pagenum'><a name="Page_212" id="Page_212">[212]</a></span> 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
+(<a href="#i236">84</a>) 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.</p>
+
+<p><a id="i236" name="i236"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti236.jpg" width="146" height="174"
+      alt="" />
+<p class="linktext"><a href="images/i236.jpg">larger image</a></p>
+<p class="caption">84. MORE EXPRESSIVE LINES OF STITCHING.</p>
+</div>
+
+<p>A more clever fulfilment of the naturalistic intention is to be seen in
+Illustration <a href="#i217">76</a>. 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&mdash;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
+<a href="#i237">85</a>. 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<span class='pagenum'><a name="Page_214" id="Page_214">[214]</a></span> 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.</p>
+
+<p><a id="i237" name="i237"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti237.jpg" width="428" height="259"
+      alt="" />
+<p class="linktext"><a href="images/i237.jpg">larger image</a></p>
+<p class="caption">85. SATIN AND PLUMAGE STITCHES.</p>
+</div>
+
+<p>The direction of the stitch is varied to some purpose in the head in
+Illustration <a href="#i229">80</a>, where the flesh is all in straight upright stitches,
+whilst the hair is stitched in the direction of its growth.</p>
+
+<p>The five petals on the satin-stitch sampler (Illustration <a href="#i117">36</a>)&mdash;to
+descend from the masterly to the elementary&mdash;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.</p>
+
+<p>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<span class='pagenum'><a name="Page_215" id="Page_215">[215]</a></span> laid just so because you meant it or
+because you knew no better.</p>
+
+<p>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 <a href="#i123">40</a> is the one fault
+to be found with an all but perfect piece of work.</p>
+
+<p>The stitching over the laid silver mid-rib in Illustration <a href="#i261">92</a> 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.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="CHURCH_WORK" id="CHURCH_WORK"></a>CHURCH WORK.<span class='pagenum'><a name="Page_216" id="Page_216">[216]</a></span></h2>
+
+
+<p>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&mdash;too much as a
+matter of course. The fact is, work precisely like that employed on
+vestments and the like (Illustration <a href="#i241">86</a>) was used also for the caparison
+of horses and other equally profane purposes.</p>
+
+<p><a id="i241" name="i241"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti241.jpg" width="264" height="418"
+      alt="" />
+<p class="linktext"><a href="images/i241.jpg">larger image</a></p>
+<p class="caption">86. RENAISSANCE CHURCH WORK.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_218" id="Page_218">[218]</a></span> consecrated
+stitch, no stitch exclusively belonging to the church, none probably
+invented by it. For embroidery is a primitive art&mdash;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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_219" id="Page_219">[219]</a></span>
+the stitching of the devout needlewoman, working for the glory of God,
+in whose service of old the best work was done.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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&mdash;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<span class='pagenum'><a name="Page_220" id="Page_220">[220]</a></span> 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.</p>
+
+<p>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 <a href="#i245">87</a> 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.</p>
+
+<p>Even if it had been the invariable medi&aelig;val 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 <a href="#i247">88</a>), 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<span class='pagenum'><a name="Page_222" id="Page_222">[222]</a></span> 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.</p>
+
+<p><a id="i245" name="i245"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti245.jpg" width="258" height="420"
+      alt="" />
+<p class="linktext"><a href="images/i245.jpg">larger image</a></p>
+<p class="caption">87. GOTHIC CHURCH WORK.</p>
+</div>
+
+<p>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 medi&aelig;val altar
+cloth hold their own quite well enough to show that silk can be worked
+straight on to the velvet.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_224" id="Page_224">[224]</a></span> should not,
+for in no case does <ins class="correction" title="i">it</ins> appear to be stitching. In fact, it aims
+deliberately at the effect of chased and beaten metal.</p>
+
+<p><a id="i247" name="i247"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti247.jpg" width="450" height="197"
+      alt="" />
+<p class="linktext"><a href="images/i247.jpg">larger image</a></p>
+<p class="caption">88. MODERN CHURCH WORK BY MISS SHREWSBURY.</p>
+</div>
+
+<p>Heavy appliqu&eacute; of any kind affects, of course, not only the thickness
+but the flexibility of the material thus enriched&mdash;an important
+consideration if it is meant to hang in folds.</p>
+
+
+
+<h2><a name="A_PLEA_FOR_SIMPLICITY" id="A_PLEA_FOR_SIMPLICITY"></a>A PLEA FOR SIMPLICITY.<span class='pagenum'><a name="Page_225" id="Page_225">[225]</a></span></h2>
+
+
+<p>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
+<ins class="correction" title="froms">forms</ins> 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&mdash;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.</p>
+
+<p>The one real objection to geometric pattern is that it is nowadays so
+cheaply and so mechanically got by <i>weaving</i> that, however freely it may
+be rendered, there is a danger of its suggesting<span class='pagenum'><a name="Page_226" id="Page_226">[226]</a></span> 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.</p>
+
+<p>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 medi&aelig;val times, the Germans of Cologne,
+for their church vestments and the like, wove what they could, and
+enriched their woven figures with embroidery.</p>
+
+<p>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&mdash;which they would do if they had the artistic instincts with
+which we credit them.</p>
+
+<p><a id="i251" name="i251"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti251.jpg" width="261" height="418"
+      alt="" />
+<p class="linktext"><a href="images/i251.jpg">larger image</a></p>
+<p class="caption">89. SIMPLE STITCHING ON LINEN.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_228" id="Page_228">[228]</a></span>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.</p>
+
+<p>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&mdash;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.</p>
+
+<p><a id="i253" name="i253"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti253.jpg" width="257" height="436"
+      alt="" />
+<p class="linktext"><a href="images/i253.jpg">larger image</a></p>
+<p class="caption">90. SIMPLE COUCHING ON LINEN.</p>
+</div>
+
+<p>It is not so much for geometric ornament as for simple pattern that I
+here make my plea, for<span class='pagenum'><a name="Page_230" id="Page_230">[230]</a></span> that reticent work of which so much was at one
+time done in this country&mdash;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
+na&iuml;vet&eacute; of the sampler seems always to linger; or again, the admirably
+simple work in Illustration <a href="#i251">89</a>. 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.</p>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_231" id="Page_231">[231]</a></span> the title
+than a flaunting floral quilt which goes by the name of "art
+needlework"&mdash;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 <a href="#i253">90</a>? Yet what distinction there is about it!</p>
+
+
+
+<h2><a name="EMBROIDERY_DESIGN" id="EMBROIDERY_DESIGN"></a>EMBROIDERY DESIGN.<span class='pagenum'><a name="Page_232" id="Page_232">[232]</a></span></h2>
+
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>That designer and worker should be one and the same person is an ideal,
+but one only very occasionally fulfilled. When that happens
+(Illustrations <a href="#i171">61</a><span class='pagenum'><a name="Page_233" id="Page_233">[233]</a></span> and <a href="#i247">88</a>) 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.</p>
+
+<p>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.</p>
+
+<p>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&mdash;she designs.</p>
+
+<p>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<span class='pagenum'><a name="Page_234" id="Page_234">[234]</a></span>
+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.</p>
+
+<p>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 <a href="#i259">91</a>, or
+treated the leafage in Illustration <a href="#i261">92</a>, 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.</p>
+
+<p><a id="i259" name="i259"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti259.jpg" width="267" height="451"
+      alt="" />
+<p class="linktext"><a href="images/i259.jpg">larger image</a></p>
+<p class="caption">91. RENAISSANCE ORNAMENT.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_236" id="Page_236">[236]</a></span> 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?</p>
+
+<p>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.</p>
+
+<p><a id="i261" name="i261"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti261.jpg" width="262" height="422"
+      alt="" />
+<p class="linktext"><a href="images/i261.jpg">larger image</a></p>
+<p class="caption">92. LEAF TREATMENT IN APPLIQU&Eacute;.</p>
+</div>
+
+<p>But the "best" above referred to does not necessarily mean the most
+masterly. The best of a simple kind is not calculated to discourage<span class='pagenum'><a name="Page_238" id="Page_238">[238]</a></span>
+anyone&mdash;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.</p>
+
+<p>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&mdash;and possibly by a particular embroidress.
+To be safe in designing work so minute as that on Illustration <a href="#i263">93</a>, one
+must be sure of the needlewoman who is to execute it.</p>
+
+<p><a id="i263" name="i263"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti263.jpg" width="258" height="423"
+      alt="" />
+<p class="linktext"><a href="images/i263.jpg">larger image</a></p>
+<p class="caption">93. DELICATE SATIN-STITCH&mdash;WORKED BY MISS BUCKLE.</p>
+</div>
+
+<p>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&mdash;that
+is to say,<span class='pagenum'><a name="Page_240" id="Page_240">[240]</a></span> 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.</p>
+
+<p>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&mdash;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.</p>
+
+<p>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<span class='pagenum'><a name="Page_241" id="Page_241">[241]</a></span>
+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.</p>
+
+
+
+<h2><a name="EMBROIDERY_MATERIALS" id="EMBROIDERY_MATERIALS"></a>EMBROIDERY MATERIALS.<span class='pagenum'><a name="Page_242" id="Page_242">[242]</a></span></h2>
+
+
+<p>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 <i>vice vers&acirc;</i>.
