PRACTICAL DIRECTIONS
Transferring Patterns--Paste for Embroidery Purposes--Protection and
Preservation of Work--Washing Embroidery--Prevention and Cure of
Puckered Work--Points about the Thread--Dressing the Frame.
The best method of getting the pattern on to the material is to draw it
on directly with a brush; since this, however, is not always possible,
other ways of doing it can be employed.
The pattern can be transferred to the background by a process called
pouncing. To do this fix some tracing-paper over the design and
carefully take the outline; a good margin of plain paper should be left
round the outside in order to prevent any of the pounce getting
accidentally rubbed on to the embroidery. The next process is the
perforation of the pattern. Lay the tracing upon some substance of the
nature of thick felt, then with a pricker or a needle, held in an
upright position, pierce tiny holes all round the outline of the
pattern, very close together. This completed, attach the perforated
tracing securely to the material, the smooth side of the perforations
towards the stuff. Both material and tracing paper may be fixed to a
board with drawing pins. Next, rub the pounce, which consists of finely
powdered charcoal or of white chalk, lightly over the perforated parts
with a soft pad, keeping the rubbing always in the same direction; once
or twice at the most over the surface is quite sufficient, often too
much is rubbed through, which afterwards is only in the way. The pad,
first dipped into the pounce, is rubbed preparatorily upon some paper to
remove the superfluous powder, and then upon the actual work. Carefully
remove the tracing-paper; there should now be visible upon the surface
of the material, in charcoal dust, a perfectly clear reproduction of the
pattern. Should, however, the impression be blurred, it is quite easy to
flick everything away with a duster and repeat the process. The causes
of failure would most probably be that the perforations were too large
or too far apart, or that there was some movement of either paper or
material during the process. It is necessary for the pattern to be
permanently fixed upon the ground material; blow lightly to remove any
superfluous powder, then, with a brush dipped in light red oil-paint
moistened with turpentine, trace a fine clear line over the powdered
pattern. When this is dry, what is left of the charcoal can be lightly
dusted away. Red is in most cases a good colour to use for tracing
purposes, for if by chance any tracing should show or come off on the
thread it will be a clean-looking colour, and one comparatively easily
removed in any after cleaning.
Red or blue carbonised paper is used for tracing patterns; it is not a
good medium though it may be an expeditious one. If it is used, an after
painting over the outline will make the marking permanent.
When pouncing or painting is difficult, a method of indicating the
pattern upon the stuff is to trace the design on tissue paper, and tack
it to the ground material with cotton, the stitching of which should
follow the outline of the design, and be kept as much as possible upon
the front. The thin paper is then torn away, and there will be some
suggestion of pattern left upon the material.
Transparent ground stuffs need only be laid upon the pattern; then the
tracing can be taken directly on the stuff.
Paste is sometimes in request for embroidery purposes; the following is
a good recipe--Pour rather less than half a pint of cold water into a
saucepan, add to this a piece of carpenter's glue about the size of a
small filbert and place it on the fire to heat. Put three teaspoonfuls
of flour into a basin, and with cold water mix to a smooth paste; when
the water in the saucepan boils add it to the paste, stirring well all
the time; then place the mixture in the saucepan and boil for about two
minutes. When cold it is ready for use. It may be required as a
preservative; for instance, canvas work when finished can have a thin
coating of paste rubbed over the back in order to preserve the stitches
from giving or running; when the work is to be used for such things as
furniture coverings this may be a good thing to do. Applied work is
sometimes pasted on to its new ground, and a backing may be fixed to the
surface material by paste. The more all this can be avoided the better,
for its tendency is to give a stiff mechanical look to work;
professional people, however, are rather fond of the paste pot. Paste,
if used, must be of the right kind, or it will do more harm than good.
It should be very fresh, and have no acid in its ingredients, of which
gum arabic must not be one if any after stitching has to take place
through the stuff, for gum makes it hard and less penetrable. The paste
must be applied and allowed to dry thoroughly before the work is removed
from the frame. A finger makes a good brush for the purpose. The paste
should be put on as thinly and evenly as possible, care being taken not
to rub on the cross of the material, since this might stretch it
unevenly.
Shoemakers' paste is easily procured, and can be used for embroidery
purposes. This is made from rye flour, and is very strong. It is
harmless if perfectly fresh.
A good many things go to the keeping of work fresh and orderly, which is
a very important matter. The work must be kept carefully covered up when
not in use; finished parts can sometimes be covered whilst the work is
going on, for the covering is easily raised when comparison with the
part in progress is necessary. The work should have some protection if
the hand rests on it; the worker should wear a white apron with sleeves.
The worker's hand should be cool, dry, and smooth; hot hands should
frequently be washed. The use of pumice stone cures slight roughness,
but fine work cannot be attempted if the fingers are for any reason
constantly rough. Wools and silks need a case to keep them orderly and
clean. The best way to preserve valuable embroidery is to frame it,
which, of course, is not always practicable, but it is a sure safeguard
against moth and dust.
For washing embroidery special soap should be procured. It is not well
to use any ordinary soap, for this may contain alkali, which would
injure the colours in the work. Dissolve the soap in boiling water, and
add cold to make it just warm and of the required strength. Immerse the
embroidery in the lather thus made, and work it about gently, avoiding
any friction. When clean, rinse first in warm water, afterwards in cold,
to which a little salt may be added. The water must be squeezed out
carefully and the material quickly dried. If ironing is necessary it
must be done on the wrong side, but if the work can be pinned out on a
board to dry, and in this way stretched and smoothed without any
ironing, so much the better, for the embroidery will not be flattened at
all. Another way of ironing embroidery that is not harmful is to do it
from underneath while some one holds out the material.
It is easy to prevent the puckering of work when it is carried out in
the frame; there is, however, no necessity for it to occur in hand work.
Certain stitches are more inclined to draw up the material than others,
and extra care has to be taken in working upon the cross of the fabric.
The work should be held in convex fashion over the fingers of the left
hand. Weights are occasionally attached to the corners of the work to
prevent any unconscious drawing of it up.
