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EMBROIDERY 
 
 OR THE CRAFT OF 
 THE NEEDLE m j& 
 
EMBROIDERY 
 
 OR THE CRAFT OF 
 THE NEEDLE m m 
 
 By 
 
 W. G. PAULSON TOWNSEND 
 
 u 
 Design Master at the Royal School of Art Needlework 
 
 Author of " Measured Drawings of French Furniture " 
 
 " Plant and Floral Studies," etc. 
 
 Assisted by 
 
 LOUISA F. PESEL 
 
 WITH PREFACE BY WALTER CRANE 
 
 CONTAINING 86 ILLUSTRATIONS 
 
 NEW YORK 
 
 FREDERICK A. STOKES COMPANY 
 
 PUBLISHERS 
 
^ 
 
 
 PIUNTED AND BOUND BY 
 
 HAZELL, WATSON AND VINEY, LD. 
 
 LONDON AND AYLESBURy, 
 
 ENGLAND. 
 
 
 
 ^ 
 
 / 
 
 K 
 
PREFACE. 
 
 In that remarkable revival of the arts and 
 handicrafts of design, which has, curiously 
 enough, characterised the close of a century 
 of extraordinary mechanical invention and 
 commercial development, that most domestic, 
 delicate, and charming of them all, perhaps, 
 the craft of the needle, holds a very distinct 
 position. 
 
 In its various applications needlework 
 covers an extensive field, and presents 
 abundant scope both for design and crafts- 
 manship, from the highly imaginative kind 
 — represented by such designs as those of 
 Burne-Jones — to the simplest and most 
 reserved ornamental hem upon a child's 
 frock. The true order of its development, 
 indeed, is rather from the child's frock 
 to the imaginative tapestry-like hanging — 
 from the embroidered smock of the peasant 
 to the splendour of regal and ecclesiastical 
 
vi Preface. 
 
 robes, with all their pomp of heraldry and 
 symbolism . 
 
 In the history of needlework, no less than 
 in that of all art, one may follow the course 
 of human history upon which it is the 
 decorative commentary and accompaniment, 
 just as the illuminated initials, borders, and 
 miniatures are the artist's commentary on 
 the books of the Middle Ages. 
 
 If taste can be said to be of more import- 
 ance in one art than another, it is certainly 
 all important in needlework. It enters in 
 at every stage — in planning appropriate 
 design, in choice of scale, in choice of 
 materials, and, above all, of colour. 
 
 Embroidery is essentially a personal art, 
 and this, perhaps, in addition to the fact of 
 its adaptability, not only to daily domestic 
 use and adornment, but also to ordinary 
 conditions — not requiring special workshop 
 or expensive plant for its production — has 
 contributed to the success of its revived 
 practice, which is due to the enthusiasm, 
 taste, and patience of our countrywomen. 
 
 Even considered as an art of expression — 
 over and above, although of course never 
 dissociated from, its decorative value — the 
 work of the needle within its own limits, and 
 
Preface. vii 
 
 by its own special means and materials, has 
 quite a distinct value ; certain textures and 
 surfaces, such as the plumage of birds and the 
 colour and surfaces of flowers, being capable 
 of being rendered by the needle with a 
 beauty and truth beyond the ordinary range 
 of pictorial art. 
 
 In the retinue of beauty, among her sister 
 crafts of design, Embroidery, then, seems 
 likely to hold her place. 
 
 Revived at first by a few ladies of taste 
 and skill, important schools, such as the 
 Royal School of Art Needlework, have since 
 been founded for the study and practice of 
 the art, the subject being now included in 
 their list by the Technical Education Board 
 of the London County Council. 
 
 The foundation-stone has just been laid of 
 the new building in Exhibition Road, which 
 is to house the Royal School in its new de- 
 velopment, and under such able instructors 
 and lecturers as the author of this work, 
 needlework, as an art, should have an im- 
 portant future before it. 
 
 Mr. W. G. Paulson Townsend deals with 
 the subject mainly from the practical point 
 of view, although not unmindful of the his- 
 toric side ; and in view of the great interest 
 
viii Preface. 
 
 now taken in the craft, and its many fol- 
 lowers, such a work, with its reproductions 
 of existing examples and its practical dia- 
 grams of stitches, will be both timely and 
 useful. 
 
 WALTER CRANE. 
 
 Kensington, 
 
 June 2gth, 1899. 
 
EXTRACTS FROM AUTHOR'S 
 
 PREFACE TO THE FIRST 
 
 EDITION. 
 
 In response to the inquiries repeatedly re- 
 ceived from students for a handbook on 
 embroidery, I have endeavoured to place 
 before them the following hints and sugges- 
 tions ; to supply a want, and fill a space at 
 present unoccupied. 
 
 My first duty and pleasure is to thank 
 Mr. Walter Crane for the Preface which he 
 has kindly written. 
 
 For the practical Plates No. 58, 59, 62, 63, 
 64, 65, 66, and 67, for description to same, 
 also for figs. 23 and 24 on Plate No. 61, I 
 am indebted to Miss Louisa F. Pesel, and for 
 valuable help in numerous other ways. I 
 have also to thank Miss C. L. Pickering for 
 the practical notes on gold embroidery, and 
 for Plates No. 69 and 70. 
 
 Perhaps it is hardly necessary to refer to 
 the source of each item of information. I 
 
X Aittkoj's Preface to First Edition. 
 
 have freely used Dr. Rock's " Textile 
 Fabrics " ; the South Kensington Hand- 
 books, both by Sir G. Birdwood and Sir R. 
 Murdock Smith ; Mr. Alan Cole's " Orna- 
 ment in European Silks " ; Mr. Walter 
 Crane's " Bases of Design " ; Miss A. 
 Strickland's " Queens of England " ; and 
 the writings of Messrs. Audsley. 
 
 I have to thank the Right Hon. the 
 Viscount Falkland for kindly allowing me to 
 reproduce the pillow case, Plate No. 27 
 Mrs. Pesel for pillow case, Plate No. 30 
 Sir W. Drake for altar-frontal, Plate No. 8 
 the Royal School of Art Needlework for 
 Plates No. 3, 23, 24, 25, 26, and 41 ; to 
 Mr. Selwyn Image for Plate No. 25 ; 
 Mr. Walter Crane for Plates No. 23, 24, and 26 ; 
 and the South Kensington Museum Autho- 
 rities for the assistance given in reproducing 
 the examples from the National Collection ; 
 also to Mr. W. G. Thomson for his help in 
 the preparation of this book. 
 
 W. G. PAULSON TOWNSEND. 
 
 South Kensington, 
 June, 1899. 
 
AUTHOR'S PREFACE TO THE 
 SECOND EDITION. 
 
 The first edition of this handbook was 
 pubHshed at a time when no text-book of 
 recent production on the subject of em- 
 broidery was to be had. Since then, several 
 excellent books on needlework have ap- 
 peared, but I have reason to believe that 
 this revised edition will not be altogether 
 unacceptable to those interested in the 
 work. It is the duty of every woman to 
 learn how to sew, and decorative needlework 
 appears to be the natural outcome of the 
 practical occupation of the needle, on the 
 heels of which it follows so closely. Some 
 of the best stitches used in embroidery 
 serve a practical purpose in plain sewing. 
 The two English smocks illustrated on Plates 
 No. 70 and 71 may be looked upon as the 
 seamstress's early steps in decorative needle- 
 work. There is ample scope for the art in the 
 adornment of costumes ; and, in a modest 
 
xii Atithors Preface to Second Edition. 
 
 way, for the beautifying of household 
 Hnen. 
 
 It is hoped that the notes on design will 
 be of some assistance to those who have had 
 no practice in this branch of the subject. If 
 they only make the embroideress stop to 
 think a little about the pattern before she 
 commences to embroider, these notes will 
 at least have served one good purpose. 
 
 To Miss Dorothy Lane my thanks are 
 due for preparing the coloured drawing for 
 the frontispiece, also for the drawings of 
 subjects on page 4 and Plate No. 71 ; to Miss 
 Ella M. Carr for the examples of lacis work 
 in Plates No. 45 and 47 ; to Miss Mildred 
 Statham for the illustrations on " Bargello 
 work " and for help with the practical 
 description of the work ; and to the Fine 
 Needlework Association for permission to 
 illustrate the two English smocks on Plates 
 No. 70 and 71. 
 
 W. G. P. T. 
 
 October, 1907. 
 
CONTENTS. 
 
 CHAP. PAGE 
 
 Introduction ...... i 
 
 I. Design as applied to Embroidery . 7 
 
 II. Utility — Method and Material , . 22 
 
 III. Adaptation — Symbolism . . . . t,6 
 
 IV. Description of Designs Illustrated . 54 
 V. Implements, Appliances, and Materials 
 
 USED in Embroidery . . . .219 
 
 VI, Ecclesiastical and Heraldic Needle- 
 
 work . . . . . . .235 
 
 VII. Stitches ....... 240 
 
LIST OF ILLUSTRATIONS. 
 
 / 
 
 Frontispiece. Quilted Linen Coverlet, embroidered with 
 Coloured Silks. English, late seventeenth century 
 [532 — 1897, V. & A. M,*]. Reproduced from a 
 water-colour drawing prepared by Dorothy 
 Lane. 
 
 Line Cut. Fragment of Tapestry and Needlework. 
 Christian Coptic, fourth to sixth centuries, page 4 
 
 PLATE NO. 
 
 1. Symbolical Signs (Crosses) . . . page 41 
 
 2. Sacred Monograms and Symbolical Signs ,, 47 
 
 3. Bedspread, Modern, in the Style of English Seven- 
 
 teenth-century Crewel Work. Embroidered at 
 the Royal School of Art Needlework page 56 
 
 4. Cotton Hanging. English, seventeenth century. 
 
 Embroidered in coloured wools with leaf 
 forms, small flowers, and birds . . page 60 
 
 5. Detail of Cotton Hanging. English, seventeenth 
 
 century. Embroidered in coloured wools 
 
 page 6t, 
 
 6. Leaf in Coloured Wools, from a Linen Hanging. 
 
 English, seventeenth century [1392^ V. & A. M.] 
 
 page 66 
 
 7. No. I. Orphrey. Spanish, about 1550 [248 — 1880, 
 
 V. & A. M.] page 69 
 
 No. II. Orphrey. Spanish, about 1530 [246 — 1880, 
 
 V. & A. M.] page 69 
 
 No. III. Orphrey. Spanish, sixteenth century 
 
 [261 — 1880, V. & A. M.] . . . page 69 
 
 * Victoria and Albert Museum 
 XV 
 
xvi List of Illustrations. 
 
 PLATE NO. 
 
 8. Altar-frontal, Green Silk, ornamented with an 
 
 Applique Pattern. Spanish, sixteenth century. 
 The property of Sir W. Drake . . page 72 
 
 9. Border of Blue Satin, Spanish, sixteenth century 
 
 [1 162 — 1877, V. & A. M.] . . . page 75 
 
 10. Wall or Pilaster Hanging, Applique. Italian, six- 
 
 teenth century [841 — 1847, V. & A. M.] page 78 
 
 11. Hanging of Silk and Velvet Patchwork, Applique. 
 
 Spanish, sixteenth century [266 — 1880, V. & 
 A. M.] page 81 
 
 12. Portion of a Hanging, Patchwork Applique. 
 
 English, fourteenth century [V. & A. M.] page 83 
 
 13. Patchwork Inlay Panel. Persian, eighteenth 
 
 century. [858— 1892, V. & A. M.] . page 87 
 
 14. Part of a Hanging of Linen embroidered with 
 
 Coloured Silks. Spanish, seventeenth century 
 [342 — 1885, V. & A. M.] . . . page 90 
 
 15. Altar-frontal, White Satin, embroidered in Coloured 
 
 Silks and Gold Threads. Spanish, sixteenth 
 century ...... page 93 
 
 16. Coronation Robe of His Majesty King Edward VII. 
 
 page 96 
 
 17. Letter-bag, Gold Embroidery, with Groups of 
 
 Pearls for the Flowers . . . page 100 
 
 18. Figure from an Orphrey, embroidered in Coloured 
 
 Silks and Gold Threads. German, middle of 
 the fifteenth century [8670 — 1863, V. & A. M.] 
 
 page 103 
 
 19. Portion of an Orphrey from the Premonstratensian 
 
 Abbey of Tronchiennes, near Ghent. Early 
 si: Leenth century .... page 106 
 
 20. Portion of a Carpet. Persian, early eighteenth 
 
 century. [859 — 1876, V. & A. M.] . page 109 
 
 2x. The Syon Cope. English, date about 1250 [83 — 
 
 1864, V. & A. M.] .... page 113 
 
 22. Detail from the Syon Cope, English, date about 
 
 1250 [83 — 1864, V. & A, M.] . . page 116 
 
 23. Screen Panel, "Spring." Designed by Walter Crane, 
 
Quilted Linen Coverlet. Embroidered in 
 Coloured Silks. English late 17th Century. 
 
EMBROIDERY. 
 
 INTRODUCTION. 
 
 We may say the art of embroidery still 
 lives, though its position is that of an art 
 which has beaten a retreat. Its sphere of 
 employment is now a cramped one, and there 
 is little likelihood of its ever regaining sway 
 and filling those serious and responsible 
 functions which were once the very essence 
 of its being. To-day it is treated more as a 
 graceful diversion or accomplishment, and 
 there is little or no diligence in the pursuit 
 of it as a great art, although in the present 
 revival of the artistic handicrafts there is 
 a serious attempt to reanimate the long- 
 neglected art of embroidery. The most 
 promising feature of the movement is the 
 very common-sense view adopted, of turn- 
 ing the work to practical purposes. We 
 have begun to see the uselessness and ugliness 
 
 B 
 
2 Embroidery. 
 
 of the so-called " fancy work." The dis- 
 covery of an ugliness — ungainly forms and 
 crude colours — is the first step towards a 
 proper appreciation of beauty. This book 
 may be of some assistance to those who be- 
 lieve whatever is worth doing at all is worth 
 any pains to do well. One's fingers had far 
 better be employed than idle, and if by the 
 result of such occupation something that 
 is already useful is beautified and made in- 
 teresting, at the same time not deprived of 
 its expression of use and comfort, one is 
 fully repaid for the time so spent. 
 
 Embroidery is the art of working with the 
 needle — which replaces the pencil, and 
 variously tinted threads take the place of 
 pigment — some kind of decoration, such as 
 fruit, flowers, figures, symbols, etc., on an 
 already existent material. It has no organic 
 connection with the " stuff " serving as its 
 foundation ; it might justly be called a 
 gratuitous addition to it. 
 
 Needlework takes precedence of painting, 
 as the earliest method of representing figures 
 and ornament was by the needle depicted 
 upon canvas. Sacerdotal vestments, and 
 other objects of ecclesiastical use, were — 
 from the first days when such articles were 
 
Introduction. 3 
 
 employed for religious service — embroidered 
 with symbolical and scriptural subjects. 
 Babylon was renowned for its craft of the 
 needle, and maintained the honour up to 
 the first century of the Christian era. 
 
 The Egyptians, with whom the art of 
 embroidery was general, and from whom the 
 Jews are supposed to have derived their skill 
 in needlework, produced figured cloths by 
 the needle and the loom, and practised the 
 art of introducing gold wire into their work. 
 To judge from a passage in Ezek. xxvii. 7, 
 they even embroidered the sails of their 
 galleys which they exported to Tyre : 
 " Fine linen with broidered work from Egypt 
 was that which thou spreadest forth to be 
 thy sail." 
 
 The reproduction on page 4, prepared from 
 a fragment of woven tapestry and needle- 
 work found in the ancient tombs of Akhmim- 
 Panopolis, in Upper Egypt, is believed 
 to be Christian Coptic, and executed at 
 some period between the fourth and the 
 sixth centuries. Originally it formed part 
 of an octagonal panel for a tunic. It is 
 worked in coloured wools and flax threads. 
 In the centre on a white ground is a purple 
 amphora-shaped vase, with ornament in a 
 
4 Embroideiy. 
 
 white outline, from which springs a con- 
 ventional plant with balanced foliage, partly 
 encircling a bird. As an early example of 
 
 •^SV^/. ^- 
 
 Fragment of Tapestry and Needlework. Christian 
 Coptic, 4th to 6th Centuries. 
 
 patterned fabric produced by the needle 
 and the loom it is of very great interest. 
 The embroidery is simply in hem stitch, and 
 is employed to define the weaving in places. 
 We read that in Greece the art was held 
 
Introditctii 
 
 ion. 
 
 in the greatest honour, and its invention 
 ascribed to Minerva. Phrygia became cele- 
 brated for the beauty of its needlework. 
 The " toga picta," decorated with Phrygian 
 embroidery, was worn by the Roman gen- 
 erals at their triumphs, and by their consuls 
 when they celebrated the games. Em- 
 broidery itself is therefore termed in Latin 
 " Phrygian," and the Romans are said to 
 have known it by no other name. 
 
 It is said Pope Paschal (fifth century), an 
 ardent lover of needlework, made many 
 splendid donations to the churches. On one 
 of his vestments were pictured the wise 
 virgins, wonderfully worked ; on another, 
 a peacock, in all the gorgeous colours of its 
 plumage, on an amber ground. 
 
 In mediaeval times spinning and em- 
 broidery, from the palace to the cloister, 
 were the occupations of women of all ranks, 
 and a sharp strife for superiority existed in 
 the production of sacerdotal vestments. 
 
 In the eighth century two sisters, abbesses 
 of Valentina in Belgium, became renowned 
 for their excellence in all feminine pursuits, 
 imposing needlework upon the inmates of 
 their convent as a prevention of idleness, the 
 most dangerous of all evils. 
 
6 Embroidery. 
 
 Long before the Conquest English ladies 
 were much skilled with the needle. An 
 anecdote related by Mathew of Paris is a 
 proof of the excellence of English work. 
 He tells us, about this time (1246) the Lord 
 Pope (Innocent IV.), having noticed that 
 the ecclesiastical ornaments of some English- 
 men, such as mitres and chorister copes, 
 were embroidered in gold thread in a very 
 pleasing manner, asked where these works 
 were made, and received as answer, " In 
 England." Then said the Pope, ** England 
 is surely a garden of delights for us ; it is 
 truly a never-failing spring, and there, 
 where many things abound, much may be 
 extorted." 
 
 The Countess of Shrewsbury, better known 
 as Bess of Hardwick, was in her day a 
 famous embroideress ; also Scotland's queen, 
 whose weary hours were beguiled by work 
 with her needle. Penshurst, Hatfield, Knole, 
 and numerous other English palaces are 
 filled with similar souvenirs of royal and 
 noble ladies. 
 
(7) 
 
 CHAPTER I. 
 
 DESIGN AS APPLIED TO 
 EMBROIDERY. 
 
 All branches of artistic handicrafts are 
 closely linked together in the arts of design. 
 Material and method of production only 
 separate them, and then the division is, in 
 some instances, very subtle indeed. The 
 technical line of demarcation between 
 tapestry weaving and embroidery is distinct. 
 With lace and embroidery it is not so de- 
 fined, although there is a great difference 
 between embroidery and the fine kinds of 
 lace — these crafts do considerably overlap 
 in parts. To embroider is to apply some 
 kind of pattern to an already existent 
 material, to express form by stitches, and it 
 is the business of the worker to so arrange 
 the stitches as to indicate by their direction 
 the fibrous growth of the plant, and the 
 varieties of the surface of the objects repre- 
 sented. The stitch method must not be con- 
 
8 Embroidery. 
 
 cealed or disguised, but acknowledged and 
 accepted as the principal factor, which can- 
 not be separated from the art of embroidery. 
 
 The designer for embroidery has a com- 
 paratively free hand compared with the one 
 who designs patterns for woven fabrics to 
 be executed by the modern power-loom. 
 He is evidently working in the wrong direc- 
 tion when he attempts to produce designs 
 for hand work which can easily be imitated 
 and the effect obtained by mechanical 
 means. 
 
 The monotonous filling of little squares 
 and geometrical forms in repeat, on specially 
 prepared canvas with certain fixed colours, 
 no longer satisfies the intelligent worker. 
 The tameness of its appearance when finished 
 tires one, the very smoothness and regularity 
 is a defect. Such work should be left to the 
 machine to produce. There is an em- 
 broidery machine invented of a most in- 
 genious kind, which enables one person to 
 embroider a repeating design with eighty 
 and up to one hundred and forty needles. 
 Several of these machines are now mounted 
 in France, Germany, and Switzerland, and, 
 with some modifications, in Manchester, 
 Bradford, Glasgow, and Paisley. Those 
 
Design as applied to Evibroidery. 9 
 
 persons who control the work for machines 
 are wide awake to the commercial value of 
 machine-made, embroidery that closely imi- 
 tates hand-wrought needlework. It is there- 
 fore desirable that the designer for hand- 
 work should defy the machine by varying 
 the detail in his design,, carefully observing 
 that such change and variety does not de- 
 stroy the sense of repose or make the work 
 in any way assertive. Handwork to-day 
 has a tendency, in all departments of 
 human labour, to be superseded by 
 machinery ; and while machinery has not 
 sufficient self-restraint for the production 
 of works of art, it is all-powerful for their 
 suppression. 
 
 The embroideress of the early days was 
 doubtless the designer of her work as w^ell. 
 She had no portfolio of designs to draw upon, 
 but diligently studied the book of nature for 
 her material. Not being hampered by whims 
 and fashions as in the present day, her taste 
 was original and pure, t/wconsciously prin- 
 ciples of order, balance, and construction 
 were followed. The first thing we of to-day 
 have to do is to learn to see and appreciate 
 the beauties of nature, get a sound know- 
 ledge of plants and flowers, and by degrees 
 
1 o Embroidery. 
 
 we shall begin to see the beauties of art. 
 Our taste has to some extent been handi- 
 capped by our association with badly de- 
 signed patterns, furniture, etc., and it is 
 difficult to avoid being brought into contact 
 with these things in our daily journey ings. 
 
 Comparatively few modern embroideresses 
 design their own patterns. They are fre- 
 quently obliged to select a design that has 
 little interest for themselves, and conse- 
 quently they fail to produce work that 
 interests others. There is no denying the fact 
 that some knowledge and practice of the 
 principles of design are needed in order to 
 ensure success in the work. The embroideress 
 ought, at least, to make herself acquainted 
 with the common-sense conditions which 
 govern the making of good ornament in order 
 to be better able to render by the needle the 
 ideas of the person who prepared the pattern. 
 It is not a very great and serious undertak- 
 ing ; the worker is merely asked to learn a few 
 elementary principles. She may be scared if 
 she is asked to make a design. But possibly 
 after a little intelligent study in the direction 
 indicated, even the making of a design will 
 be found comparatively easy. 
 
