close twill answers very well. Silk damask makes an admirable ground
beautifully broken in colour, if only it is simple and broad enough in
pattern. Generally speaking, you can hardly choose a design too big and
flat; but something depends upon the work to be done on it. In any case,
the pattern of the damask ought not to assert itself, and if you can't
make out its details, so much the better.
Brocade asserts itself too much to form a good background. There is a
practice of embroidering the outlines, or certain details only, of
damask and brocade patterns. That is a fair way of further enriching a
rich stuff; but it is embroidery merely in the sense that it is
literally embroidered: the needlework is only supplementary to weaving.
Tussah silk of the finer sort is easy to work in the hand. The thinner
and looser quality needs to be worked in a frame, and with smooth silk
not tightly twisted.
[Sidenote: THREAD.]
With regard to the thread to work with: The coarser kinds of flax are
best waxed before using. The crewel to be preferred is that not too
tightly twisted. Filoselle is well adapted to couching, and may be laid
double (24 threads). French floss is smooth, and does well for laid
work; for fine work bobbin floss, or what is called "church floss," is
better; the slight twist in filo-floss is against it; very thick floss
may be used for French knots.
For couching gold, a very fine twisted silk does well. Purse silk, thick
and twisted, lends itself perfectly to basket work. Working in coloured
silks, one should take advantage of the quality of pure transparent
colour which silk takes in the dyeing. The palette of the embroiderer in
silk is superlatively rich.
[Sidenote: GOLD.]
The purest gold is generally made on a foundation of _red_ silk.
Japanese gold does not tarnish so readily as "passing," which is in some
respects superior to it. For stitching through, there is a finer thread,
called "tambour." Flat gold wire is known by the name of "plate," and
various twisted threads by the name of "purl."
[Sidenote: CHENILLE.]
A not very promising substance to embroider with is chenille. It came
into use in the latter half of the 17th century, and was still in
fashion in the time of Marie Antoinette. The use of it is shown in
Illustration 75, where the darker touches of the roses are worked in it.
Chenille seems to have been used instead of smooth silk, much as in
certain old-fashioned water-colour paintings gum was used with the
paint, or over it, to deepen the shadows. The material is used again in
the wreath on Illustration 76. It is worked there in chain-stitch with
the tambour needle: it may also be worked in satin-stitch; but the more
obvious way of using it is to couch it, cord by cord, with fine silk
thread. There is this against chenille, that its texture is not
sympathetic to the touch, and that there is a stuffy look about it
always. Nor does it seem ever quite to belong to the smooth satin ground
on which it is worked.
[Sidenote: RIBBON.]
[Sidenote: SHADED SILK.]
There is less objection to embroidery in ribbon, which also had its day
in the 18th century. It was very much the fashion for court dresses
under Louis Seize--"_Broderie de faveur_," as it was called, whence our
"lady's favour"--_faveur_ being a narrow ribbon. Some beautiful work of
its kind was done in ribbon, sometimes _shaded_. Shaded silk, by the
way, may be used to artistic purpose. There is, for example, in the
treasury of Seville Cathedral a piece of work on velvet, 13th century,
it is said, rather Persian in character, in which the forms of certain
nondescript animals are at first sight puzzlingly prismatic in colour.
They turn out to be roughly worked in short stitches of parti-coloured
silk thread. The result is not altogether beautiful, but it is extremely
suggestive.
[Sidenote: RIBBON.]
The effect of ribbon work is happiest when it is not sewn through the
stuff after the manner of satin stitch, but lies on the surface of the
satin ground, and is only just caught down at the ends of the loops
which go to make leaves and petals. The twist of the ribbon where it
turns gives interest to the surface of the embroidery, which is always
more or less in relief upon the stuff, easy to crush, and of limited use
therefore.
[Illustration: 94. LEATHER APPLIQUE UPON VELVET.]