There are remedies for the cure of slightly puckered work. Place on a
drawing-board some clean blotting-paper, damp it evenly over with a wet
handkerchief, and then lay the work, right side up, upon it. Fix the
work down to the board with drawing-pins, inserted at regular short
intervals round the edge, endeavouring during the process to stretch the
material to its original shape. This needs doing carefully, for it is
quite possible to stretch it to a wrong shape, and it will remain as now
pinned out. Next, lay some white paper or a handkerchief upon the
surface of the work, and then place upon it a flat weight that presses
equally on every part of the embroidery. Leave it undisturbed for a
night, and the puckering will probably be cured. Work, if not puckered,
may be improved by going through this process, which practically amounts
to a mild ironing, but without any injurious effects.
[Illustration: Fig. 167.]
There are various points about the thread that should be known. To
commence a new thread run a few stitches in the material upon the right
side upon a part that will afterwards be covered by the working. This is
a better way than a fastening on the wrong side, for it is both neater
and more secure. A knot made at the beginning is fairly safe, but it is
undesirable for several reasons. The needleful should not be lengthy
lest it gets worn before it is all worked in. With some threads it is
important to thread only the proper end into the eye of the needle,
since one way they will work in roughly and the other way smoothly. An
end of a coarse thread can be taken through to the back of the material
by the help of a fine one; the fine thread is brought through from the
back by the needle, it then encircles the coarse one, and returns to the
back by the same hole, pulling the coarse thread with it, as in process
in fig. 167. Taking it through by the aid of a thick needle would make
too large a hole. Thread can be knotted into the eye of the needle if
for any reason it is required to be quite safe from accidental
unthreading. The neatest way of doing this is to pass the needle
through the centre of the thread and draw it tight; this is a useful
trick for any unskilled worker with needles and thread, for re-threading
also may be a difficulty. When work has to be unpicked it is better to
cut the threads rather than do any drawing out, for they are in any case
unfit for further use, and this method wears the material less; a
beginner must not shirk unpicking if first-rate results are to be
obtained.
FRAME WORK
Certain stitches and methods of work cannot be carried out except with
the help of a frame, others are hand stitches, and some few can be
worked either way. Work done in a frame takes longer than that done by
hand, and is rather more fatiguing. Each method has its advantages; in
the frame it is perhaps easier to get good technique, for difficulties
such as puckering the material, irregular stitching, and so on, are more
easily avoided, also it is more possible to see the effect of the whole
whilst the part progresses. In frame work a thimble is required for each
hand, for one pushes the needle through from above and one from below.
It is a rest to be able to reverse the hands, so both should be equally
dexterous in either position.
To dress the frame correctly is an important preliminary, for unless
done well the effect of much after labour may be spoiled. In the chapter
upon tools and appliances in fig. 9 is shown a piece of linen stretched
in the frame ready for commencing work.
The square of material that is seen to be inserted in the centre of the
stretched linen is to show how a very small piece or a portion of a
large surface could be stretched in the same sized frame. A corner may
require marking or a small detail of embroidery carrying out upon it. A
portion is cut out of the centre of the stretched linen, and the piece
or part of the material to be worked stitched securely to it, as
illustrated in the diagram. The remainder of the material, if there is
any, can be folded up and pinned out of the way over the rollers.
To return to the dressing of the frame--the linen to be stretched,
before being fixed in place, must be hemmed or herring-boned down at the
top and base and then sewn with overcast stitches to the webbings,
inclining during the process to pucker the webbing rather than the
material. The side pieces can now be put through the holes at the ends
of the rollers and the metal pins inserted, or nuts adjusted, as the
case may be, in order to stretch the material to the right tension. The
raw edges at the sides must now be turned in or bound with tape, and a
string securely attached at intervals along the edge; this is for lacing
the string through that now braces the material to the sides of the
frame (see fig. 1). The screw-sided frame has an advantage over the side
pieces shown in fig. 9, in that in the former an extra turn can, at this
point, be given to the nuts to still further stretch the material; on
the other hand, some workers prefer the flat side pieces, thinking that
they make the frame more rigid.
If the material, when fixed to the two webbings, is too long for the
frame, it must be wound round one of the rollers until of the correct
size. This must be done carefully, for a delicate fabric might get
damaged in the process; the roller can be padded with soft paper, and an
interlining of tissue paper can be inserted and wound up with the
material. It may not always be desirable to do this winding round the
rollers; in that case fine glazed holland can be stretched in the frame,
and the part to be first embroidered fixed to it. When the first part of
the work is completed, the holland is cut out of the frame and fresh
pieces substituted as the work goes on. If it is not wished that the
stitches should be taken through both surfaces, as would here be the
case, it would be possible to cut the linen partly away underneath, and
use it only as a kind of inner frame for stretching the material on, in
a way somewhat like that already described (see fig. 9).
A backing to the material, however, is often a necessity--perhaps heavy
work may be put on it or the stuff itself is fragile; in such cases
there must be a backing of some kind. This usually consists of fine
holland or linen, which is first stretched in the frame and then has the
surface material securely stitched to it with overcast stitches, care
being taken that both materials are equally strained.
To frame velvet, sew it to the webbing by the selvedges or that way of
the material, since the pile with that arrangement is more manageable
when the embroidery is in progress.
[Illustration: Fig. 168.]
PART II
TAPESTRY WEAVING
CHAPTER XV
INTRODUCTION
Weaving, a most ancient art, naturally precedes embroidery, for this
necessitates an already existing ground stuff, which is generally some
kind of woven material. All varieties of weaving are done by one
little-varied method, that of the weft passing to and fro in and out of
the warp, and thus binding the whole into a fabric or web.
The kind of weaving which demands from the worker the greatest artistic
skill is that which produced the great masterpieces of Flanders, once
known as Arras, from the town of that name, and now commonly called
Gobelins tapestry, so named from the _Manufacture des Gobelins_ in
Paris, at which establishment, founded over three hundred years ago, it
is still produced.
It is this kind of weaving that is now to be discussed, but without the
least suggestion that the pupil should work upon a scale so large as is
usually followed, though there is no reason against doing so if it is
practicable. Tapestry weaving is so constantly associated with objects
of large size, such as wall hangings, that it is scarcely realised as an
art in this smaller way and as an alternative to embroidery. Yet it can
be work of a most interesting kind even when produced in pieces only six
inches square, as is well shown by existing specimens of the work of the
weavers in Egypt who flourished in the early centuries of the Christian
era. Examples of this work can be seen in many museums; they consist
frequently of decorative panels of tapestry work inlaid in linen tunics
and stuffs that have been used as grave clothes. These early Coptic
examples are, like all tapestry, built up by interweaving various
threads upon warp-strings stretched in close parallel lines. By varying
the colour of the threads that are thus manipulated upon the warp,
patterns of any degree of complexity can be built up directly by hand,
and without the assistance of any further mechanical contrivance. The
peculiarity of this ancient weaving is that the patterns are frequently
woven upon the warp-threads of some fabric, from which the weft either
has been removed, or, what is perhaps more probable, been purposely left
out when the material was made, to leave space for this decorative
pattern weaving to be added to it.