 The advantage offered by our museums 
 
Design as applied to Embroidery. 1 1 
 
 of being able to examine old specimens of 
 embroidery is not sufficiently appreciated 
 by the modern needleworker. From these 
 masterpieces we can learn all that is required 
 to make good, sound design. Moreover, we 
 can also see what to avoid, and the student 
 is warned against blindly copying em- 
 broidery merely because it is old. There is 
 another danger, and that is of collecting 
 fragments of ornament from all periods and 
 trying to stick them together into one 
 scheme. This practice is obviously bad. 
 There is no reason why an ancient pattern 
 should not be adapted to modern require- 
 ments ; it is the mixing of material that is 
 to be condemned. The adapting of a beau- 
 tiful piece of decoration may prove a more 
 compensating occupation than to spend 
 time in making new ornament which might 
 be only of moderate merit. 
 
 The ideal condition in the production of 
 artistic handicrafts is that each article 
 should be conceived and carried out by the 
 same person. Embroidery is a very per- 
 sonal art, its charm lies in the individuality 
 expressed by the worker ; and to get design 
 or adaptation, colour scheme and em- 
 broidery from the same hand and brain 
 
1 2 Embroidery, 
 
 ensures a certain unity, whatever the grade 
 of excellence may be. Furthermore, there 
 is evidence of the application of the mind to 
 the material, an expression of the worker's 
 interest and intelligence. Embroidery offers 
 endless scope and freedom to every degree 
 of imagination. Unfortunately, the purest 
 fancies often die unexpressed for want of the 
 right kind of help and appreciation, while 
 the strongest are allowed to ran wild for 
 want of proper guidance and control. 
 
 The first thing necessary to be taught is 
 to see. The late William Morris said, 
 " There are two things to be done by the 
 seers for the non-seers : the first is to show 
 them what is to be seen on the earth ; the 
 next is to give them opportunities for pro- 
 ducing matters, the sight of which will please 
 themselves and their neighbours, and the 
 people that come after them — to train 
 them, in short, in the observation of beauty 
 and incident." The sooner the worker can 
 be made to see how wrong it is to try to 
 imitate the natural appearances of fiowers 
 and plants in embroidery, the better. The 
 height of the ambition of many needle- 
 workers is reached when they are able to 
 render pictorial representations of flowers, 
 
Design as applied to Embroidery. 13 
 
 by forcing the light and shade in such a 
 manner as to make the flower resemble a 
 natural one resting on the surface of the 
 material. Such work does very little more 
 than betray a desire to show off dexterity 
 and ingenuity which may have been ac- 
 quired at the expense of everything else. 
 Vulgarity and bad taste in this form exist 
 among all classes ; it is favoured by the so- 
 called educated, where one would least 
 expect to find it. 
 
 There is a natural convention which ap- 
 pears to be part of the process of adapting 
 flower forms to embroidery. The worker 
 should aim at simplicity in representing 
 plant form. There is no necessity to sacriflce 
 any of the beauty of the natural object. If 
 she will be content with a hint from nature 
 rather than a photographic fact, she will 
 possibly be able to invest her work with a 
 little of the spontaneous simplicity and free- 
 dom of the earlier work. 
 
 Let us commence with the intention of 
 beautifying what is already useful. To 
 decorate or ornament an object is to enrich 
 the surface with forms and colour, and thus 
 to give the thing decorated a new beauty 
 while adhering strictly to its original shape 
 
T 4 Embroidery. 
 
 and character. The ornament, if it is the 
 right kind, and properly apphed, will not in 
 any way deprive the object of its expression 
 of use and comfort. 
 
 We may divide ornament as applied to 
 embroidery into three classes : (i) That 
 expressed simply in outline, as in stem stitch, 
 chain stitch, rope stitch, coral stitch, cable 
 stitch, and in cords. (2) That expressed in 
 fiat tones, as in laid work, satin stitch, cushion 
 stitch, cross stitch ; darning, as in " lacis 
 work " ; also patchwork or applique. (3) 
 That expressed by shading, breaking up the 
 surface and suggesting relief, as in ordinary 
 embroidery stitch, or long-and-short stitch. 
 The last-named method of work is the most 
 popular ; while giving every facility for 
 good work, it offers equal facility for bad. 
 
 It has been said we look for colour in mass 
 rather than for line work in embroidery. 
 Colour and texture undoubtedly are charm- 
 ing qualities in needlework, but too few 
 people really appreciate the use of line 
 work pure and simple. Spirited and beau- 
 tiful results have been obtained by the em- 
 ployment of delicate line work, or with bold, 
 confident lining in conjunction with line 
 fillings, as shown in the example on Plates 
 
Design as applied to Embroidery, 15 
 
 No. 27 and 29. The four screen panels and 
 the portion of a frieze from designs by Walter 
 Crane (Plates No. 24 and 26) are also worked 
 entirely in outline ; a slight tone is produced 
 in the arcading in the frieze by open darning. 
 
 In the sixteenth-century Spanish border, 
 reproduced on Plate No. g, the combination 
 of classes (i) and (2), tone and line, is shown ; 
 the masses of colour are effected by coloured 
 satins, applied, and these are nicely connected 
 with cord. In this example the cord plays 
 a very important part, and it could have 
 been more effective if it had been made to 
 run in double lines in joining up the main 
 pieces of ornament ; however, the result of 
 the whole is extremely good. This character 
 of work would be perfectly in its place on 
 mantelpiece borders, curtain borders, bed- 
 spreads, and for church work, etc. 
 
 The panel (Plate No. 41), " Pomona," by 
 the late Sir Edward Burne-Jones, and back- 
 ground ornament by the late William Morris, 
 is an example of the third class of work. 
 The drapery of the figure and the small 
 fiow^ers are in embroidery or long-and-short 
 stitch, and the big leaves in laid work with 
 gradual blends of colour. 
 
 For other illustrations of solid shaded 
 
1 6 Embr'oidery. 
 
 embroidery the reader is referred to Plates 
 No. 40, 42, 43, 44 and 45, back of a chasuble, 
 corner of a chalice veil, and the specimens of 
 crewel work. These will serve to show that 
 the range of choice in treatment is very 
 extensive in this class of needlework. The 
 worker is warned in shading not to suggest so 
 much relief as to lose the sense of flatness on 
 a characteristically flat surface ; it should be 
 quite clear that such methods, to any one 
 who stops to think, are wrong. It is a poor 
 sort of deception at best, and very bad art, 
 to try by means of laborious shading in 
 silk or wools to produce an appearance of 
 relief in needlework. 
 
 The reader cannot do better than look at 
 the Chinese and Japanese needlework for 
 good flat treatment of plant forms. They 
 are supreme in the way which they produce 
 their effects in embroidery, often with one 
 or two shades, purely through their skill in 
 placing the stitches. Constantly changing 
 the direction, they work for a pleasant play 
 of light and shade, acquired by the different 
 placing of the silk. If they shade, it is with 
 the definite intention of showing where one 
 shade ends and the other begins. They are 
 very fond of voiding — that is, leaving the 
 
Design as applied to Embroidery, i 7 
 
 ground to show between the petals of the 
 flowers and leaves in a manner which is 
 rather similar to the use of ties in stencilling. 
 It is probably because of their love for the 
 stencil, and their skill in its manipulation, 
 that this method has crept into their em- 
 broidery (see Plate No. 67). 
 
 To flowers, plants, and fruits we are more 
 indebted for material and suggestions in 
 design than any other source in the whole 
 of nature's category. The best conven- 
 tional and aesthetic ornament, the Persian 
 aster, the Egyptian sunflower (the lotus), 
 the Greek honeysuckle or anthemion, are 
 full of vitality, fulfilling as ornament their 
 various places and uses, while combining the 
 main and best qualities of plant-growth, 
 embodied with vigorous life and beauty. 
 The old designers pillaged the gardens and 
 vineyards, and, with the plunder of pome- 
 granates, apples, vines, lemons, and olives, 
 the forms of which they simplified with 
 right perception of what detail must be 
 kept and what can be left out, they intro- 
 duced them into their designs. 
 
 Every embroideress should be able to 
 draw, and though the process of acquiring 
 the power of drawing is slow and tedious to 
 
1 8 Embroideiy, 
 
 many, the student is well repaid for the time 
 and trouble bestowed in the practice of this 
 branch of her work, as no embroidery can be 
 perfectly satisfactory without good drawing. 
 In order to become a proficient designer 
 it will be necessary to make careful studies 
 from nature of flowers, buds, leaves, etc. 
 Learn the characteristics of the plant first : 
 the joints of leaves and flowers are of vital 
 importance — note the way they spring 
 from the stem ; and draw carefully the 
 calyx of the flower, and the buds in their 
 various stages of opening. There are in- 
 stances where the embroideress — who con- 
 fesses that she is quite ignorant of design 
 and the construction of pattern, and that 
 she has never studied plant form — has 
 been afraid to add a stem and connect the 
 leaves which had been omitted by the 
 transferer,* and the most stupid mistakes 
 
 * The transferer is very often one employed to put 
 the designs on the material, not the designer ; the 
 embroideress merely embroiders what is marked on 
 the stuff, when she has had nothing to do with the 
 transferring ; and just as a school-child forgets its copy, 
 and every line becomes a caricature of its predecessor, 
 so the poor design gets knocked out of shape by the 
 number of hands it goes through, the number of times 
 it is used, that the spirit has quite left it by the time 
 the work is finished. 
 
Design as applied to Embroidery. 19 
 
 occur, which could, with a few hours' study, 
 be prevented. At the same time the em- 
 broideress would take infinitely more 
 pleasure in her work if she would take a 
 common-sense view of the subject. 
 
 After learning the plant and its possi- 
 bilities as a motif of design, commence 
 the planning of the work by selecting the 
 positions for the chief features in the de- 
 signs, where the masses shall be placed, 
 and see that they are nicely distributed 
 over the surface you have to cover. In a 
 panel that is not to be used in association 
 with other panels — in other words, if it is 
 complete in itself — the design should be 
 complete in the space it has to fill, and 
 not look like a piece of ornament that might 
 go on for yards indefinitely. The masses 
 should be connected by harmonious lines ; 
 insist on simple, straight forw^ard growth, 
 always bearing in mind the principle of ex- 
 haustion — the vigour with which your plant 
 grows from the root, each branch throwing 
 off smaller ones the further it goes. Never 
 have large stems and branches coming from 
 smaller ones. 
 
 The detail is the next to consider. If an 
 altar-frontal or any work to be placed at a 
 
20 Embroidery. 
 
 distance, the treatment will be broad and 
 simple ; if a table cover, book cover, hem 
 of a garment, or anything to be viewed 
 closely, the details must be treated with 
 greater delicacy. The rendering of the 
 plant must always be truthful to nature's 
 principle. The flowers may be turned about 
 to get as much variety and interest out of 
 them as possible, although the masses may 
 be repeated. In designing for embroidery 
 when repetition is demanded, change of 
 colour and detail should be made, pro- 
 vided it does not destroy the sense of re- 
 pose. Recurrence in art expresses repose, 
 and is frequently required, as in a border 
 framing a panel or a curtain. Very few 
 workers appear to realise the added sense of 
 completeness given by a border, even though 
 it may be only a few nicely spaced lines. 
 Usually the simpler the border the more 
 effective. Always remember it is the framing 
 of your work, so let it be subordinate. 
 
 Simplicity in ornament is perhaps the 
 very last thing even the educated appre- 
 ciate ; as a rule the most florid and com- 
 plicated patterns please best. It is a good 
 plan for the designer to put a piece of 
 tracing-paper over the drawing, if it is 
 
Design as applied to Embroidery. 2 i 
 
 becoming at all crowded or overloaded 
 with detail, trace the best parts only, and 
 see how much of the pattern can be dis- 
 pensed with. The highest art is that which 
 is simplest ; the power of restraint, to know 
 the value of a space, are most desirable 
 qualities. Always remember that it is 
 better to put too little ornament than too 
 much. 
 
 These hints and suggestions on design 
 as applied to embroidery are merely intended 
 to assist those who have had no practice 
 in this branch of the subject; and more 
 especially to stimulate those who take 
 up embroidery as a useful accomplishment, 
 in the hope that they may try to make 
 designs for their own needlework. 
 
(22) 
 
 CHAPTER II. 
 
 UTILITY— METHOD AND MATERIAL. 
 
 Early decoration in many cases was actually 
 adopted to increase the usefulness of the 
 object ; the savage, by the notching of his 
 paddle, not only ornamented it but ensured 
 a firmer grip as well ; also, by the roughening 
 of the sword-hilt with a relief pattern, the 
 same result is obtained. We should seize 
 upon points of construction and heighten 
 their interest by suitable decoration. The 
 ornament must not be an encumbrance to 
 the object it is supposed to adorn. For 
 example, a design in raised bullion on a 
 cushion is essentially out of place ; one 
 could not rest against it with any degree of 
 comfort. The aim of the embroideress 
 should be to make a decoration that does 
 not in any way take away from the useful- 
 ness of the cushion. 
 
 A good example of utility in decoration is 
 the use of the herring-bone stitch, by which 
 
Utility — Method and Mateiaal. 23 
 
 over an ugly seam the adding of this stitch 
 renders the junction of the two edges of cloth 
 more secure and less unsightly. The use of 
 the buttonhole stitch likewise serves a 
 practical and an ornamental purpose as 
 well. Fringes arose out of the ravelling of 
 the edge of fabrics. At first the frayed 
 ends were tied into bunches, and by degrees 
 these regular tyings became elaborated 
 into handsome patterns, and now these 
 fringes are considered indispensable as decora- 
 tion. They are very useful in finishing an 
 edge. The worker can either fray the edge 
 of the material and knot the ends, or make 
 the fringe separately and attach it to the 
 material. The first duty of quilting is to 
 keep the padding in its place ; and the 
 simplest, and perhaps the most serviceable 
 pattern is the one employed on the subject 
 which forms the frontispiece to this book. 
 Many beautiful quilted patterns are to be 
 seen in the Victoria and Albert Museum. 
 
 The ornamenting of book covers by clasps 
 and corner plates was done to strengthen and 
 protect them. They are now successfully 
 used purely as ornaments suggested in the 
 tooling of leather, and in embroidered book 
 covers. 
 
24 Embroidery. 
 
 When we speak of applied ornament, it 
 is often misunderstood, for this reason : it 
 suggests to some people that one person 
 makes it, and another sticks it on, and, to 
 some extent, that is what happens in the 
 production of much of the modern em- 
 broidery. Unfortunately, a great deal of 
 it gets stuck on in the wrong place. There 
 are many examples of mis-applied ornament. 
 Our "best" pillow cases and table cloths, 
 intended to be used on high-days and 
 holidays, are all, at least, serviceable ; they 
 are not of the drawing-room class of needle- 
 work, which is considered too good to use ; 
 made only to show, and then to fold up and 
 put away. The fact is, most of this work 
 is so ornamented that it is quite impossible 
 to use. One thing we do know, it cost a lot, 
 and that is why it is prized. 
 
 Salesmen are occasionally heard to ad- 
 vance this argument as a reason for the high 
 price of some over-decorated article he is 
 trying to sell : that, on account of the diffi- 
 culties which arose in producing it, they are 
 compelled to ask such an unusual price 
 for the article. In many cases the diffi- 
 culties referred to, are caused by the maker 
 trying to imitate some other material, and 
 
Utility — Method and Material. 25 
 
 frequently something not suitable for the 
 functions of the article. We must always 
 bear in mind it is the material, so to speak, 
 which gives us the lead in decoration, and 
 it is only right for us to follow that lead. 
 
 Applique. 
 
 Counterchange ornament is often used 
 in applique work. For this purpose the 
 design must be so constructed that both the 
 device and the ground are identical in shape 
 and area (see figs. 44 and 46, Plate No. 66). 
 An economical and effective method of ap- 
 plique decoration is that illustrated on Plate 
 No. 10. The pattern is designed so that the 
 material ornament taken from the panel on 
 the left-hand side of the plate is used to form 
 the dark pattern in the panel on the right- 
 hand side. The pattern in one appears a 
 little smaller than in the other. This has 
 been caused partly by the corded outline 
 being in both cases light in colour. 
 
 For applique of almost all kinds it is well 
 to back the material, which is done in the 
 following manner : 
 
 Stretch tightly on a board, with tacks * or 
 
 * Those that have been tinned are best ; other kinds 
 mark the material. 
 
2 6 Einbroidery. 
 
 drawing-pins, a piece of thin cotton or linen 
 fabric. Paste this all over with a thin layer 
 of paste (Higgins's paste can be used with 
 the very best results) smoothly and com- 
 pletely ; put the velvet, satin, serge, linen, 
 or whatever is to be used in the work, 
 wrong side down, press firmly, and see that 
 no air bubbles or lumps remain ; and leave 
 it to dry thoroughly, over night if possible. 
 Then, on the wrong (linen) side, draw the 
 design, and cut out carefully the parts to be 
 applied, with short, sharp scissors ; if cut 
 from the backing, a sharper and cleaner edge 
 is ensured. 
 
 On the foundation material, which has 
 been previously stretched in a frame, mark 
 the whole design, indicating where the cut- 
 out pieces must go and any parts that have 
 to be embroidered. Pin the applique pieces 
 into their places and then paste again, and 
 leave until dry. These pieces should be 
 securely tacked into their positions before 
 the embroidery is actually commenced. 
 
 There are a variety of ways of treating 
 applique. It must first be stitched to the 
 ground with small stitches taken from the 
 ground into the applique at right angles 
 to the edge. Then, a couching of silk is 
 
Utility — Method and Material. 27 
 
 often necessary to cover the edges before the 
 cord is sewn down. Another method is 
 that in which the edge has either a strand 
 of silk or very narrow ribbon couched down 
 instead of the cord ; or, again, the edges can 
 be worked over in satin stitch, or button- 
 hole stitch with a strand of silk under. 
 Admirable effects are obtained by the use 
 of satin stitch or buttonhole stitch to bind 
 the edges. 
 
 If the work is to be strained for framed 
 panels, etc., a piece of holland pasted over 
 the back is a good preservative ; it holds it 
 all together in a firm manner. For curtains, 
 or anything where softness in hanging is re- 
 quired, this backing is not desirable. When 
 the applique is worked in the hand, the 
 greatest care is needed in order to keep it 
 quite flat.* 
 
 In applique patterns keep to simple forms, 
 or rather avoid elaborate serrated leaves and 
 
 * With reference to the contention as to the rival 
 merits of frame versus hand work. As a general rule 
 amateurs much prefer to do their embroidery out of 
 the frame, being much easier for them to handle, 
 whilst professionals put almost all work into a frame. 
 A variety of fancy stitches, oriental, darning, chain, 
 buttonholing, etc., cannot be conveniently done in a 
 frame ; while at the same time for laid work, etc., a 
 frame is absolutely essential. 
 
2 8 Embroidery. 
 
 thin ornament. There is no reason why thin 
 stems, centres of flowers, etc., should not be 
 worked in silk stitching in conjunction with 
 the applied work. 
 
 Applique is eminently suitable for posi- 
 tions where broad effects are wanted, and 
 where fine work cannot be properly seen or 
 is too good for rough usage. A beautiful 
 example of interchange pattern is illustrated 
 on Plate No. ii, and other good types of 
 applique work are shown on Plates No. 7, 8, 
 9 and 10. 
 
 Inlaid Work. 
 
 The Persians use inlay more often than 
 actual applique. Sir R. Murdock Smith, in 
 his South Kensington Handbook on Persian 
 Art, says, " A peculiar kind of embroidery 
 and patch-work combined is largely made at 
 Resht (see Plate No. 13), and to some extent 
 in Ispahan, at the present day. It consists 
 of patchwork of minute pieces of broad-cloth 
 of different colours, the seams and some 
 other portions of which are then covered 
 with needlework also variously coloured, the 
 whole forming a combination of geometric 
 and floral ornament. The colours being of 
 the brightest, the general effect is, perhaps, 
 
Utility — Method and Material, 29 
 
 somewhat gaudy. These " Gul-Duzi-i- 
 Resht," as they are called, are mostly used 
 by the Persians for saddle-cloths and showy 
 horse-clothing, for which they are not in- 
 appropriate. They also serve for Sarandaz 
 and Kenarch covers, and nowadays for 
 tables, sofa, and chair covers, where inter- 
 course with Europeans has introduced such 
 articles of furniture." 
 
 The effects produced by the applique and 
 inlay methods are very similar. In inlay the 
 applied material is laid into the foundation 
 stuff, which is cut away to receive the pieces 
 of coloured material used to make the pattern. 
 The stuffs are fitted together — the pattern 
 into the foundation — and made secure by 
 an overcast stitch round the edge of each 
 form ; this edge is then finished by chain 
 stitch, or a cord or strands of silk couched — 
 in fact, by any similar outlines to those em- 
 ployed in applique work. It is usual, first, 
 to stretch a piece of holland in an em- 
 broidery frame to serve as a temporary 
 backing. Then the materials are cut — 
 closely textured materials are necessary for 
 this process, a loosely woven stuff is liable 
 to fray — and tacked in positon on the hol- 
 land ; then the overcasting of the edge com- 
 
30 Embi'oidery. 
 
 menced. The backing should be removed 
 when the work is finished, or it can be al- 
 lowed to remain, if needed, for strengthening 
 the work. 
 
 Thin ornamental forms are not suitable 
 for inlay ; stems and connecting lines must 
 be embroidered. In the Resht example re- 
 ferred to, the light lines are rendered by 
 rows of chain stitch. 
 
 White Work. 
 
 For articles appertaining to dress, white 
 embroidery is especially suitable. Most 
 beautiful pieces of dress decoration in white 
 work are to be seen in the Victoria and 
 Albert Museum. The detail from a muslin 
 collar shown on Plate No. 49 will give the 
 reader some idea of the scope of treatment 
 in this branch of work. The little piercings 
 are immensely valuable in lightening the 
 effect ; and the varying tones suggested by 
 the method of stitching give great interest 
 and delicacy. Parts are slightly padded, 
 and the fiat tone, in the banded form 
 which connects the groups, is obtained 
 by the use of French knots, placed close 
 together. 
 
Utility — Method and Material. 31 
 
 In a half-hearted way white embroidery 
 has always been brought into service for 
 marking linen. Occasionally one sees a 
 nicely worked monogram on the corner of 
 a pocket handkerchief, but generally the 
 lettering is poor in form. There is a great 
 field open for good lettering, not only in 
 white work, but in all branches of embroidery. 
 For white work the ordinary stitches are 
 employed. Much of it is executed in the 
 hand, and the material to be marked is 
 often tacked on American cloth, or toile 
 ciree, during the process of working. A 
 tambour frame is sometimes utilised for the 
 purpose. From Persia we get some geo- 
 metrical designs worked in white on a white 
 ground of cambric. This kind of work at 
 the present day is often effectively used to 
 decorate the edges and network visieres of 
 ladies' veils. In most cases there is no 
 reverse side to the work ; both sides are 
 exactly the same.* It is said that the 
 
 * In Exodus we read that Aholiab, the chief em- 
 broiderer, is specially appointed to assist in the decora- 
 tion of the tabernacle. In celebrating the triumph of 
 Sisera, his mother is made to say that he has a " prey 
 of divers colours of needlework on both sides," evidently 
 meaning that the stuff was wrought on both sides alike, 
 a style of embroidery exhibiting a degree of patience 
 and skill only practised by the nations of the East. 
 