An effect of ribbon work, but of a harder kind, was produced by onlaying
narrow strips of card or parchment upon a silken ground, twisted about
after the fashion of ribbon. These, having been stitched in place,
were worked over in satin-stitch. The work has the merit of looking just
like what it is. But neither it nor ribbon embroidery is of any very
serious account.
Passing reference has been made to other materials to embroider with
than thread. Gold wire, for example, and spangles, coral and pearls,
which have been used with admirable discretion, as well as to vulgar
purpose. Jewels also were lavished upon the embroidery of bishops'
mitres, gloves and other significant apparel, and in default of real
stones, imitations in glass, and eventually beads (or pearls) of glass,
in which we have possibly the origin of knots. Bead embroidery is at
least as old as ancient Egypt. Even atoms of looking-glass, sewn round
with silk, have been used to really beautiful effect (barbaric though it
may be) in Indian work. The question almost occurs: with what can one
not embroider? In Madras they produce most brilliant embroidery upon
muslin with the cases of beetles' wings. In the Mauritius they use
fish-scales; in North America, porcupine quills; and everywhere savage
tribes use seeds, shells, feathers, and the teeth and claws of animals.
To return to more civilised work, there is embroidery in gold and silver
wire, allied to the art of the goldsmith, and on leather (Illustration
94), allied to the art of the saddler. It would be difficult to set any
limit to the directions in which embroidery may branch out, impossible
to describe them all. Happily, it is not necessary. A skilled worker
adapts herself to new conditions, and the conditions themselves dictate
the necessary modification of the familiar way.
A WORD TO THE WORKER.
A good workwoman will not encumber herself with too many tools; but she
will not shirk the expense of necessary implements, the simplest by
preference, and the best that are made.
[Sidenote: NEEDLES.]
Embroidery needles should have large eyes; the silk is not rubbed in
threading them, and they make way for the thread to pass smoothly
through the stuff. For working in twisted silk, the eye should be
roundish; for flat silk, long; for surface stitching or interlacing, a
blunt "tapestry needle" is best; for carrying cord or gold thread
through the stuff, a "rug needle."
[Sidenote: THIMBLE.]
For a thimble, choose an old one that has been worn quite smooth.
[Sidenote: SCISSORS.]
For scissors, be sure and have a strong, short, sharp and pointed
pair--the surgical instrument, not the fancy article. Nail scissors
would not be amiss but for the roughness of the file on the blades.
[Sidenote: PINS.]
For pins, use always steel ones; and for tacks, those which have been
tinned; or they will leave their mark behind them.
[Sidenote: FRAMES.]
For a frame, get the best you can afford; a cheap one is no economy;
but a stand for it is not always necessary. It should be rather wider
than might seem necessary, as the work should never extend to the full
width of the webbing. A tambour frame is also useful, though you have no
intention of doing tambour work.
[Sidenote: TO STRETCH SILK.]
In stretching silk (not backed with linen) upon a frame, some
preliminary care is necessary. The stuff should first be bordered with
strips of linen or strong tape, and into the two sides of this border
which are to be laced up a stout string should be tacked, to prevent it
from giving when the work is drawn tight.
[Sidenote: FRAMING.]
The way to put embroidery material (thus bordered or not) into a frame
is: first to sew it to the webbing (top and bottom), then to put the
laths or screws into the bars, tightening them evenly, and lastly to
lace it to the sides with fine string and a packing needle.
[Sidenote: TRANSFERRING.]
The ordinary ways of transferring a design to embroidery material are
well known: the outline may be traced down with a point over transfer
paper; it may be pricked upon paper and pounced upon the stuff in chalk
or charcoal, and then traced in with a brush or pen; or it (still the
outline only) may be stencilled. In any case, the outline marked upon
the stuff should be well within what is to be the actual outline of the
embroidery when worked. Another way, more peculiarly adapted to
needlework, is to trace the outline in ink upon fine tarlatan (leno
muslin will do for very coarse work), and, having laid this down upon
the stuff, to go over the lines again with a ruling pen and Indian ink
or colour. On a light stuff it is possible to use, instead of a pen, a
hard pencil. On a dark material one must use Chinese white, to which it
is well to add, not only a little gum (arabic), but a trace of ox-gall,
to make it work easily. One gets by this method naturally rather a
rotten line upon the ground-stuff, but it is enough for all practical
purposes.