The Latin name for the workman who in this way wove in the ornamental
patterns was _Plumarius_, which is a name known to be applied to an
embroiderer also. This weaving of small subjects is certainly very
little removed from embroidery; it may fairly be called needlework, for
it is as often carried out with needles as with bobbins, the former
being frequently better suited to the size of the work.
In execution weaving is not more difficult than embroidered work; it can
be done in an ordinary room and upon a simple loom that is not more
cumbersome than an embroidery frame; in fact an embroidery frame can
sometimes be used in the place of a loom.
Weaving takes about as long in doing as finely stitched solid
needlework, for in weaving the entire fabric is made, both pattern and
ground. The speed with which the work can be done of course varies
considerably, being mainly dependent upon the design that is being
carried out. Also the quality of the materials used affects the rate of
working; for instance, the thickness of the warp-strings and the placing
of them nearer together or further apart. Moreover the weft may be
composed of one strand or of several strands together.
In weaving, unless the materials used are very fine, it is impossible to
get minute detail in drawing; fortunately it is seldom necessary to
attempt much of this. The simpler and more direct work is as good as,
and sometimes better than, that with finely gradated colour, shading,
and form. On the other hand, work, small in scale, even though simply
treated, does not look well when carried out with very coarse materials,
for they seem out of proportion to the size of it.
The main difficulty in the technique of the work lies in the attainment
of good draughtsmanship, which of course includes light and shade as
well as outline. It is naturally more difficult to draw by means of
bobbin and thread, in horizontal lines, than to work unrestrictedly with
a pencil, or even with an embroidery needle.
There is a great deal in the preparation of the design; as in all other
crafts this must be suited to the method of work; otherwise the
difficulties of execution will be greatly increased and the result will
be less satisfactory. This is even more important in weaving than in
embroidery, for in the latter the stitch and method may possibly be
chosen to suit the design, but in weaving no variation of stitch is
possible; all must be carried out in the same way.
Tapestry weaving, whether for wall hangings or for small objects, has
the same technical difficulties, and certain restrictions govern all
work of the kind. One point to be observed is, the main lines of the
design should go as little as possible in the same direction as the warp
threads. This is because with each change of colour in the weft that
occurs in the direction of the warp, there comes an inevitable
separation in the woven material, which, oft repeated, would materially
impair the strength of the fabric. The less frequently this occurs, of
course, the better, since it entails additional labour, either a
joining-together stitch at the time of working or an after-sewing up
from the back. Long lines made by change of colour going straight or at
a slight angle across the warp-threads, are perfectly simple to manage,
and the hatching lines of shading, as well as the outline, should be
taken as much as possible in this direction.
It will be noticed that most tapestries have the ribbed lines of warp
going horizontally across; in the loom these lines are perpendicular, so
this means that the design has been placed and carried out sideways upon
it. This is for the reason just under discussion, for the long lines of
a design are most frequently perpendicular, take, for instance, lines of
figures, draperies, or architecture, and so by placing the design
sideways in the loom, most of the important lines will come in the
direction most easy for the working of them.
With small pieces it frequently does not matter which way it is carried
out, but it is useful to know when making the design that there is the
alternative of placing it either way upon the warp-threads. If this
matter were not considered and arranged, there might come a good deal of
twisting round one or two warp-threads which would be most
unsatisfactory in working and in appearance. A band of plain colour
framing a square piece of work will be found to be completely detached
from the centre part upon each side of the square, although working in
very straightforwardly at the top and base; if, instead of being a
straight band, the inner edge was vandyked, the work would be well
knitted together upon all sides (see fig. 169). In such ways as this the
technical pitfalls can be somewhat avoided by a designer who understands
the method of the work.
[Illustration: Fig. 169.]
To lay down definite rules for designing is practically impossible;
right and wrong depend upon so many circumstances. The study of fine
tapestries of the best periods is one of the most satisfactory ways of
learning what one may or may not attempt; the beautifully flowered
grounds in many of these show what excellent motives flowers make, and
how they should be treated. It is not usually a good plan to introduce
in any part of the work much plain ground, for it is inclined to look
poor; this is very likely the reason why the grass in tapestry-land is
often covered with such profusion of flowers. Tapestry calls for
beautiful colour, richness, and plenty of interesting detail; it is
essentially decorative work, and must be treated as such. The
arrangement of colours and tones need to be sharply defined; if by
chance a dark leaf comes against another dark one, a line of light
colour is sometimes deliberately run between, perhaps shading or
outlining one of the forms; a flower may even change its colour as it
passes over different backgrounds; what is more remarkable is that this
change, unless sought for, is imperceptible.
The work may be applied to all kinds of uses, such as coverings for
furniture, mats, curtains, bell-pulls, book-covers, bags, boxes, and so
forth. Anything that hangs upon a wall is particularly suitable for
working in tapestry, for at a little distance this kind of work shows up
more effectively than embroidered work does. A great many articles, such
as alms-bags, frontals of all kinds, stoles and book-markers, for use in
churches could most excellently be carried out in tapestry.
CHAPTER XVI
NECESSARY APPLIANCES AND MATERIALS
The Loom--Mirror--Bobbins and Needles--The Comb--Embroidery Frame
treated as a Loom--Warp--Wools--Silk--Gold and Silver Thread.
TOOLS AND APPLIANCES
The chief requisite for weaving is the loom; this can be made by a
carpenter from a working drawing. In the Victoria and Albert Museum
there is a model of a small tapestry loom, presented by William Morris,
which a novice will do well to examine. It is quite possible to carry
out a small piece of weaving upon an embroidery frame, but to work in a
loom which has all the proper appliances is always quicker, better, and
absolutely necessary with work of any size.