2 Embroidery . 
 
 embroidery of this kind is executed by 
 two persons, one on either side of the 
 material working simultaneously with one 
 needle. 
 
 The use of crewels is rather scoffed at, 
 for the simple reason there are not many 
 people at the present time who can handle 
 them properly ; for furniture coverings and 
 curtains they could be used with greater 
 advantage. The use of a poorer material 
 on a richer one appears to be wrong. We 
 do not feel inclined to use wools on silk, but 
 do not hesitate to use silks on linen. Let us 
 never forget that we are enriching a material 
 when we embroider. 
 
 Laid Work. 
 
 " Laid work " is a much more economical 
 method of producing an effect than by work- 
 ing the design in satin stitch. In laid work 
 all the silk is on the surface of the material, 
 as the term implies, while satin stitch is 
 taken under and over, and there is as much 
 on one side as the other ; but a richer effect 
 is got from the silk worked in satin stitch, 
 as the run of the silk is in one direction, and 
 it thus gives a brighter appearance. 
 
Utility — Method and Material, '^'^t^ 
 
 Gold Embroidery. 
 
 The material on which gold embroidery 
 is to be worked should be herring-boned very 
 evenly and firmly on to a backing of linen 
 (never cotton), and stretched in an em- 
 broidery frame. Sometimes the gold em- 
 broidery is worked on a strong linen, cut out 
 and applied in the same way you do applique. 
 For stitches, see Plates No. 68, 69, 70 
 and 71. Great care is required to prevent 
 gold and silver threads from turning a bad 
 colour. When applying these metals do 
 not handle the threads more than can be 
 helped. Cover the work as far as possible 
 with unbleached backing as each piece is 
 completed, and take every precaution to 
 protect it from damp. Much of the gold 
 and silver work is lacquered directly it 
 is finished. Silico varnish painted on thinly 
 preserves the colour of the metal. 
 
 Raised Work. 
 
 The highly padded work, and particularly 
 the raised figures, are very unsatisfactory, 
 but for ecclesiastical work, hangings, 
 heraldry, etc., in bullion and silk, the 
 padding of severely drawn flowers and 
 
34 Embroidery. 
 
 ornaments are very effective and highly 
 appropriate. 
 
 For raised gold work, yellow soft cotton is 
 used for the padding, grey and white for 
 silver work, and strings and linen threads for 
 both metals. See Plates No. 68, 69, 70 
 and 71. 
 
 " In the early work they had no resource 
 for obtaining effects which might be con- 
 sidered to be foreign to straightforward and 
 hond-fide needlework. Later, in the fifteenth 
 century, relief effects were then attempted 
 and obtained in much of the gold thread 
 work, and an early indication of the depar- 
 ture from flat simplicity of earlier work is 
 given in the modelled feather of the fifteenth 
 century of angels' wings. The modelling or 
 padding out of needlework is more pro- 
 nounced in the early sixteenth-century 
 architectural work, and carried still further 
 in coats-of-arms of the seventeenth-century 
 pouches." * 
 
 Old Embroideries 
 
 are frequently cut out and transferred 
 to new grounds, and then treated like 
 applique. The best method to finish the 
 
 * Alan S. Cole, C.B., " Ornament in European Silks." 
 
Utility — Method mtd Material, 
 
 OD 
 
 edges is to work in silk carefully matched in 
 colour to the old embroidery ; sometimes 
 cords or hanks of silks couched are used 
 for finishing the edges. These methods are 
 less expensive but not satisfactory. It is 
 easy to perceive by this treatment that the 
 work has been transferred, which is not 
 desirable. 
 
 Cords, gimps, braids, hanks of floss silk 
 were used in the sixteeenth century, and 
 spangles, beetle-wings, tinsel, and jewels 
 in the seventeenth and eighteenth centuries. 
 Many admirable results can thus be accom- 
 plished, but one must, however, be very 
 careful and discreet in handling the four 
 last-named embellishments. 
 
(3^) 
 
 CHAPTER III. 
 
 ADAPTATION— SYMBOLISM. 
 
 ** The actual systems of building pattern, 
 of pattern forms, methods of drawing and 
 modelling figures, and various handicrafts 
 have been discovered long ago, but it is in 
 their re-combination and adaptation — our 
 interpretation and use of them — and in the 
 power of variation and expression, that 
 modern invention and predilection tell." * 
 The embroideress is continually being 
 called upon to adapt or modify the designs 
 she embroiders. And when the study of 
 design has not been neglected, for it must 
 form part of the education of the earnest 
 worker — she will find plenty of scope for her 
 individuality and taste, in planning and 
 adapting design ; and she may also find that 
 the faculty of invention is there, that it 
 was only dormant, and needed some such 
 stimulus to awaken and develop it. 
 
 * Walter Crane, "Bases of Design," p. 211. 
 
Adaptation. 37 
 
 Natural forms must be conventionalised 
 in order to make them suitable for the pur- 
 pose of embroidery. If we take plants, 
 flowers, and fruits, and throw life-like repre- 
 sentations of them on a surface, and then 
 call it decoration, we make this decoration 
 exactly like the natural object, or as much 
 like it as we can ; we are obviously working 
 in the wrong direction, practising the art of 
 deception and sacrificing our ability as 
 needleworkers on work that can at its best 
 be but tasteless and vulgar. Natural forms 
 must be adapted to the materials used. For 
 example, a briar rose is beautiful in form 
 and colour in the garden, and if handled by 
 a skilful designer is quite beautiful when 
 simplified and adapted to a flat surface for 
 embroidery. Moreover, this modification of 
 the plant is, in a measure, demanded by the 
 nature of the materials and method of pro- 
 duction. In every way needlework should 
 be adapted to the materials. Photographic 
 imitations in form and colour of flowers 
 by the needle must be abandoned, and 
 only those aspects of the plant that are 
 capable of being easily and intelligently 
 represented be attempted. 
 
 The observant student will see that plants 
 
3 8 Embroidery. 
 
 illustrate most of the guiding principles 
 which are laid down in ornamental design. 
 If we go to the standard examples of art, we 
 can satisfy ourselves that the principles ob- 
 served in nature are usually followed in the 
 examples we are studying ; when there is 
 any departure from those principles, we 
 must do our best to find the reason for it. 
 
 Principles are the consideration of things 
 which underlie the laws or rules. Some of 
 the rules in ornamental design might be com- 
 pared to the buoys round shoaly coasts, 
 which may be overlooked when the mariner 
 has learned to sound for himself. 
 
 The circumstances under which works of 
 art are created must be considered, the 
 practical needs and natural surroundings of 
 their existence. In the East they crave for 
 magnificent colour, while we appreciate 
 colour in a more sober sense, not demanding 
 that brilliancy which the Orientals distin- 
 guish and insist on, intensified and glorified 
 with the rainbow hues of life. 
 
 We observe by studying works of art how 
 differently we are endowed with the sense 
 of colour, how variously the gifts are dis- 
 tributed, or, we may say, how we differ in 
 the handling of the gifts. Even the members 
 
Adaptation. 39 
 
 of our own family are frequently at variance 
 in their likes and dislikes ; the difference of 
 temper and perception has a great deal to 
 do with one's sense of form and colour. 
 
 Colour in embroidery is a matter of very 
 great importance. It may spoil a good, 
 well-formed design. A mere copy of the 
 colour in the natural object is not required. 
 The colour in nature must be taken as a 
 suggestive guide, and modified or intensified, 
 as the case may be, according to, and in 
 harmony with, the general surroundings. 
 
 Beautiful work can be done in one key of 
 colour — as several shades of blue, or shades 
 of golden brown. Great care is needed in 
 arranging contrasting colours to ensure har- 
 mony. Colour, like taste, is instinctive with 
 some, while others must be educated to 
 appreciate that which is accepted as beauti- 
 ful and harmonious. We all know that 
 certain forms and colours give us more 
 pleasure than others. 
 
 Symbolism. 
 
 Almost all art in the early days expressed 
 religious thoughts by means of symbols. 
 
40 * Embroidei'y. 
 
 To communicate ideas by emblematical 
 signs in this way has been the desire of man 
 from the earliest times. It is a more con- 
 crete method of expression than that which 
 can be conveyed by the picturing of real- 
 istic figures and scenes. Symbols were 
 frequently introduced into tapestries and 
 embroideries containing sacred figures, and 
 the embroideress will find the study of 
 Christian symbolism a very great help to her 
 in her work. As a rule these signs and at- 
 tributes are very simple and severe in form. 
 The jyljot shown on Plate No. i is believed to 
 be the oldest Aryan symbol. It originally 
 signified their supreme god when used by 
 them as a cross ; the lateral flanges added 
 to the ends of the cross gave it the optical 
 indication of revolving, which is supposed 
 to indicate the axial volution of the heavens 
 round the Pole Star ; later it was used as a 
 benedictory sign or mark of good luck. It 
 became a common emblem in all countries, 
 for not only is it seen on the relics of the 
 early races of mankind, but in Scandinavian, 
 Celtic, and Anglo-Saxon work, on Roman 
 altars and in our cathedrals. 
 
 The Egyptians used the zigzag to signify 
 water. Many patterns are constructed upon 
 
Plate No. I. 
 
 EGYPTl(\Nf LOTUS IN W^TE^f^ 
 
 + 
 
 CX°iS PoTCNT 
 
 t-H 
 
 Cf^^SS PoTE^NT. 
 
 CALVAKV 
 
 rt 
 
 FYufT. Olio called rtz 
 
 ra-*K;ia Fabric b fo^t c>.l ^, 
 
 G|X!X< r^rt. 
 
 Jl; 
 
 MAlte.se. ck^ss _r 
 
 Cl?c5S PA.TeE. J^l^tQUENTLV 
 
 CNFouhjpfp; With r>^z 
 
 L'^TIN TYPE tMPloytp 
 iTv- The. iO\^tK sTtr |v,cn^(^lTy 
 
 m Mlfpj.E STEP IS r-iopE. 
 UPftl^ STEP IS FMTn 
 
 Cl^'-iS ft'ToNEt 
 
 CR»^s TomME'E: 
 
 yt^ ^ ^ + + 
 
 C'^''^■S MaiNE. 
 
Symbolism, 43 
 
 zigzag lines in Polynesian ornament, and it 
 is believed that it was thus used to interpret 
 another meaning. In later times, as an 
 ornament, it occupied a prominent place in 
 Scandinavian decoration and in Romanesque 
 architecture. On Plate No. i it is given 
 in combination with the lotus. The lotus, 
 symbolising new birth and resurrection, was 
 also sacred as the type of coming plenty, as 
 it appeared previous to the springing of the 
 crops, and directly after the subsidence of 
 the Nile. As a forerunner of their harvest, 
 there was every reason for them to worship 
 it. Perhaps next to the lotus in importance 
 is the palm surrounded by the sacred hom, 
 called the " tree of life." It was the date 
 palm from which inebriating drink was first 
 made by the Aryans. It is found in Baby- 
 lonian, Persian, Indian, Greek, and Roman 
 art. Its conventional form was changed as 
 other plants, by fermentation, came to the 
 front, containing what appeared to be the 
 " spirit of life." The sacred hom or holy 
 tree is believed to represent the tree of life 
 spoken of as growing in Paradise. 
 
 The winged globe, so frequently used in 
 Egyptian art, is symbolical of the sun, and 
 the outspreading wings the overshadowing 
 
44 B7n broidery. 
 
 of Providence. Ancient Egyptian art was 
 a symbolic language. The numerous em- 
 blems they used were, in themselves, perfect 
 specimens of severe and beautiful design. 
 
 Our museums and cathedrals contain 
 many examples of ecclesiastical needlework 
 in which the expression of religious thought 
 is revealed by symbols, and it is the duty of 
 the modern embroideress to become ac- 
 quainted with these masterpieces, especially 
 if she is called upon to undertake church 
 work. Not that she is advised merely to re- 
 produce the designs, as they are not suited 
 to modern requirements. The same prin- 
 ciples can, however, be applied ; the chas- 
 tened reserve, and those laws of fitness and 
 limitations observed which make the design 
 suitable for the highest purposes to which 
 such embroideries can be devoted. 
 
 In Christian art the cross as a symbol of 
 Christ is acknowledged to be equal in im- 
 portance to His other symbol, the lamb, or 
 the symbol of the Holy Ghost, the dove. In 
 representations of the Trinity, where God 
 the Father is depicted as a man and the Holy 
 Spirit as a dove, Christ is at times imaged 
 by the Cross alone. 
 
 The Latin cross represents the actual 
 
Symbolism. 45 
 
 cross on which our Saviour suffered ; and in 
 its simple, unadorned shape is usually called 
 the Calvary Cross.* The Greeks rather de- 
 parted from the original cross, and made it 
 more suitable in shape for ornamental pur- 
 poses. When the Latin type was employed 
 as the emblem of Christianity, it was 
 frequently shown placed on three steps. 
 The lowest step, which rests firmly upon the 
 earth, and which will be seen is the largest, 
 is Charity, the greatest of all Christian vir- 
 tues ; the middle step is Hope ; and the 
 upper is Faith, in which the cross is firmly 
 embedded. 
 
 The forms which the cross assumes are 
 almost countless. Although nearly all based 
 on the Greek and Latin types, the cross of 
 St. Anthony in heraldry is termed the cross 
 potent ; we also get the Maltese cross, the 
 cross patee, the cross botonee, the cross 
 pommee, the cross moline, the cross fleurie, 
 the oross patonce, the cross potent rebated, 
 and the cross crosslet. 
 
 The cross is the acknowledged mark or 
 sign of the Christian faith throughout the 
 world. In Christian art the image of the 
 lamb, the symbol of our Saviour, the Good 
 
 * See Plate No. i for illustrations of crosses. 
 
46 Embroidery, 
 
 Shepherd, is frequently represented ; and 
 there are various passages both in the Old 
 and New Testament which refer to Christ 
 under the image of the Lamb. 
 
 We find abundant symbolism in the 
 various emblems and attributes of the 
 apostles, saints, and martyrs. The mystic 
 symbols of the four Evangelists, held in 
 great favour and respect by the designer 
 for ecclesiastical work, are the four winged 
 creatures — viz. the winged man for St. 
 Matthew, the winged lion for St. Mark, the 
 winged ox for St. Luke, and the eagle for 
 St. John. St. Mark is supposed to have 
 been buried in the great church in Venice 
 dedicated to his name, and the winged lion 
 has become the distinguishing badge of that 
 city. 
 
 In the Catacombs we find the Holy Sacra- 
 ment of Baptism symbolically represented. 
 The most frequent symbol is a fish, often 
 portrayed on the tombs of departed Chris- 
 tians. Sometimes three fishes are repre- 
 sented, entwined in a triangular fashion, 
 symbolising the Divine Trinity. On Plate 
 No. 2 the emblem of the Holy Trinity in 
 three different forms is given. Also on the 
 same plate a number of monograms are 
 
Plate No. 2. 
 
 SYMBOL 
 
 OF THE HOLY I GHObf 
 
 SACRED MONOGRAM 
 
 FROM WINCH tSTER TAPE5)TKY 
 
 « 
 
 EXPRESSING XRl^TOS 
 
 THE NAME OF NO^Tf.l^ 
 
 CNRIbT IN THE 
 Circle OF ETERNITy jf)USCHKii 
 
 
 THREE FlbHES 
 OUI^ LORD 3VMR,0LIZING f^APTISM 
 
 EMPaem of trinity 
 
 EMBLEM OF TRINITY THE. 
 THPvFE ETERNAL BEINGS (N UNITY 
 
Symbolism. 49 
 
 shown, which were devised by early Chris- 
 tian artists to express the sacred names of 
 our Saviour. 
 
 In the ninth century symbohcal render- 
 ings of griffins, unicorns, hons, eagles, and 
 elephants appeared plentifully on chasubles 
 and copes. There is in the Victoria and 
 Albert Museum a remarkable chasuble of 
 blue satin, on the front of which are em- 
 broidered in gold threads and coloured silks 
 a number of lions and griffins enclosed by 
 scroll work. It is said to be thirteenth-cen- 
 tury English work. On the back is a broad 
 orphrey containing four quatrefoil panels : 
 in these are the Crucifixion of our Lord, the 
 Virgin and Child, St. Peter and St. Paul, 
 and the Stoning of St. Stephen. This is 
 the earliest example of English needlework 
 in the collection in which animals are re- 
 presented. 
 
 In Babylonian embroideries we are told 
 that very fine materials were symbolical, and 
 stood for the elements of the world — fine 
 flax for the earth, purple for the sea, scarlet 
 for the blaze of fire, and blue for the firma- 
 mental azure. 
 
 The following are the meanings attached 
 to the chief colours found in Christian art : 
 
50 Emh^oidery . 
 
 White is the emblem of purity, innocence, 
 faith, joy, hfe, and hght. 
 
 Red is emblematical of the passion of our 
 Lord, the sufferings and the martyrdom of 
 His Saints. 
 
 Blue is emblematical of heaven. It sig- 
 nifies piety, sincerity, godliness, and divine 
 contemplation. 
 
 Yellow or gold signifies brightness and 
 goodness of God, faith and fruitfulness. 
 
 Green is used by the Church on ordinary 
 Sundays and ferials (week-days). It 
 signifies bountifulness, hope, mirth, youth, 
 and prosperity. 
 
 Violet signifies passion, suffering, sorrow, 
 humility, deep love, and truth. Martyrs are 
 frequently clad in violet or purple garments. 
 
 Black is symbolical of death, darkness, 
 despair, and mourning. 
 
 White, red, green, violet, and black are 
 called canonical colours. 
 
 Much has been written on the symbolism 
 of plants and flowers, and many workers 
 know their various attributes. The lily is 
 the acknowledged sign of purity, the honey- 
 suckle of enduring faith, the olive branch of 
 reconciliation and peace, the oak of strength, 
 and the palm, as the symbol of martyrdom, 
 
Symbolism. 5 1 
 
 belongs to all those saints who suffered death 
 in the cause of Christ. The pomegranate, 
 burst open and displaying its seeds, was 
 accepted in early times as the emblem of 
 future life and of hope in immortality. The 
 apple is an emblem of the original sin as it 
 alludes to the fall of man. The vine with 
 the Greeks was sacred to Dionysos, and 
 represented to them the divine, life-giving 
 earth-spirit continually renewing itself and 
 bringing joy to men. 
 
 Of the less important emblems found in 
 Christian art, the anchor might be named as 
 the symbol of hope, firmness, and patience ; 
 also the arrow, an emblem of martyrdom. 
 A heart depicted pierced with an arrow 
 symbolises contrition, deep repentance, and 
 devotion in trial. (See the centre of altar- 
 frontal, Plate No. 15.) 
 The circle, or ring, is the emblem of eternity. 
 The dove, when accompanied by the 
 nimbus, is the symbol of the Holy Ghost ; 
 when used alone, it is the emblem of meek- 
 ness and purity ; when with an olive branch 
 in its beak, it is the emblem of peace. 
 
 The griffin. — This creature, representing 
 evil, is winged, with bird's claws for its hind 
 feet and lion's paws for its fore feet ; the 
 
52 Einbi'oidery. 
 
 beak is strong and eagle-like — a combina- 
 tion suggestive of terror and power. 
 
 The dragon is the symbol of the Evil 
 Spirit. The Devil has also been symbolised 
 by the serpent, and with direct authority of 
 the Holy Scriptures (Rev. xii. 9 ; also xx. 2). 
 
 The nimbus, aureole, and glory signs can- 
 not properly be called symbols. They are 
 really attributes, as they express nothing 
 when used alone. The nimbus was adopted 
 by the Christians at a very early period ; it 
 is found in the catacombs of Rome, dating 
 as far back as the fourth century, and it dis- 
 appeared altogether in the seventeenth cen- 
 tury. From the earliest times the nimbus 
 encircled the head like a disc or plate behind 
 the head until the fifteenth century, and 
 during the following two hundred years the 
 disc was replaced by an unadorned circlet, 
 or ring, hovering over the head. 
 
 The aureole encircles the whole body — 
 while the nimbus encircles the head — and 
 envelops it in a field of radiance. Some- 
 times it takes the form of the body, clinging 
 to it and appearing as a fringe of light, or it 
 may be removed a short distance from the 
 body, and in this case, the luminous rays do 
 not closely follow the form of the figure. 
 
Syiitbolism. 53 
 
 The aureole is the attribute of supreme 
 power and divine omnipotence. The term 
 " glory " is used to express the combination 
 of the nimbus and the aureole. 
 
 The embroideress engaged on church 
 needlework may find these notes on sym- 
 bolism, brief as they are, of some help to 
 her. If they do nothing more, they will serve 
 to warn her against some of the mistakes 
 which frequently occur. Symbols are very 
 often wrongly used, and emblems of the 
 highest dignity are placed in secondary 
 positions, and most holy signs occupy 
 places where they are knelt upon and some- 
 times stood upon. The bonds of symbolism, 
 rules of colour, and laws of fitness should 
 aid rather than hinder the designer and 
 worker. 
 
(54) 
 
 CHAPTER IV. 
 
 DESCRIPTION OF DESIGNS 
 ILLUSTRATED. 
 
 The coloured frontispiece represents the 
 centre portion of a quilted linen coverlet, 
 embroidered with coloured silks. English, 
 late 17th century [532 — 1897]. During 
 the latter part of the seventeenth century 
 much of the design for English em- 
 broidery was influenced by Oriental work. 
 The elements in this example have evidently 
 been borrowed from the Chinese. The 
 gaily coloured bird is specially characteristic. 
 Similar birds appear in the crewel-work 
 hanging given on Plate No. 4. The design 
 for the quilted coverlet is not intended to 
 be seriously discussed ; it is slight, delicate, 
 and perhaps a little absurd, at the same time 
 interesting and instructive. The stitches 
 employed in the work are long-and-short, 
 satin, and stem stitches, with chain stitch 
 for the quilting. Plates No. i and 2 con- 
 tain symbolical signs (see chapter com- 
 mencing on page 36). 
 
Plate No. 3. 
 
 nw 'Mjipt'' 'Mniw-Mmi»>"t.i(|j(i>' -miiifi .(s|(»!« 
 
Description of Designs Illustrated. 5 7 
 
 Plate No. 3. 
 
 Bedspread, modern, in the style of English 
 seventeenth-century crewel work. Em- 
 broidered at the Royal School of Art Needle- 
 work. Excellent needlework was produced 
 in England in the seventeenth century, and 
 some of the best examples in crewel work 
 have been copied by the Royal School of 
 Art Needlework — in fact, the revival of this 
 kind of embroidery is entirely due to the 
 efforts put forward by the School, where 
 for many years they have been engaged in 
 making hangings, curtains, valances, bed- 
 spreads, and furniture covering, using the old 
 crewel- work designs. 
 