+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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">STUFFS.</span></div>
+
+<p>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.<span class='pagenum'><a name="Page_243" id="Page_243">[243]</a></span></p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>"Roman satin" and what is called "<i>satin de luxe</i>" (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.</p>
+
+<p>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,<span class='pagenum'><a name="Page_244" id="Page_244">[244]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">THREAD.</span></div>
+
+<p>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.</p>
+
+<p>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<span class='pagenum'><a name="Page_245" id="Page_245">[245]</a></span> of pure transparent
+colour which silk takes in the dyeing. The palette of the embroiderer in
+silk is superlatively rich.</p>
+
+<div class="sidenote"><span class="smcap lowercase">GOLD.</span></div>
+
+<p>The purest gold is generally made on a foundation of <i>red</i> 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."</p>
+
+<div class="sidenote"><span class="smcap lowercase">CHENILLE.</span></div>
+
+<p>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 <a href="#i215">75</a>, 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 <a href="#i217">76</a>. 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.<span class='pagenum'><a name="Page_246" id="Page_246">[246]</a></span></p>
+
+<div class="sidenote"><span class="smcap lowercase">RIBBON.</span><br /><br />
+<span class="smcap lowercase">SHADED SILK.</span></div>
+
+<p>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&mdash;"<i>Broderie de faveur</i>," as it was called, whence our
+"lady's favour"&mdash;<i>faveur</i> being a narrow ribbon. Some beautiful work of
+its kind was done in ribbon, sometimes <i>shaded</i>. 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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">RIBBON.</span></div>
+
+<p>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.</p>
+
+<p><a id="i271" name="i271"></a></p>
+<div class="figcenter pad">
+    <img src="images/ti271.jpg" width="260" height="430"
+      alt="" />
+<p class="linktext"><a href="images/i271.jpg">larger image</a></p>
+<p class="caption">94. LEATHER APPLIQU&Eacute; UPON VELVET.</p>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_248" id="Page_248">[248]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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
+<a href="#i271">94</a>), allied to the art of the saddler. It would be difficult to set any
+limit to the directions in which<span class='pagenum'><a name="Page_249" id="Page_249">[249]</a></span> 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.</p>
+
+
+
+<h2><a name="A_WORD_TO_THE_WORKER" id="A_WORD_TO_THE_WORKER"></a>A WORD TO THE WORKER.<span class='pagenum'><a name="Page_250" id="Page_250">[250]</a></span></h2>
+
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">NEEDLES.</span></div>
+
+<p>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."</p>
+
+<div class="sidenote"><span class="smcap lowercase">THIMBLE.</span></div>
+
+<p>For a thimble, choose an old one that has been worn quite smooth.</p>
+
+<div class="sidenote"><span class="smcap lowercase">SCISSORS.</span></div>
+
+<p>For scissors, be sure and have a strong, short, sharp and pointed
+pair&mdash;the surgical instrument, not the fancy article. Nail scissors
+would not be amiss but for the roughness of the file on the blades.</p>
+
+<div class="sidenote"><span class="smcap lowercase">PINS.</span></div>
+
+<p>For pins, use always steel ones; and for tacks, those which have been
+tinned; or they will leave their mark behind them.</p>
+
+<div class="sidenote"><span class="smcap lowercase">FRAMES.</span></div>
+
+<p>For a frame, get the best you can afford; a cheap<span class='pagenum'><a name="Page_251" id="Page_251">[251]</a></span> 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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">TO STRETCH SILK.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">FRAMING.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">TRANSFERRING.</span></div>
+
+<p>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<span class='pagenum'><a name="Page_252" id="Page_252">[252]</a></span> 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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">KEEPING CLEAN.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">STARTING AND FINISHING.</span></div>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">PUCKERING.</span></div>
+
+<p>There is less danger of puckering the stuff if<span class='pagenum'><a name="Page_253" id="Page_253">[253]</a></span> you hold it over two
+fingers (at least), keeping it taut and the thread loose.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">DOUBLE THREAD.</span></div>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<div class="sidenote"><span class="smcap lowercase">UNDOING.</span></div>
+
+<p>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<span class='pagenum'><a name="Page_254" id="Page_254">[254]</a></span> saved is of no further use. Beginners find it hard to
+undo work once done; but a really good needlewoman never hesitates about
+it&mdash;her one thought is to get the thing right. Don't break your thread
+ever: that pulls it out of condition: cut it always.</p>
+
+<p>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&mdash;that is not playing fair.</p>
+
+<div class="sidenote"><span class="smcap lowercase">SMOOTHING.</span></div>
+
+<p>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 <a href="#Page_251">251</a>) 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.</p>
+
+<p>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<span class='pagenum'><a name="Page_255" id="Page_255">[255]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX.<span class='pagenum'><a name="Page_257" id="Page_257">[257]</a></span></h2>
+
+
+<ul>
+    <li><span class="smcap">Adaptation</span> of stitch, <a href="#Page_103">103</a>, <a href="#Page_188">188</a>, <a href="#Page_253">253</a></li>
+
+    <li><span class="smcap">Antique</span> stitch, <a href="#Page_66">66</a>
+      (<i>See also Oriental-stitch</i>)</li>
+
+    <li><span class="smcap">Appliqu�</span>, <a href="#Page_140">140</a>, <a href="#Page_144">144</a> <i>et seq.</i>, <a href="#Page_220">220</a>, <a href="#Page_222">222</a>, <a href="#Page_224">224</a></li>
+
+    <li><span class="smcap">Arab</span> work, <a href="#Page_152">152</a></li>
+
+    <li><span class="smcap">Artless</span> art, <a href="#Page_37">37</a>, <a href="#Page_236">236</a></li>
+
+    <li><span class="smcap">Attachment</span> of cord, <a href="#Page_124">124</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Backstitch</span>, <a href="#Page_30">30</a>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a>, <a href="#Page_53">53</a>, <a href="#Page_83">83</a>, <a href="#Page_86">86</a>, <a href="#i196">172</a>, <a href="#Page_226">226</a>, <a href="#Page_230">230</a></li>
+
+    <li><span class="smcap">Basket</span> patterns, <a href="#Page_134">134</a></li>
+
+    <li><span class="smcap">Beads</span>, <a href="#Page_248">248</a></li>
+
+    <li><span class="smcap">Beginning &amp; finishing</span>, <a href="#Page_252">252</a></li>
+
+    <li><span class="smcap">Blanket-stitch</span>, <a href="#Page_56">56</a></li>
+
+    <li><span class="smcap">Braid-stitch</span>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a></li>
+
+    <li><span class="smcap">Broad</span> surfaces (covering), <a href="#Page_178">178</a></li>
+
+    <li><span class="smcap">Brocade</span>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Bullion</span>, <a href="#Page_165">165</a></li>
+
+    <li><span class="smcap">Bullion-stitch</span>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_162">162</a>, <a href="#Page_165">165</a></li>
+
+    <li><span class="smcap">Buttonhole-stitch</span>, <a href="#Page_8">8</a>, <a href="#Page_55">55</a> <i>et seq.</i>, <a href="#Page_69">69</a>, <a href="#Page_122">122</a>, <a href="#Page_145">145</a>, <a href="#Page_158">158</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Buttonholing</span> (lace), <a href="#Page_84">84</a>, <a href="#Page_86">86</a></li>
+
+    <li><span class="smcap">Byzantine</span> embroidery, <a href="#Page_12">12</a>, <a href="#Page_24">24</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Cable-chain</span>, <a href="#Page_42">42</a></li>
+
+    <li><span class="smcap">Canvas</span>, <a href="#Page_7">7</a>, <a href="#Page_25">25</a></li>
+
+    <li><span class="smcap">Canvas</span> stitches, <a href="#Page_12">12</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Canvas-stitch</span> embroidery, <a href="#Page_22">22</a></li>
+
+    <li><span class="smcap">Card</span> underlay, <a href="#Page_162">162</a>, <a href="#Page_246">246</a></li>
+
+    <li><span class="smcap">Cashmere</span> embroidery, <a href="#Page_228">228</a></li>
+
+    <li><span class="smcap">Cashmere-stitch</span>, <a href="#Page_18">18</a></li>
+