There are two main varieties of tapestry loom, one in which the
warp-threads are horizontal, and another in which they are vertical. The
latter kind is considered to give the best results, mainly owing to the
possibility of the worker's seeing the right side of the work whilst it
is in progress. This is a great advantage, for tapestry is woven with
the reverse side towards the worker, and progresses by such gradual
steps that the weaver is prone to lose sight of the whole whilst paying
attention to the part in progress, and it will be easily understood that
to be able to go round and view the entire piece is of immense help. A
detail may perhaps be corrected during the progress of the work, but
afterwards this would be an awkward matter. It is one of the
difficulties of weaving to have to finish completely each step as it
comes up. Working from the wrong side is not so hard as it might seem,
for both sides are practically alike; the side towards the worker,
however, shows ends of thread and thread passing from one place to
another, which make it somewhat unpresentable.
[Illustration: Fig. 170.]
[Illustration: Fig. 171.]
Fig. 170 shows a drawing of a small loom with some warp stretched upon
it in readiness for commencing work. It stands upon the ground, and is
about 4 feet high by 2½ feet wide. It is made of beechwood; a hard
wood like this is best, for there must be no possibility of the rollers
bending with the strain of the warp. The loom consists of two uprights
standing upon heavy feet; these uprights are joined together at the top
and base by strengthening cross bars. Two wooden rollers are fixed into
the uprights (see A and B in fig. 170) and in the surface of each of
these a narrow groove is hollowed out lengthwise (see fig. 171); this is
for the purpose of holding a long metal pin, by means of which the
warp-threads are kept in place. The rollers are fitted at one extremity
with a handle for turning them round, and at the other with a ratchet
and toothed wheel to prevent unwinding. The purpose of the upper roller
is to hold the supply of warp-thread and unwind it as required; the
lower one is for winding up the web as the work progresses, so that upon
a loom of this size a piece of work of considerable length can easily be
carried out.
[Illustration: Fig. 172.]
The warp soon after it passes from the top roller is divided into two
leaves by a cylindrical wooden bar about one inch in diameter, called
the cross stave (see fig. 172). The cross stave may be oval or round in
section; if it is oval the warp-threads may be moved more widely apart
when required by turning the stave round, but this is not often
necessary. The upper part of the cross stave can be seen in position in
the loom diagram, which shows also how the stave divides the threads,
which pass alternately one in front and one behind the bar. After this
the threads are passed through a comb-like instrument, having about
fourteen divisions to the inch (see fig. 173). This extends from side to
side of the loom, and lies in a groove made in the bar that fixes the
coat-stave (C in fig. 170) in position at either extremity. It can be
taken out and exchanged for another with a different divisioning, if
necessary; without doing this, however, it is quite possible to put at
intervals two threads through one division, or to pass over one
occasionally if need be. The threads are next fixed in the lower roller.
[Illustration: Fig. 173.]
The coat-stave can be seen projecting from near the top of the loom. A
number of looped threads called coats are fixed to it, and each one of
these encircles a thread of the warp. They are attached only to those
threads that were passed behind the cross stave and form the back leaf
of the warp, and they are for the purpose of pulling these forward when
required.
Underneath the lower roller is fixed a wooden tray, which is useful for
holding bobbins, comb, or scissors.
On the loom is hung a small mirror facing the right side of the work
(see fig. 170). This enables the weaver to glance now and then through
the warp-strings at any detail that is in progress.
Smaller looms can be made, suitable for placing upon a table; these,
standing about two feet in height, must in some way be firmly fixed to
the table, in order to be properly rigid for work.
[Illustration: Fig. 174.]
The thread composing the woof is wound upon a wooden bobbin or shuttle,
such as that shown in fig. 174. The chief point about this is, that it
may not have sharp angles that might catch in the warp whilst passing to
and fro. The pointed end is sometimes made use of to poke between the
warp-threads and press down the weft. A fresh bobbin is employed for
each colour, and the wool is wound upon it two or three strands
together, just as may happen to be required for the work. Large
blunt-pointed needles about three inches long (fig. 175) are often used
in place of bobbins, for with small pieces of work sometimes so little
of a colour is required as to make it unnecessary to wind a quantity on
a bobbin, which is, after all, only a needle with an extra long thread.
[Illustration: Fig. 175.]
[Illustration: Fig. 176.]
A comb is necessary for pressing down the weft whilst the work is in
progress. Combs vary in size and shape; fig. 176 shows one suitable for
this type of work; it is 1½ inches square, slightly wedge-shaped, and
about one-eighth of an inch thick. Boxwood is the most suitable wood to
make them from, since it is particularly hard and fine in the grain.
They are sometimes made of metal, ivory, or bone; for large work, metal
combs of a heavier type are used.
[Illustration: Fig. 177.]
An embroidery frame, which has been already mentioned as a possible
substitute for the loom, is oftentimes an article more easily procured.
Fig. 177 illustrates how a frame of this kind may be prepared with
warp-threads for weaving. One with the screw side pieces is the best,
for these enable the tension of the warp to be slightly adjusted if the
working shows any tendency to slacken the thread.
To prepare the frame for weaving--Place the parts together at the
required distance from each other; secure the end of some warp-thread to
some part of the frame, and then commence to wind it round and round
over the two rollers, placing the threads at approximately the right
distance apart, taking into account when doing this that the two leaves
thus formed will eventually be brought into the same plane. When the
required width of warp-thread is wound upon the rollers, secure the end
of the string and proceed to bring the front and back leaves together by
darning a knitting-needle or some similar article in and out of the
threads at the centre. Then slide it up close to the top roller and
secure it by tying it with string at each end (see diagram). The same
process is gone through with a second pin, which is tied to the lower
roller.
The warp-threads can now be adjusted to their proper distance apart, as
they will probably be a little irregularly spaced. The next process is
to weave two or three courses of warp-thread close to the knitting-pins
at either end; this brings the warp still nearer to being in the one
plane, and enables the threads to be arranged in perfect order by the
aid of the point of the bobbin or a needle, and they will remain as now
placed.
The frame is now ready for work. A piece of plain web, about half an
inch in width, is usually woven before the actual design is begun; this
serves as a selvedge for turning in when the completed work is mounted,
and also gets the warp into condition much better for working upon.
A thick knitting-needle can be passed between the alternate threads of
the warp and placed towards the top of the frame, as shown in the
diagram. This takes the place of the cross-stave in the loom, and, by
thus dividing the warp into two leaves, is of assistance when the
shuttle goes in one direction. Coats cannot easily be applied to an
embroidery frame.