 The subject of this plate is a characteristic 
 all-over type. The idea of the spreading 
 branches of trees, with various flowers, leaf 
 forms, and birds evenly distributed over 
 the surface in this form, was, in the first 
 place, borrowed from Oriental patterns. 
 There is usually along the bottom of the 
 design an indication of undulated ground — ■ 
 
58 Embroidery. 
 
 little hillocks of soil, over which odd animals 
 prance and caper. Practically no attention 
 is given to the relative proportion of the 
 creatures represented. The rabbit may be 
 the same size as the antelope and the 
 squirrel the size of the elephant, all very 
 irresponsible and indulgent. At regular 
 intervals sturdy tree stems spring from the 
 ground and meander upwards ; these have 
 small branches which intertwine and carry 
 boldly shaped leaves and flowers. The rest 
 of the surface is covered with small foliage, 
 and gaily coloured birds scattered among the 
 branches. The large leaves are often filled 
 with diapers (darnings), the outer edge 
 being worked solidly, occasionally in the 
 form of turnovers, in shades of green, gra- 
 dated from dark to light. Green is usually 
 the most predominant colour, with touches 
 of tawny yellow, reds, and rich browns to 
 complete the scheme. The foundation of 
 the old examples is generally of linen, or a 
 mixture of linen and cotton. The one from 
 which our plate is made is an ivory-coloured 
 twill of linen and cotton. 
 
Plate No. 4 
 
 Cotton Hanging-. English, 17th Century. Embroidered in Coloured Wools 
 with Leaf Forms, Small Flowers, and Birds. 
 
Description of Designs Ilhtstratcd. 6i 
 
 Plate No. 4. 
 Cotton hanging. English, seventeenth 
 century. Embroidered with leaf forms, 
 small flowers, and birds in various shades 
 of olive-greens, browns, and old gold coloured 
 wools ; the birds are worked in rather 
 brighter colours than those for the foliage. 
 At the bottom of the design there is a con- 
 ventional suggestion of earth, from which 
 spring the long, formal main stems at 
 regular intervals. The big leaves make a 
 point of curling over the main stems ; 
 they are worked solidly in rows of stem 
 stitch (called crewel stitch when worked in 
 this form). These leaf forms are really 
 groups of small leaves taking the general 
 shape of a single curling leaf, as will be seen 
 by the detail on Plate No. 5. The edge of 
 each inner leaf is commenced by an outline 
 of light-coloured wool ; then a centre line, 
 representing the rib, is worked in dark 
 coloured wood ; then this is followed by 
 rows of stitches, graduating in colour from 
 dark to light until the space is filled. 
 
62 Embroidery. 
 
 Plate No. 5. 
 
 Detail of cotton hanging, from example 
 illustrated on Plate No. 4. This detail is 
 given to show the direction of stitch on 
 the leaves, and the system adopted in the 
 introduction of darker colours. The treat- 
 ment may be considered a little heavy 
 compared with the method of leaf filling 
 shown on Plate No. 6, also in the bed- 
 spread, Plate No. 3, where a large number 
 of the leaves are filled with diapers. 
 
Plate No. 5. 
 
 Detail of Cotton Hanging-. English, 17th Century. Embroidered 
 in Coloured Wools. 
 
Plate No. 6. 
 
 t- 
 
 Leaf in Coloured Wools, from a Linen Hanging:. English, 
 17th Century [1392]- 
 
Description of Designs Ilhistrated. 6y 
 
 Plate No. 6. 
 
 Leaf in coloured wools, from a linen 
 hanging. English, 17th century [1392]. 
 This reproduction illustrates a light method 
 of leaf treatment. The outer band of work 
 is in blue wool, in close herring-bone stitch. 
 The next, in green, is an Oriental stitch^one 
 long stitch the width of the band crossed by 
 a short one in the centre ; sometimes called 
 " Roumanian stitch." Then follows a row 
 of very open herring-bone stitch in green. 
 This group is finished on the inside and out- 
 side by a tooth border in green. Each fang 
 is made with three stitches which spread at 
 the base and meet and enter the material 
 at the point ; the space between each tooth 
 or fang is about a quarter of an inch. The 
 stem and centre fibre of the leaf, in yellow, 
 is formed by a double row of satin stitch 
 worked on the slant ; the small veining, in 
 the same colour, is in herring-bone stitch. 
 The diaper filling in green is made with loops 
 of wool held down (couched) by a stitch in 
 the centre, thus taking the shape of a horse- 
 shoe. 
 
6S Embroidery. 
 
 Plate No. 7. 
 
 No. I. Orphrey, or border to an orphrey 
 altar-frontal. Spanish, about 1550 [248 — 
 1880]. Ground of crimson velvet, with 
 repeating conventional ornaments, alter- 
 nated with roundels respectively containing 
 cyphers cut out of yellow satin, outlined with 
 pale blue silk cord and gold thread, and ap- 
 plied (applique) to the ground. The mono- 
 grams are " couched " in gold threads ; 
 parts of the roundels are worked with layings 
 of blue and white silk cords. 
 
 No. II. Orphrey of antependium, or altar- 
 frontal. Spanish, about 1530 [246 — 1880]. 
 Consists of foliated strap work, ornamented 
 in gold and silver thread with coloured silk, 
 and knitted gold fringe at the lower edge. 
 
 No. III. Orphrey, or border. Spanish, six- 
 teenth century [261 — 1880]. Ground of dark 
 green velvet, with conventional acanthus 
 scroll and other ornament cut out of yellow 
 silk applied (applique), outhned and veined 
 with gold thread. 
 
Plate No. 7. 
 
 No. I.-Orphrey. Spanish, 
 Spanish, about 1530 [246—1880] 
 
 about 1550 [248-1880]. No. II.— Orphrey. 
 No. 1 1 I.-Orphrey. Spanish, 16th Century 
 [261-1880]. 
 
Plate No. 8. 
 
Description of Designs Illustrated. 'J2> 
 
 Plate No. 8. 
 
 Altar-frontal, green silk ornamented with 
 an applique pattern. Spanish, sixteenth 
 century. The property of Sir W. Drake. 
 In this interesting example a number of 
 strongly contrasting coloured materials have 
 been successfully brought together. The 
 forms are edged and fibred with strands of 
 silk, couched, the stems being crossed at 
 right angles with silk cord in pairs at regular 
 intervals of an inch. This method of break- 
 ing up the surface, gives, by change of 
 texture, value to the broader pieces. 
 
74 Embroidery. 
 
 Plate No. 9. 
 
 Border of blue satin. Spanish, sixteenth 
 century [1162 — 1877]. The large details 
 are in yellow satin applied (applique) ; these 
 are connected with a yellow silk cord, which 
 runs through, and completes the pattern. 
 The applied forms are enriched by a couched 
 outline of orange silk, which is utilised out- 
 side the yellow silk cord. The marginal 
 bands are treated in the same way, with 
 silk threads laid in pairs at intervals of one 
 inch. 
 
Plate No. 9. 
 
Plate Mo. to. 
 
 Wall or Pilaster Hanging-, Applique. Italian, i6th Century [841- 1847]. 
 
Description of Designs Ilhtstrated. 79 
 
 Plate No. 10. 
 
 Wall or pilaster hanging, applique. 
 Italian, sixteenth century [841 — 1847]. Of 
 red velvet and yellow silk mounted on canvas, 
 cut out and fitted together so as to form 
 a repeating balanced pattern of scrolls and 
 flowers in yellow upon a red ground. In the 
 example on the left-hand side of plate, the 
 various forms are outlined with yellow 
 silk and silk gimp couched. The example 
 on the right-hand side of this plate (dark 
 ornament on light ground) is the portion 
 cut away from the example on the left — 
 viz. pattern in red on a yellow ground. 
 The various forms are also outlined w4th 
 yellow silk and silk gimp couched. 
 
8o Embroidery. 
 
 Plate No. ii. 
 
 Hanging of silk and velvet patchwork, 
 applique. Spanish, sixteenth century [266 — 
 1880]. Worked in grey-green silk, dark red 
 velvet, and small pieces of white silk, outlined 
 with a pale, string-coloured cord. This is 
 an interchange pattern, one band having a 
 red velvet ground with the ornament in 
 green silk, and the other a green silk ground 
 with the ornament in red velvet. These 
 bands alternate. White pieces of silk are 
 used for the berries, centres of large leaf 
 forms, and ties or collars throughout the 
 whole of the design. 
 
Plate No. II. 
 
Plate No. 12. 
 
 Portion of a Hanging', Patchwork Applique. English, 
 14th Century. 
 
Description of Designs Illustrated. 85 
 
 Plate No. 12. 
 
 Portion of a hanging, patchwork apphque. 
 English, fourteenth century. This method 
 of patchwork apphque in coloured cloths 
 is admirably suited to the rendering of 
 broadly treated design of this character. 
 Experts assign this specimen to the four- 
 teenth century, and say it is English ; while 
 others see no reason why it should not be 
 accepted as an example of French work of 
 an earlier date. In fact, this latter was the 
 view taken by the late Dr. Rock. He inti- 
 mates that the design mostly represents 
 incidents corresponding to those in the 
 legend of Sir Guy of Warwick, an old 
 English romance written in the thirteenth 
 century ; but the costumes here employed are 
 considerably later. The width of the lower 
 panel in the illustration is 2 feet 6 inches. 
 This will enable the reader to form some 
 idea of the scale of the work. The piece 
 on the right-hand side of this repro- 
 duction, turned sideways, is obviously out 
 of place ; it was never intended to be so 
 arranged. 
 
86 Embroidery. 
 
 Plate No. 13. 
 
 Patchwork inlay panel. Made at Resht. 
 Persian, eighteenth century [858 — 1892]. 
 On a ground of ivory -coloured cloth. The 
 whole of the design is inlaid — with the excep- 
 tion of the stems — in crimson, cinnamon, 
 pink, black, turquoise, and sapphire coloured 
 cloths. The outline and stems are executed 
 in chain stitch — i.e. the stems have three rows 
 of chain stitch side by side. At the bottom 
 of the design is a finial in the form of a con- 
 ventional flower springing from a shaped 
 panel, ending in birds' heads regardant ; this 
 device is embroidered in gold and silver 
 thread and coloured silks with forms re- 
 sembling peacocks' feathers, the eyes of the 
 feather-like parts being worked in marigold 
 and green silk. From this panel spring 
 branches, with flowers and leaves, with a 
 bird perched on one of the branches. 
 
Plate No. 13. 
 
 Patchwork Inlay Panel, Persian, i8th Century [858—1892]. 
 
Plate No. 14 
 
Description of Designs Ilhtstrated. 9 1 
 
 Plate No. 14. 
 
 Part of a hanging of linen, embroidered 
 with coloured silks. Spanish, seventeenth 
 century [342 — 1885]. The design consists 
 of conventionally knotted scrolls, from 
 which spring tulips, roses, poppies, and 
 foliage, with birds holding branches of 
 cherries and tendrils. The scrolls are worked 
 with pink, blue, and yellow silk in satin 
 stitch, edged with black silk in stem stitch. 
 The flowers are mostly in satin stitch ; the 
 stems are in herring-bone stitch, the buds 
 in chain stitch, and the birds are in em- 
 broidery, or long-and-short stitch. 
 
92 Embroidery, 
 
 Plate No. 15. 
 
 Altar-frontal. White satin, embroidered 
 in coloured silks and gold threads. Spanish, 
 sixteenth century. The banded ornament, 
 and heart pierced with an arrow (the 
 emblem of contrition, deep repentance, and 
 devotion in trial), worked in gold basket 
 stitch. The foliage in coloured silk, and 
 worked in stem stitch chiefly. Between 
 each line of silk the ground is clearly visible. 
 All the lines radiate nicely from the centre 
 fibre of the leaves to the outer edge. This 
 open kind of stitchery is very effective ; 
 there is practically as much ground seen 
 as silk stitchery on all the light leaves. 
 The whole of the embroidery is outlined 
 with a silk cord (couched). 
 
Plate No. ic. 
 
 Vltar-frontal. White Satin, embroidered in Coloured Silks and Gold Threads. 
 Spanish, i6th Century. 
 
Plate No. i6. 
 
 Coronation Robe of His Majesty King Edward VII. 
 
Description of Designs Illitstrated. 97 
 
 Plate No. 16. 
 
 The whole foundation of the robe, belt, 
 and stole is cloth-of-gold. The only ornament 
 upon the supertunica or dalmatic is em- 
 broidered in old-gold-coloured silk with a 
 dark brown outline, and consists of two 
 bands of an interlacing pattern down the 
 front. There is no embroidery on the belt. 
 The armilla, or stole, is a band of cloth-of- 
 gold 3 inches wide and about 5 feet 
 7 inches long, with bullion fringe at each 
 end. It is heavily embroidered with silver 
 thread, sequins, and a little coloured silk. 
 The centre ornament at the back is a pink 
 rose with two leaves ; the remaining orna- 
 ments are silver imperial eagles, silver and 
 green shamrocks, silver, green, and purple 
 thistles, and pink roses. Between each 
 emblem is a silver coronet ; at each end 
 is a square panel — with a blue and white 
 torse above and below — worked with a red 
 cross of St. George on a silver ground. 
 The imperial mantle is covered with silk 
 embroidery, composed of eagles in white silk 
 
 H 
 
gS Embroidery. 
 
 outlined with purple, Tudor roses in red and 
 white silk with green leaves, purple and green 
 thistles with green leaves, green shamrocks, 
 coronets in white outlined with purple, and 
 white flowers with gold centres, the latter 
 symbolising Divine power. There is a 
 pattern of branched laurel conventionally 
 trailed around each emblem. The mantle 
 is lined throughout with deep rose-coloured 
 silk. To the upper edge is attached a gold 
 morse or clasp, on which is embroidered an 
 eagle and two roses, and a light leaf ornament 
 in gold purl with rubies introduced. 
 
Plate No. 17. 
 
Description of Designs Ilhtstrated. loi 
 
 Plate No. 17. 
 
 Letter-bag. Gold embroidery, with 
 groups of pearls for the flowers, on a velvet 
 foundation. The flowers are worked with 
 clusters of pearls in little concave disks of 
 gold ; the leaves are in raised bullion, and 
 the stems in gold cord, which is continued 
 round the leaves. 
 
I02 Embroidery. 
 
 Plate No. i8. 
 
 Figure from an orphrey, embroidered 
 with coloured silks and gold thread. Ger- 
 man, middle of the fifteenth century 
 [8670 — 1863]. On a ground of red silk is a 
 diaper pattern of circles with radiating 
 spirals, in laid gold threads couched with red 
 silk. Upon this (worked on linen and applied) 
 is a figure representing St. Catherine. Her 
 cloak is embroidered in green silk — in short 
 stitch — with dark blue silk lining. The 
 dress, the halo, and crown are in gold thread, 
 couched flatly. The lozenge-shaped piece 
 of ground upon which she stands is in silver 
 thread, couched. The background is 
 elaborate, and when the gold was bright and 
 new, the effect, though somewhat restless, 
 must have been very rich. The figure, 
 simple and dignified, holds in the left hand 
 the well-knov/n emblem of St. Catherine — 
 i.e. the wheel armed with knives. 
 

 Plate 
 
 ; No. i8. 
 
 
 4 'h 
 
 4 i. -i 
 
 -V 
 
 ■** 
 
 Y Y ' ' 
 
 X 
 
 J^ 
 
 4. i : 
 
 r 
 
 T '^ 
 
 r v'' 
 
 P> 
 
 
 
 »* 
 
 # 
 
 ^;)t^)i 
 
 :f , 
 
 t 
 
 
 If- 
 
 '^^'-1' 
 
 Figure from an Orphrey, embroidered 
 in Coloured Silks and Gold Thread. 
 German, middle of the isth Century 
 [8670— 1863] 
 
Plate No. 19. 
 
 Portion of Orphrey. From the Premonstratensian Abbey of Tronchiennes, 
 near Ghent. Early i6th Century. 
 
Description of Designs Illustrated, 107 
 
 Plate No. 19. 
 
 Portion of an orphrey. From the Pre- 
 monstratensian Abbey of Tronchiennes, near 
 Ghent. Early sixteenth century. One of 
 three worked with numerous legendary sub- 
 jects, from the lives of saints * ; portions of 
 ecclesiastical vestments. The background 
 and framing to this subject is chiefly worked 
 in bullion ; the figures and boat in silk, the 
 water in gold passing, and from the water- 
 line upwards is a diaper formed with string 
 interlaced and worked over in gold passing. 
 The framework is in gold basket-work. 
 
 * This example illustrates the passage " In the 
 midst of the sea, tossed with waves : for the wind 
 was contrary." 
 
io8 Enib7^oidery. 
 
 Plate No. 20. 
 
 Portion of a carpet. Persian, early 
 eighteenth century [859 — 1876]. Velvet, 
 embroidered in gold and silver. Kakvin is 
 noted by the Persians for this kind of em- 
 broidery, which is now sometimes used for 
 saddle-cloths and holster-covers. This car- 
 pet is beautifully worked in tambour gold 
 and silver thread, giving a slightly raised 
 rich effect. Gold and silver embroidery of 
 this kind does not, however, seem suitable 
 for carpets. 
 
Plate No. 20. 
 
 Portion of a Carpet. Persian, Early i8th Century [859- 1876]. 
 Velvet, embroidered in Gold and Silver 
 
1 1 2 Embroidery. 
 
 Plate No. 21. 
 
 The Syon Cope.* English, date about 
 1250 [83 — 1864]. Of canvas, entirely 
 covered with embroidery of various classes ; 
 the interlacing barbed quatrefoils are bor- 
 dered with gold thread worked in close-lying, 
 short stitches, and three rows of green, or 
 red, or yellow, and white silk in chain stitch. 
 The ground in the alternative quatrefoil is 
 filled in with green and faded crimson silks, 
 worked in short stitches to form a close 
 diaper of chevron pattern. On the inside of 
 the embroidery hanks of loose thread have 
 been laid, and are occasionally stitched over 
 with green and red silk passing through the 
 intervening canvas, and so adding substance 
 to the embroidery. The quatrefoils enclose 
 figures of our Lord, the Virgin Mary, and the 
 Apostles ; with winged cherubins, or angels, 
 standing on wheels in the intervening spaces. 
 The faces, hands, and coloured draperies are 
 worked with fine-coloured silks in small 
 chain stitches. The gold embroidery is done 
 in close-lying, short stitches. The orphrey, 
 
 * See Dr. Rock, Textile Fabrics, p. 275. On 
 close examination with a microscope, the flesh- 
 stitch appears rather like a fine split stitch worked 
 in circular lines. 
 
Plate No. 21 
 
Plate No. 22. 
 
Desci'iption of Designs Illustrated. 1 1 7 
 
 morse, and hem are wrought with armorial 
 bearings with coloured silks, gold and silver 
 threads in small cross stitches, and are of 
 later date (about fifty years). 
 
 Plate No. 22. 
 
 Detail from the Syon Cope. By looking 
 closely into this fine specimen, Dr. Rock 
 says,* " We find that, for the human face, 
 all over it, the first stitches were commenced 
 in the centre of the cheek, and worked in 
 circular or straight lines, into which, how- 
 ever, after the middle had been made, they 
 fell, and were so carried on through the rest 
 of the fleshes. After the whole figure had 
 thus been wrought, then, with a little thin 
 iron rod, ending in a small bulb or smooth 
 knob, slightly heated, were pressed down 
 those spots upon the faces worked in circular 
 lines, as well as that deep, wide dimple in the 
 throat, especially of an aged person. By the 
 hollows that are lastingly sunk, a play of light 
 and shadow is brought out, that, at a short 
 distance, lends to the portion so treated a 
 look of being done in low relief." 
 
 * Textile Fabrics, p. 288. 
 
1 1 8 Embroidery. 
 
 Plate No. 23. 
 
 Screen panel, " Spring." Designed by 
 Walter Crane. The ground is a coarse linen 
 of a low-toned oatmeal colour. The design 
 is embroidered with silks, chiefly in stem 
 and long and short stitches. It is about the 
 nearest approach to outline embroidery that 
 could be without being actually accepted 
 as such. The most solid work is bestowed 
 upon the figures. The youth's smock is 
 embroidered on the light parts only, the 
 ground being utilised to represent the shad- 
 ing, with a brown outline to define the folds 
 of the garment. This method is also adopted 
 in working the girl's costume ; her dress has 
 but a few lines, representing high lights, and 
 the drawing of the folds is given with the 
 dark colour. The blossoms have a voiding * 
 between each petal. 
 
 '^ A narrow space round the form, similar to 
 that rendered by the process of stenciUing. 
 
Plate No. 23. 
 
 
Plate No. 24. 
 
Description of Designs Illustrated^ 123 
 
 Plate No. 24. 
 
 Screen panels, four figures representing 
 the Senses — *' Seeing," '* Smelling," " Hear- 
 ing," and " Tasting." Designed by Walter 
 Crane. Worked entirely in outline on a deli- 
 cate coloured linen, in stem stitch for the 
 drapery and split stitch for the flesh. The 
 whole is embroidered with two shades of 
 brown silk. 
 
124 Embroidery 
 
 Plate No. 25. 
 
 Design for an altar-frontal by Selwyn 
 Image. On a white ground all the figures are 
 to be worked in strong outline ; foliage in 
 solid embroidery, the fruit forms filled in 
 with cross stitch. 
 
 Plate No. 26. 
 
 Portion of a frieze, '' The Seven Ages of 
 Man." Designed by Walter Crane, and 
 worked at the Royal School of Art Needle- 
 work. It is executed in outline — stem 
 stitch with brown silk on a string-coloured 
 linen ground. 
 
Plate No. 25 
 
Plate No. 26. 
 
Plate No. 27 
 
'Description of Designs Ilhistrated. 
 
 Plate No. 27. 
 
 Linen pillow-case. English, sixteenth cen- 
 tury. The property of the Right Hon. the 
 Viscount Falkland. The design, consisting 
 of vine-leaves and fruit, is well balanced. 
 Each leaf is filled with a dainty little diaper, 
 geometric in character. The centre portion 
 of the design appears to have formed part of a 
 larger scheme of decoration, and the manner 
 in which it is cut by the border is not 
 satisfactory. The embroidery is executed 
 entirely in black silk on a very fine white 
 linen ground. The stitches used are button- 
 hole, square chain, very closely worked ; 
 the outline is in ordinary chain ; and a 
 variety of filling-in stitches (darnings) are 
 employed for the diapers of the leaves. 
 When a design of this character is chosen, 
 to be worked in one or two colours, a number 
 of fancy stitches can be employed without 
 spoiling the unity of effect ; but if a larger 
 assortment of colours are introduced, then 
 it is better not to use so many different kinds 
 of stitches. 
 
Embroidery . 
 
 Plate No. 28. 
 
 Embroidery from a linen jacket. English, 
 sixteenth century. This detail of em- 
 broidery on linen with coloured silks has 
 an all-over pattern of continuous scroll- 
 ing stems, bearing a variety of leaves, 
 flowers, and fruit devices somewhat natur- 
 alistic in drawing. In this illustration 
 honeysuckle and rose flowers and leaves 
 are shown. Strawberries, sweet peas, oak 
 leaves, and acorns appear in other parts of 
 the design. The scrolls and stems are 
 executed in chain stitch ; the leaves and 
 blossoms are mostly worked on linen separ- 
 ately in needlepoint lace stitches and 
 applied to the linen ground of the jacket. 
 