[Sidenote: KEEPING CLEAN.]
Delicate work is easily rubbed and soiled in the working. It is only
reasonable precaution to protect it by a veil or covering of thin, soft,
white glazed lining, tacked round the edges on to the stuff. On this you
mark the four lines inclosing the actual embroidery, and, cutting
through three of them, you have a flap of lining, which you raise and
turn back when you are at work. If the work is very delicate, you may
make instead of one flap a succession of little ones; but you see then
only a portion of your work at a time, and cannot so well judge its
effect.
[Sidenote: STARTING AND FINISHING.]
In starting work, do not begin by making a knot in your thread; run a
few stitches (presently to be worked over) on the right side of the
stuff. In finishing, you run them at the back of the stuff; for greater
security still, one may end with a buttonhole-stitch.
[Sidenote: PUCKERING.]
There is less danger of puckering the stuff if you hold it over two
fingers (at least), keeping it taut and the thread loose.
Working without a frame, it often comes handiest to hold the stuff
askew, and there is a natural inclination to pull it in that direction.
This temptation must be resisted, or puckering is sure to result.
[Sidenote: DOUBLE THREAD.]
In working with double silk or wool, it is better not to double back a
single thread, but to pass two separate threads through the eye of the
needle. The four threads (where these are turned back near the eye) make
way through the stuff for the double thread, which passes easily;
moreover, the thread by this means is not pulled too tight, and the
effect is richer.
The stitch wants always adaptation to the work it has to do. In working
a curved line, for example, say in herring-bone-stitch, one is bound
always to take up a larger piece of stuff on its outside than on its
inner edge.
When a thread runs short, it is better not to go on working with it, but
to take another; and in finishing off, remember to run the thread in the
direction opposite to that from which you are going to run the new one.
In starting the new stitch, you naturally bring your needle out as if it
were a continuation of that last made.
[Sidenote: UNDOING.]
If your work is faulty, cut it out and do it again. Unpicking is not so
satisfactory: it loosens the stuff to drag the thread back through it,
and the thread saved is of no further use. Beginners find it hard to
undo work once done; but a really good needlewoman never hesitates about
it--her one thought is to get the thing right. Don't break your thread
ever: that pulls it out of condition: cut it always.
In working, it is well to keep strictly to the stitch you have chosen,
but not to the point of bigotry. One may finish off darning, for
example, at the edges with a satin stitch. The thing to avoid is
fudging. Moreover, stitches should be laid right at once; there should
be no boggling and botching, no working-over with stitches to make
good--that is not playing fair.
[Sidenote: SMOOTHING.]
When the needlework is done, do not finish it with a flat iron. That
finishes it in more senses than one. But suppose it is puckered? In that
case, stretch it and damp it. To do this, first tack on to it (as
explained on page 251) a frame of strong tape. Then, on a drawing-board
or other even wooden surface, lay a piece of clean calico, and on that,
face downwards, the embroidery, and, slightly stretching it, nail it
down by the tape with tin-tacks rather close together. If now you lay
upon it a damp cloth, the embroidery will absorb the moisture from it,
and when that is removed, should dry as flat as it is possible to get
it.
A rather more daring plan is to damp the back of the stuff with a wet
sponge. The work, instead of being nailed on to a board, may just as
well be laced to a frame by the tape. In the case of raised embroidery
there must be between it and the wood, not a cloth merely, but a layer
of wadding.
The damping above described may take the form of a thin paste or
stiffening, but upon silk or other such material this wants tenderly
doing.