It is quite possible upon a frame of this kind to weave a long narrow
band of any kind. The warp must be wound on and arranged in position at
the necessary length by separating the rollers and temporarily fixing
them apart at the distance required for the band. The surplus warp is
then wound up on the upper roller until the side pieces will fit into
the ends. As it gets worked upon, the completed part is wound upon the
lower roller. A piece both long and wide would be impracticable,
especially if any winding on and off the rollers were necessary.
MATERIALS
There are very few materials required for tapestry weaving; they consist
of, string for warp, wools, silks, and maybe gold and silver thread for
the weft.
The warp is usually composed of a smooth, strong, evenly twisted thread,
specially made for the purpose. It can be procured of various
thicknesses. It happens sometimes that in parts the warp shows, as a
fringe or in some other way; in this case it could be made of a strong
silk thread, such as purse silk, though for edges of mats, the ordinary
string warp fringed out is quite suitable. Occasionally weaving is
carried out in such a way as to expose the warp in various parts of the
work, the pattern being woven, but the ground left altogether unworked.
In a case of this kind the colour and composition of the warp is
naturally important, and must be considered. In a show-case in the
British Museum there can be seen a small book with an interesting woven
binding carried out after this manner. The warp is composed of gold
passing, and the effect of this with a pattern carried out in brightly
coloured silks is very pretty indeed, the gold adding a rich glow to the
whole.
Wool and silk are the chief materials used for the woof. It is well to
choose those of fine texture, for several strands can then be wound
together upon one bobbin, which, with coarse materials, would be too
clumsy a method. When working in this way there is more opportunity of
varying colour and texture, for three shades may be wound upon the
bobbin together to get a required colour, and this has often a prettier
effect than the use of an unblended colour; also, silk and wool are very
satisfactory wound and worked in together, each texture showing the
other to advantage.
Fine gold or silver threads are frequently used in tapestry weaving.
They can be woven in alone, which gives a metallic look, or they may be
mixed with strands of silk. Both ways are very good, and the use of the
metal thread adds great richness to the work. These threads make fine
backgrounds, and they can be used in many ways upon the design; it is a
common practice to carry out the lighting of draperies and of other
parts in real gold, just as they are treated in illuminated manuscripts.
CHAPTER XVII
PREPARATIONS FOR WORK
Warping the Loom--Dressing the Coat-Stave--Tracing the Pattern upon
the Threads.
Upon commencing the warping of the loom the first matter to be decided
is the length of the threads. Some extra length must be measured off
besides that actually used for weaving, to allow for what is taken up
in fixing the threads and winding them round the rollers, and as it is
not convenient to work more than about half-way up the loom, this also
has to be allowed for in the length. The threads must all be cut to one
size, and since they have to be doubled in halves when placed on the
loom, this should be twice the required length.
Another question for early decision is the number of warp-threads that
may be allowed per inch. This varies with the coarseness of the strings
and the thickness of the weft that will have to pass to and fro between
them; what governs both of these points is the design, whether there is
much detail or not, for if the drawing is complicated the warp-strings
must be fine in order to be able to carry it out; this point will be
better understood after some experience of working. Fourteen to sixteen
threads to the inch is a very usual number.
The fixing of the threads in the upper roller is a very simple matter.
It is done by doubling each in halves and placing the loop thus formed
over the metal pin, which for this purpose may be temporarily suspended
by string to the frame of the top of the loom just above the roller. It
can be dropped into its place in the groove when all the threads are
looped upon it, and made secure there for the moment by tying some
string round the extremities of the roller.
Each thread is now taken separately through the comb-like instrument.
The cross-stave is laid upon this, so it is well to put it in place now,
and carry the threads alternately in front and behind it, whilst passing
them through the comb. The threading of the strings through the comb
decides the number there will be to the inch, so they must be put
through at the required distance apart.
The upper roller is next given a complete turn, which will make the
metal pin and the threads that are round it secure in the groove. The
winding up must be continued until only about three inches of the
warp-string hang below the lower roller. Some kind of tension must be
applied to the threads whilst this winding is going on, or it will be
done irregularly; a hand, or several hands, holding it, answers the
purpose well enough.
The next process is to fix the threads securely in the lower roller. The
difficulty here lies in getting the placing and tension of the threads
between the two rollers exactly regular and even. If some were slack and
others tight it would be very awkward to correct afterwards, and
impossible to weave upon properly if incorrect.
[Illustration: Fig. 178.]
Fig. 178 shows a practical method by which the warp may be fixed in the
lower roller, but any contrivance will do that gains the required
result. To carry out the fixing as in the diagram, the roller must be
turned so that the groove comes just at the centre in the front. Four
lines of warp-thread are then fixed from end to end of the roller, two
above and two below the groove. Each warp-string in turn is now threaded
in and out of these cross lines, as shown in the diagram. This places
them in regular order, at the correct distance apart, and keeps them at
very nearly the same tension throughout. The metal pin is now placed in
the groove and pushes the threads before it. It must be temporarily made
firm there by string tied round the roller at intervals.
The next process is to tie the warp-threads in knots, either two or four
together, just where they emerge below the pin. This prevents any giving
way, and if the threads are pulled just equally tight immediately before
the knotting, the tension of the entire warp will be the same. The lower
roller is next turned round until the metal pin is made quite firm in
its place by the warp-threads passing across the face of the groove.
The warp will now be fixed in the loom as shown in the drawing in fig.
170.
The placing of the coats upon the coat-stave is the next part of the
preparatory work. Commence by fixing a line of warp-thread along the
exterior side of the coat-stave, making it secure to the bar at both
ends. The coats, encircling the stave and a thread of warp, are fixed to
this string by a kind of buttonhole stitch (see fig. 179). It is
important that each loop should be of exactly the same size; this can be
ensured by temporarily fixing a rod across the loom at the point where
the loops will encircle the warp-thread, and then taking the loop round
this bar as well as round the thread.
[Illustration: Fig. 179.]
To commence making the coats, take a long needleful of warp-thread and
secure the end of it to the string at the right-hand end, and then make
about three small looped stitches upon it (see needle in progress in the
diagram); next, instead of making another of the same stitches, take the
thread down below the stave, let it encircle the first thread of the
back leaf and then be brought up over the coat-stave and string and be
looped under the thread to complete the stitch (see B). Usually a long
and a short stitch are taken alternately, but the number of short ones
may be varied. This process is continued until all the threads of the
back leaf are encircled each by a loop.