PJate No. 28. 
 
 Embroidery from a Linen Jacket. English, i6th Century. 
 
^ 
 
 v/y 
 
 / y 
 
 ^ . ' 
 
 Plate No. 29. 
 
 Corner of a Linen Coverlet. Embroidered with Coloured Threads. 
 Swiss, dated 1580 [851—1844]. 
 
Description of Designs Illnstrated. 1 3 7 
 
 Plate No. 29. 
 
 Corner of a linen coverlet. Embroidered 
 with coloured threads. Swiss, dated 1580 
 [851 — 1884]. In the design of the complete 
 coverlet five ladies representing the Senses 
 are shown ; each figure is accompanied by an 
 explanatory attribute. There is '•' Visus " at 
 one corner, with a mirror, and an eagle beside 
 her ; at another " Auditus," playing a lute, 
 has beside her a boar which she is enchanting 
 wath her music ; in the centre is " Tactus," 
 with a parrot, which pecks at her finger ; in the 
 third corner " Gustus," with a plate of cakes 
 and a monkey, is represented ; and lastly, 
 the subject of this illustration, " Olfactus," 
 smelling a flower, with a dog sleeping be- 
 side her. The figures are pleasantly seated 
 among foliated and floral branches. They 
 are rather coarsely worked in linen threads 
 — chiefly white — on a soft pink linen ground. 
 A tawny-coloured thread is employed for 
 the outline, except for parts of the ladies' 
 dresses, which have a blue line. All the 
 fillings consist of open diaper patterns. 
 
Embroidery. 
 
 Plate No. 30. 
 
 Embroidered pillow-case, from the neigh- 
 bourhood of Trieste. The property of Mrs. 
 Pesel. Pillow-cases of this kind were, at one 
 time, in general use in most of the peasants' 
 cottages. They are worked in black worsted 
 in cross stitch on white linen. In the Vic- 
 toria and Albert Museum there are examples 
 which came from Abruzzi, worked in black 
 silk, very similar in effect to the one here 
 illustrated. 
 
 Severe and simple designs lend themselves 
 to this method of stitching, and anything 
 of a naturalistic character should not be 
 attempted in cross stitch. It is the simplest 
 and one of the most ancient stitches. Pro- 
 ducing as it does an angular outline, cross- 
 stitch pattern is always very distinctive ; 
 moreover, it is modest and naive in its aims, 
 forming as it does the basis of the simplest 
 peasant embroidery of all times. 
 
 In Ruthenian embroidery we find very 
 charming narrow cross-stitch borders 
 worked in pronounced red and blue wor- 
 
Plate No. 30. 
 
Description of Designs Illustrated. 1 4 t 
 
 steds. These borders make the most satis- 
 factory kind of decoration for the edging 
 of costumes, coUar bands, and cuff trim- 
 mings. They are well proportioned and 
 built up on modest lines, with just enough 
 art to make them interesting. Time should 
 not be wasted in producing in cross stitch 
 Greek frets and key patterns arranged as 
 all-over decoration. Such design in em- 
 broidery can at best only satisfy the me- 
 chanical mind. 
 
142 Embroidery. 
 
 Plate No. 31. 
 
 Several simple zigzag borders are given. 
 The first three are of the Ruthenian type. 
 If worked the same size as the illustrations, 
 back stitch might be used ; if larger, they 
 are very effective in cross stitch. The two 
 lower borders shown on this plate are from 
 Italian examples. 
 
 Plate No. 32. 
 
 Cross-stitch border. Embroidered on linen 
 in red silk. Italian, sixteenth century [863 
 — 1897]. The pattern of leaves and flowers 
 springing from interlacing stems, repeats 
 from A (turns over) . It is slightly smaller in 
 the reproduction than in the original, but it 
 could be worked this size. 
 
Plate No. 31. 
 
 BORDERS IN BACK-STITCH ^FRENCH KNOTS. 
 A. IN BLUE B IN RED C. IN BLUE 5c D.INRED WOOLS 
 
 <'^>^^<yy^^c^>^^<>^>^^f-^>^ 
 
 BORDER IN BACK-STITCH. 
 
 BORDER IN BACK-STITCH 
 
 A.A.A,AiAiAiAiAiAiAiAiAiAi 
 
 eORDLR IN CROSS-STITCH & BUTTON -HOLE -STITCH , 
 
 ; II 111 ini HI y 1 1 1 H I ■ » « III iHi 1 1 1 i H I I n I I ■ I ■ HI ii B B B 
 
 ^^JW^A X^^'^'^^'^ ^^^^S^^^ 
 
 BORDER IN SATIN-STITCH &. BACK-STITCH 
 
 Borders for Edging of Costumes. 
 
Plate No. 32. 
 
Plate No. 33. 
 
 Corner of a Linen Coverlet. Portuguese, Second Half 16th Century 
 [326—1898]. 
 
Description of Designs Illustrated. 149 
 
 Plate No. 33. 
 
 Corner of a linen coverlet. Portuguese, 
 second half sixteenth century [326 — 1898]. 
 The whole of the embroidery is executed 
 with a very hard and tightly twisted inen 
 cord. The work consists principally of 
 elaborate fancy stitches (many of them are 
 given on Plates No. 62 and 63), which are 
 raised above the ground. The gromid is a 
 pale ecru linen, and the cord a darker biscuit 
 shade. 
 
1 50 Evibroidery 
 
 Plate No. 34. 
 
 Border of a petticoat. Acquired in Crete 
 (Turco-Greek ?), peasant's work. Eigh- 
 teenth century [2048 — 1876]. Of coarse 
 linen, embroidered with red silk in satin, 
 twisted-chain, and Oriental stitches ; a 
 narrow band with scrolls and blossoms set 
 between two horizontal lines, above which 
 are a series of scalloped-shaped groups of 
 ornament, these groups repeated in alterna- 
 tion on a geometrical basis formed with 
 conventional leaves and flowers (carnation), 
 with birds placed in every other shape. 
 Most of the Cretan embroideries consist 
 of borderings or banded designs for dresses, 
 and are made up of repeating ornament. 
 The flower and leaf forms are severely con- 
 ventional, the birds and figures being more 
 rudely drawn. These ornamental elements, 
 which are very limited in number, are con- 
 spicuously Oriental ; their arrangement in 
 the design is frequently varied according 
 to the taste of the worker, but she is always 
 faithful to the accepted traditional details 
 in the way of form, colour, and stitch. 
 
Plate No. 34. 
 
Plate No. 35. 
 
 ai^Ckt 
 
Description of Designs Illustrated 155 
 
 Plate No. 35. 
 
 Border of a petticoat. Acquired in Crete 
 (Turco-Greek ?), peasant's work. Eigh- 
 teenth century [2047 — 1876]. Of canvas, 
 embroidered with red silk in satin and chain 
 stitches. The pattern consists of a lower 
 band containing conventional ornament, 
 above which are figures of men and women, 
 with head-dresses and varied costumes, 
 dancing in groups of five ; fanciful cypress, 
 carnation, and other branches set vertically 
 between them. 
 
156 Embroidery. 
 
 Plate No. 36. 
 
 Prayer carpet. Persian, eighteenth cen- 
 tury [950 — 1889]. The whole of the ground, 
 of white hnen, is quilted with yellow silk, and 
 the design embroidered in chain stitch with 
 coloured silks, chiefly white, yellow, green, 
 and red. The border consists of a wide band 
 set between two narrow ones, each with a 
 waved, continuous stem, with blossoms in 
 the wavings. Similar floral scrolling and 
 leafy stem ornament fills the space beyond 
 the pointed shape at upper end, which is 
 edged with acanthus-leaf devices. The 
 main ground below the niche, or pointed 
 shape, is a blossoming plant, with evenly 
 balanced bunches of flowers, between which 
 are leaves formally arranged in a pointed 
 shape. 
 
Plate No. 36. 
 
 Carpet (Prayer). Persian, i8th Century [950-1889]. 
 
Plate No. 37. 
 
Description of Designs IlliLstratcd. i6i 
 
 Plate No. 37. 
 
 Border of cut linen, embroidered with 
 coloured silks and silver threads. Itahan, 
 late sixteenth century [225 — 1890]. The cut 
 forms are edged with a silver thread, fastened 
 with open button-hole stitches, with coloured 
 silks to the linen ; beyond this edging are 
 occasional loops of silver thread. The 
 fiov/ers, fruit, and bird forms are embroidered 
 solidly with coloured silks in long and short 
 stitches. The border is made up of a broad 
 band of repeated and reversed leafy scrolls, 
 flowers, and birds, with vertical stems be- 
 tween each pair of scrolls, arranged that no 
 ground of either meshes or intervening ties 
 are required. Attached to this broad band 
 is a narrow border, with a sort of Vandyke 
 edging, and repeated alternations of triple 
 stem devices, with pendant buds and blos- 
 soms. 
 
 To execute such elaborately cut linen great 
 care is required. One method, which is pro- 
 bably the simplest, is to embroider a small 
 portion of the design at a time, completing 
 the edge of each form before cutting away 
 the background. If the whole of the back- 
 ground is cut away before the embroidery is 
 done, the edges become frayed. 
 
 M 
 
l6: 
 
 Embroidery. 
 
 Plate No. 38. 
 
 Detail of cut linen, embroidered with 
 coloured silks and silver-gilt and silver 
 threads. Italian, late sixteenth century 
 [100 — 1891]. Near the edge of the cut forms 
 is a double silver-gilt thread ; then follows 
 an edging of green silk in button-hole stitch. 
 The stitch, while finishing the edge of the 
 ornament, is carried over the silver-gilt 
 threads, and secures them. This metal 
 thread is passed from one portion of the de- 
 sign to another, forming loops to assist in 
 uniting the whole pattern. The leaves and 
 flowers are partially worked in coloured 
 silks. The reproduction is the exact size of 
 the original specimen. 
 
Plate No. 38. 
 
 Detail of Cut Linen, embroidered with Coloured Silks and 
 
 Silver-gilt and Silver Threads. Italian, late 16th Century 
 
 [100—1891]. 
 
Plate No. 39. 
 
 Door-hangingf. Saracenic, 17th Century [53-1898]. 
 
Descriplioii of Designs I Illustrated. \ 6 7 
 
 Plate No. 39. 
 
 Door-hanging. Saracenic, seventeenth 
 century [53 — 1898]. In brick-red coarse 
 linen. The design is chiefly composed of 
 circular forms, cut away, and the openings 
 bound with piece silk on the cross ; the edges 
 have been turned in and hemmed. These 
 silks are deep indigo, pale blue, a light sage- 
 green, straw, and buff. There is an inter- 
 lining of thick canvas, and a dull red silk on 
 the reverse side. 
 
1 68 Embroidery. 
 
 Plate No. 40. 
 
 Back of a chasuble. Italian, seventeenth 
 century. 4 ft. \\ in. ; greatest length, 
 2 ft. II in. [58 — 1891.] The linen founda- 
 tion is entirely covered with various coloured 
 floss silks laid down and stitched over with 
 long parallel silk threads (couched). The 
 design consists of two large corresponding 
 leafy floral scrolls, each springing from a 
 calyx or cup of acanthus leaf, towards the 
 bottom of the chasuble, in the centre ; be- 
 tween the scrolls are two balanced groups 
 of triple stems, with flowers and leaves. 
 About the neck is a border with a wavy line 
 of leaves, and from the neck downwards, 
 across various scrolling stems, flowers, and 
 leaves, are two parallel yellow stripes, joined 
 at their lower ends by a short stripe. The 
 ground of the design is of white floss silk 
 laid down and couched. 
 
Plate No. 40. 
 
 Back of a Chasuble. Italian, 17th Century [58-1891. 
 
Plate No. 41. 
 
 Embroidered Panel, " Pomona." Designed by the late Sir E. Burne-Jones 
 and William Morris. Worked at the Royal School of Art Needlework 
 
Description of Designs Illustrated, 17 
 
 Plate No. 41. 
 
 Embroidered panel, " Pomona." Figure 
 designed by the late Sir Edward Burne- 
 Jones, and the background ornament by the 
 late William Morris. The figure is worked in 
 long and short stitch, with dull pinkish red 
 silks. The face and hands were painted by 
 the late Sir Edward Burne-Jones ; the large 
 leafy scrolls are in laid- work. For the small 
 underlying flowers and foliage long and short 
 stitch is employed. The grapes in the border 
 are padded. In this reproduction the scroll 
 work is more predominant than in the actual 
 work, and, in the writer's opinion, the scrolls 
 are too large in relation to the figure. 
 
I 74 Embroidery . 
 
 Plate No. 42. 
 
 Corner of a chalice veil. Italian, seven- 
 teenth century [573 — 1894]. On a ground 
 of cream-coloured silk, the design is em- 
 broidered in shades of yellow, orange, red, 
 blue, and green silks, laid * and stitched 
 down in split stitch, outlined with silver 
 cord. The formal leaves and flowers (chiefly 
 large tulips) are in eight groups, and radiate 
 towards the centre, in which is a small cross 
 in gold basket stitch. The floral groups are 
 tied with ribbons in laid work, the stems to 
 flowers, and scrolling bands connecting the 
 groups are in silver basket stitch. 
 
 Second example. — Border. Italian, seven- 
 teenth century [686 — 1891]. The pattern, 
 embroidered in long and short stitches with 
 coloured silks, on a brown square-meshed 
 net, consists of continuous floral scrolls, 
 arranged horizontally, and springing from 
 each side of a central stem surmounted by 
 a flower. The upper and lower edges are 
 worked with coloured silks in repeating 
 pointed tooth-shapes. 
 
 * Laid work, see ^%. I, Plate No. 57, and fig. 50, 
 Plate No. 68. 
 
Plate No. 42. 
 
 Corner of a Chalice Veil. Cream coloured Silk, embroidered with 
 Silk, Gold and Silver Threads. Italian, 17th Century [573—1894]. 
 
 Border of Brown Square meshed Net, embroidered with Coloured 
 Silks. Italian, 17th Century [686— 1891J. 
 
Plate No. 43. 
 
 Embroidery on Brown Silk Net. Italian, late i6th Century [631—1893]. 
 
Description of Designs Illustrated. 1 79 
 
 Plate No. 43. 
 
 Embroidery on a brown silk net. Italian, 
 late sixteenth century [631 — 1893]. Worked 
 in string-coloured linen thread with a re- 
 peating design, arranged in straight rows, 
 and consisting of a branch with stems and 
 leaves, separated by a label. The devices 
 on the second row are placed the reverse way 
 to those on the first and third rows. 
 
 This pattern is very similar in style to 
 those used on the dresses in the period of 
 Henry IV., Louis XIII., and Philip IV. of 
 Spain ; and also appear in the paintings by 
 Cornehus de Vos (1620). 
 
1 80 Embroidery. 
 
 Plate No. 44. 
 
 Portion of curtain or hanging. Italian, late 
 sixteenth century [5064 — 1859]. Of black 
 square-meshed net, embroidered with coloured 
 silks in satin stitch, with a pattern com- 
 posed of white and red flowers with green 
 leaves and stems arranged on a geometrical 
 foundation. It has a narrow border, slightly 
 scalloped, and figured with continuous stem 
 forms clothed with flowers and leaves. 
 
 Owing to the squareness of the mesh the 
 design has a certain rigidity which is generally 
 pleasant, where the petals of the flowers are 
 tipped with strong colours as in the flower 
 " A " in the illustration ; the straight lines 
 produced are too pronounced. 
 
Plate No 
 
 Pcrticn of a Curtain. Black, Square-meshed Net, embroidered with 
 Coloured Silks. Italian, i6th Century [5064—1859!. 
 
Plate No. 45. 
 
Description of Designs Illustrated, j 8 5 
 
 Plate No. 45. 
 
 Border for a chair back. Lacis work on a 
 netted foundation. 
 
 Plate No. 46. 
 
 There are two kinds of lacis work. In one 
 the pattern is darned on a netted foundation, 
 and in the other on a mesh of hnen. The 
 illustrations on Plates No. 45 and 46 are 
 on hand-made net. The design is simply 
 darned in linen threads. The stepping 
 outline gives a quaint, rigid character to the 
 forms, which has a distinctive value. The 
 square mesh is recognised, and no attempt 
 should be made to disguise it, as in the 
 enlarged detail on this plate, where the 
 outline of thick linen thread is taken through 
 the middle of the mesh when curved forms 
 are required. In this respect it is not so 
 satisfactory as the border on the preceding 
 plate. 
 
1 86 Embroidery. 
 
 Plate No. 47. 
 
 The specimen reproduced on p. 190 is worked 
 on home-spun hnen. It is necessary to choose 
 a fabric with an even warp and woof for 
 such work, which is executed in the following 
 manner : Tack the linen firmly on to a piece 
 of American cloth, which should be wider 
 than the work by an inch and a half on both 
 sides. Great care is necessary in doing this, 
 for if the threads are not straight when they 
 are drawn out, the squares of the mesh will 
 not be true. When cutting the threads, a 
 pair of pointed and very sharp scissors is 
 needed, also much care and patience, for a 
 wrong cut is easily made and not very 
 easily rectified. For ordinary patterns cut 
 two threads and leave two, raising the 
 threads about half an inch from where they 
 have been cut to help in guiding the eye. 
 A larger mesh may be required for bolder 
 designs, and in those circumstances the 
 judgment of the worker must be exercised 
 as to the number of threads to cut and to 
 leave. Draw the short threads out first, 
 then cut and draw the long ones ; it is well 
 not to have too long a piece in mesh before 
 
Plate No. 46. 
 
 i 
 
 -2* 
 
 4m' ' 
 
 Enlarged Detail of Lacis Work, on a Netted Foundation. 
 
Plate No. 47. 
 
 P'i|'»-..'-r?f.ll!«V.'« I 
 
 :f;:':l'^ • • - '■ ' . . ' 
 
 '.:3 mmimimimmmimimimmmmttm M:]^'6\: 
 
 ' i(«[iii!Mii)«>ii«{iiiiijiiiii(jifi*if 
 ^'Mimmim'.m wtmiH itmm>mtmii 
 
 ^ « - '^tiHi«iwJ«i«i«'aiiiiii|'t a 
 
 #'**' ii]pi»i»i»i»i«f<i'* j3 
 
 
 «i^ Mud' . ! 
 
 
 
 
 «iiii < « • « «#« g< 
 
 *t»fl >|k n ■* ♦»» 
 
Description of Designs Ilhistratcd, 1 9 1 
 
 drawing in the pattern, as the network is 
 liable to get out of order. Darn in the 
 pattern with a coarse thread ; Nos. i and 
 2 of Taylor's Mecklenburg thread are 
 suitable. To begin the darning, pass the 
 needle and thread through the overcasting 
 to the nearest stitch ; when some of the 
 pattern is worked, run the needle through the 
 darning, taking care that it is quite secure. 
 To do the network, begin at the left-hand 
 side and work diagonally, making two twists 
 round the threads each time. For this use 
 a fine thread ; No. 8 Taylor's thread is a 
 good size. It is not necessary only to 
 work in one colour ; a very good effect is 
 produced by twisting the net ground in 
 unbleached thread or coloured silk, and 
 sometimes a different coloured thread is 
 run round the edge of the pattern. With 
 regard to designs, many cross-stitch patterns 
 answer very well, taking into consideration 
 that as lacis work was very much used 
 in the seventeenth century, patterns of 
 that period seem the most suitable for the 
 purpose. 
 
192 Embi^oidery 
 
 Plate No. 48. 
 
 Child's linen cap, with bands of cut and 
 drawn work, and insertion of drawn-thread 
 and needle-point stitches. Sometimes called 
 " Reticella " work.* Italian, seventeenth 
 century [7522 — 1861]. The designs are 
 similar to those found on some English 
 samplers of the seventeenth century. Great 
 care has been bestowed upon the making 
 of the cap, and it is in every way a very 
 dainty little head-dress. 
 
 * Bone lace, net work, a net for the head. 
 
Plate No. 48, 
 
 t 
 
 
 ■:o: 
 
 
 ^ -«'. .♦/? 
 
 
Plate No. 49. 
 
 Detail from a 
 
 Muslin Collar, 
 
 in Drawn 
 
 Work and White 
 
 Embroidery. French 
 
 early 19th Century 
 
 [547—1903]. 
 
Description of Designs Illustrated, 197 
 
 Plate No. 49. 
 
 The detail, from a muslin collar on this 
 plate, is slightly smaller than the original in 
 the Victorian and Albert Museum [547 — 
 1903]. It is early nineteenth century 
 French work. The pattern is in drawn work 
 and white embroidery in cotton threads. 
 The dark parts in the illustration represent 
 the drawn work ; the flowers, small leaves, 
 and centres of large leaves are raised. The 
 rest of the fillings of the large leaves and the 
 banded form is worked in French knots with 
 a fine satin-stitch outline which is also 
 employed for the stems. 
 
 Plate No. 50. 
 
 The three examples of open-work fillings 
 here given are from a cream-coloured silk 
 apron, eighteenth century, English, in the 
 Victorian and Albert Museum [701 — 1902]. 
 X. This leaf form is filled with berries em- 
 broidered in pink silk in satin stitch. These 
 
1 98 Embroidery. 
 
 are connected with spiky stems in blue silk ; 
 for the outline a green silk cord is used. 
 Y. is an unusual flower form, the treat- 
 ment of which is very varied, yielding a 
 light, pleasing appearance, in the style 
 of the seventeenth-century examples of 
 English wool work. The lower part of the 
 flower contains a simple diaper, darned ; the 
 leaves are in satin stitch ; the upper part of 
 the flower is in green silk and worked in 
 embroidery and stem stitches, with a cord 
 of green silk for the outline. Z. This 
 flower has in the centre berries in plum- 
 coloured silk in satin stitch, with French 
 knots in white silk. The leaf branches, 
 which radiate from the centre, scalloped 
 form, have leaves in blue, white, and plum- 
 coloured silks, embroidered in satin stitch. 
 The stars are in blue silk ; the stitch employed 
 is sometimes called Leviathan stitch. The 
 silk is merely crossed on the surface of the 
 material, and is a variety of darning very 
 useful for backgrounds. The outline, as in 
 the other examples on this plate, is a green 
 silk cord, couched. 
 
Plate No, so. 
 
 Leaf and Flower Forms from Embroidered (Apron. English, 
 early i8th Century [701—1902]. 
 
Description of Designs Illustrated. 201 
 
 Plate No. 51. 
 
 The flower given below is an example 
 of English eighteenth-century work. The 
 
 m 
 
 original is embroidered in satin stitch with 
 orange and red silks on a linen ground. The 
 dark lines indicate the red, following which 
 
202 Emb7^oidery. 
 
 is the deep orange silk and then a paler shade 
 of orange. It is a spirited and very effective 
 method of working, and may be employed 
 quite successfully for simpler forms than the 
 flower here shown. The groups of stitches 
 must take a definite shape. To follow the 
 outline in crescent fashion is a good plan. 
 
 Plate No. 52. 
 
