METHODS OF WORK
Couching--Braid Work--Laid Work--Applied Work--Inlaid Work--Patch
Work.
COUCHING
Couching is the name given to a method of embroidery in which one thread
is attached to the material by another one. Sometimes not only one
thread but a number of threads are couched down together; or it may be
cord, braid, or metal thread that is attached to the material in this
way. Fig. 88 shows some couching in progress. The method probably arose
through the difficulty experienced in passing either coarse or very
delicate threads through a material. Couching is constantly in use with
gold thread embroidery, and it is further discussed in the chapter upon
that subject, where also is described an entirely different method,
which is to be recommended for couching other as well as for gold
threads.
[Illustration: Fig. 88.]
Couching is useful in a variety of ways, _e.g._ for carrying out work in
line or for outlining other embroidery, applied work for instance, which
is frequently finished off by means of a couched thread; in the case of
a difficult ground material, it is one of the most manageable methods of
working. The geometrical open fillings of leaves and backgrounds are
often composed of lines of thread thrown across and couched down at
regular intervals. Fig. 89 is an example of a favourite filling of this
kind. Embroidery stitches can be made use of for couching down other
threads; a bunch of threads may be laid upon the material, and an open
chain, buttonhole, or feather stitch worked over in order to fix it in
place.
[Illustration: Fig. 89.]
Braid work is quickly and easily executed; it needs only a suitable
pattern and a pretty braid for couching down to be most successful.
There are a few points to be observed about the technique--the cut edge
of a braid is awkward to manage, for it must, with a special needle, be
taken through to the back of the material and there made secure and
flat; for this reason the design should be so planned as to have as few
breaks as possible. Interlacing strap work designs, of which a simple
example is given in fig. 90, are very suitable for braid work. The
thread that couches down the braid may be quite invisible, or, on the
other hand, it may be made use of to further decorate the braid by being
placed visibly across it, perhaps forming a chequering or other simple
pattern, as shown in fig. 91. Ravellings of the braid may be used as
invisible couching threads for stitching it down. Curves and sharp
corners need special attention by way of extra stitches. The completed
work is much improved by several hours' pressure under a weight.
[Illustration: Fig. 90.]
LAID WORK
[Illustration: Fig. 91.]
Laid work might be described as couching on a more extended scale--a
given space is covered with threads taken from side to side in parallel
lines close together, fixed at either extremity by entering the
material. Further security is usually given by small couching stitches
dotted down at intervals over the laid threads, or by throwing single
lines of thread across in a contrary direction and tying these down at
intervals with couching stitches. Yet another way is, to work a split or
stem stitch over the laid threads, and thus fix them down. Fig. 92 shows
a flower carried out in laid work. The tying-down threads can often be
made use of in one way or another to further decorate, or to explain
form, by means of contrasting colour, change in direction, and so on.
The laid stitches in this flower are taken from the centre outwards and
fixed in place by couched circular lines of thread. The centre of the
flower has a geometrical filling, composed of a couched lattice pattern
with French knots between. Conventional centres of this and like kinds
are very pretty for embroidery flowers; such patterns as those shown in
fig. 93 can often be seen in use, and they need only a trial to be
frequently adopted.
[Illustration: Fig. 92.]
[Illustration: Fig. 93.]
Laid work shows off the gloss and texture of silk to great advantage,
which is due to the thread being laid upon the material without being
cut up into small stitches. Floss silk is much used for the work; it
must not be at all twisted in the laying down, since this mars the
effect. The work is carried out in a frame; it is quickly executed and
economical, the thread being practically all upon the surface. Owing to
the length of the stitches, this is not a very durable method, so it
should not be subjected to hard wear. The work has sometimes a flimsy,
unsatisfactory appearance, probably because of these long stitches. It
will be seen that the silk passing through to the back, and then
immediately to the front again, takes up very little of the material. A
method in use for giving greater strength in this way is to lay the silk
first in alternate lines and to fill up the gaps thus left upon a
second journey across the form. For added strength, use might be made of
a linen thread at the back, as in the _point couché rentré ou retiré_
method that is discussed later.