A new length of thread must be knotted on to the last one as it gets
used up. The weavers' knot, which is shown on p. 291, might be used for
the purpose. It would be made use of also if by chance the warp-thread
were broken, for it is a knot specially good for the purpose.
When the coats are completed there are still one or two preparations to
be made before actually commencing to weave. Either a metal rod or a
long narrow piece of wood must now be threaded in and out of the
warp-strings and placed in position at the base. This rod can be seen
properly placed in position in fig. 179 in front of the lower cylinder.
This is put there to keep the lines of the woof horizontal when they are
being beaten down by the comb.
Next wind on a bobbin some warp-thread similar to that already on the
loom, or, if that happens to be very coarse, let this be a little finer.
Now weave two courses with this warp-thread and beat it down with the
comb, leaving the woof during the process rather loose. The technique of
weaving with all its difficulties is discussed in Chapter XVIII. When
two of the warp-thread courses are complete, insert either the pointed
end of the bobbin or a blunt needle between the warp-threads below the
woven portion, and if necessary move the warp-strings a little to or fro
until they are equally separated each from the other all along the line.
Next weave about four more courses of the woof; these will serve to keep
the arranged warp-threads still more firmly in place. Then with a red
pencil rule a horizontal line straight across the warp-strings about
one-third of an inch above the woven portion. Wind on another bobbin
some wool and weave it to and fro until the space between the woven
portion and the red line is filled in. Between each course the comb must
beat the woof-threads firmly down. It is often necessary to weave over
some portions of the surface more than over others as the threads pack
down tighter in some parts. The loom should be now in perfect order for
commencing work. The preparatory weaving that has been done is often
useful afterwards as a selvedge.
It is necessary to have a coloured drawing of the design for frequent
reference whilst the work is in progress; also a tracing of the outline
must be marked upon the warp-threads for the worker's further guidance.
The tracing upon the threads must be a reflection of the pattern owing
to the fact that the work is done from the back. It does not affect the
matter if the design is a symmetrical one, but to find the lions of
England facing the wrong way in some completed piece of heraldic work
would be most annoying. In order to get a tracing of the design upon the
threads, a sheet of paper, with a distinct outline of the pattern upon
it, must be attached, possibly by pinning, to the further side of the
warp-threads, exactly where the weaving is to take place. The outline
will be clearly perceivable through the threads, and the next process is
to take pen and Indian ink and make a dot upon each warp-thread in
sequence round the outline of the pattern. When this is completed, the
tracing-paper can be removed, and the dots upon the warp must be taken
all round each thread instead of marking one side only. The marking
round is done by holding a warp-thread between the finger and thumb,
placing the side of the nib against one of the dots, and then twisting
the thread to and fro against it. All the marks upon the first thread
are treated in succession in this way, then the next thread is taken up
and treated in similar fashion, and so on until all are done. Fig. 180
shows a leaf marked upon the warp-threads in readiness for working.
This marking should be clear, sharp, and decided, all the lines being
taken horizontally round, as in fig. 180; if the pattern seems to run up
a thread, a mark just half-way up is sufficient guide. In a piece of
work of any size the tracing must be done, a part at a time, for the
threads moving slightly when the warp is unwound and the web wound up
may displace the marks and make the guiding lines incorrect.
[Illustration: Fig. 180.]
CHAPTER XVIII
THE TECHNIQUE OF WEAVING
Weaving--Commencing and Fastening Off--The Interlocking Stitch--Fine
Drawing--Shading--Added After-stitches.
The way in which the woof threading in and out of the warp makes the web
is shown at C, fig. 179. Here the woof has been taken once to and fro; a
movement called a weft or a course, one way only, goes by the name of a
half pass or a shoot. By the use of the cross stave for one direction,
and of the coats for the other, the tediousness of the process of
darning in and out and so picking up the right threads is avoided. It is
not always practical to make use of these appliances; for instance, in
working over only two or three threads it may not be worth while, but
when they can be made use of the work is done twice as rapidly by their
help.
The bobbin enters the loom rather high up, for there the division of
threads is greatest. One hand starts the bobbin upon its journey, the
other hand, entering between the divided warp-threads, takes it on and
out as required. Sometimes the bobbin has to go the entire way between
the leaves, and at others it may be only over two or three threads, this
depending upon the pattern. To enable the bobbin to make the return
passage, the warp must be redivided, the threads that are at the back
must be brought to the front; this is managed by the help of the
coats--a bunch of them is taken in the hand in order to pull forward the
threads to which they are attached. This can be done by sections all
along the line, or just in one part of it if it be so required.
The weft is almost always taken in horizontal lines to and fro. The
exceptions to this rule occur when it is very evident that to run up
and down a narrow slanting line from end to end is far simpler than to
work up in a horizontal zigzag fashion along it.
About an inch of thread is left at the end and at the commencement of
each length of weft; these are secured by the tight packing down of the
threads above them, so there is as a rule no need for any knot or
fastening off, which would be necessary only in the case of commencing
or ending off round a single thread, but it is important for the future
durability of the work to see that the ends are secured. Sometimes a
commencement or a finish is made just where a natural division of the
fabric occurs; in this case, the end of thread would not be secure, for
it might work loose or appear upon the right side. This can usually be
avoided by commencing a little further along the line. The few times
that fastening off or on is necessary, the thread can be run into the
part already woven with a smaller needle, or else be knotted on to a
loose end of wool.
The bobbins not actually in use hang down fixed as in lace work by a
half-hitch. Fig. 181 shows this in process of making; the loop is passed
from the finger on to the bobbin; it will unwind as wanted and yet hold
firm whilst hanging down. The thread is always carried, if practicable,
from one place to where it is next required, in order to avoid
unnecessary breaking off. Tapestry is sometimes woven with both sides
alike, which means only that all the ends must be cut close off. It is
said that work so treated is quite durable.
[Illustration: Fig. 181.]