+    <li><span class="smcap">Chain-stitch</span>, <a href="#Page_38">38</a> <i>et seq.</i>, <a href="#Page_61">61</a>, <a href="#Page_83">83</a>, <a href="#Page_129">129</a>, <a href="#Page_145">145</a>, <a href="#Page_156">156</a>, <a href="#Page_158">158</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a>, <a href="#Page_202">202</a>, <a href="#Page_226">226</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Chenille</span>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Chinese</span> embroidery, <a href="#Page_78">78</a>, <a href="#Page_96">96</a>, <a href="#Page_129">129</a>, <a href="#Page_136">136</a>, <a href="#Page_140">140</a>, <a href="#Page_152">152</a></li>
+
+    <li><span class="smcap">Church</span> work, <a href="#Page_41">41</a>, <a href="#Page_136">136</a>, <a href="#Page_148">148</a>, <a href="#Page_166">166</a>, <a href="#Page_216">216</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Classification</span> of stitches, <a href="#Page_9">9</a>, <a href="#Page_175">175</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Cloth</span>, <a href="#Page_125">125</a>, <a href="#Page_126">126</a>, <a href="#Page_159">159</a>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Colour</span>, <a href="#Page_110">110</a>, <a href="#Page_208">208</a></li>
+
+    <li><span class="smcap">Colour</span> gradation, <a href="#Page_98">98</a>, <a href="#Page_114">114</a>, <a href="#Page_118">118</a></li>
+
+    <li><span class="smcap">Colour</span> and outline, <a href="#Page_146">146</a>, <a href="#Page_185">185</a></li>
+
+    <li><span class="smcap">Combination</span> of stitches, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Coptic</span> embroidery, <a href="#Page_12">12</a>, <a href="#Page_226">226</a></li>
+
+    <li><span class="smcap">Coptic</span> tapestry, <a href="#Page_2">2</a></li>
+
+    <li><span class="smcap">Coral</span>, <a href="#Page_166">166</a>, <a href="#Page_248">248</a></li>
+
+    <li><span class="smcap">Cord</span>, <a href="#Page_122">122</a></li>
+
+    <li><span class="smcap">Cord</span> (couched), <a href="#Page_128">128</a>, <a href="#Page_144">144</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class='pagenum'><a name="Page_258" id="Page_258">[258]</a></span><span class="smcap">Cord</span> (attachment of), <a href="#Page_124">124</a></li>
+
+    <li><span class="smcap">Cotton</span>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Couched</span> cord, <a href="#Page_128">128</a>, <a href="#Page_144">144</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Couched</span> gold, <a href="#Page_131">131</a> <i>et seq.</i>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Couched</span> outline, <a href="#Page_146">146</a></li>
+
+    <li><span class="smcap">Couching</span>, <a href="#Page_22">22</a>, <a href="#Page_114">114</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>, <a href="#Page_122">122</a> <i>et seq.</i>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Couching</span> (reverse), <a href="#Page_130">130</a></li>
+
+    <li><span class="smcap">Counterchange</span>, <a href="#Page_154">154</a></li>
+
+    <li><span class="smcap">Cretan</span> embroidery, <a href="#Page_12">12</a></li>
+
+    <li><span class="smcap">Cretan-stitch</span>, <a href="#Page_61">61</a>
+      (<i>See also Ladder-stitch</i>)</li>
+
+    <li><span class="smcap">Crewel</span>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Crewel-stitch</span>, <a href="#Page_26">26</a> <i>et seq.</i>, <a href="#Page_83">83</a>, <a href="#Page_86">86</a>, <a href="#Page_103">103</a>, <a href="#Page_105">105</a>, <a href="#Page_178">178</a></li>
+
+    <li><span class="smcap">Crewel-stitch</span> (surface), <a href="#Page_86">86</a></li>
+
+    <li><span class="smcap">Crewel</span> work, <a href="#Page_26">26</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+    <li><span class="smcap">Cross-stitch</span>, <a href="#Page_12">12</a>, <a href="#Page_14">14</a>, <a href="#Page_16">16</a></li>
+
+    <li><span class="smcap">Crossed</span> buttonhole-stitch, <a href="#Page_56">56</a></li>
+
+    <li><span class="smcap">Cushion-stitch</span>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a></li>
+
+    <li><span class="smcap">Cut-work</span>, <a href="#Page_156">156</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Damask</span>, <a href="#Page_243">243</a>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Damping</span>, <a href="#Page_254">254</a>, <a href="#Page_255">255</a></li>
+
+    <li><span class="smcap">Darning</span>, <a href="#Page_8">8</a>, <a href="#Page_22">22</a>, <a href="#Page_83">83</a>, <a href="#Page_90">90</a>, <a href="#Page_106">106</a> <i>et seq.</i>, <a href="#Page_178">178</a>, <a href="#Page_179">179</a></li>
+
+    <li><span class="smcap">Darning</span> (Japanese), <a href="#Page_86">86</a></li>
+
+    <li><span class="smcap">Darning</span> (surface), <a href="#Page_84">84</a></li>
+
+    <li><span class="smcap">Design</span>, <a href="#Page_150">150</a>, <a href="#Page_219">219</a>, <a href="#Page_233">233</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Design</span>, traditional, <a href="#Page_238">238</a>, <a href="#Page_240">240</a></li>
+
+    <li><span class="smcap">Design</span> and stitch, <a href="#Page_10">10</a>, <a href="#Page_238">238</a></li>
+
+    <li><span class="smcap">Designer</span> and embroiderer, <a href="#Page_232">232</a>, <a href="#Page_233">233</a></li>
+
+    <li><span class="smcap">Diapers</span>, <a href="#i111">87</a>, <a href="#Page_88">88</a>, <a href="#Page_108">108</a>, <a href="#Page_132">132</a>, <a href="#Page_134">134</a>, <a href="#Page_210">210</a></li>
+
+    <li><span class="smcap">Direction</span> of stitch, <a href="#Page_92">92</a>, <a href="#Page_95">95</a>, <a href="#Page_108">108</a>, <a href="#Page_114">114</a>, <a href="#Page_136">136</a>, <a href="#Page_190">190</a>, <a href="#Page_208">208</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Double</span> darning, <a href="#Page_106">106</a></li>
+
+    <li><span class="smcap">Double</span> thread, <a href="#Page_253">253</a></li>
+
+    <li><span class="smcap">Dovetail-stitch</span>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>
+      (<i>See also Embroidery and Plumage Stitches</i>)</li>
+
+    <li><span class="smcap">Drawing</span> with the needle, <a href="#Page_192">192</a>, <a href="#Page_194">194</a>, <a href="#Page_196">196</a>, <a href="#Page_199">199</a>, <a href="#Page_211">211</a></li>
+
+    <li><span class="smcap">Drawn</span> work, <a href="#Page_2">2</a>, <a href="#Page_4">4</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Eastern</span> embroidery.
+      (<i>See Oriental</i>)</li>
+
+    <li><span class="smcap">Effect</span> and stitch, <a href="#Page_36">36</a>, <a href="#Page_78">78</a></li>
+
+    <li><span class="smcap">Eighteenth</span> century embroidery, <a href="#Page_220">220</a>, <a href="#Page_246">246</a></li>
+
+    <li><span class="smcap">Embroidery</span> and painting, <a href="#Page_201">201</a>, <a href="#Page_202">202</a></li>
+
+    <li><span class="smcap">Embroidery-stitch</span>, <a href="#Page_103">103</a>
+      (<i>See also Plumage-stitch</i>)</li>
+
+    <li><span class="smcap">English</span> embroidery, <a href="#Page_34">34</a>, <a href="#Page_36">36</a>, <a href="#Page_169">169</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Feather-stitch</span>, <a href="#Page_62">62</a> <i>et seq.</i>, <a href="#Page_83">83</a>, <a href="#Page_100">100</a>, <a href="#Page_178">178</a></li>
+
+    <li><span class="smcap">Felt</span>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Fifteenth</span> century embroidery, <a href="#Page_24">24</a>, <a href="#Page_164">164</a></li>
+
+    <li><span class="smcap">Figure</span> work, <a href="#Page_116">116</a>, <a href="#Page_169">169</a>, <a href="#Page_190">190</a>, <a href="#Page_198">198</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Filling-in</span> patterns, <a href="#Page_24">24</a></li>
+
+    <li><span class="smcap">Filo-floss</span>, <a href="#Page_164">164</a>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Filoselle</span>, <a href="#Page_124">124</a>, <a href="#Page_144">144</a>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Fishbone</span>, <a href="#Page_21">21</a>, <a href="#Page_47">47</a>, <a href="#Page_51">51</a></li>
+
+    <li><span class="smcap">Flax</span> thread, <a href="#Page_164">164</a>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Flemish</span> embroidery, <a href="#Page_142">142</a>, <a href="#Page_200">200</a></li>
+
+    <li><span class="smcap">Flesh</span>, <a href="#Page_204">204</a>, <a href="#Page_206">206</a></li>
+
+    <li><span class="smcap">Florentine-stitch</span>, <a href="#Page_18">18</a>, <a href="#Page_21">21</a>
+      (<i>See also Cushion stitch</i>)</li>
+
+    <li><span class='pagenum'><a name="Page_259" id="Page_259">[259]</a></span><span class="smcap">Floss</span>, <a href="#Page_95">95</a>, <a href="#Page_114">114</a>, <a href="#Page_116">116</a>, <a href="#Page_118">118</a>, <a href="#Page_120">120</a>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Form</span> and stitch, <a href="#Page_44">44</a>, <a href="#Page_47">47</a>, <a href="#Page_100">100</a>, <a href="#Page_118">118</a>, <a href="#Page_176">176</a>, <a href="#Page_211">211</a>, <a href="#Page_253">253</a></li>