One last word as to thoroughness in needlework. Those who have really
not time to do much, should be satisfied with simple work. The desire to
make a great show with little work is a snare. Ladies make protest
always, "There is too much work in that." Well, if they are not prepared
to work, they may as well give themselves up to their play. There was no
labour shirked in the old work illustrated in these pages; and nothing
much worth doing was ever done without work, hard work, and plenty of
it. Should that thought frighten folk away, they may as well be scared
off at once. Art can do very well without them.
INDEX.
ADAPTATION of stitch, 103, 188, 253
ANTIQUE stitch, 66
(_See also Oriental-stitch_)
APPLIQUE, 140, 144 _et seq._, 220, 222, 224
ARAB work, 152
ARTLESS art, 37, 236
ATTACHMENT of cord, 124
BACKSTITCH, 30, 37, 41, 53, 83, 86, 172, 226, 230
BASKET patterns, 134
BEADS, 248
BEGINNING & FINISHING, 252
BLANKET-STITCH, 56
BRAID-STITCH, 42, 43
BROAD surfaces (covering), 178
BROCADE, 244
BULLION, 165
BULLION-STITCH, 75, 76, 162, 165
BUTTONHOLE-STITCH, 8, 55 _et seq._, 69, 122, 145, 158, 178, 182
BUTTONHOLING (lace), 84, 86
BYZANTINE embroidery, 12, 24
CABLE-CHAIN, 42
CANVAS, 7, 25
CANVAS stitches, 12 _et seq._
CANVAS-STITCH embroidery, 22
CARD underlay, 162, 246
CASHMERE embroidery, 228
CASHMERE-STITCH, 18
CHAIN-STITCH, 38 _et seq._, 61, 83, 129, 145, 156, 158, 178, 182,
202, 226, 245
CHENILLE, 245
CHINESE embroidery, 78, 96, 129, 136, 140, 152
CHURCH work, 41, 136, 148, 166, 216 _et seq._
CLASSIFICATION of stitches, 9, 175 _et seq._
CLOTH, 125, 126, 159, 243
COLOUR, 110, 208
COLOUR gradation, 98, 114, 118
COLOUR and outline, 146, 185
COMBINATION of stitches, 182
COPTIC embroidery, 12, 226
" tapestry, 2
CORAL, 166, 248
CORD, 122
" (couched), 128, 144, 178, 182
" (attachment of), 124
COTTON, 243
COUCHED cord, 128, 144, 178, 182
" gold, 131 _et seq._, 182
" outline, 146
COUCHING, 22, 114, 120, 121, 122 _et seq._, 244
" (reverse), 130
COUNTERCHANGE, 154
CRETAN embroidery, 12
CRETAN-STITCH, 61
(_See also Ladder-stitch_)
CREWEL, 244
CREWEL-STITCH, 26 _et seq._, 83, 86, 103, 105, 178
" (surface), 86
CREWEL work, 26, 36, 37
CROSS-STITCH, 12, 14, 16
CROSSED buttonhole-stitch, 56
CUSHION-STITCH, 20, 21
CUT-WORK, 156
DAMASK, 243, 244
DAMPING, 254, 255
DARNING, 8, 22, 83, 90, 106 _et seq._, 178, 179
" (Japanese), 86
" (surface), 84
DESIGN, 150, 219, 233 _et seq._
" traditional, 238, 240
DESIGN and stitch, 10, 238
DESIGNER and embroiderer, 232, 233
DIAPERS, 87, 88, 108, 132, 134, 210
DIRECTION of stitch, 92, 95, 108, 114, 136, 190, 208 _et seq._
DOUBLE darning, 106
" thread, 253
DOVETAIL-STITCH, 103, 104
(_See also Embroidery and Plumage Stitches_)
DRAWING with the needle, 192, 194, 196, 199, 211
DRAWN work, 2, 4
EASTERN embroidery.