 Example of " Bargello work " (sometimes 
 called *' Florentine "). Italian, seventeenth 
 century. " Bargello work " is the name given 
 a form of tapestry — a solid kind of embroidery 
 with which the ground is entirely covered. 
 Cushion stitch is chiefly employed, and the 
 work is executed on a canvas foundation 
 either in floss silks or in fine tapestry wools, 
 with a blunt-pointed needle. Sometimes 
 coarse canvas is used, but more often small 
 point or single thread canvas. It depends 
 upon the pattern selected to be worked. 
 The original patterns are generally zigzag 
 bands dividing the ground into spaces, 
 which are filled in with geometrical designs, 
 or they may be simply powderings (as in 
 the example on Plate No. 53) ; these are often 
 
Plate No. S2. 
 
 Example ot Bargello Work (sometimes called " Florentine "). Italian, 
 17th Century. 
 
Description of Designs Illustrated, 205 
 
 outlined in black on a cream or white back- 
 ground. The pattern can be varied by 
 working over one or more threads at a time ; 
 the grounding is very often done in this way 
 in order to bring out the main lines of the 
 design. 
 
 A simple way of framing the canvas for 
 working, as it must not be stretched tight, 
 is to pin it on to an ordinary drawing-slate 
 frame, which has been padded and bound 
 over and over with calico to make a hold for 
 the pins. 
 
 Bargello work is quite straightforward and 
 easy to copy from the old patterns, but the 
 colours are often difficult to match. One of 
 the chief things to remember in working is 
 to pass the thread from one stitch to the next 
 underneath in such a manner that the first 
 stitch made is not pulled crooked or out of 
 place ; and great care must be taken in 
 copying to count the threads correctly, as 
 a mistake in one stitch puts the whole 
 pattern wrong. 
 
2o6 Embroidery. 
 
 Plate No. 53. 
 
 Example of Bargello work in cushion and 
 satin stitches. Itahan, seventeenth century. 
 In this pattern the powdering of flowers 
 is in cushion stitch, and the background 
 consists of a diaper in satin stitch. 
 
Plate No. S3. 
 
 
 s!:::::!:;::::i:!:i 
 
 Example of Bargello Work, in Cushion and Satin Stitches. Itahan, 
 17th Century. 
 
Plate No. 54- 
 
 Portion of a Coat. French, 
 
 Second Half of the 
 
 i8th Century [639A-1898J. 
 
Description of Designs Illustrated. 2 1 1 
 
 Plate No. 54. 
 
 Portion of a coat. French, second half 
 of eighteenth century [639A — 1898]. The 
 ground is of velvet and the design is 
 principally executed in very fine silk ribbon. 
 The stem and centre fibre of leaves are em- 
 broidered in silk threads. 
 
 Ribbon work has become a favourite form 
 of decoration during the last few years. 
 The best examples are of French workman- 
 ship. Their ribbon work has a lightness 
 and delicacy which we do not appear to be 
 able to impart to our work. Those speci- 
 mens executed in narrow ribbon, as in 
 the illustration here given, are the most 
 satisfactory. When the broad ribbon is 
 employed, the work assumes a coarse and 
 foolish fancy ; and the worker is warned 
 against using the wide material. Of the 
 two methods of working, that of carrying 
 the ribbon through the stuff is the best. 
 
2 T 2 Embroidery. 
 
 Plate No. 55. 
 
 An old Nottinghamshire smock. The 
 countryman's smock is now almost entirely 
 discarded by our villagers, which is to be 
 deplored. Apparently countrywomen have 
 lost the art of making them, or the de- 
 sire or use for them is dying out. No new 
 ones are to be found, and old ones are very 
 scarce. Possibly the introduction of agri- 
 cultural machinery has had something to 
 do with the smock being cast aside. Such 
 a garment would be dangerous to wear by 
 those tending machines. Each English 
 county had, for many years, its own particu- 
 lar style of smocking and method of decora- 
 ting this very useful and picturesque gar- 
 ment. In some cases the style of work and 
 patterns have been carried across the 
 borders from one county to another, and 
 the characteristics lost. Smocks were not 
 only worn by men, but by milkmaids. The 
 stitchery on some was very elaborate, Essex, 
 Buckinghamshire, and Dorset especially ; 
 others were comparatively simple ; but in 
 
Plate No. 55. 
 
Description of Designs Illustrated. 2 1 5 
 
 every instance they were decorated with 
 embroidery, as well as the smocking on 
 the front, back, and wrists. They were 
 made of coarse linen, mostly a pale, tawny 
 colour, but sometimes a dark blue was used. 
 The thread for smocking and embroidery 
 was like thick flax ; it might, in some cases, 
 be compared to carpet thread. There is 
 nothing to be had quite like it now. The 
 Nottinghamshire smock is a good type, well 
 planned, and very distinctive. The em- 
 broidery is executed entirely in feather 
 stitch. 
 
 Plate No. 56. 
 
 An old Oxfordshire smock. This is rather 
 simpler but none the less characteristic 
 than the Nottinghamshire example. The 
 treatment of the cuff and shoulder appears 
 to be pretty much the same in all 
 counties. The reason for this is plain — 
 it would be difficult to improve upon the 
 arrangement. The only variety occurs in 
 the detail. The Oxfordshire smock has 
 pockets with lappets, called by old country 
 folks " pocket lids." All the embroidery is 
 in feather stitch. 
 
2 1 6 Embroidery, 
 
 To the Fine Needlework Association the 
 writer is indebted for the loan of the two 
 examples here illustrated. This Association 
 makes smocking a special feature of their 
 work, and a very high standard has been 
 attained by them in this beautiful old 
 Englisli art. 
 
 I 
 
Plate No. 56. 
 
(219) 
 
 CHAPTER V. 
 
 IMPLEMENTS, APPLIANCES, AND 
 MATERIALS USED IN EMBROIDERY. 
 
 In all artistic handicrafts good workman- 
 ship is obviously an essential quality, and, 
 in ordinary circumstances, to obtain technical 
 excellence, good tools are necessary. The 
 embroideress requires but few tools and ap- 
 pliances, and these should be the simplest 
 and best that are made. 
 
 Needles. — It is a mistake to use a very fine 
 needle. The silk thread or crewel must pass 
 loosely into the eye. Unless the eye is re- 
 latively larger than the silk, it does not 
 make a sufficiently large hole in the material, 
 and the silk is then roughened and pulled out 
 of shape each time it is taken through the 
 too-small hole. 
 
 For general purposes needles known by the 
 name of long-eyed sharps are recommended. 
 When a thick twisted silk is being used, a 
 needle with a roundish eye is the most ser- 
 
2 2 o Efndroidery. 
 
 viceable. For darned net work (lacis work) 
 and canvas work, needles with blunt points 
 are the best. For gold work the needle 
 should have a long eye and a sharp point — 
 a " rug needle " is useful for carrying cord 
 through the material. 
 
 Thimbles. — Workers usually prefer ivory 
 or vulcanite thimbles. Both steel and 
 silver ones are used, but unless they are well 
 made or worn smooth, they destroy the 
 thread. Two thimbles are employed for 
 frame work. 
 
 Scissors. — Short, sharp, and finely pointed 
 scissors are the best. For cutting out work 
 a fairly large pair with one sharp and one 
 rounded point is required. 
 
 Frames. — The drawing given on page 221 
 illustrates a common type of frame. It con- 
 sists of two round pieces of wood, which have 
 a mortise at each end. Strips of webbing are 
 securely nailed along these, extending the 
 full length of the wood between the mortises — 
 to this webbing the work is sewn. For the 
 sides of the frame two fiat pieces of wood, 
 with holes pierced at regular intervals, are 
 used ; these pass through the mortises, and 
 the width of the frame is adjusted and the 
 work kept tightly stretched by means of 
 
Impleinents, Appliances, Materials. 2 1 1 
 
 metal pins, which are inserted in the holes by 
 each mortise. String is laced through the 
 material and round the flat side-pieces of 
 wood to stretch the work in the opposite 
 direction. 
 
 There is another kind of frame, which has. 
 
 Embroidery Frame. 
 
 in place of the flat laths with metal pins, 
 wooden screws fitted with movable nuts to 
 adjust the width of the frame. 
 
 A fixed stand for the frame is often used ; 
 they are very convenient, but not always 
 necessary. The worker can rest the frame 
 against a table, or on the back of a chair, if 
 she is not using a very large one. Trestles 
 
2 2 2 Embroide ry . 
 
 are employed to support the frame for big 
 work. 
 
 The frame must be wider than the em- 
 broidery by a few inches, all round ; the 
 work should never spread to the full width of 
 the webbing or the lacing. If a long, narrow 
 panel is being worked, the embroidery is 
 rolled on the round top and base of the frame, 
 only a small piece being exposed at a time 
 for the purpose of working. 
 
 A tambour frame is useful for small work 
 
 (see draw- 
 ing). It is 
 formed of 
 two rings, or 
 hoops, usual- 
 ly of wood, 
 but s o m e - 
 times of iron, made to fit closely one inside 
 the other. If metal hoops are used, they 
 must be covered with flannel or baize — a 
 strip wound tightly round. Occasionally 
 the wooden ones are covered in this way, 
 but is only necessary when they become 
 a little loose. They must fit well — there 
 should be only just enough room for the 
 inner hoop to pass through the outer one. 
 The stuff to be embroidered is placed over 
 
 Tambour Frame. 
 
Implements, Appliances^ Materials. 223 
 
 the small hoop ; the other one is then 
 pressed down over the material, which is 
 firmly stretched by this process. A screw is 
 sometimes used to fasten the hoops together 
 and to fix the frame to a table. 
 
 Piercers made of steel are used for piercing 
 holes in the material for the passage of gold 
 and all kinds of coarse threads. The broad 
 end of this instrument can be used to place 
 the gold in position, to make floss silk lie 
 flat, and in some forms of couching to arrange 
 the lie of the thread. 
 
 For transferring patterns to the material 
 the following articles are needed : 
 
 Prickers, a long needle for making the 
 pounce, a small sahle brush, Indian ink, 
 Chinese white, gum arahic, ox-gall, a tube of 
 flake white, one of lamp black (oil colours), 
 turpentine, white chalk and charcoal pow- 
 dered, and a small roll of flannel (about 4 
 inches wide) to serve as a pad for pouncing. 
 
 Materials. 
 
 Crewels. — Never take more than about 
 half the length of a skein in your needle. 
 If a long needleful is used, it is not only 
 wasteful, but liable to pull the work, and 
 become frayed or knotted before you have 
 
2 24 Embroidery. 
 
 used it all. Crewels manufactured with a 
 twist are considered unsuitable. No doubt 
 a twisted crewel wears better, but it tends 
 to produce a hard appearance, and in the 
 hands of an inexperienced worker the em- 
 broidery is rendered tight and severe by 
 its use. 
 
 The colours in the best quality crewels 
 are perfectly reliable, and will wash well, 
 provided no soda or strong soaps are used. 
 
 Tapestry wool is more than twice the 
 thickness of crewels. Useful for bold 
 designs. 
 
 Arrasene.'^ — A species of worsted chenille, 
 also useful for broad effects. It is made in 
 silk as well, but is inferior to the worsted. 
 
 Flax Threads.^ — This is a production of 
 comparatively recent date, which is glossy, 
 even, good in colour, and durable. This 
 thread has almost driven the old-fashioned 
 ingrained cottons out of the field. 
 
 Silks. t — That known as " bobbin silk," an 
 untwisted floss, is mostly used for fine work. 
 
 * Faudel's Glace Chenille is recommended for general 
 embroidery. 
 
 f The D.M.C. flax threads. Barbour's linen thread 
 and Peri-Lusta are all reliable. 
 
 X See Maygrove & Co.'s., Corticelli and the D.M.C. 
 lists. 
 
Implements, Appliances, Mateinals. 225 
 
 Filo floss is easier to work, as it has a slight 
 twist ; and the gloss is very beautiful. 
 The silk for general purposes is called 
 " embroidery silk." Purse silk is a tightly 
 twisted kind, excellent in quality, and much 
 used for ecclesiastical purposes. 
 
 Raw or Spun Silk. — A cream-coloured, 
 soft, untwisted silk. 
 
 Filoselle is an inferior quality of silk ; 
 nevertheless, it can be used for many different 
 kinds of work. But when silk or satin 
 grounds are employed, always work with 
 the best silk. 
 
 Tussore. — A wild silk of India. Can be 
 produced for less than half the price of 
 the cultivated silk of Italy, China, and 
 Japan. 
 
 Gold and Silver Threads,^ etc. 
 
 There is a good deal of " Japanese gold 
 thread " used both in ecclesiastical as well 
 as domestic work at the present time. Where 
 silk embroidery calls for a gold outline, the 
 Japanese gold answers that purpose well. 
 When the best gold is desired, the following 
 list may be of some assistance : 
 
 Passing. — A bright, smooth thread. 
 
 * See George Kenning & Son's lists, 
 
 Q 
 
2 26 Embroidery. 
 
 Tambour. — Like " passing," but finer. 
 
 Rough Purl. — Dull. 
 
 Smooth Purl. — Bright. 
 
 Check Purl. — Rough and sparkling. 
 
 Pearl Purl. — In effect like small beads 
 strung together. 
 
 Bullion. — The larger sizes of '' purl." 
 
 Plate. — A flat gold about xV in. wide. 
 
 There are gold-twisted cords of various 
 thicknesses. 
 
 Purl may be either in gold or silver. It 
 is made in a series of continuous rings rather 
 like a corkscrew. Can be cut at the required 
 lengths, threaded on the needle, and fastened 
 down as in bead work. 
 
 Plate is a narrow, flat piece of gold or 
 silver, about xV inch wide, and is stitched to 
 the material by threads of silk, which pass 
 over the metal. 
 
 Gold and Silver Passing and Tambour. — 
 Fine kind of threads. Can either be used 
 for working through the material, or laid 
 and couched in the usual way. 
 
 Precious stones, pearls, beads, and disks 
 of gold are skilfully used, but great care and 
 judgment must be exercised in their applica- 
 tion. The " Letter-bag" shown on Plate 
 No. 17 has clusters of pearls and concave 
 
Implements y Appliances, Materials. 227 
 
 disks of gold applied in conjunction with 
 gold threads. 
 
 Spangles and Sequins. — Sometimes of pure 
 gold. There are a number of various col- 
 oured metal spangles and sequins. 
 
 Fabrics used as Grounds for 
 Embroidery. 
 
 Linen. — Hand-made linens are the best. 
 The textures are most beautiful, and, as a 
 rule, the colours are good and in every way 
 admirable for embroidery purposes. Among 
 the ordinary machine-made linens there is 
 no difficulty in finding all shades and 
 qualities. When there is dressing in the 
 linen, it is advisable to boil it well before 
 commencing the embroidery. The un- 
 bleached linen known as " flax " is satis- 
 factory as a ground for needlework, and the 
 twilled linens, especially " Kirriemuir twill," 
 are excellent for crewel work. Sail-cloth is 
 a stout, yellow-coloured linen. Oatmeal 
 linen is finer and of a greyer tint than oatcake 
 linen. Smock linen is a strong, even, green 
 fabric. 
 
 Serge, soft or super serge, carries embroidery 
 well. 
 
 Cricketing flannel is a fine creamy colour. 
 
2 28 Embroidery . 
 
 soft, and can easily be worked in the 
 hand. 
 
 Felt is used, but only very seldom, for 
 altar-cloths and curtains. 
 
 Diagonal Cloth, for table linen, curtains, 
 etc., is occasionally chosen by workers. 
 
 Genoese velvet is very rich in colour and 
 quality for grounds. It should be '' backed ' ' 
 with a cotton or hnen lining if it is to be 
 heavily embroidered. Velveteen is employed 
 for some purposes, and Utrecht velvet at 
 times for crewel or tapestry wool embroidery. 
 Velvet- face cloth is a rich plain cloth, without 
 gloss ; suitable for altar-cloths. 
 
 Silks and satins are usually embroidered 
 in a frame. Both are very beautiful as 
 backgrounds, particularly the ribbed and 
 patterned silks, which are called into service 
 for many kinds of embroidery. 
 
 Tussore and Corah silk grounds are very 
 charming and delicate, but they will only 
 carry light embroidery, in silk. 
 
 Silk Sheeting. — Of good quality, suitable 
 for piano coverings, panels, etc. Can be 
 embroidered in the hand. 
 
 Brocades are admirable for grounds. The 
 patterned surface, if well chosen, gives 
 a pleasant contrast to the embroidery. 
 
Implements, Appliances, Materials. 229 
 
 There are also a number of silk and linen 
 mixtures procurable which are suitable 
 grounds for embroidery. 
 
 Dorneck. — A name given to an inferior 
 kind of damask wrought of silk, wool, linen 
 thread, and gold in Flanders. Towards the 
 end of the fifteenth century it was used 
 much for church furniture. 
 
 Cloth of Gold and Silver. — Chiefly used 
 for heraldic and ecclesiastical embroidery. 
 
 Bandekin. — That sort of costly cloth-of- 
 gold which took its famous name from 
 Baghdad. 
 
 Saniit or Examitur. — A six-thread silk stuff 
 preciously interwoven with gold threads. 
 
 Transferring Designs. 
 
 The transferring of designs on to the 
 material is at no time a very easy occupation, 
 and is certainly one which most people 
 prefer to have done for them. However, 
 it is necessary ; and it should be done by the 
 designer or embroiderer. There are several 
 methods. First, there is the old and much- 
 used pouncing method. Trace the design 
 on a fairly tough piece of tracing-paper, 
 place the tracing on a fold of flannel ; with 
 a needle prick out all the lines, making as 
 
230 Embroidery. 
 
 many as eighteen or twenty holes to each 
 inch. If the two halves of the design are 
 exactly alike, fold it down the centre, and 
 so prick both at once. Then place this 
 pricked tracing on the material you are to 
 embroider, roll a long strip of flannel, about 
 4 inches wide, very tightly into a solid 
 cylindrical shape, to use as a pouncer. If 
 the material is light in colour, use finely 
 powdered charcoal ; if dark, use fine French 
 chalk, and with the roll of flannel rub the 
 powder through the small holes. Then 
 remove the tracing very carefully so as not 
 to smudge the powder, and with a fine brush 
 draw in the lines made by the powder, using 
 Chinese white, with a little gum arable to 
 make it stick, and a little ox-gall to make 
 it run 'smoothly. If black is required, use 
 lamp-black or Indian ink ; sometimes flake 
 white or ivory black (oil colours) are used, 
 thinned with a little turpentine. 
 
 Another method is that with tarlatan. 
 Trace the design accurately on to rather 
 fine tarlatan. Then pin it out tightly and 
 evenly on the material you are to embroider, 
 and go over the lines with a drawing-pen or 
 a brush, with Indian ink or Chinese white. 
 This method is not difiicult, but requires 
 
Implements, Appliances, Materials. 2 
 
 infinite care. See the tarlatan does not slip 
 out of its proper place. 
 
 The third plan is to put transfer paper 
 under your design, on a firm, hard surface, 
 and with a knitting-needle, agate, or steel 
 tracer, go over the lines very evenly. 
 
 Drawn Thread Work. 
 
 Stitches. — The withdrawing of either the 
 warp or woof threads of a linen or cotton 
 material within certain narrow bands or 
 squares, and gathering together in groups 
 the remaining threads by darning or with 
 overcasting stitches, is one of the most 
 modest forms of ornamental needlework. 
 For table linen, pillow cases, towels and 
 suchlike articles of every-day use, these un- 
 pretentious little patterns always seem right. 
 Apart from the fitness of this unaffected 
 kind of decoration, drawn thread work wears 
 well, provided simple and not particularly 
 open patterns are used. Some elaborate 
 designs are produced in this class of needle- 
 work — in fact, it can be made as fine as 
 delicate lace, and in this form it is frequently 
 employed in the ornamentation of costumes. 
 Drawn work, carried to a lace-like and dex- 
 
232 Embroidery. 
 
 terous stage, is dealt with in handbooks 
 specially devoted to the work. On Plate 
 No. 45 a significant type of design in 
 lacis work (suitable for drawn work) is 
 shown, and on Plate No. 47 a similar piece 
 of ornament is given, and the method of 
 working described on page 188. Of the 
 banded or insertion group the one here 
 shown claims the attention of the worker 
 
 Drawn Thread Border, from an old 
 Egyptian Example. 
 
 on account of the unusual course adopted in 
 edging the drawn work. The drawing has 
 been prepared from an ancient Egyptian 
 example in which the stitching is executed 
 in two colours on a very loosely woven fabric. 
 In order to make the diagram of the greatest 
 use to the worker, the woven threads have 
 been represented much more open than 
 they are in the original ; the solid black 
 parts indicate the piercings. 
 
 This interesting fragment is worked in 
 
Implements, Appliances, Materials. 233 
 
 Threads are first 
 about \ inch, and 
 introduced in the 
 embroideress has 
 edge threads by 
 the " hem " and 
 
 \ 
 
 f STITCH. 
 
 the following manner, 
 removed to a depth of 
 where the hem stitch is 
 usual way, the ancient 
 divided and secured the 
 a stitch which combines 
 "back" stitches 
 of ordinary 
 plain sewing. 
 
 The accom- 
 panying d i a- 
 gram will show 
 the two pro- 
 cesses w h i c h 
 form the stitch. 
 
 It will be seen that the needle was inserted in 
 the drawn space, pointing obliquely upw^ard. 
 Four threads were taken upon it, counting 
 upward, and four, counting from the right to 
 left (stitch i). Having drawn the needle and 
 thread through, a horizontal stitch was made. 
 For this the needle was inserted four threads 
 to the right of its last point of exit, and 
 brought up to this point again (stitch 2). 
 At the end of the border two rows of this 
 stitching appear, worked one within the 
 other, and forming a little " brick " pattern. 
 This, however, is not shown in the diagram. 
 
 Stitches for working- the Edge of 
 Drawn Thread Border. 
 
2 34 Embroidery. 
 
 Having secured the edges in this way, 
 the worker darned the groups of threads in 
 alternate masses of yellow and red. Starting 
 at the edge of the border, she darned two 
 groups of four threads together. Halfway 
 across she included a third group, and darned 
 the three together to the other edge. Then 
 she passed her needle down the darning of 
 the last group to the central point where it 
 began, and worked back again to the first 
 edge, connecting the undarned half with 
 two more groups. Once more the needle 
 was passed to the middle, and the unworked 
 halves of the two last groups were darned 
 together to the other edge. 
 
(^35) 
 
 CHAPTER VI. 
 
 ECCLESIASTICAL AND HERALDIC 
 NEEDLEWORK. 
 