+
+    <li><span class="smcap">Framing</span> work, <a href="#Page_251">251</a></li>
+
+    <li><span class="smcap">French</span> embroidery, <a href="#Page_88">88</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">French</span> floss, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">French</span> knots, <a href="#Page_77">77</a>, <a href="#Page_129">129</a>, <a href="#Page_150">150</a>, <a href="#Page_178">178</a>, <a href="#Page_244">244</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Geometric</span> pattern, <a href="#Page_225">225</a></li>
+
+    <li><span class="smcap">German</span> embroidery, <a href="#Page_110">110</a>, <a href="#Page_125">125</a>, <a href="#Page_126">126</a>, <a href="#Page_156">156</a>, <a href="#Page_185">185</a>, <a href="#Page_226">226</a></li>
+
+    <li><span class="smcap">German</span> knot-stitch, <a href="#Page_72">72</a></li>
+
+    <li><span class="smcap">Gobelin-stitch</span>, <a href="#Page_18">18</a></li>
+
+    <li><span class="smcap">Gold</span>, <a href="#Page_210">210</a>, <a href="#Page_222">222</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Gold</span> (couched), <a href="#Page_131">131</a> <i>et seq.</i>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Gold</span> (raised),  <a href="#Page_134">134</a>, <a href="#Page_136">136</a>, <a href="#Page_165">165</a></li>
+
+    <li><span class="smcap">Gold</span> thread, <a href="#Page_131">131</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Gold</span> tinted by couching stitches, <a href="#Page_142">142</a></li>
+
+    <li><span class="smcap">Gold</span> wire, <a href="#Page_169">169</a>, <a href="#Page_248">248</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Half-cross-stitch</span>, <a href="#Page_20">20</a></li>
+
+    <li><span class="smcap">Heraldic</span> embroidery, <a href="#Page_156">156</a></li>
+
+    <li><span class="smcap">Herringbone-stitch</span>, <a href="#Page_8">8</a>, <a href="#Page_22">22</a>, <a href="#Page_47">47</a> <i>et seq.</i>, <a href="#Page_83">83</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Hildesheim</span> cope (the), <a href="#Page_126">126</a></li>
+
+    <li><span class="smcap">Hungarian</span> embroidery, <a href="#Page_2">2</a></li>
+
+    <li><span class="smcap">Hungarian</span> stitch, <a href="#Page_18">18</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Indian</span> embroidery, <a href="#Page_41">41</a>, <a href="#Page_46">46</a>, <a href="#Page_61">61</a>, <a href="#Page_95">95</a>, <a href="#Page_98">98</a>, <a href="#Page_154">154</a>, <a href="#Page_169">169</a>, <a href="#Page_222">222</a>, <a href="#Page_248">248</a></li>
+
+    <li><span class="smcap">Indian</span> herring-bone, <a href="#Page_48">48</a></li>
+
+    <li><span class="smcap">Inlay</span>, <a href="#Page_153">153</a></li>
+
+    <li><span class="smcap">Interlacing</span> stitches, <a href="#Page_83">83</a></li>
+
+    <li><span class="smcap">Italian</span> embroidery, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_37">37</a>, <a href="#Page_46">46</a>, <a href="#Page_138">138</a></li>
+
+    <li><span class="smcap">Italian</span> embroidery (Renaissance), <a href="#Page_22">22</a>, <a href="#Page_41">41</a>, <a href="#Page_120">120</a>, <a href="#Page_142">142</a>, <a href="#Page_154">154</a>, <a href="#Page_199">199</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Japanese</span> darning, <a href="#Page_86">86</a>, <a href="#i111">87</a></li>
+
+    <li><span class="smcap">Japanese</span> embroidery, <a href="#Page_80">80</a></li>
+
+    <li><span class="smcap">Japanese</span> gold, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Jewels</span>, <a href="#Page_165">165</a>, <a href="#Page_248">248</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Knot</span> stitches, <a href="#Page_72">72</a> <i>et seq.</i>, <a href="#Page_182">182</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Lace</span>, <a href="#Page_1">1</a>, <a href="#Page_2">2</a></li>
+
+    <li><span class="smcap">Lace</span> stitches, <a href="#Page_84">84</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Ladder-stitch</span>, <a href="#Page_59">59</a>, <a href="#Page_61">61</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Laid-work</span>, <a href="#Page_112">112</a> <i>et seq.</i>, <a href="#Page_162">162</a>, <a href="#Page_178">178</a></li>
+
+    <li><span class="smcap">Leather</span>, <a href="#Page_248">248</a></li>
+
+    <li><span class="smcap">Leather</span> on velvet, <a href="#Page_150">150</a></li>
+
+    <li><span class="smcap">Length</span> of stitch, <a href="#Page_96">96</a>, <a href="#Page_100">100</a></li>
+
+    <li><span class="smcap">Limitations</span> of embroidery, <a href="#Page_240">240</a></li>
+
+    <li><span class="smcap">Line</span> work, <a href="#Page_176">176</a>, <a href="#Page_178">178</a></li>
+
+    <li><span class="smcap">Linen</span>, <a href="#Page_164">164</a>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Linen</span> (embroidery on), <a href="#Page_24">24</a></li>
+
+    <li><span class="smcap">Long-and-short-stitch</span>, <a href="#Page_36">36</a>, <a href="#Page_98">98</a>, <a href="#Page_100">100</a>, <a href="#Page_178">178</a>, <a href="#Page_190">190</a>, <a href="#Page_192">192</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Magic-stitch</span>, <a href="#Page_41">41</a></li>
+
+    <li><span class="smcap">Material</span> (influence of on stitch), <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a href="#Page_88">88</a>, <a href="#Page_91">91</a></li>
+
+    <li><span class="smcap">Materials</span>, <a href="#Page_242">242</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Mechanical</span> embroidery, <a href="#Page_225">225</a></li>
+
+    <li><span class="smcap">Medi�val</span> work, <a href="#Page_92">92</a>, <a href="#Page_136">136</a>, <a href="#Page_140">140</a>, <a href="#Page_190">190</a></li>
+
+    <li><span class="smcap">Milanese-stitch</span>, <a href="#Page_18">18</a></li>
+
+    <li><span class="smcap">Modelling</span>, <a href="#Page_222">222</a></li>
+
+    <li><span class='pagenum'><a name="Page_260" id="Page_260">[260]</a></span><span class="smcap">Modest</span> work, <a href="#Page_230">230</a>, <a href="#Page_231">231</a></li>
+
+    <li><span class="smcap">Moorish-stitch</span>, <a href="#Page_18">18</a>, <a href="#Page_21">21</a></li>
+
+    <li><span class="smcap">Morocco</span> embroidery, <a href="#Page_152">152</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Needle</span> (tambour), <a href="#Page_38">38</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Needle</span> pictures, <a href="#Page_201">201</a></li>
+
+    <li><span class="smcap">Needles</span>, <a href="#Page_250">250</a></li>
+
+    <li><span class="smcap">Net</span> passing, <a href="#Page_86">86</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Old English Knot-stitch</span>, <a href="#Page_75">75</a></li>
+
+    <li><span class="smcap">Opus</span> Anglicanum, <a href="#Page_9">9</a></li>
+
+    <li><span class="smcap">Oriental</span> embroidery, <a href="#Page_2">2</a>, <a href="#Page_22">22</a>, <a href="#Page_61">61</a>, <a href="#Page_92">92</a>, <a href="#Page_112">112</a>, <a href="#Page_136">136</a>, <a href="#Page_140">140</a>, <a href="#Page_153">153</a>, <a href="#Page_226">226</a></li>
+
+    <li><span class="smcap">Oriental</span> stitch, <a href="#Page_66">66</a> <i>et seq.</i>, <a href="#Page_83">83</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Originality</span>, <a href="#Page_234">234</a></li>
+
+    <li><span class="smcap">Outline</span>, <a href="#Page_22">22</a>, <a href="#Page_77">77</a>, <a href="#Page_108">108</a>, <a href="#Page_146">146</a>, <a href="#Page_158">158</a>, <a href="#Page_178">178</a>, <a href="#Page_184">184</a>, <a href="#Page_185">185</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Outline</span> (couched), <a href="#Page_126">126</a>, <a href="#Page_128">128</a>, <a href="#Page_146">146</a></li>
+
+    <li><span class="smcap">Outline</span> (double), <a href="#Page_146">146</a>, <a href="#Page_185">185</a>, <a href="#Page_186">186</a></li>
+
+    <li><span class="smcap">Outline</span> (stepped), <a href="#Page_16">16</a>, <a href="#Page_24">24</a></li>
+
+    <li><span class="smcap">Outline</span> (voided), <a href="#Page_96">96</a>, <a href="#Page_187">187</a></li>
+
+    <li><span class="smcap">Outline</span> embroidery, <a href="#Page_138">138</a></li>
+
+    <li><span class="smcap">Outline</span> stitch, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, <a href="#Page_32">32</a>, <a href="#Page_86">86</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Padding</span>, <a href="#Page_159">159</a>, <a href="#i196">172</a></li>
+
+    <li><span class="smcap">Painting</span>, <a href="#Page_201">201</a>, <a href="#Page_202">202</a></li>
+
+    <li><span class="smcap">Parchment</span>, <a href="#Page_160">160</a>, <a href="#Page_168">168</a>, <a href="#Page_246">246</a></li>
+
+    <li><span class="smcap">Parisian-stitch</span>, <a href="#Page_18">18</a></li>