(_See Oriental_)
EFFECT and stitch, 36, 78
EIGHTEENTH century embroidery, 220, 246
EMBROIDERY and painting, 201, 202
EMBROIDERY-STITCH, 103
(_See also Plumage-stitch_)
ENGLISH embroidery, 34, 36, 169
FEATHER-STITCH, 62 _et seq._, 83, 100, 178
FELT, 243
FIFTEENTH century embroidery, 24, 164
FIGURE work, 116, 169, 190, 198 _et seq._
FILLING-IN patterns, 24
FILO-FLOSS, 164, 244
FILOSELLE, 124, 144, 244
FISHBONE, 21, 47, 51
FLAX thread, 164, 244
FLEMISH embroidery, 142, 200
FLESH, 204, 206
FLORENTINE-STITCH, 18, 21
(_See also Cushion stitch_)
FLOSS, 95, 114, 116, 118, 120, 244
FORM and stitch, 44, 47, 100, 118, 176, 211, 253
FRAMING work, 251
FRENCH embroidery, 88, 245
" floss, 244
" knots, 77, 129, 150, 178, 244
GEOMETRIC pattern, 225
GERMAN embroidery, 110, 125, 126, 156, 185, 226
GERMAN knot-stitch, 72
GOBELIN-STITCH, 18
GOLD, 210, 222, 245
" (couched), 131 _et seq._, 182
" (raised), 134, 136, 165
GOLD thread, 131, 245
" tinted by couching stitches, 142
" wire, 169, 248
HALF-CROSS-STITCH, 20
HERALDIC embroidery, 156
HERRINGBONE-STITCH, 8, 22, 47 _et seq._, 83, 178, 182
HILDESHEIM cope (the), 126
HUNGARIAN embroidery, 2
" stitch, 18
INDIAN embroidery, 41, 46, 61, 95, 98, 154, 169, 222, 248
INDIAN herring-bone, 48
INLAY, 153
INTERLACING stitches, 83
ITALIAN embroidery, 22, 24, 37, 46, 138
ITALIAN embroidery (Renaissance), 22, 41, 120, 142, 154, 199
JAPANESE darning, 86, 87
" embroidery, 80
" gold, 245
JEWELS, 165, 248
KNOT stitches, 72 _et seq._, 182
LACE, 1, 2
LACE stitches, 84 _et seq._
LADDER-STITCH, 59, 61, 182
LAID-WORK, 112 _et seq._, 162, 178
LEATHER, 248
LEATHER on velvet, 150
LENGTH of stitch, 96, 100
LIMITATIONS of embroidery, 240
LINE work, 176, 178
LINEN, 164, 243
" (embroidery on), 24
LONG-AND-SHORT-STITCH, 36, 98, 100, 178, 190, 192
MAGIC-STITCH, 41
MATERIAL (influence of on stitch), 12, 13, 16, 18, 24, 88, 91
MATERIALS, 242 _et seq._
MECHANICAL embroidery, 225
MEDIAEVAL work, 92, 136, 140, 190
MILANESE-STITCH, 18
MODELLING, 222
MODEST work, 230, 231
MOORISH-STITCH, 18, 21
MOROCCO embroidery, 152
NEEDLE (tambour), 38, 245
NEEDLE pictures, 201
NEEDLES, 250
NET passing, 86
OLD ENGLISH KNOT-STITCH, 75
OPUS Anglicanum, 9
ORIENTAL embroidery, 2, 22, 61, 92, 112, 136, 140, 153, 226
" stitch, 66 _et seq._, 83, 178, 182
ORIGINALITY, 234
OUTLINE, 22, 77, 108, 146, 158, 178, 184, 185 _et seq._
" (couched), 126, 128, 146
" (double), 146, 185, 186
" (stepped), 16, 24
" (voided), 96, 187
OUTLINE embroidery, 138
" stitch, 29, 30, 32, 86
PADDING, 159, 172
PAINTING, 201, 202
PARCHMENT, 160, 168, 246
PARISIAN-STITCH, 18
PATCHWORK, 156
PEARLS, 165, 166, 248