 The noblest and most perfect examples of 
 ecclesiastical needlework produced in olden 
 times reveal the decorative value of gold 
 and silver threads. In some instances the 
 work is executed entirely in threads of 
 precious metal, but mostly such threads 
 are employed in conjunction with coloured 
 silks. The earliest preserved specimens of 
 Anglo-Saxon needlework of this kind are to 
 be found in the library of Durham Cathedral. 
 They consist of a stole and maniple which 
 were taken from the tomb of St. Cuthbert 
 in 1826-7. The embroidery is in blue, 
 green, red, and purple silks, with gold threads 
 on a linen ground. They bear inscriptions 
 which dispel all doubt as to the date of the 
 work, and definitely state that the order 
 was given for Bishop Fridestan by Queen 
 Aelffiaeda. Another and more important 
 
236 Embroidery . 
 
 piece of embroidery is the dalmatic of Charle- 
 magne, which is considered to come first 
 and rank highest among ecclesiastical needle- 
 work — said to belong to the eighth century 
 — and is wrought mostly in gold. Fragments 
 of gold thread embroidery of historical in- 
 terest were found in the cofhn of William de 
 Blois (1218-36), and some very elaborately 
 executed gold work from a vestment — be- 
 lieved to have been worn by Bishop Walter 
 de Cantelupe (1236-66) — belonging to the 
 Dean and Chapter of Worcester, give further 
 proof of the splendours and extravagance in 
 ancient gold thread needlework, and of 
 the skill bestowed upon this phase of the 
 craft. There is no question of the orna- 
 mental value of gold and silver in ecclesi- 
 astical and heraldic work. The dalmatic, 
 or vestment, can be ornamented entirely in 
 gold on purple, scarlet, blue, and the richest 
 coloured fabrics, without the slightest fear 
 of gaudiness or vulgarity. As a medium 
 for bringing strong contrasting colours into 
 harmony, gold cannot be beaten. For 
 domestic decoration it must be used with 
 the greatest reticence. 
 
 The designer for church and heraldic work 
 is called upon to treat his figures, animals, 
 
Ecclesiastical Work. 237 
 
 and symbolic ornament with severity. The 
 objects must read clearly at once in a 
 firm and graphic manner ; frequently a 
 rich, bold outline in necessary. To the 
 practical artist in the different branches of 
 ecclesiastical decoration, an acquaintance 
 with Christian symbolism is all important. 
 
 In the most expressive periods of heraldic 
 art gold thread was largely utilised in 
 needlework. Without these precious fibres 
 heraldic embroidery would lose much of its 
 stately beauty, and fail in conveying its 
 meaning so forcibly. Heraldic signs are 
 often the only clue to authorship ; they may 
 furnish the lost link in a broken pedigree, or 
 unravel an entangled point in family history. 
 The heraldic patterning on the orphrey of 
 the Syon Cope (Plate No. 21) — independent 
 of its ornamental beauty — throws some light 
 upon the early history of this remarkable 
 vestment. 
 
 We read that " Cromwell produced in the 
 House of Lords, by way of evidence against 
 the aged Countess of Salisbury, a vestment 
 (probably a chasuble) of white silk that had 
 been found in her wardrobe, embroidered 
 in front with the arms of England, sur- 
 rounded with a wreath of pansies and mari- 
 
238 Embroidery , 
 
 golds, and on the back the representation of 
 the Host with five wounds of our Lord, and 
 the name of Jesus written in the midst. 
 The peers permitted the unprincipled minister 
 to persuade them that it was a treasonable 
 ensign ; and as the countess had corres- 
 ponded with her absent son (Cardinal Pole), 
 she was for no other crime attainted for high 
 treason, and condemned to death without 
 the privilege of being heard in her own 
 defence.* 
 
 The old heraldic designer emphasised the 
 striking features of the objects he repre- 
 sented ; nothing is left vague or indefinite. 
 The bold characteristics of the creatures he 
 pictured have become signs of great historical 
 importance. 
 
 The modern embroideress approaches the 
 subject of heraldry with doubt and mis- 
 givings, and unless she has acquired some 
 knowledge of the work, there is very good 
 reason for her moving cautiously. It is 
 well to secure the services of a student in the 
 art, if there is the slightest fear, for great 
 care must be exercised in the using of these 
 signs which convey so much meaning. 
 
 * Miss A. Strickland's " Queens of England," 
 iii. p. 68. 
 
Ecclesiastical Work. 239 
 
 The imaginative symbols of spiritual ideas, 
 and the qualities assigned to some of them, 
 are explained in the chapter commencing on 
 page 36. 
 
(240) 
 
 CHAPTER VII. 
 
 STITCHES. 
 
 A GOOD design may lose much of its beauty 
 and character, in embroidery, by an in- 
 judicious selection of stitches. It is difficult 
 to say just where the charm and interest 
 produced by the texture in stitching rests ; 
 and it is not easy to learn. Careful observa- 
 tion and experience are needed ; and if 
 there is a natural gift for the work, it is all 
 the better. But the worker can rest assured 
 that these qualities do not lie in the novelty 
 and variety of the stitches employed, for the 
 most common and simplest are the best ; and 
 while some of these answer certain purposes 
 and those only, there is still great scope for 
 the worker's judgment and taste in the 
 choice of stitch and method of execution. 
 The first step is to make a general survey of 
 the stitches, learn the ordinary straight- 
 forward kinds, and the others, which are 
 merely variations and elaborations of the 
 simpler structural kinds, will follow if the 
 worker perseveres. When a certain stitch is 
 called by two or three different^names, the 
 writer has attempted to give all of them in 
 
Stitches. 241 
 
 the text. But much confusion has arisen 
 with regard to the distinguishing names 
 which it is impossible to remedy, for we find 
 accepted authorities referring to the same 
 stitch by his or her own special name. 
 
 The following stitches are all either in 
 general use or recognised as good from much 
 experience, or they are taken from old work 
 in the Victoria and Albert Museum. 
 
 Stitches (such as figs. 19, 20, 23, 26, 27, 
 28, and 31) which depend partly for their 
 charm on the twist of the knot or interlace- 
 ment being seen, are best worked in some 
 tightly twisted silk. It has been necessary 
 to draw many of the stitches with an appear- 
 ance of greater openness than is evident 
 in their actual state, for otherwise the inter- 
 lacing and position of the thread would not 
 have been clearly visible. 
 
 Never use very long needlefuls ; and see 
 that the eye of the needle is large enough to 
 take the silk easily, otherwise the silk or 
 wool is rubbed and roughened in its passage 
 backwards and forwards through the 
 material. When the work is executed in 
 the hand without the use of a frame, the 
 material must be held in a convex position 
 over the fingers, so that the silk, flax thread, 
 • R 
 
242 Embroidery, 
 
 wool, or other fibre with which the design 
 is being embroidered shall be looser, when 
 the stitch is made, on the surface than the 
 foundation material. These remarks apply 
 generally to all embroideries worked in the 
 hand, and, if carefully observed, will aid in 
 preventing the pulling or puckering of the 
 work. 
 
 The simplest types of stitches which can 
 be worked in the hand are stem stitch,* 
 split stitch, satin stitch, embroidery stitch, f 
 buttonhole stitch, blanket stitch, knotted 
 stitch or French knots, bulHon knot, the 
 chain stitches, cross stitch, and darning. 
 
 The frame should be used for laid work, 
 couching, applique, and all solidly stitched 
 designs. A much more even effect is ob- 
 tained by its use, and in the general way it 
 is utilised for working the whole range of 
 stitches. After learning the outline, border, 
 and diaper groups of stitches in the hand, 
 it is well to take to the frame ; and the worker 
 will find, when she has become accustomed 
 to its use, she can do most of her work better 
 in the frame than out of it. 
 
 * Also called crewel stitch. 
 
 t Also called long-and-short stitch, plumage 
 stitch, and feather stitch (Opus Plumariurn). 
 
Plate No. 57. 
 
 ^ 1 
 
 UU. 1 ^- 
 
 ftAfK. 
 
 1 um ^«K«^ 
 
 
 SfUT f««.P'P«WHW.TrtjrUT 
 
 STCM ^T«TCH. 
 
 STITCH. 
 
 -HatfcSiTtH. 
 
 M-Ly, 
 
 //// 
 
 ftOTToH-HOyEL 
 
 »T.TCH. 
 
 Hr)rM 
 
 TeNT-ST,TCH 
 
 fibiigiiii^i 
 
 Slf^Pte CROSS STJTCH. 
 
 
 -7^^ 
 
 -KNOT. 
 
Stitches. 245 
 
 Plate No. 57. 
 
 Stem Stitch (fig. i). — The first stitch 
 usually taught to beginners. It is one of the 
 simplest, and a most useful stitch for work 
 done in the hand. Each stitch should 
 follow on a line in a slanting direction — a 
 long stitch forward on the surface, and a 
 shorter one backwards on the underside of 
 the fabric. 
 
 A prominent place is given stem stitch as 
 an outline stitch, although it is frequently 
 used for gradated and flat fillings and 
 especially for crewel work — hence the name, 
 " crewel stitch," by which it is also known. 
 Whether used for covering a surface or as 
 an outline, the working is exactly the same 
 in each instance. When employed for 
 solid work, the stitches run in rows, like a 
 number of lines placed close enough to cover 
 the ground, but the}^ must not overlap in 
 any way. This stitch yields a very decora- 
 tive effect when worked in gradated colours. 
 Two or three rows of the lightest colour are 
 sewn, and then follow a few fines of each 
 
246 Embroidery. 
 
 shade in order to the darkest one. See 
 examples on Plates Nos. 4 and 5. 
 
 Back Stitch (fig. lA, given below), for 
 line work, is especially useful when a thin 
 delicate line is required. The diagram ex- 
 plains the working. It will be seen that the 
 needle enters the material at the point where 
 the last stitch finished and is brought through 
 a little beyond (not more than ^ inch) where 
 it came out in making the previous stitch. 
 
 lA.— Back Stitch. 
 
 Split Stitch (fig. 2). — Also used for line 
 work, sometimes for holding the silk in its 
 place in laid work (see fig. 3), and occasionally 
 for solid work. In many historical examples 
 of needlework draperies are executed entirely 
 in split stitch, and in some instances the 
 flesh as well. It appears very much like a 
 fine chain. The working is easy ; an ordinary 
 stitch is taken on the line required and the 
 thread is brought up through this stitch, 
 which it splits in passing, as the name implies. 
 
Stitches. 247 
 
 Rope Stitch (fig. 4). — Useful for giving a 
 thick, raised line when it is closely worked. 
 Put the needle through on the edge of the 
 line to be worked, and bring it out on the 
 other edge in a slanting direction ; hold the 
 thread down on the surface with the left 
 hand, and, where the point of the needle comes 
 through, the loose thread passes under. To 
 make a solid bold line, it is necessary that 
 the needle should be put in as close as possible 
 to the top of the preceding stitch. 
 
 Buttonhole Stitch (fig. 5) is familiar to 
 every one. The w^orking can be clearly seen 
 by the diagram. 
 In the drawing it ^^^''''^v^ 
 is represented ^^^^ "i T^r'^>*fc. 
 rather open ; both ^ H V ^^ 
 
 open and closed it / Iflll I \ 
 
 can be used effec- \ \\ / / 
 
 tively. The spacing \ \\i^^i -^ 
 
 can also be varied ^^J — ^ 
 in many ways ; two 
 stitches together, 
 
 ,. _ 5B.— Tailor's Buttonhole Stitch. 
 
 then a space and 
 
 two stitches again falling alternately, makes a 
 good edging. Further, by changing the direc- 
 tion and crossing the stitch, working one over 
 the other, as in fig. 5A, an interesting border 
 
248 Embroidery, 
 
 is made. For open fillings of leaves, flowers, 
 and all kinds of spaces, buttonhole stitch is 
 very serviceable. Numerous effects are ob- 
 tained by working the stitches in rows. A 
 solid filling with this stitch is given by closely 
 working each row into the heading of the 
 previous one. The stitches only enter the 
 material in the first row and at the ends of 
 each successive row, on the boundary line 
 of the form being filled. The tailor's method 
 of making buttonhole stitch with an extra 
 knot in the heading is strong and very de- 
 corative (see fig. 5B, page 247). 
 
 French Knots (fig. 6). — After the thread 
 is brought through the material, the silk is 
 twisted twice round the needle, whilst hold- 
 ing it tightly with the left finger and thumb. 
 Then put the needle in again near the point 
 it came out first and draw the silk through, 
 only releasing it with the left finger and 
 thumb as it tightens in the pulling. The 
 number of twists round the needle can be 
 varied ; two turns are usual. 
 
 This knotted stitch does not seem to be 
 confined to any country. Though much 
 favoured by Oriental needle-workers, we 
 find it in Spanish, Italian, and old English 
 work. It is employed in the last named 
 
Stitches. 
 
 249 
 
 for rendering the foliage of trees and 
 shrubs. 
 
 The rose here illustrated (from Chinese em- 
 broidery) is entirely in French knots in three 
 shades of silk. 
 
 Rose in French Knots. 
 
 Another variety of knotted stitch which 
 resembles bullion is Bullion Knot (fig. 6a). 
 A stitch is taken into the material the length 
 of the roll required ; the thread is then 
 twisted perhaps seven or eight or more times 
 round the point of the needle, which is with 
 
250 Embroidery. 
 
 great care drawn through the coil made by 
 the twists, the left thumb being placed 
 lightly upon the coil during the process. 
 The needle is then inserted again in the place 
 where it first entered the material. In other 
 words, you treat the thread in the same way 
 you would bullion or purl. 
 
 Tent Stitch* (fig. 6b), like cross stitch, is 
 usually worked upon an open web, net, or 
 coarse canvas ; but it does not follow that 
 the worker is forbidden to use either of the 
 stitches on fine-textured materials. In 
 makmg tent stitch on an open mesh, the 
 needle is stepped diagonally from one thread 
 of the fabric to the next in a line. It is the 
 first half of the cross stitch. 
 
 Cross Stitch f (fig. 6c). — A regular and even 
 cross on the surface. See Plates No. 30 and 
 32. 
 
 * Called canvas stitch and cushion stitch (Opus Pul- 
 vinarium). Gobelin stitch is a variety of tent stitch. 
 When worked on canvas, the needle is taken over two 
 threads each time instead of one, as in tent stitch. 
 
 f Called mosaic stitch, canvas stitch, and cushion 
 stitch. The cushion or canvas stitch group is rather 
 confusing with regard to the various names by which 
 they are known. They are called Hungarian, Spanish, 
 Florentine, Bargello, Parisian, Moorish, Milailese, 
 Gobelin, Cashmere, or Indian, Irish,. Holbein, and 
 Rococo. 
 
Plate No. 58. 
 
Stitches, 253 
 
 Plate No. 58. 
 
 Figs. 7 to II on this plate illustrate stitches 
 which can be worked in the hand or the 
 frame. They are all suitable for narrow 
 bands or borders, when a braid-like effect is 
 sought. 
 
 Figs. 7 and 8 are worked along the finger 
 from left to right, the needle always pointing 
 downwards. They can both be worked 
 openly to show the ground between the 
 stitches, or closed. 
 
 Figs. 9 and 10 * are worked across the 
 finger, the needle always pointing on the 
 slant towards the centre from the left and 
 right alternately. 
 
 Fig. ii.t — Also held towards the worker 
 across the finger, the needle pointing from 
 right to left downwards in a slanting direc- 
 tion and upwards alternately. 
 
 * Called plait or Cretan stitch. 
 \ Called Roumanian stitch. 
 
254 
 
 Embroidery. 
 
 Plate No. 
 
 59- 
 
 Chain Stitch (fig. 12) is made by taking a 
 stitch downwards, and before the needle is 
 drawn out of the fabric, the silk is brought 
 round towards the worker and under the 
 point of the needle. Chain stitch is found in 
 
 Leaf outlined and veined in Chain Stitch. 
 
 the earliest examples of ornamental needle- 
 work. It has been used at all times, for all 
 purposes. There are a quantity of examples 
 amongst the Persian and Indian work in 
 the Victoria and Albert Museum, where the 
 
Plate No. 59. 
 
 J &I\CK.. 
 
 s«?yftft£<H«JN -cLostr*. 
 
 or£H , 
 
 /\ aacK, 
 
 / I I 
 
 
 SfVTtH 
 STiTCH, 
 
Stitches. 257 
 
 ground is filled in solidly with chain stitch. 
 In these embroideries the stitch has been 
 executed on the tambour frame with a 
 crochet-hook, which replaces the needle. A 
 regular and mechanical result is produced 
 by this method, and the worker will find it 
 is more satisfactory not to use the crochet- 
 hook, but to be content with the needle for 
 working this stitch. 
 
 A good border is made by square chain, 
 worked openly or closed (see figs. 13 and 
 14). To commence these stitches two parallel 
 lines are marked on the material, and 
 the needle is taken through from one 
 to the other, the thread being looped under 
 the point of the needle as it comes out 
 of the fabric each time. Figs. 12, 13, 14, 
 are all worked on the same principle, as will 
 be seen by the diagrams. 
 
 When variety in line is demanded, the 
 chain can be arranged as a zigzag, worked 
 between two traced lines, as in figs. 13 and 
 14. One link slants across and the other 
 back, up and down. 
 
 Herring-hone (fig. 15). — A stitch well 
 known to the seamstress, and very easy to 
 work. Imagine two parallel lines marking 
 the width of the space to be filled with the 
 
258 Embroidery. 
 
 stitch, bring the needle through on one Hne, 
 pass over to the other hne and insert the 
 needle a little in advance of where it came 
 out on the first line, take up about an eighth 
 of an inch of the material, draw the needle 
 through, pass over to the opposite line, and 
 repeat the stitch farther along, and so on from 
 side to side. On the back of the material 
 the effect is that of two rows of back stitch. 
 
 Overlapping K erring-hone (fig. 16) is 
 worked on the same lines. A longer stitch 
 is made each time ; the method of over- 
 lapping is explained by the diagram. 
 
 Satin Stitch (fig. 17). — This is apparently 
 the most simple of stitches, but is really 
 quite one of the hardest to do well ; the 
 edge must be so accurate, the stitches be 
 made to lie so evenly, and the slope and its 
 change of direction be so gradual, that it 
 taxes at first the patience of the worker. 
 However, once it has been mastered its charm 
 is great, and few stitches equal it for severity. 
 It shows to the best advantage the beauty of 
 the silk and its gloss. The same amount of 
 silk or crewel remains on both back and 
 front of the work ; it is, therefore, not the 
 most economical stitch. 
 
 The sketch represents an ordinary kind of 
 
Stitches. 
 
 259 
 
 filling in which the stitches run parallel to 
 each other. When the space to be covered 
 is tapering in form and the stitches are to be 
 directed towards the point, great care is 
 needed in radiating the lines of the stitches. 
 There is also a method of dove-tailing 
 stitches, when several shades of silk have to 
 be used for the petal of a flower — as in the 
 rose here illustrated — or when rows of stitches 
 are employed to suggest the overlapping of 
 petals. It is also necessary to adopt this 
 way of working if the surface to be covered 
 with satin stitch is a large one. 
 
 Rose in Satin Stitch. From a Silk Cover, Chinese. 
 
26o Embroidery. 
 
 Plate No. 6o. 
 
 Figs. i8 and 19 both illustrate useful 
 stitches for line work. These, with " snail- 
 trail " (fig. 21), are referred to as " German 
 Knot " and " Running Knot " by some 
 workers. The sketches explain the working 
 of each stitch. 
 
 Single Coral (fig. 18) with buttonhole each 
 side makes a good narrow border. 
 
 Tied Coral (fig. 19). — Leave (A) rather 
 loose, so that when {B) is pulled (^4) makes a 
 three-cornered knot. 
 
 Bead-edging or Braid Stitch (fig. 20). — 
 This, like figs. 18 and 19, is worked almost 
 entirely on the surface, the back in each case 
 being very simple. When carried out in a 
 thick twisted silk it is very rich and braid- 
 like in appearance. 
 
 Snail-trail (fig. 21). — The same principle 
 as single coral, only worked more on the 
 slant. 
 
 Darning (fig. 21A). — Ordinary plain darn- 
 ing openly worked, as is here shown, is the 
 easiest and most straightforward kind of 
 
Plate No. 60. 
 
 ^¥^ I I I I 
 
 SIH61.E COfCfVL- »^CK 
 
 -(N^ II I 
 
 af\CK. 
 
 BmpLtpGIKG* 
 
 / SNftlL-Tf^^iL 
 
 
Stitches, 26 X 
 
 diapering ; and for the purpose of space- 
 filling, when a light effect is wanted, it is 
 very valuable. Occasionally French knots 
 are introduced between each row of stitches, 
 and at times the darning is varied by using 
 a long and a short stitch alternately. The 
 lines of stitches can be taken in a vertical or 
 horizontal direction, or at an angle, or effec- 
 tively worked with the rows slightly radiat- 
 ing. When the stitches are carried across 
 in the form of a net, little additions to the 
 pattern are made by working a French knot 
 in each square created by the crossing, or 
 small stitches are taken diagonally across 
 the corners of the network squares. Two 
 examples of fancy darning are given on 
 Plate No. 71, figs. 69 and 70. The best results 
 are obtained when a fairly thin thread is 
 used. If the work is to be executed on a very 
 fine material, it is difficult to adopt the 
 usual method of counting the threads for 
 each stitch and space for these geometrical 
 patterns. But it is well to count the threads 
 when possible, or to keep the pattern regular 
 by marking a few points for guidance in the 
 stitching. See that the marks are only in 
 places that will be covered by the stitches. 
 The ingenious worker takes great pleasure 
 
264 Bmbividery. 
 
 in creating delicate diapers and dexterous 
 fillings in darning, and finds still greater 
 play for her taste in placing these patterns in 
 their proper positions in her work. Con- 
 trast of texture and tone are all important 
 in the balancing of a design. 
 

 Plate No. 6i. 
 
 Q 
 
 22. A 
 
 I 
 
 ^'S A 
 
 CAftU- Ja 
 
 -STtTCM [1 
 
 J (SACK. 
 
 vh ^ 
 
 ^] 
 
 
 
 . ,„.0,„„ " Q. 
 
 — '^ '^ 
 
 .^ tJ> 
 
 < 
 
 
 O: 
 
 
 A f : 
 
 allli 
 
 HMm 
 
 y . 6^cK. 
 
 : "1 
 
 le 
 
 7 ' 
 
 
 
 
Stitches. 267 
 
 Plate No. 61. 
 
 Cable Stitch (fig. 22). — The first stitch of 
 all is to make a small link ; then, after 
 twisting the needle under and over from the 
 right side, insert it into the stuff in front of 
 the large loop. 
 
 Cable Stitch with Knot (fig. 23), from the 
 old Portuguese piece (Plate No. 33). — It is 
 very like fig. 22, but with addition of the 
 knot. The needle is placed, as at (B), under 
 the left side of the loop, and also under the 
 loose thread from the left side, and pulled 
 tight, after which the ordinary large loop is 
 made. 
 
 Fig. 24 is a stitch found in several old 
 pieces of work in the Victoria and Albert 
 Museum. It is useful when a band is 
 wanted, which will cover well, and yet not 
 be too solid. (.4), (B), and (C) for the 
 foundation only ; (A ) passes through the 
 material, whilst (B) and (C) go under the 
 thread only. 
 