+
+    <li><span class="smcap">Patchwork</span>, <a href="#Page_156">156</a></li>
+
+    <li><span class="smcap">Pearls</span>, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>, <a href="#Page_248">248</a></li>
+
+    <li><span class="smcap">Peasant</span> work, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_226">226</a></li>
+
+    <li><span class="smcap">Persian</span> embroidery, <a href="#Page_7">7</a>, <a href="#Page_24">24</a>, <a href="#Page_41">41</a>, <a href="#i198">174</a>, <a href="#Page_228">228</a></li>
+
+    <li><span class="smcap">Pictorial</span> effect, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_201">201</a></li>
+
+    <li><span class="smcap">Pictures</span> (tent-stitch), <a href="#Page_14">14</a>, <a href="#Page_20">20</a></li>
+
+    <li><span class="smcap">Pierce</span>, <a href="#Page_132">132</a></li>
+
+    <li><span class="smcap">Pins</span>, <a href="#Page_146">146</a>, <a href="#Page_250">250</a></li>
+
+    <li><span class="smcap">Plait-stitch</span>, <a href="#Page_21">21</a></li>
+
+    <li><span class="smcap">Plate</span>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Plumage-stitch</span>, <a href="#Page_62">62</a>, <a href="#Page_100">100</a>, <a href="#Page_103">103</a>, <a href="#Page_178">178</a>, <a href="#Page_179">179</a>, <a href="#Page_192">192</a>, <a href="#Page_212">212</a></li>
+
+    <li><span class="smcap">Preciousness</span>, <a href="#Page_198">198</a></li>
+
+    <li><span class="smcap">Purl</span>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Purse</span> silk, <a href="#Page_116">116</a>, <a href="#Page_162">162</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Quilting</span>, <a href="#i196">172</a> <i>et seq.</i></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Raised</span> gold, <a href="#Page_134">134</a>, <a href="#Page_136">136</a>, <a href="#Page_165">165</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Raised</span> work, <a href="#Page_134">134</a>, <a href="#Page_136">136</a>, <a href="#Page_159">159</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Relief</span>, <a href="#Page_159">159</a> <i>et seq.</i>, <a href="#Page_166">166</a>, <a href="#Page_168">168</a>, <a href="#Page_169">169</a>, <a href="#i196">172</a>, <a href="#Page_222">222</a></li>
+
+    <li><span class="smcap">Renaissance</span> embroidery, <a href="#Page_41">41</a>, <a href="#Page_92">92</a>, <a href="#Page_142">142</a>, <a href="#Page_154">154</a>, <a href="#Page_166">166</a></li>
+
+    <li><span class="smcap">Renewing</span> ground, <a href="#Page_126">126</a></li>
+
+    <li><span class="smcap">Reverse</span>-couching, <a href="#Page_130">130</a></li>
+
+    <li><span class="smcap">Ribbon</span>, <a href="#Page_150">150</a>, <a href="#Page_246">246</a></li>
+
+    <li><span class="smcap">Ribbon</span> work, <a href="#Page_246">246</a></li>
+
+    <li><span class="smcap">Roll-stitch</span>, <a href="#Page_75">75</a>
+      (<i>See also Bullion-stitch</i>)</li>
+
+    <li><span class="smcap">Roman</span> satin, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Rope-stitch</span>, <a href="#Page_71">71</a> <i>et seq.</i>, <a href="#Page_178">178</a></li>
+
+    <li><span class="smcap">Running</span>, <a href="#Page_83">83</a>, <a href="#Page_106">106</a>, <a href="#Page_179">179</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Satin</span>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Satin</span> "de luxe", <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Satin</span> on velvet, <a href="#Page_150">150</a></li>
+
+    <li><span class="smcap">Satin-stitch</span>, <a href="#Page_24">24</a>, <a href="#Page_91">91</a> <i>et seq.</i>, <a href="#Page_103">103</a>, <a href="#Page_112">112</a>, <a href="#Page_128">128</a>, <a href="#Page_158">158</a>, <a href="#Page_160">160</a>,
+        <a href="#Page_162">162</a>, <a href="#Page_175">175</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a>, <a href="#Page_192">192</a>, <a href="#Page_206">206</a>, <a href="#Page_212">212</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Satin-stitch</span> (surface), <a href="#Page_98">98</a>, <ins class="correction" title="282"><a href="#Page_182">182</a></ins></li>
+
+    <li><span class='pagenum'><a name="Page_261" id="Page_261">[261]</a></span><span class="smcap">Satin-stitch</span> in the making, <a href="#Page_91">91</a></li>
+
+    <li><span class="smcap">Scissors</span>, <a href="#Page_250">250</a></li>
+
+    <li><span class="smcap">Serge</span>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Seventeenth</span> century embroidery, <a href="#Page_14">14</a>, <a href="#Page_166">166</a></li>
+
+    <li><span class="smcap">Shaded</span> silk, <a href="#Page_246">246</a></li>
+
+    <li><span class="smcap">Shading</span>, <a href="#Page_34">34</a>, <a href="#Page_176">176</a>, <a href="#Page_188">188</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Silk</span>, <a href="#Page_146">146</a>, <a href="#Page_243">243</a></li>
+
+    <li><span class="smcap">Silk</span> (tussah), <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Silk</span> (twisted), <a href="#Page_95">95</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a></li>
+
+    <li><span class="smcap">Silk</span> on silk, <a href="#Page_150">150</a></li>
+
+    <li><span class="smcap">Silks</span>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Silver</span>, <a href="#i159">135</a>, <a href="#Page_138">138</a>, <a href="#Page_166">166</a></li>
+
+    <li><span class="smcap">Simplicity</span>, <a href="#Page_180">180</a>, <a href="#Page_236">236</a>, <a href="#Page_238">238</a></li>
+
+    <li><span class="smcap">Simplicity</span> (a plea for), <a href="#Page_225">225</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Sixteenth</span> century embroidery, <a href="#Page_22">22</a>, <a href="#Page_120">120</a>, <a href="#Page_125">125</a>, <a href="#Page_142">142</a>, <a href="#Page_185">185</a>, <a href="#Page_199">199</a></li>
+
+    <li><span class="smcap">Solid</span> chain-stitch, <a href="#Page_43">43</a>, <a href="#Page_44">44</a></li>
+
+    <li><span class="smcap">Solid</span> crewel-stitch, <a href="#Page_32">32</a>, <a href="#Page_34">34</a></li>
+
+    <li><span class="smcap">Soudanese</span> embroidery, <a href="#Page_112">112</a></li>
+
+    <li><span class="smcap">Spangles</span>, <a href="#Page_169">169</a>, <a href="#Page_248">248</a></li>
+
+    <li><span class="smcap">Spanish</span> embroidery, <a href="#Page_129">129</a>, <a href="#Page_142">142</a>, <a href="#Page_154">154</a>, <a href="#Page_166">166</a>, <a href="#Page_185">185</a></li>
+
+    <li><span class="smcap">Spanish-stitch</span>, <a href="#Page_18">18</a>, <a href="#Page_22">22</a> (<i>See also Plait-stitch</i>)</li>
+
+    <li><span class="smcap">Split-stitch</span>, <a href="#Page_38">38</a>, <a href="#Page_100">100</a>, <a href="#Page_105">105</a>, <a href="#Page_114">114</a>, <a href="#Page_179">179</a>, <a href="#Page_190">190</a>, <a href="#Page_196">196</a>, <a href="#Page_222">222</a></li>
+
+    <li><span class="smcap">Spot-stitch</span>, <a href="#Page_30">30</a></li>
+
+    <li><span class="smcap">Stem-stitch</span>, <a href="#Page_32">32</a></li>
+
+    <li><span class="smcap">Stems</span>, <a href="#Page_95">95</a></li>
+
+    <li><span class="smcap">Stepped</span> outline, <a href="#Page_16">16</a>, <a href="#Page_24">24</a></li>
+
+    <li><span class="smcap">Stiletto</span>, <a href="#i198">174</a></li>
+
+    <li><span class="smcap">Stitch</span> (definition of), <a href="#Page_11">11</a></li>
+
+    <li><span class="smcap">Stitch</span> adaptation, <a href="#Page_103">103</a>, <a href="#Page_188">188</a>, <a href="#Page_253">253</a></li>
+
+    <li><span class="smcap">Stitch</span> and effect, <a href="#Page_36">36</a>, <a href="#Page_78">78</a></li>
+
+    <li><span class="smcap">Stitch</span> and form, <a href="#Page_44">44</a>, <a href="#Page_47">47</a>, <a href="#Page_100">100</a>, <a href="#Page_118">118</a>, <a href="#Page_176">176</a>, <a href="#Page_211">211</a>, <a href="#Page_253">253</a></li>
+
+    <li><span class="smcap">Stitch</span> and stuff, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a href="#Page_88">88</a>, <a href="#Page_91">91</a></li>
+
+    <li><span class="smcap">Stitch</span> groups, <a href="#Page_9">9</a>, <a href="#Page_175">175</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Stitch</span> names, <a href="#Page_8">8</a>, <a href="#Page_9">9</a></li>
+
+    <li><span class="smcap">Stitch</span> patterns, <a href="#i111">87</a>, <a href="#Page_88">88</a></li>
+
+    <li><span class="smcap">Stitch</span> and design, <a href="#Page_10">10</a>, <a href="#Page_238">238</a></li>
+
+    <li><span class="smcap">Stitches</span>, <a href="#Page_7">7</a></li>
+
+    <li><span class="smcap">Stitching</span> over stitching, <a href="#Page_215">215</a></li>
+
+    <li><span class="smcap">Stretching</span> work, <a href="#Page_251">251</a>, <a href="#Page_254">254</a></li>
+
+    <li><span class="smcap">String</span>, <a href="#Page_159">159</a>, <a href="#Page_160">160</a>, <a href="#Page_162">162</a></li>
+
+    <li><span class="smcap">Stroke-stitch</span>, <a href="#Page_16">16</a></li>