[Illustration: Fig. 94.]
A gold thread outline gives a nice finish to laid work. If there is
nothing in the way of an outline, and the pattern and ground are both
covered with laid threads, the edges of the pattern are likely to look
weak. Fig. 94 shows a leaf filled in with rather loosely laid threads
and outlined and veined with gold passing, the veining answering the
double purpose of fixing down the laid threads and veining the leaf at
the same time.
In this work, the colouring is frequently in flat tones, but if
necessary it is quite easy to introduce gradation. Further variety can
be obtained by a contrast in colour in the tying-down threads.
APPLIED WORK
The ancient Latin term _opus consutum_, and the modern French one
_appliqué_, which is perhaps the name most commonly in use, both refer
to the same kind of work; what is now called cut work is quite
different from this, and is described elsewhere. Under the heading of
applied work comes anything that, cut out of one material, is applied to
another; it may have been previously embroidered, or it may be just the
plain stuff. Both kinds can, as has been proved, be carried out with
excellent effect, but much unsuitable and badly designed work has been
done by this method, with the result that the very name has fallen into
disrepute.
The simplest kind of applied work is that in which the design, traced
upon one material, then cut out along the outline of the pattern, is
applied to another material, the junction of the two materials being
hidden by a cord or suitable stitch. The applied work is most often
flat, but it can be in slight or in strong relief. The texture of the
materials employed may be an important factor in the result, for a
contrast in material as well as in colour is often wanted; sometimes the
former alone is sufficient. The choice of material depends very much
upon the use to which the finished work will be put, but this simple
form of applied work often relies for part of its effect upon an
intrinsic interest in the material, so it is usually carried out with
such materials as velvet, satin, or silk, either plain or figured.
The design for this kind of work should be of a bold conventional type,
such as large foliage with the character of the heraldic mantling; any
naturalistic flowers, figures, or animals easily become grotesque. A
simple outline to the forms is necessary, both because of the technical
difficulties and for the effect of the finished work. This kind of work
is hardly suitable for expressing fine detail; oftentimes it is seen
from a distance, and many indentations on an outline sometimes tend to
weaken it. Heraldry can be well expressed by this method. Fig. 95 is an
example from a piece of XIIIth century work, a fragment of the surcoat
of William de Fortibus, third Earl of Albemarle, who lived in the reign
of Henry III.; the example can be seen in the British Museum. This
method of work is also particularly suitable for such purposes as the
decoration of wall surfaces, for hangings of various kinds, or banners;
it can, however, be used for many other purposes, provided the design
and the materials are well chosen.
[Illustration: Fig. 95.]
Owing to the difficulty of working upon some ground stuffs, the method
has arisen of carrying out the embroidery upon an easily worked ground,
such as linen; cutting it out, when finished, along the outline and
applying it to the proper ground, the junction of the two materials
being hidden by a cord or some equivalent. It is usually further
completed by light sprays or some other kind of finishing touches being
placed around the applied part, these worked directly on to the proper
ground. This prevents the embroidery from looking too bald and detached
from its surroundings, of which there is always a danger when it is
carried out separately and then attached; if at all possible it is
always more satisfactory to work directly on to the right ground.
As a matter of fact it is almost always possible to do this; the workers
of the XIIIth century, the period at which the art of embroidery was at
its height, carried out the most exquisitely fine stitching and design
on such grounds as velvet that had almost as long a pile as some
varieties of plush. The famous cope of English work known as the Bowden
cope, of which a detail is given in Plate I., is an excellent
illustration of this point. Upon careful examination of the work it is
apparent that between the stitching and the velvet there is a layer of
material, composed either of fine linen or silk. This would be of great
help in the carrying out of the stitching. It is exceedingly probable
that this layer of fine material was at the commencement of the work
laid completely over the velvet background of the cope; for one thing,
the design, with its finely drawn detail, could easily be perfectly
traced upon a surface of this kind and only imperfectly upon velvet;
another advantage of this method would be, that the background would be
kept quite free from dust and from getting soiled by the hands during
the lengthy process of the work. The stitching would be carried through
all the surfaces, and when finished, the fine surface layer would be cut
away close round the edges of the design, which would be quite easily
done. This method of working upon a difficult ground is well worth
trying in place of the applied method.