Special care must be taken that the weft is turned neatly round at the
margins, because if it is at all loose there the work has a ragged,
untidy appearance. This applies also to any turnings that may occur in
other parts due to the carrying out of the pattern; if in these places
the thread is too loose upon the warp, the fabric will be uneven and
pushed out of place; if on the other hand the thread there is too tight,
the slits will gape, and if these are afterwards closed by stitching,
the entire material will be drawn in. A new thread is never commenced
actually at the margin, for it would then be seen upon the right side;
it is quite easy to avoid this happening by commencing an inch further
in. This may entail beginning in a direction which is apparently wrong
for picking up the proper threads, that is, those not picked up in the
row below; but this must happen at times, and the work packs down and
quite prevents the warp showing, as it might be inclined to do in such a
case. It is sometimes at the margin a good plan to pick up two
warp-threads together, for this emphasises the edge rather pleasantly;
this might be advisable in carrying out a long ribbon-like border of any
kind.
After each shoot, the point of the bobbin, the comb, or maybe the
fingers, should press down the woof to make it lie close upon the row
before, and so entirely cover up the warp. Fig. 182 shows the comb in
action, and also the bobbins hanging. The weft must be left a little
slack along the line for this purpose, and some experience is required
in order to leave just the right slackness. The turn at the edge is
arranged first, and then the thread eased evenly along its length in
readiness for being pressed down; it must have the appearance not of
running straight across the warp-strings, but of lying loosely round
them. For packing down a long line, much more play of weft is required
than for a short one.
[Illustration: Fig. 182.]
The usual fault with beginners is to draw the web too tight here and
there. This is a fault to be specially avoided, for it causes the fabric
to be drawn in, and to vary in width, spoiling its appearance and making
the threads difficult to work upon; also the packing down of the weft
could not be properly done, which would cause the warp-threads to be
exposed in parts.
The thoroughness of this packing down of the weft is for several reasons
very important. The durability of the work is much affected by it, both
for the securing of the ends of wool already mentioned, and for the
making of a strong, well-knit piece of fabric. Another reason is, that
the drawing of the various forms in the design may be made incorrect, in
this way: suppose an apple were woven in, apparently correctly, but the
wefts were not pressed down thoroughly, the weaving and packing down of
the wefts above it would be sure to press the part underneath closer
together, and the effect of this would be to make the round apple assume
a flattened oval shape, and cause similar changes throughout the work.
It has already been mentioned that wherever a change of colour occurs
vertically, that is, in the direction of the warp-threads, there results
of necessity a division or slit in the web; the slit, which may be of
any length, if noticeable, must be closed. This can be done whilst the
weaving is in progress by a method of interlocking the two wefts as they
meet, or else by stitching up at the back when the work is finished. The
latter way is called fine drawing, and must be very carefully done,
especially with large tapestries.
Both methods are used; the first takes longer, but is the most durable.
Old and worn tapestries will usually be seen to have given way where
this stitching up at the back has taken place. In small pieces of work,
however, there is not much likelihood of strain, so the oversewing at
the back answers fairly well. The two ways can be used in conjunction.
Supposing a border, owing to its being of a different colour, had to be
joined the entire length of the work, the interlocking stitches might be
made at intervals of about half an inch, and when the work was finished
the oversewing at the back might be taken the entire length.
[Illustration: Fig. 183.]
Fig. 183 is a diagram illustrating the way in which the wefts may be
interlocked whilst the weaving goes on. Examination of the drawing will
probably be sufficient explanation; however, interlocking is effected
thus: Commencing at the base, run a weft of the darker wool to and fro,
leaving it slack at the turning point. A half pass of the
lighter-coloured woof is then run through, it is threaded in an upward
direction through the slack loop of the darker wool, waits there whilst
another weft of the darker colour is worked, and then is threaded down
through the second loop that has been formed, and returns to the
starting-point. It then comes back again and is threaded upwards through
this same loop, and waits, as before, for another to be formed, and
returns back through it--and so on. If this is done properly, no change
is visible on the right side. The joined weft will last as long as any
other part of the weaving.
The process of stitching up at the back is simply an oversewing with
silk or other strong thread. The stitches must be rather close, drawing
the edges just sufficiently together, and they must not show through to
the right side. The stitching together should be done while the work is
on the loom, since the web would then be in less danger of pulling out
of shape.
[Illustration: Fig. 184.]
Shading in tapestry weaving is carried out by a hatching process which
is most simply explained by a diagram (fig. 184). The difficulty is not
in the working, but in getting the form of the shadow or light correctly
expressed. There is no need for fine gradation of colour and tone, for
the shading looks best when carried out simply and boldly, but the
drawing of it should be decided and good. The above figure gives but one
intermediary tone in shading from one colour to another, which is the
ancient method of working; at the present day the weavers in the
_Manufacture des Gobelins_ employ several other intermediary tones, thus
allowing of finer gradation; possibly however these fine gradations are
not of such great importance, and so need not have an unnecessary amount
of attention and time devoted to their accomplishment.
The student will do well to examine fine examples and make careful
drawings from them, since this will teach the right way of going to work
better than anything else can. Fig. 185 is simply a shaded leaf taken at
random from a piece of weaving; the same leaf was shown in outline in
fig. 180, so the two show the commencement and completion of the same
piece. It will be noticed upon studying tapestry that usually all the
light parts of a work are hatched with the same colour, often a buff
shade, those of rich tapestries with gold thread. This sameness of
colour throughout gives unity to the work.
[Illustration: Fig. 185.]
Sometimes after the weaving is completed a few finishing touches can be
satisfactorily put in by means of single stitches taken through the
fabric with a sharp-pointed embroidery needle. The dots representing the
seeds upon a strawberry could be stitched in afterwards in this way, for
to insert them while the work is going on would be very tedious. This
kind of thing must not be overdone, however, for the stitches are apt,
unless very deftly treated, to have a laid-on look, and care must be
taken not to mar the evenly ribbed effect, which is one of the
characteristics of tapestry.
[Illustration: Fig. 186.]
This weaving is a most fascinating kind of work, as will be found upon a
trial. The simplest patterns look very interesting when woven, and, on
the other hand, the work can be carried to any degree of complexity that
the worker desires. For a first trial a piece might be done with no
attempt at shading; even one such as that illustrated at fig. 186 would
be suitable. This example happens to be a form particularly easy for
carrying out in weaving. The worker should begin at the lower right-hand
corner and work the successive flights of steps diagonally, as shown by
the unfinished portion of the diagram.