+
+    <li><span class="smcap">Stuffs</span>, <a href="#Page_242">242</a></li>
+
+    <li><span class="smcap">Surface</span> crewel-stitch, <a href="#Page_86">86</a></li>
+
+    <li><span class="smcap">Surface</span> darning, <a href="#Page_84">84</a></li>
+
+    <li><span class="smcap">Surface</span> satin-stitch, <a href="#Page_98">98</a>, <a href="#Page_182">182</a></li>
+
+    <li><span class="smcap">Surface</span> stitches, <a href="#Page_84">84</a></li>
+
+    <li><span class="smcap">Syon cope</span> (the), <a href="#Page_7">7</a>, <a href="#Page_130">130</a>, <a href="#Page_210">210</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Tailors'</span> buttonhole, <a href="#Page_56">56</a></li>
+
+    <li><span class="smcap">Tambour</span>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Tambour</span> frame, <a href="#Page_44">44</a></li>
+
+    <li><span class="smcap">Tambour</span> needle, <a href="#Page_38">38</a>, <a href="#Page_245">245</a></li>
+
+    <li><span class="smcap">Tambour</span> stitch, <a href="#Page_38">38</a></li>
+
+    <li><span class="smcap">Tambour</span> work, <a href="#Page_44">44</a>, <a href="#Page_194">194</a></li>
+
+    <li><span class="smcap">Tapestry</span>, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>, <a href="#Page_4">4</a>, <a href="#Page_143">143</a>, <a href="#Page_220">220</a></li>
+
+    <li><span class="smcap">Tapestry-stitch</span>, <a href="#Page_53">53</a></li>
+
+    <li><span class="smcap">Tendrils</span>, <a href="#Page_130">130</a></li>
+
+    <li><span class="smcap">Tent-stitch</span>, <a href="#Page_14">14</a>, <a href="#Page_18">18</a></li>
+
+    <li><span class="smcap">Thimble</span>, <a href="#Page_250">250</a></li>
+
+    <li><span class="smcap">Thread</span>, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Traditional</span> design, <a href="#Page_238">238</a>, <a href="#Page_240">240</a></li>
+
+    <li><span class="smcap">Transferring</span> design, <a href="#Page_251">251</a></li>
+
+    <li><span class="smcap">Turkish</span> embroidery, <a href="#Page_22">22</a></li>
+
+    <li><span class="smcap">Tussah</span> silk, <a href="#Page_244">244</a></li>
+
+    <li><span class="smcap">Twisted</span> silk, <a href="#Page_95">95</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Underlay</span>, <a href="#Page_159">159</a>, <a href="#Page_160">160</a>, <a href="#Page_165">165</a></li>
+
+    <li><span class="smcap">Unpicking</span>, <a href="#Page_253">253</a></li>
+</ul>
+
+
+<ul>
+    <li><span class='pagenum'><a name="Page_262" id="Page_262">[262]</a></span><span class="smcap">Vandyke</span> chain, <a href="#Page_42">42</a></li>
+
+    <li><span class="smcap">Variety</span> of method, <a href="#Page_148">148</a>, <a href="#Page_158">158</a></li>
+
+    <li><span class="smcap">Variety</span> of stitch, <a href="#Page_180">180</a> <i>et seq.</i></li>
+
+    <li><span class="smcap">Velvet</span>, <a href="#Page_150">150</a>, <a href="#Page_222">222</a></li>
+
+    <li><span class="smcap">Venetian</span> embroidery, <a href="#Page_138">138</a></li>
+
+    <li><span class="smcap">Voiding</span>, <a href="#Page_96">96</a>, <a href="#Page_187">187</a></li>
+</ul>
+
+
+<ul>
+    <li><span class="smcap">Weaving</span>, <a href="#Page_2">2</a></li>
+
+    <li><span class="smcap">White</span> on white, <a href="#Page_162">162</a>, <a href="#Page_230">230</a></li>
+
+    <li><span class="smcap">Wool.</span> (<i>See Crewel</i>)</li>
+
+    <li><span class="smcap">Woollen</span> stuffs, <a href="#Page_243">243</a></li>
+</ul>
+
+
+<p class="center newsection">THE END.</p>
+
+<p class="center newsection">BRADBURY, AGNEW, &amp; CO. LD., PRINTERS, LONDON AND TONBRIDGE.</p>
+
+
+
+<h2><i>A LIST OF STANDARD BOOKS</i><br />
+ON<br />
+ORNAMENT &amp; DECORATION,<br />
+INCLUDING<br />
+FURNITURE, WOOD-CARVING, METAL WORK, &amp;c.,<br />
+PUBLISHED BY<br />
+<i>B. T. BATSFORD,<br />
+94, HIGH HOLBORN, LONDON, W.C.</i></h2>
+
+
+<p class="newsection">WINDOWS.&mdash;A BOOK ABOUT STAINED AND PAINTED GLASS. By <span class="smcap">Lewis F. Day</span>.
+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<i>s.</i> net.</p>
+
+<div class="blockquot"><p>"Contains a more complete popular account&mdash;technical and
+historical&mdash;of stained and painted glass than has previously
+appeared in this country."&mdash;<i>The Times.</i></p>
+
+<p>"The book is a masterpiece in its way ... amply illustrated and
+carefully printed; it will long remain an authority on its
+subject."&mdash;<i>The Art Journal.</i></p>
+
+<p>"All for whom the subject of stained glass possesses an interest and
+a charm, will peruse these pages with pleasure and profit."&mdash;<i>The
+Morning Post.</i></p>
+
+<p>"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."&mdash;<i>The
+Studio.</i></p></div>
+
+<p><i>Now Published, the most handy, useful, and comprehensive work on the
+subject.</i></p>
+
+
+<p class="newsection">ALPHABETS, OLD AND NEW. Containing 150 complete Alphabets, 30 Series of
+Numerals, Numerous Facsimiles of Ancient Dates. Selected and arranged by
+<span class="smcap">Lewis F. Day</span>. Preceded by a short account of the Development of the
+Alphabet. With Modern Examples specially Designed by <i>Walter Crane</i>,
+<i>Patten Wilson</i>, <i>A. Beresford Pite</i>, the Author, and others. Crown 8vo,
+art linen. Price 3<i>s.</i> 6<i>d.</i> net.</p>
+
+<div class="blockquot"><p>"Mr. Day's explanation of the growth of form in letters is
+particularly valuable.... Many excellent alphabets are given in
+illustration of his remarks."&mdash;<i>The Studio.</i></p>
+
+<p>"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."&mdash;<i>The Art Journal.</i></p>
+
+<p>"A practical resum&eacute; of all that is to be known on the subject,
+concisely and clearly stated."&mdash;<i>St. James' Gazette.</i></p>
+
+<p>"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."&mdash;<i>The Athen&aelig;um.</i></p></div>
+
+
+<p class="newsection">ARCHITECTURE AMONG THE POETS. By <span class="smcap">H. Heathcote Statham</span>. With 13
+Illustrations. Square 8vo, artistically bound. Price 3<i>s.</i> 6<i>d.</i> net.</p>
+
+<div class="blockquot"><p>"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."&mdash;<i>The Magazine of
+Art.</i></p></div>
+
+
+<p class="newsection">THE DECORATION OF HOUSES. By <span class="smcap">Edith Wharton</span> and <span class="smcap">Ogden Codman</span>, Architect.
+204 pages of text, with 56 full-page Photographic Plates of Views of
+Rooms, Doors, Ceilings, Fireplaces, various pieces of Furniture, &amp;c.,
+from the Renaissance period. Large square 8vo, cloth gilt, price 12<i>s.</i>
+6<i>d.</i> net.</p>
+
+<p>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.</p>
+
+<div class="blockquot"><p>"... 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."&mdash;<i>The Queen.</i></p></div>
+
+
+<p class="newsection">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 <span class="smcap">H. Dolmetsch</span>. Folio, handsomely bound in cloth, gilt,
+price &pound;1 5<i>s.</i> net.</p>
+
+<p>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 <span class="smcap">Metal-Work</span>, <span class="smcap">Pottery and Porcelain</span>, <span class="smcap">Lace</span>, <span class="smcap">Enamel</span>,
+<span class="smcap">Mosaic</span>, <span class="smcap">Illumination</span>, <span class="smcap">Stained Glass</span>, <span class="smcap">Jewellery</span>, <span class="smcap">Bookbinding</span>, &amp;c.,
+showing the application of Ornament to Industrial Art.</p>
+
+
+<p class="newsection center"><i>Just Published.</i></p>
+
+<p class="newsection">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 <span class="smcap">Richard Glazier</span>, 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<i>s.</i></p>
+
+<p>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 Fa&iuml;ence, &amp;c., &amp;c. of various countries.</p>
+
+
+<p class="newsection">A MANUAL OF PRACTICAL INSTRUCTION IN THE ART OF BRASS REPOUSS&Eacute; FOR
+AMATEURS. By <span class="smcap">Gawthorp</span> (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<i>s.</i> net.</p>
+
+
+<p class="newsection">OLD CLOCKS AND WATCHES AND THEIR MAKERS. By <span class="smcap">F. J. Britten</span>, 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<i>s.</i> net.</p>
+
+
+<p class="newsection">KING REN&Eacute;'S HONEYMOON CABINET. A Monograph. By <i>John P. Seddon</i>,
+Architect. Illustrated by 10 photographic reproductions of the Cabinet,
+and the Panels, painted by the late <span class="smcap">Sir E. Burne Jones</span>, <i>Dante Gabriel
+Rossetti</i>, and <i>Ford Madox Brown</i>. With a chapter on the Hereditary
+Earls of Anjou, by <span class="smcap">G. H. Birch</span>, F.S.A. Large 8vo, cloth, price 5<i>s.</i>
+net.</p>
+
+<p>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.</p>
+
+
+<p class="newsection center"><i>A small remainder, just reduced in price.</i></p>
+
+<p class="newsection">ANIMALS IN ORNAMENT. By Professor <span class="smcap">G. Sturm</span>. Containing 30 large
+collotype plates, printed in tint, of designs suitable for Friezes,
+Panels, Borders, Wall-papers, Carving, and all kinds of Surface