To return to the discussion of applied embroidery--let us suppose the
embroidered piece to be just completed on its linen ground, still
stretched in the frame in which it was worked. In another frame, stretch
the background material and trace upon it the exact outline of the piece
to be applied. Cut out the embroidered piece carefully round the edge,
allowing about one-sixteenth of an inch margin outside the worked part,
leaving, if necessary, little connecting ties of material here and
there for temporary support. With fine steel pins or needles fix the
cut-out work exactly over the tracing already made on the ground
material, then make it secure round the edge with rather close stitches
of silk placed at right-angles to the outline; with fine materials the
raw edge of the applied part can be neatly tucked under and fixed in
place by this overcast stitch. A cord is next sewn on to hide the fixing
and give a finish to the edge. The colour of this cord is important,
since its colour may increase the expanse of either the applied part or
the ground. Sometimes a double cord is put round, and in this case the
inner one is attached to the embroidery before it is cut out of the
frame, and the second attached afterwards. The inner one is often of a
colour predominating in the embroidery, and the outer one of the colour
of the ground. Gold cord is very usual; if a coloured silk one is used
it must be a perfect match. The ordinary twisted cord looks best
attached invisibly; to do this, slightly untwist it whilst stitching,
and insert the needle in the opening thus formed. Some kinds of flat
braids look well with the fixing stitches taken deliberately over them
and forming part of the ornamentation (see fig. 91). Bunches of silk are
sometimes couched round with a buttonhole or other stitch, but whatever
the outline may consist of, it should be a firm bold line.
The work must be perfectly flat when completed. Puckering may occur
through want of care in the preliminary straining or in the fixing on of
the applied parts. Some materials are more easy to manage than others.
The difficult ones can if necessary have a preliminary backing applied,
which is useful also if the material is inclined to fray. The backing
may consist of a thin coating of embroidery paste, or of tissue paper or
fine holland pasted over the part to be applied. The more all this kind
of thing can be avoided, the better the work, for pasting of any kind is
apt to give a stiff mechanical look; also, if the work is intended to
hang in folds any stiffness would be most impracticable.
Even more than simpler work applied embroidery needs the finish of some
light work upon the ground. Gold threads and spangles, arranged in
fashion similar to the sprays in fig. 112, are very often used.
Sometimes, instead of this, some small pattern in outline is run all
over the ground in order to enrich it.
INLAID WORK
Inlaid work is in effect similar to the applied, and it is used for the
same purposes. The difference with this is that both background and
pattern are cut out and fitted into each other, instead of only one of
them being cut out and laid on an entire ground. The method of work is
economical, for there need be very little waste of material. What is
left from cutting out the pattern and background for one piece can be
used as ground and pattern for another and possibly companion piece.
There is in Perugia a church which possesses a complete set of draperies
of this description, that were made at a good period for this work,
early XVIth century, and evidently were designed for the position they
occupy. On festivals, the piers, pulpit, and parts of the wall are hung
with these rose and gold-coloured hangings of inlaid work. The design is
a conventional scroll-work pattern, and the various hangings have
alternately the rose ground with gold pattern, and gold ground with rose
pattern, the whole forming a rich and harmonious interchange of colour.
[Illustration: Fig. 96.]
Fig. 96 is an example of inlaid work. It is a XVth century tabard said
to have belonged to Charles the Bold, and now in the Musée Historique at
Berne. The pattern, it will be noticed, is planned on the counterchange
principle, which is particularly well suited for this method of work.
A very ancient piece of the same kind of inlaid work is the funeral tent
of Queen Isi-em-Keb, dated about 980 B.C., which is in the Boulak
Museum, Cairo. It is composed of thousands of pieces of gazelle hide
dyed in various colours and stitched together so as to form a wonderful
design.[4]
To carry out the work--Stitch in a frame some holland to use as a
background; this may be only temporary, being removed when the work is
completed, or it may be left for additional strength. The materials for
both background and pattern must first be carefully cut out. It is a
good plan, where possible, to cut the two together so as to ensure exact
similarity, for they have to fit together afterwards like the parts of a
puzzle. The cut edges cannot be allowed to fray, so if there is any
danger of this, precautions must be taken to prevent it, though the
better way is to choose in the first place more suitable material.