PEASANT work, 12, 13, 226
PERSIAN embroidery, 7, 24, 41, 174, 228
PICTORIAL effect, 198, 199, 201
PICTURES (tent-stitch), 14, 20
PIERCE, 132
PINS, 146, 250
PLAIT-STITCH, 21
PLATE, 245
PLUMAGE-STITCH, 62, 100, 103, 178, 179, 192, 212
PRECIOUSNESS, 198
PURL, 245
PURSE silk, 116, 162
QUILTING, 172 _et seq._
RAISED gold, 134, 136, 165 _et seq._
" work, 134, 136, 159 _et seq._
RELIEF, 159 _et seq._, 166, 168, 169, 172, 222
RENAISSANCE embroidery, 41, 92, 142, 154, 166
RENEWING ground, 126
REVERSE-couching, 130
RIBBON, 150, 246
RIBBON work, 246
ROLL-STITCH, 75
(_See also Bullion-stitch_)
ROMAN satin, 243
ROPE-STITCH, 71 _et seq._, 178
RUNNING, 83, 106, 179
SATIN, 243
" "de luxe", 243
" on velvet, 150
SATIN-STITCH, 24, 91 _et seq._, 103, 112, 128, 158, 160,
162, 175, 178, 182, 192, 206, 212, 245
SATIN-STITCH (surface), 98, 282
SATIN-STITCH in the making, 91
SCISSORS, 250
SERGE, 243
SEVENTEENTH century embroidery, 14, 166
SHADED silk, 246
SHADING, 34, 176, 188 _et seq._
SILK, 146, 243
" (tussah), 244
" (twisted), 95, 124, 125
" on silk, 150
SILKS, 244
SILVER, 135, 138, 166
SIMPLICITY, 180, 236, 238
" (a plea for), 225 _et seq._
SIXTEENTH century embroidery, 22, 120, 125, 142, 185, 199
SOLID chain-stitch, 43, 44
" crewel-stitch, 32, 34
SOUDANESE embroidery, 112
SPANGLES, 169, 248
SPANISH embroidery, 129, 142, 154, 166, 185
SPANISH-STITCH, 18, 22 (_See also Plait-stitch_)
SPLIT-STITCH, 38, 100, 105, 114, 179, 190, 196, 222
SPOT-STITCH, 30
STEM-STITCH, 32
STEMS, 95
STEPPED outline, 16, 24
STILETTO, 174
STITCH (definition of), 11
" adaptation, 103, 188, 253
" and effect, 36, 78
" and form, 44, 47, 100, 118, 176, 211, 253
" and stuff, 12, 13, 16, 18, 24, 88, 91
" groups, 9, 175 _et seq._
" names, 8, 9
" patterns, 87, 88
" and design, 10, 238
STITCHES, 7
STITCHING over stitching, 215
STRETCHING work, 251, 254
STRING, 159, 160, 162
STROKE-STITCH, 16
STUFFS, 242
SURFACE crewel-stitch, 86
" darning, 84
" satin-stitch, 98, 182
" stitches, 84
SYON COPE (the), 7, 130, 210
TAILORS' buttonhole, 56
TAMBOUR, 245
" frame, 44
" needle, 38, 245
" stitch, 38
" work, 44, 194
TAPESTRY, 1, 2, 4, 143, 220
TAPESTRY-STITCH, 53
TENDRILS, 130
TENT-STITCH, 14, 18
THIMBLE, 250
THREAD, 244
TRADITIONAL design, 238, 240
TRANSFERRING design, 251
TURKISH embroidery, 22
TUSSAH silk, 244
TWISTED silk, 95, 124, 125
UNDERLAY, 159, 160, 165
UNPICKING, 253
VANDYKE chain, 42
VARIETY of method, 148, 158
" of stitch, 180 _et seq._
VELVET, 150, 222
VENETIAN embroidery, 138
VOIDING, 96, 187
WEAVING, 2
WHITE on white, 162, 230
WOOL. (_See Crewel_)
WOOLLEN stuffs, 243
THE END.
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