+Decoration, &amp;c. Large folio in portfolio, price 18<i>s.</i> net (published &pound;1
+10<i>s.</i>).</p>
+
+<p>A new and useful series of clever designs, showing how animal forms may
+be adapted to decorative purposes with good effect.</p>
+
+
+<p class="newsection">A HISTORY OF DESIGN IN PAINTED GLASS.&mdash;From the Earliest Times to the
+end of the Seventeenth Century. By <span class="smcap">N. H. J. Westlake</span>, F.S.A. Containing
+467 illustrations with historical text. Four volumes, small folio,
+cloth, price &pound;5 10<i>s.</i>, net &pound;4 8<i>s.</i></p>
+
+<p class="center"><i>Very few copies remain for sale of this valuable work.</i></p>
+
+
+<p class="newsection">MR. LEWIS F. DAY'S TEXT BOOKS OF ORNAMENTAL DESIGN.</p>
+
+<p class="newsection">SOME PRINCIPLES OF EVERY-DAY ART.&mdash;<span class="smcap">Introductory Chapters on the Arts not
+Fine.</span> Forming a Prefatory Volume to the Series of Text Books. Second
+Edition, revised, containing 70 Illustrations (Third Thousand). Crown
+8vo, art linen, price 3<i>s.</i> 6<i>d.</i>, net 3<i>s.</i></p>
+
+<div class="blockquot"><p>"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."&mdash;<i>Architect.</i></p>
+
+<p>"A good artist, and a sound thinker, Mr. Day has produced a book of
+sterling value."&mdash;<i>Magazine of Art.</i></p></div>
+
+
+<p class="newsection">THE ANATOMY OF PATTERN.&mdash;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<i>s.</i> 6<i>d.</i>, net 3<i>s.</i></p>
+
+<div class="blockquot"><p>"... 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&mdash;a way beautiful as well as
+useful&mdash;he has performed a service not only to the students of his
+profession, but also to the public."&mdash;<i>Academy.</i></p></div>
+
+
+<p class="newsection">THE PLANNING OF ORNAMENT.&mdash;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<i>s.</i> 6<i>d.</i>, net 3<i>s.</i></p>
+
+<div class="blockquot"><p>"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."&mdash;<i>Athen&aelig;um.</i></p></div>
+
+
+<p class="newsection">THE APPLICATION OF ORNAMENT.&mdash;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<i>s.</i> 6<i>d.</i>, net 3<i>s.</i></p>
+
+<div class="blockquot"><p>"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."&mdash;<i>Science and Art.</i></p></div>
+
+
+<p class="newsection">ORNAMENTAL DESIGN.&mdash;Comprising the above Three Books, "<span class="smcap">Anatomy of
+Pattern</span>," "<span class="smcap">Planning of Ornament</span>," and "<span class="smcap">Application of Ornament</span>,"
+handsomely bound in one volume, cloth gilt, price 10<i>s.</i> 6<i>d.</i>, net
+8<i>s.</i> 6<i>d.</i></p>
+
+
+<p class="newsection">NATURE IN ORNAMENT.&mdash;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<i>s.</i> 6<i>d.</i>, net 10<i>s.</i></p>
+
+<p><span class="smcap">Contents</span>: 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.</p>
+
+<div class="blockquot"><p>"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."&mdash;<i>Magazine of Art.</i></p>
+
+<p>"A book more beautiful for its illustrations, or one more helpful to
+Students of Art, can hardly be imagined."&mdash;<i>Queen.</i></p></div>
+
+
+<p class="newsection">A HANDBOOK OF ORNAMENT.&mdash;With 300 Plates, containing about 3,000
+Illustrations of the Elements and Application of Decoration to Objects.
+By <span class="smcap">F. S. Meyer</span>, Professor at the School of Applied Art, Karlsruhe. Third
+English Edition, revised by <span class="smcap">Hugh Stannus</span>, Lecturer on Applied Art at the
+Royal College of Art, South Kensington. Thick 8vo, cloth gilt, gilt top,
+price 12<i>s.</i> 6<i>d.</i>, net 10<i>s.</i></p>
+
+<div class="blockquot"><p>"A Library, a Museum, an Encyclop&aelig;dia 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."&mdash;<i>Studio.</i></p>
+
+<p>"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."&mdash;<i>Architect.</i></p>
+
+<p>"The book is a mine of wealth even to an ordinary reader, while to
+the Student of Art and Arch&aelig;ology 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."&mdash;<i>Science and
+Art.</i></p></div>
+
+
+<p class="newsection">A HANDBOOK OF ART SMITHING.&mdash;For the use of Practical Smiths, Designers
+and others, and in Art and Technical Schools. By <span class="smcap">F. S. Meyer</span>, Author of
+"A Handbook of Ornament." Translated from the Second German Edition.
+With an Introduction by <span class="smcap">J. Starkie Gardner</span>. Containing 214
+Illustrations. Demy 8vo, cloth, price 6<i>s.</i>, net 5<i>s.</i></p>
+
+<p>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.</p>
+
+<div class="blockquot"><p>"Charmingly produced.... It is really a most excellent manual,
+crowded with examples of ancient work, for the most part extremely
+well selected."&mdash;<i>The Studio.</i></p>
+
+<p>"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."&mdash;<i>Building News.</i></p></div>
+
+
+<p  class="newsection center"><i>Published with the Sanction of the Science and Art Department.</i></p>
+
+
+<p>FRENCH WOOD CARVINGS FROM THE NATIONAL MUSEUMS.&mdash;A Series of Examples
+printed in Collotype from Photographs specially taken from the Carvings
+direct. Edited by <span class="smcap">Eleanor Rowe</span>. 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<i>s.</i>
+each net; or handsomely bound in one volume, &pound;2 5<i>s.</i> net.</p>
+
+<div class="blockquot"><p>"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."&mdash;<i>The
+Queen.</i></p>
+
+<p>"Needs only to be seen to be purchased by all interested in the
+craft, whether arch&aelig;ologically or practically."&mdash;<i>The Studio.</i></p></div>
+
+
+<p class="newsection">HINTS ON WOOD CARVING FOR BEGINNERS.&mdash;By <span class="smcap">Eleanor Rowe</span>. Fourth Edition,
+revised and enlarged, Illustrated. 8vo, sewed, price 1<i>s.</i> in paper
+covers, or bound in cloth, price 1<i>s.</i> 6<i>d.</i></p>
+
+<div class="blockquot"><p>"The most useful and practical small book on wood-carving we know
+of."&mdash;<i>Builder.</i></p>
+
+<p>"... Is a useful little book, full of sound directions and good
+suggestions."&mdash;<i>Magazine of Art.</i></p></div>
+
+
+<p class="newsection">HINTS ON CHIP CARVING.&mdash;(Class Teaching and other Northern Styles.) By
+<span class="smcap">Eleanor Rowe</span>. 40 Illustrations. 8vo, sewed, price 1<i>s.</i> in paper covers,
+or in cloth, price 1<i>s.</i> 6<i>d.</i></p>
+
+<div class="blockquot"><p>"A capital manual of instruction in a craft that ought to be most
+popular."&mdash;<i>Saturday Review.</i></p></div>
+
+
+<p class="newsection">DETAILS OF GOTHIC WOOD CARVING.&mdash;Being a Series of Drawings from
+original work of the Fourteenth and Fifteenth Centuries. By <span class="smcap">Franklyn A.
+Crallan</span>. Containing 34 large Photo-lithographic Plates, with
+introductory and descriptive text. Large 4to, in handsome cloth
+portfolio, or bound in cloth gilt, price 28<i>s.</i>, net 22<i>s.</i></p>
+
+<div class="blockquot"><p>"The examples are carefully drawn to a large size ... well selected
+and very well executed."&mdash;<i>The Builder.</i></p></div>
+
+
+<p class="newsection">PROGRESSIVE STUDIES AND DESIGNS FOR WOOD-CARVERS. By Miss <span class="smcap">E. R. Plowden</span>.
+With a Preface by Miss <span class="smcap">Rowe</span>. 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<i>s.</i> net.</p>
+
+
+<p class="newsection">ANCIENT WOOD AND IRONWORK IN CAMBRIDGE.&mdash;By <span class="smcap">W. B. Redfarn</span>, the
+Letterpress by <span class="smcap">John Willis Clark</span>. 29 folio Lithographed Plates drawn to
+a good scale. Cloth gilt, a handsome volume, price 10<i>s.</i> 6<i>d.</i>, net
+8<i>s.</i> 6<i>d.</i></p>
+
+<p>This Work, giving an interesting and useful series of Examples, is but
+little known. Very few copies remain.</p>
+
+
+<p class="newsection">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 &pound;2 10<i>s.</i> net. (1794.)
+<i>Original copies when met with fetch from &pound;17 to &pound;18.</i></p>
+
+<div class="blockquot"><p>"A beautiful replica, which every admirer of the author and period
+should possess."&mdash;<i>Building News.</i></p></div>
+
+
+<p class="newsection">CHIPPENDALE'S THE GENTLEMAN AND CABINET-MAKER'S DIRECTOR.&mdash;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, &amp;c., &amp;c. Folio, strongly bound in half-cloth,
+price &pound;3 15<i>s.</i> net. (1762.)</p>
+
+
+<p class="newsection">SHERATON'S CABINET-MAKER And UPHOLSTERER'S DRAWING-BOOK.&mdash;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 &pound;2 10<i>s.</i> net.</p>
+
+
+<p class="newsection"><span class="smcap">EXAMPLES OF OLD FURNITURE, English and Foreign.</span> Drawn and described by
+<span class="smcap">Alfred Ernest Chancellor</span>. 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 &pound;1 5<i>s.</i>, net &pound;1 1<i>s.</i></p>
+
+<div class="blockquot"><p>"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&mdash;qualities that are so
+conspicuously lacking in the furniture of our own day. It forms a
+very acceptable work."&mdash;<i>The Morning Post.</i></p></div>
+
+
+<p class="newsection"><span class="smcap">FURNITURE AND DECORATION IN ENGLAND DURING THE XVIIIth CENTURY.</span>&mdash;By <span class="smcap">J.