Leather is a particularly good example of one. Any pasting or backing
which might be used for prevention of fraying would prevent also that
possibility of exposing both sides of the work, which in inlay is
sometimes a valuable quality; also, the stiffening which unavoidably
results from pasting is rarely an improvement. When materials of
different thicknesses are used together, the thinner one can be lined
with fine holland so as to make it nearer equal in strength. After the
materials are cut out the next process is to lay them in position on the
prepared holland and tack them to it. Then, with an overcast stitch that
must not be allowed to pierce the under surface, join all the edges
together, and cover the stitches with a finishing cord or braid. The
backing can now be removed if need be.
PATCHWORK
Patchwork can hardly attain to a high position amongst the various
branches of embroidery. The main object of doing patchwork frequently is
to make good use of valuable scraps of waste material. Unless, however,
the product shows evidence of well thought out colour and arrangement,
it cannot come under the heading of embroidery. Interesting results,
however, of many kinds can be produced from this paint-box of brightly
coloured scraps of material by ingenious mixing and shaping of them.
Patchwork infers a rather more mosaic-like design than inlaid work, to
which it is in some respects similar. The geometrically planned mosaic
and inlay pavements that are to be seen so commonly in Italy and the
East suggest great variety of patterns that could be applied to
patchwork. The illustration at fig. 97 is a simple example taken from
this source. Too often the results are only "alarming," as the Countess
of Wilton expressively puts it, thinking, probably, of the patterns
frequently seen upon cushions, patterns more resembling bright-coloured
bricks set in cornerwise than anything else. They are the most unrestful
looking things imaginable. The important elements of the work lie in the
colour, shape, and texture of the pieces used, for upon the right
selection the result wholly depends. The shapes chosen must be simple
owing to the necessity of fitting and stitching them together, but there
is plenty of variety obtainable with simplicity. The design may consist
of one shape repeated or several. If only one, it is limited to a few
geometrical figures, such as the square, hexagon, or shell shape; if
more than one, there can be greater variety of pattern. Fig. 98 is an
example in which four shapes are made use of, a large and small circle,
an octagon, and an S-like twist. Four of these twists together make the
figure that interlaces over the surface. Embroidery stitching can be
added to patchwork; for instance, this example might have a neat border
pattern worked on all the S-shapes, as suggested in the diagram, which
would probably considerably increase its interest. Fig. 99 shows flowers
springing from the base of the shell-form in use upon it. The embroidery
could be simply carried out in one colour, or if a more gorgeous result
were required, variety could be introduced in this way as well as in the
ground, and a marvellous combination of intricate colour could be thus
produced.
[Illustration: Fig. 97.]
[Illustration: Fig. 98.]
For the work to be made up satisfactorily it is necessary that the
shapes be accurately cut out. To ensure this, a metal plate is cut and
all the shapes are taken from it; sometimes, in lieu of this, a pattern
is cut out in stiff cardboard. Lay this pattern-shape on the wrong side
of the material and pencil it round, then carefully cut out the stuff,
leaving about a quarter of an inch for turning in. Next lay the
pattern-shape upon a piece of stiff paper or thin card-board and again
trace off the shape, this time cutting it out exactly to the pattern,
tack the material to the paper, and stitch down the raw edges at the
back. Lay the prepared patches on a table and put them in place by
referring to the design, and then commence sewing the edges together
with an overcast stitch on the wrong side. When all are sewn, remove the
papers and flatten the seams with an iron. Any braid or stitch that may
be required to mask the join is next put on; this may be made ornamental
by interlacing knots at the corners, or by any other device that happens
to suit the work. The last thing to be done is to put a neat lining upon
the back to cover and protect the numerous raw edges.
[Illustration: Fig. 99.]
FOOTNOTE:
[4] For further information see "The Funeral Tent of an Egyptian Queen,"
by Villiers Stuart.