 Embroidery Stitch (fig. 24A), Long-and- 
 short Stitch, or Feather Stitch (Opus Plumar- 
 
268 E^nbroidery, 
 
 turn). — So called from its supposed resem- 
 blance to the plumage of a bird. Long-and- 
 short stitch and embroidery stitch are the 
 terms commonly applied, and as it is the 
 most universal form of stitching in solid and 
 particularly in shaded embroidery, there 
 seems little reason to 
 quarrel with these 
 names, which do serve 
 to distinguish the stitch 
 from ordinary satin 
 stitch, although it is 
 closely related to it. 
 The system of working 
 a long and a short 
 stitch, carried alter- 
 
 The Seamstress's Uatcly WCll iu bctwecn 
 
 Feather Stitch. ^^^^ ^^^^^ ^ y-^^^^ ^^-^^ 
 
 a different result to that obtained by 
 satin stitch proper. Long-and-short stitch 
 is the most useful for shaded work — it enables 
 the embroiderer to get delicate gradations of 
 colour ; whereas in satin stitch a line of 
 division is made by each group of stitches. 
 When the dove-tail method is adopted the 
 breaking into the previous row of stitches 
 does not do away with the marked dividing 
 line. With respect to the other name, 
 
f>late- Ko. 62. 
 
Stitches. 271 
 
 " feather stitch," this is used by old 
 writers in describing the stitch. An ad- 
 mirable feathery quality can be produced 
 by its use in fine silk. A drawing is given on 
 page 268 of what is more commonly accepted 
 as feather stitch. To the seamstress this is 
 very familiar. On the two examples of 
 smock (Plates No. 55 and 56), the whole 
 of the decoration outside the smocking is 
 worked in this stitch. 
 
 Plate No. 62. 
 
 Fig. 25 is only the foundation stitch on 
 which figs. 26, 27, and 28 are all worked. 
 It consists of two rows of chain stitches, the 
 meshes of which are opposite to each other, 
 and through which long, straight crossbars 
 are worked. These three also are taken 
 from the example on Plate No. 33, and could 
 be worked in a hard, strongly glazed thread. 
 They would be effective in purse silk. 
 
 Fig. 26. — Two of the bars are taken to- 
 gether on which to make this stitch. It has 
 the effect of long, chain-like meshes down 
 the centre, whilst the thread is whipped 
 
272 Embroidery. 
 
 round twice, or, if necessary, thrice, on each 
 side. After the foundation has been made, 
 all the succeeding stitches, A to G, are 
 worked on the surface. Stitch A, which 
 seems to be too evident, and which must not 
 show when the whole is done, goes back- 
 wards behind the large loop as soon as E is 
 worked. 
 
 Fig. 27. — These straight brick stitches are 
 also worked on the surface over the cords, 
 but it is as well now and then to carry one 
 through the material to keep them steady 
 and straight. 
 
 Fig. 28. — These stitches are on the slope, 
 and are worked up and then down the bars, 
 first behind two bars and then behind one ; 
 then, to form the next group, behind two, 
 behind one, and so on. 
 
Plate No. 63. 
 
Stitches. 275 
 
 Plate No. 63. 
 
 Fig. 29. — Also a form of bricking, the 
 stitches being only over the crossbars. It 
 is worked in two colours, the stitches set 
 obliquely. One shade is carried all the way 
 round, following the outer shape, then the 
 second all round, and so on, using the shades 
 alternately. 
 
 Fig. 30 is again a hrick stitch worked 
 through the material, the crossbars being 
 used only to raise it and keep the stitches 
 even. It is done in two shades of thread, 
 two rows of each ; but the two rows are 
 done at once, as will be seen by the enlarged 
 diagram, where both back and front are 
 given. The thread goes behind two, behind 
 one, behind two, behind three, this last being 
 to regain the lower line so as to be ready to 
 go behind two, behind one again. 
 
 Fig. 31. — This stitch, hke most of the 
 others in two colours, is taken from the ex- 
 ample on Plate No. 33. First attach the six 
 or eight long threads at the top, and stitch 
 down to the narrow places, then put the long 
 
276 Embroidery. 
 
 stitch across the width of the border. The 
 third time down makes the knot as at ^ , then 
 at B, the wide place, puUing out the thread 
 to the full width ; the second part of the 
 knot, as at 5, is to pull the knot over upon 
 the top of the band, so as to have the thread 
 in place below the line for the second knot. 
 
 Figs. 32 and 33 are two rather similar 
 borders, though worked differently. In fig. 
 32 the uprights hardly show when done, and 
 are really to raise the stitch. 
 
 Fig- 33- — ^ a-nd Cgo through the material, 
 whilst B only goes under the thread in both 
 journeys. 
 
Plate No. 64. 
 
Stitches, 2 79 
 
 Plate No. 64. 
 
 Fig. 34 is really a sort of Oriental or 
 herring-bone in alternate colours, worked 
 across on two parallel lines over and under 
 so that all the silk is on the surface. The 
 needle always points towards the centre. 
 
 Fig. 35. — Two rows of chain stitch, which 
 are whipped together with a contrasting 
 colour, or in two shades of the same colour. 
 The second colour or tint only passes under 
 the inside of the meshes, and not through 
 the ground. 
 
 Figs. 36 and 37 are similar in effect ; but 
 fig. 36 is done on crossbars, and towards the 
 worker, whilst fig. 37 is on upright bars, 
 and worked away from the worker. 
 
 To produce fig. 36 with alternate rows in 
 different colours : after making a chain 
 stitch, loop B over two bars, put the needle 
 up behind two bars C, and bring it out in the 
 centre of the next loop. This, if worked 
 with four or five loops only, can be padded 
 underneath the bars to look round and 
 raised. 
 
2 8o Embroidery, 
 
 Fig. 37. — A makes the first half of the 
 mesh, B the second, and at the same time 
 connects it with the next, in the centre of 
 which the needle comes out. Two rows are 
 worked in one colour, and then change. 
 
 Fig. 38. — The two shades are worked in 
 alternate descending lines. B must always 
 go over one bar lower than A has done. 
 
 In Figs. 34 to 38 the silk is in every case 
 on the surface of the material. 
 
 Plate No. 65. 
 
 Fig. 39 is formed by a " Y "-shaped 
 stitch, like fig. 38, and also similar to fig. 
 II, only that it is for a border, and in two 
 colours ; hence the stitch B has to descend 
 low enough to allow space for the second 
 shade. The outline to the border could be 
 either stem stitch or a fine cord. 
 
 Fig. 40. — This worked in two or more 
 colours is very effective, owing to the inter- 
 lacing of the threads. Three loops are done 
 in each colour. A goes through the material, 
 
Plate No. 6s 
 
Stitches. 283 
 
 whilst B is always looped through the pre- 
 vious one, and goes under the silk only. 
 
 Figs. 41 and 42 are both worked on an 
 open herring-bone foundation, fig. 41 having 
 a buttonhole edge, and fig. 42 a stem stitch 
 one. 
 
 In fig. 41 the herring-bone is whipped 
 with a second shade, which passes only 
 under the silk, the needle always being at 
 right angles to the long stitch under which 
 it has to pass. 
 
 In fig. 42 the knot is made round the 
 crossed portion of the herring-bone. In 
 knotting the silk at A, which comes under 
 and over the needle, starting from right to 
 left ; in B over and under the needle also, 
 but from the left to the right. 
 
284 Embroidery. 
 
 Plate No. 66. 
 
 Fig. 43. — Taken from a piece of Indian 
 work in beetle's wings and silver thread. 
 The jewelled effect of beetle- wings in this 
 border suggests possibilities with the use of 
 blues, purples, and bottle-green silks. 
 
 They would all have to be the same rela- 
 tive weight of colour. The small oblong 
 disks could be worked in satin stitch, in 
 floss silk, or some very smooth, glossy, and 
 untwisted silk. The introduction of the 
 aluminium thread would give the effect of 
 the silver, but it is rather duller, and does 
 not tarnish. 
 
 Fig. 44 is a counter-change pattern from 
 an old applique stole of crimson velvet and 
 yellow satin outlined in gold. From Mexico, 
 Spanish, seventeenth century. 
 
 Fig. 45. — Details given of a border worked 
 in satin stitch, fine silk gimp, and French 
 knots. Italian, sixteenth century. 
 
 Fig. 46 is a very simple example of 
 counterchange ornaments. 
 
Plate No. 66. 
 
 m 
 
 " "» ■ "9 "" 'T 
 
 SOKpCR 9r fttCTLES VMINGS, StqoiNS & SILVER THKtA^. 
 
 C»pwTi.K.-c«nHc,iNfi *irru«ut' aoK^Ef^. 
 
 iL^U^imiM 
 
 OUHXtR-CM*\NatN<H #\rrU90t' ftORpgf^. 
 
Plate No. 67. 
 
 Ch.ira.e;>e WorK 
 
Stitches. 289 
 
 Plate No. 67. 
 
 Figs. 47, 48, and 49 are all taken from 
 Chinese work, and show their rigid method of 
 shading in blocks. 
 
 Fig 47 is termed " encroaching shading." 
 In it the stitches are all evenly lengthened 
 beyond the amount visible in the finished 
 work ; the following row is then taken up 
 into the previous stitches (dove-tailed), so 
 that a raised line (following the outline in 
 shape) is made, which only on close examina- 
 tion proves not to be corded underneath. 
 
 Fig. 48 is an example of shading done 
 entirely with French knots (on the same 
 principle as the reproduction of the Chinese 
 rose on page 249) ; the dotted lines show the 
 area of each different colour. The outline is 
 in fine gold, and, if carefully followed, it will 
 be seen that it is so cleverly managed as to 
 necessitate no break through the whole 
 flower. 
 
 Fig. 49 is given to show how the Chinese 
 use the change of direction of their stitches 
 in this block -shading to give variety ; also 
 
 u 
 
2 90 Embroidery. 
 
 to emphasise the value of voiding — that is, 
 leaving the ground to show all round each 
 petal and mass in a manner which is rather 
 similar to the use of ties in stencilhng. 
 
 Plate No. 68. 
 
 For getting the full value of the gloss and 
 brilliancy of the silks the system adopted in 
 the working of what is known as " laid 
 work " cannot be beaten. This form of 
 embroidery has, however, one great draw- 
 back — it is not very strong, and if the surface 
 to be covered by the work is large, it will 
 not wear well. There is a beautifully pre- 
 served example of laid work in the Victoria 
 and Albert Museum (see reproduction of 
 chalice veil on Plate No. 42) which proves 
 that, when well sewn, it can with care be 
 made to last for a long time. 
 
 Fig. 50. — Plain couching on " laid em- 
 broidery." First lay the threads evenly 
 from side to side of the space to be filled. The 
 needle, after passing through the material — 
 at the edge or boundary of the leaf or 
 flower form — is brought up again, not quite 
 
Plate No. 68. 
 
 COUCttlN^ roR OUTLINE. 
 
 OR E^,N<5 ^PPiaWe' WHEN CORPS 
 
 ARC NOT U5Ep, 
 
 ^A^i^H 
 
 PWIN COUCHING 
 ON k^lp-WORK 
 
 -I ' II 
 jIIii 
 
 Couching 
 
 
 ^tii§i*^«BaE.STsr,N^. 
 
 xTRtNr^. 
 
 SltX.TVVlST. 
 
 OVCK.STR|H<5. 
 
 
 £NP5-or 
 
 Mini 
 
 55. 
 
 5 
 
 
 up 
 
 11% 
 
 ill i 
 III. 
 
 "i 
 
 iIin'iI 
 
 
 fSA^KET STiTCH. 
 
 
Stitches. 293 
 
 close, but at a distance to allow an in- 
 termediate stitch being taken backwards, 
 thus laying the threads alternately first, 
 third, second, fourth, and so on ; in this 
 way you get a better hold at each end of 
 the line than when laid consecutively. As 
 the leaf or form curves your lines of laid work 
 will gradually follow, opening a little at one 
 end and closing a little at the other. When 
 the layer is complete, threads are laid across 
 at pleasant and fairly regular intervals, 
 following or suggesting the growth (as in 
 this example). These threads are fixed 
 down by stitches from the back (couched). 
 
 Fig. 51. — Couching for outline or edging 
 applique. A thick strand of filoselle, double 
 crewel, tapestry wool, or narrow ribbon, as 
 the worker may choose, is laid on the surface 
 of the material and stitched at regular inter- 
 vals by threads crossing at right angles and 
 holding it down. 
 
 Fig. 52. — Gold * carried over string, and 
 couched on both sides of the string with 
 coloured silk. 
 
 Fig- 53. — Silk twist over string, couched. 
 
 * Embroidery in gold was by the Romans attributed 
 to the Phrygians. It was therefore called Opus 
 Phrygium. 
 
294 Embroidery. 
 
 The twist is laid down two strands together, 
 and is stretched across on each side of the 
 string. This makes a pleasing border. One 
 string, for variety, is thicker than the other. 
 
 Fig. 54. Diaper Couching. — Gold, silk 
 cords, purse silk, or even untwisted silk may 
 be used for laying down. By varying the 
 position of the fastening stitches a number of 
 simple patterns may be produced. 
 
 Fig. 55. Basket Stitch. — Rows of padding, 
 in the form of cotton, cord, or macrame 
 string, are first laid across the surface of the 
 material and securely fixed down. Gold 
 threads are then placed across them, two 
 at a time, which are stitched down over 
 the padding — usually two rows of these 
 (making four gold threads together). Then 
 the next two rows are treated as brick stitch, 
 and fastened exactly between the previous 
 stitchings. Strong silk must be used, or 
 horse-tail rubbed with beeswax, for stitching 
 down the gold. Basket stitch is one of the 
 most ancient methods of couching. It is 
 very handsome and ornamental. 
 
 Fig. 56. — Disk of gold thread couched with 
 red silk. The play of light on the gold when 
 wound round in this fashion gives a jewel- 
 like appearance. In the illustration on 
 
Plate No. 69. 
 
Stitches, 297 
 
 Plate No. 18 it will be seen that the 
 whole of the background is patterned with 
 little disks of gold in spiral fashion. 
 
 Plate No. 69. 
 
 Figs. 57, 58, 59, and 60 represent four 
 borders which are worked in gold passing. 
 For figs. 57 and 58 macrame string is sewn 
 firmly along the lines of the design ; the 
 string must never cross, but be cut off and 
 begun again. The double passing is laid 
 backwards and forwards the whole width of 
 the border, and stitched firmly with waxed 
 horse-tail each side of the strings. For 
 fig. 59 the centres are padded with a soft 
 cotton called stuffing cotton, and in fig. 
 60 the design is cut out in cardboard tacked 
 down in its place and the gold laid across, 
 and stitched down on each side, as over 
 string in the other figures. 
 
9 8 Embro idery. 
 
 Plate No. 70 
 
 Figs. 61 and 61A explain how tambour 
 gold is used over cardboard. The design 
 should be first drawn on the material, then 
 it is cut out in cardboard. Each petal or 
 shape must be rather smaller to allow for 
 the gold going over the card without en- 
 larging the design. Place the pieces of 
 cardboard within the lines of the design on 
 the material and tack them firmly down, 
 lay the tambour (used double, like passing) 
 backwards and forwards, and stitch firmly 
 with waxed horse-tail at each side of the 
 card ; the centre of this figure is filled in 
 with basket stitch. 
 
 Fig. 62 is an example showing the use of 
 purl. 
 
 Purl is made of the finest gold wire twisted 
 to form a round tube. It must be handled 
 very carefully, as it is elastic, and if once 
 stretched is quite useless. First lay it on a 
 piece of cloth, and cut the required lengths 
 with short, sharp nail-scissors which meet 
 well at the points. The pieces are then 
 
Plate No. 70. 
 
 <8SS\\\W|llll/,,.*IW////5, 
 
 ^^siisa 
 
 Fig.61. 
 
 TAMBOUR 
 
 FiQ.6l 
 
 TAMBOUR COLD OVEIR 
 CARDBOARD. EnU»'gecl 
 
 GOLD OVER C^RDBOARD IN CONJUNCTION exz^rnpk- 
 
 WITH BASKET STITCH 
 
 :l 
 
 ^1^) e^^ 
 
 Fig. 62. 
 
 METHOD OF WORKING A FLOWER IN ROUGH PURL. 
 
 Fig.63 
 
 PURL. USED 
 OVER PADDING 
 
 The crossed lines are in 
 
 PLATEJHE FLOWERS IN FURL- 
 
Stitches. 301 
 
 threaded like beads, as in fig. 62 and the 
 flowers in fig. 64. It is quite simple to work. 
 Bring the silk up at the base or edge of the 
 figure to be worked, thread on the needle a 
 piece of purl the length required, take the 
 silk back close to where it came up, and secure 
 the loop with a stitch, as shown in flower, 
 fig. 62. Rough purl is used for the petals 
 of the flower, and a straight stitch of bright 
 purl fills the centre of each petal. 
 
 Purl embroidery over padding is more 
 difficult. The simplest way of padding is a 
 single row of macrame string ; but that can 
 only be used when the lines of the design are 
 narrow and fairly even in thickness all over, 
 as in fig. 63. 
 
 If the design has lines very varying in 
 width, yellow stuffing cotton must be used. 
 Lay as many thicknesses of the stuffing 
 cotton as the design requires, and stitch over 
 from side to side, letting the padding be 
 highest in the middle and rounding down 
 to the sides. As the design widens, add 
 more cotton, one thickness at a time (cut 
 the ends slanting) ; and when the design 
 becomes narrower, cut away the cotton 
 slantwise, one thickness at a time. Do- not 
 grudge time and pains spent in padding. 
 
302 Eiiibroidery. 
 
 for the success in purl embroidery depends 
 largely upon the smoothness of the padding. 
 
 Bring the needle up on one side of the 
 design, thread a piece of purl, and take the 
 needle down at the opposite edge, giving the 
 silk a firm pull so that the purl lies immov- 
 able over the padding. At first it is difficult 
 to cut the purl exactly the right length, but 
 that comes with practice. If the pieces are 
 too short, little gaps are left at the sides ; 
 and if too long, the pieces lie loosely on the 
 surface. The purl must be so firm in posi- 
 tion that you can pass your finger along 
 without displacing them. It must look as 
 though it has actually been taken through 
 the material like satin stitch. .Purl may be 
 worked in a slanting direction, as in fig. 63, 
 or straight across. 
 
 Rough and smooth purl may be used 
 together, two stitches of one and two of 
 the other alternately ; or for monograms, 
 one letter may be rough and the other 
 smooth. 
 
 Pearl purl is used for outlining purl em- 
 broidery. Basket stitch can be worked in 
 purl — i.e. lay the padding as before de- 
 scribed, and cut the purl long enough to cover 
 the strings or padding. Horse-tail silk for 
 
Stitch 
 
 es. 
 
 purl embroidery should be well waxed. 
 Silk purl in a variety of colours is made (over 
 wire), and can be used with great effect. It 
 is worked in the same way as the gold. 
 In this drawing of a leaf in gold threads 
 
 OF THE COUCHING WITH RED SILK 
 IS INDICATED AT A". IT IS CARRIED 
 ALL ROUND THE LEAF 3^ ALONG 
 EACH LOOP. 
 
 Fig. 65A. 
 
 (fig. 65A) it will be seen that the threads are 
 carried backwards and forwards without a 
 break. Commencing with two threads at 
 the point of the leaf, they are continued 
 through to the base of the form where the 
 ends are buried beneath the stem. A fresh 
 start with the thread is made for the stem 
 
304 Embroidery. 
 
 and centre vein of the leaf. The red silk 
 used for couching is so thick as to form a red 
 line of close stitches round the leaf. The 
 middle of the figure is slightly raised (padded). 
 Plate is sometimes crimped before it is 
 used. Alternate rows of crimped plate and 
 fine gold cord, or passing used double, are 
 very effective for a circle, nimbus, or rays. 
 In old embroideries crimped plate is laid 
 backwards and forwards for the centres of 
 flowers and turnover of leaves, etc. 
 
 Plate No. 71. 
 
 Fig. 65 illustrates an interesting treat- 
 ment of a pomegranate in gold work. The 
 outside crescent forms are in tambour gold 
 used over cardboard or vellum. The threads 
 are here represented more often than in the 
 actual example in order to explain the work- 
 ing. The centre of the fruit is produced by 
 the use of gold threads couched. The run 
 of the thread can be easily followed in the 
 diagram. 
 
 Fig. 66 is called cushion stitch.^ It is 
 worked on a canvas or loosely woven 
 * Also canvas stitch, 
 
Plate No. 71. 
 
 FiQ.66. 
 
 CUSHION 5TITCH. 
 
 TAMBOUR GOLD USED 
 OVER CARDBOARD OR 
 VELLUM. 
 
 Fig. 68. 
 
 JAPANESE STITCH 
 
 D<Dk( . 
 
 Fig. 69. Froni. BavcK. 
 
 FANCY DARNING. 
 
 Fig. 67. 
 
 BURDEN STITCH 
 
 Ba^cK. 
 
 Fig. 70. Froni 
 
 HONELYCOMB DARNING. 
 
 X 
 
Stitches. 307 
 
 material, and is similar to laid embroidery, 
 inasmuch as all the silk or crewel is on 
 the surface, and only a single thread of the 
 ground is taken up each time. Usually the 
 stitches make a pattern formed on zigzag or 
 meandering lines. The effect when finished 
 is rather like a woven fabric. 
 
 Fig. 67. — Burden stitch was used a great 
 deal for flesh work in the fourteenth- and 
 fifteenth-century embroideries, no doubt 
 worked in a frame on a fabric of fine, even 
 threads. The same amount of silk appears 
 on the back as on the surface of the material. 
 
 Fig. 68. — Japanese stitch consists of long 
 stitches of equal length; the needle is brought 
 back each time within a short distance of the 
 starting-place. Their appearance should be 
 that of even, parallel lines. This system of 
 stitching is frequently found in old work. 
 
 The Opus Anglicum, or Anglicanum, de- 
 scribed rather vaguely as English work, which 
 is referred to by Dr. Rock in his " Catalogue 
 on Textile Fabrics" as being the stitch 
 chiefly used in the " Syon Cope " (Plate 
 No. 21), was introduced about the middle 
 of the thirteenth century, and used strictly 
 for ecclesiastical purposes. 
 
 The foregoing typical stitches form the 
 
3o8 Embroidery. 
 
 basis of all embroidery. On these numbers 
 of others are constantly invented by in- 
 genious workers. It is said, by authorities 
 there are only about seven or eight necessary 
 stitches to learn in embroidery, and when 
 the worker has once mastered those, if at all 
 inventive, numerous others will follow. 
 Never be afraid to unpick your work ; a 
 small piece badly done may spoil the whole 
 embroidery. Stitches constantly vary in 
 their application. In some instances, to 
 avoid waste of material, experienced em- 
 broideresses work as much on the surface as 
 .^^^ possible, while others do not trouble them- 
 selves about the quantity of material on the 
 wrong side. In any circumstances see that 
 your work is well finished at the back. 
 
 61 
 
 1 ' ' 
 
 Printed and bound by Hazell, Watson &• Viney, Ld., London and Aylesbury. 
 

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