+Aldam Heaton</span>. Two volumes, each of two parts, bound in four, large
+folio, cloth, price &pound;7 net. Containing upwards of 150 plates of
+photographic reproductions from the published designs of R. &amp; J. Adam,
+Chippendale, Hepplewhite, Sheraton, Shearer, Pergolesi, Cipriani, Darly,
+Johnson, Richardson, and all great English designers and cabinet-makers
+of the period.</p>
+
+<p>This work forms an encyclop&aelig;dic and almost inexhaustible treasury of
+reference for all Furniture Designers, Painters, Interior Decorators,
+Cabinet-makers, &amp;c., since no artist of importance is unrepresented, and
+a fair selection is in every case given of his work.</p>
+
+
+<p class="newsection">REMAINS OF ECCLESIASTICAL WOOD-WORK.&mdash;A Series of Examples of Stalls,
+Screens, Book-Boards, Roofs, Pulpits, &amp;c., containing 21 Plates
+beautifully engraved on Copper, from drawings by <span class="smcap">T. Talbot Bury</span>, Archt.
+4to, half-bound, price 10<i>s.</i> 6<i>d.</i>, net 8<i>s.</i> 6<i>d.</i></p>
+
+
+<p class="newsection"><span class="smcap">FLAT ORNAMENT: A Pattern Book for Designers of Textiles, Embroideries,
+Wall Papers, Inlays, &amp;c., &amp;c.</span>&mdash;150 Plates, some printed in Colours,
+exhibiting upwards of 500 Historical Examples of Textiles, Embroideries,
+Paper Hangings, Tile Pavements, Intarsia Work, &amp;c. With some Designs by
+Dr. <span class="smcap">Fischbach</span>. Imperial 4to boards, cloth back, price &pound;1 5<i>s.</i>, net
+20<i>s.</i></p>
+
+
+<p class="newsection">EXAMPLES OF ENGLISH MEDI&AElig;VAL FOLIAGE AND COLOURED DECORATION.&mdash;By <span class="smcap">Jas.
+K. Colling</span>, 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<i>s.</i>, net
+15<i>s.</i> (published at &pound;2 2<i>s.</i>)</p>
+
+
+<p class="newsection">PLASTERING&mdash;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
+<span class="smcap">William Millar</span>. With an Introduction, treating of the History of the
+Art, by <span class="smcap">G. T. Robinson</span>, F.S.A. Thick 4to, cloth, containing 600 pages of
+text, price 18<i>s.</i> net.</p>
+
+<div class="blockquot"><p>"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."&mdash;<i>The Builder.</i></p></div>
+
+
+<p class="newsection">A GRAMMAR OF JAPANESE ORNAMENT AND DESIGN.&mdash;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 <span class="smcap">T. W. Cutler</span>, F.R.I.B.A. Imperial
+4to, in elegant cloth binding, price &pound;2 6<i>s.</i>, &pound;1 18<i>s.</i> net.</p>
+
+
+<p class="newsection"><span class="smcap">DECORATIVE WROUGHT IRONWORK OF THE 17th AND 18th CENTURIES.</span>&mdash;By <span class="smcap">D. J.
+Ebbetts</span>. Containing 16 large Lithographic Plates, illustrating 70
+English examples of Screens, Grilles, Panels, Balustrades, &amp;c. Folio,
+boards, cloth back, price 12<i>s.</i> 6<i>d.</i>, net 10<i>s.</i></p>
+
+
+<p class="newsection center"><i>A Facsimile reproduction of one of the rarest and most remarkable Books
+of Designs ever published in England.</i></p>
+
+
+<p>A NEW BOOKE OF DRAWINGS OF IRONWORKE.&mdash;Invented and Desined by <span class="smcap">John
+Tijou</span>. Containing severall sortes of Iron Worke, as Gates,
+Frontispieces, Balconies, Staircases, Pannells, &amp;c., of which the most
+part hath been wrought at the Royall Building of Hampton Court, &amp;c. <span class="smcap">All
+for the use of them that worke iron in perfection and with art.</span> (Sold by
+the author in London, 1693.) Containing 20 folio Plates. With
+Introductory Note and Descriptions of the Plates by <span class="smcap">J. Starkie Gardner</span>.
+Folio, bound in boards, old style, price 25<i>s.</i> net.</p>
+
+<p>Only 150 copies were printed for England, and very few now remain. An
+original copy is priced at &pound;48 by Mr. Quaritch, the renowned bookseller.</p>
+
+
+<p class="newsection">JAPANESE ENCYCLOP&AElig;DIA OF DESIGN.</p>
+
+<p><span class="smcap">Book I.</span>&mdash;Containing over 1,500 engraved curios, and most ingenious
+Geometric Patterns of Circles, Medallions, &amp;c., comprising Conventional
+Details of Plants, Flowers, Leaves, Petals, also Birds, Fans, Animals,
+Key Patterns, &amp;c., &amp;c. Oblong 12mo, fancy covers, price 2<i>s.</i> net.</p>
+
+<p><span class="smcap">Book II.</span>&mdash;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<i>s.</i> net.</p>
+
+<p>These books exhibit the varied charm and originality of conception of
+Japanese Ornament, and form an inexhaustible field of design.</p>
+
+
+<p class="newsection"><span class="smcap">A DELIGHTFUL SERIES OF STUDIES OF BIRDS, in most Characteristic and
+Life-like Attitudes, surrounded with appropriate Foliage and
+Flowers.</span>&mdash;By the celebrated Japanese Artist, <span class="smcap">Bairei Kono</span>. In three
+Books, 8vo, each containing 36 pages of highly artistic and decorative
+Illustrations, printed in tints. Bound in fancy paper covers, price
+10<i>s.</i> net.</p>
+
+<div class="blockquot"><p>"In attitude and gesture and expression, these Birds, whether
+perching or soaring, swooping or brooding, are
+admirable."&mdash;<i>Magazine of Art.</i></p></div>
+
+
+<p class="newsection">A NEW SERIES OF BIRD AND FLOWER STUDIES. BY <span class="smcap">Watanabe Sietei</span>, the
+acknowledged leading living Artist in Japan. In 3 Books, containing
+numerous exceedingly Artistic Sketches in various tints, 8vo, fancy
+covers. Price 10<i>s.</i> net.</p>
+
+
+<p class="newsection">ARTISTS' SKETCH BOOKS.&mdash;A SERIES OF FIVE VOLUMES.&mdash;Vol. I.: Birds,
+Flowers, and Plants, drawn in a Decorative Spirit. Vol. II.: Sketches of
+Insects, Plants, &amp;c., drawn for Designers. Vol. III.: Drawings of Fishes
+and Marine Animals. Vol. IV.: Natural Scenery, Landscapes, &amp;c. Vol. V.:
+Scenes from Japanese Life, &amp;c. 8vo, fancy covers. 7<i>s.</i> 6<i>d.</i> net.</p>
+
+
+<p class="newsection">THE ARCHITECTURE OF THE RENAISSANCE IN ITALY.&mdash;A General View for the
+Use of Students and Others. By <span class="smcap">W. J. Anderson</span>, 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<i>s.</i> 6<i>d.</i> net.</p>
+
+<div class="blockquot"><p>"A delightful and scholarly work ... very fully
+illustrated."&mdash;<i>Journal R.I.B.A.</i></p>
+
+<p>"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."&mdash;<i>The Times.</i></p>
+
+<p>"Should rank amongst the best architectural writings of the
+day."&mdash;<i>The Edinburgh Review.</i></p>
+
+<p>"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."&mdash;<i>The Building News.</i></p></div>
+
+
+<p class="newsection"><span class="smcap">A HISTORY OF ARCHITECTURE for the Student, Craftsman and Amateur.</span>&mdash;Being
+a Comparative View of the Historical Styles from the Earliest Period. By
+<span class="smcap">Banister Fletcher</span>, F.R.I.B.A., Professor of Architecture in King's
+College, London, and <span class="smcap">B. F. Fletcher</span>, 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<i>s.</i> 6<i>d.</i>, net 10<i>s.</i></p>
+
+<div class="blockquot"><p>"We shall be amazed if it is not immediately recognised and adopted
+as <i>par excellence</i> the student's manual of the history of
+architecture."&mdash;<i>The Architect.</i></p>
+
+<p>"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."&mdash;<i>The Times.</i></p>
+
+<p>"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."&mdash;<i>The Building News.</i></p></div>
+
+
+<p class="newsection">THE ORDERS OF ARCHITECTURE: GREEK, ROMAN AND ITALIAN.&mdash;Edited with Notes
+by <span class="smcap">R. Phen&eacute; Spiers</span>, F.S.A., F.R.I.B.A. Third Edition, revised and
+enlarged, containing 26 Plates. 4to, cloth, price 10<i>s.</i> 6<i>d.</i>, net
+8<i>s.</i> 6<i>d.</i></p>
+
+<div class="blockquot"><p>"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."&mdash;<i>British Architect.</i></p></div>
+
+
+<p class="newsection">RENAISSANCE ARCHITECTURE AND ORNAMENT IN SPAIN.&mdash;A Series of Examples
+selected from the purest executed between the years 1500-1560. By <span class="smcap">Andrew
+N. Prentice</span>, 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 &pound;2 10<i>s.</i>, net &pound;2 2<i>s.</i></p>
+
+<div class="blockquot"><p>"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."&mdash;<i>British
+Architect.</i></p></div>
+
+
+<p class="newsection center">B. T. BATSFORD, 94, HIGH HOLBORN, LONDON.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Art in Needlework, by Lewis F. Day and Mary Buckle
+
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+</body>
+</html>
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