In the way of actual technique there is in the art of tapestry weaving
not nearly as much to be learnt as there is in embroidery, for there are
no varieties of methods and of stitch to be acquired; still for a person
to become a skilled weaver, capable of carrying out large wall hangings,
is a thing very difficult of attainment--indeed it is said that it takes
as long as fifteen years of constant application to acquire the
necessary knowledge and skill. To carry out designs of less magnitude
and intricacy is a very different matter; success in this smaller way is
far more easily attained, and is well within the reach of unprofessional
people.
NOTES ON THE COLLOTYPE PLATES
PLATE I.--_A Detail from a XIVth Century English Cope._--The figure of
Christ which is shown in this plate is taken from a central group,
representing the coronation of the Virgin, in a famous cope in the
possession of Colonel J. E. Butler-Bowdon. The ground is of rich red
silk velvet; the face, hands, and linings of the draperies are worked in
silk in split stitch; the drapery, crown, and surrounding architectural
decoration are in gold thread couched by the early method. The twisted
column with oak leaves and the five lobed arch are both characteristic
of English work of this period. Note the use of pearls in the lion's
head and in the acorns, also the charmingly drawn bird. An interesting
technical point displayed in this example is that the work is done
directly on to the velvet ground, instead of being first worked upon
linen and afterwards as a completed piece of embroidery applied to the
velvet. The method in use here, if at all possible, is always the most
satisfactory.
Size of detail, about eleven inches by six.
PLATE II.--_Two Heads from a XIVth Century English Cope preserved at
Steeple Aston, Oxfordshire._--The cope is not now in its original state,
for it has been divided into two parts and used for the decoration of
the altar. The background is composed of a thin greyish white silk
backed with a stronger material. The white may have been originally some
other colour; it is, however, in its present state, very beautiful and
harmonious. The drawing of the features in this cope is remarkably
refined and true to nature (the reproduction does not do full justice to
the original). The ancient method, of working the faces in split stitch
commencing with the middle of the cheek and continuing spirally round,
then afterwards pressing the centre down by some mechanical means, is
plainly to be observed here. The effective drawing of the tresses of
hair in alternate lines of two colours is well seen in the left-hand
example. The gold thread which is freely made use of all over the cope,
upon the draperies, nimbi, and surrounding foliage, is marvellously
bright and sparkling, although nearly six hundred years old. The
manufacture of untarnishable gold for embroidery purposes seems beyond
present day enterprise.
Width of nimbus, two and a half inches.
PLATE III.--_A small portion of a Quilted Coverlet, probably of Sicilian
work. Date about 1400._--In this interesting example of quilting, which
is exhibited in the Victoria and Albert Museum, the ground is composed
of a buff-coloured linen. The raised effect is obtained by an
interpadding of wool. The background is run over irregularly with white
thread, in order to keep it more or less flat, and the design, which is
in fairly high relief, is outlined with brown thread. The entire
coverlet is embroidered with scenes from the life of Tristan. Tristan
frequently engaged in battle against King Languis, the oppressor of his
country. This detail represents "How King Languis (of Ireland) sent to
Cornwall for the tribute."
Size of detail, two feet by three.
PLATE IV.--_A portion of an Altar Cloth Band, embroidered in coloured
silk threads upon a white linen ground._--This is a piece of German XVth
century work exhibited in the Victoria and Albert Museum. It is
embroidered almost entirely in one stitch, which might be described as a
variety of herring-bone. The design is made up of two motives which
repeat alternately along the band--a square shaped tree and a circle,
the latter decorated with floral sprays and, in the centre of it, a
group of emblems. Down the middle of the design runs a series of names
in fine Gothic lettering--"Ursula" and "Augustinus" being the two that
occur in this plate.
Width of embroidered band, four and a half inches.
PLATE V.--_A portion of a late XVth century Orphrey, embroidered with
the arms of Henry Stafford, Duke of Buckingham._--The ground is of red
velvet, and is embroidered with gold thread and coloured silks. The two
shields here represented bear the arms of the families of de Bohun and
Fitzwalter. Each shield has for supporters two swans, and is surrounded
by floral sprays. The Stafford knot unites the sprays between the
shields. The chasuble upon which this orphrey is placed is made of a
lovely brocaded silk decorated with falcons, peahens, and roses.
Width of embroidered orphrey, about eight inches.
PLATE VI.--_A detail of Foliage taken from a late XVIth century
Embroidered Picture representing the story of Daphne._--The picture is
worked in coloured wools and silks in cross stitch upon canvas, and is
an admirable example of this kind of work, and this particular detail is
a good illustration of a very satisfactory treatment of foliage. The
whole panel measures about seven feet by two, and is exhibited in the
Victoria and Albert Museum.
Height of detail, ten and a half inches.
PLATE VII.--_An Embroidered XVIIth or XVIIIth century Wool-work
Curtain._--This curtain, the property of Miss Killick, is a pretty
example of a small crewel-work hanging. The design is of a type that was
often used upon hangings of that period. It is embroidered with brightly
coloured wools upon a white linen ground, and is in a good state of
preservation. Much ingenuity as well as variety of stitching are shown
in the execution of the work.
Size of curtain, about five feet by three.
PLATE VIII.--_A portion of a large XVIIth century Linen Hanging
embroidered with coloured wools._--In both design and execution this
curtain is remarkably fine. The entire hanging is about eighteen feet in
width by seven in height. It is embroidered with a conventional
representation of a forest; in the branches of the trees lodge all kinds
of birds and beasts. The type of design shown in this plate and in the
last is derived from Eastern work; its introduction into England was due
to the increase of trade with oriental nations, which developed about
this time.
Size of detail, about six feet by four.
PLATE IX.--_Cutwork Lettering taken from a XVIIth century English
Sampler._--The letters and surrounding decoration shown in this example
of cut or open work are built up on a square network of warp and weft
threads that were left at regular intervals throughout the space, when
the unnecessary threads were withdrawn, and then covered with a kind of
darning stitch. The letters are worked in buttonhole stitch, each fresh
line being taken into the heading of the last one. The other parts of
the work are carried out in either buttonhole or overcast stitch. The
complete sampler is a long narrow strip of linen, across which run
specimen bands of various kinds of work. It is exhibited in the Victoria
and Albert Museum.
Width of cutwork detail, six inches.
PLATE X.--_An Embroidered Sampler._--The work is carried out in coloured
silks in minute cross-stitch and occasional rows of satin stitch, upon a
ground of fine single-thread canvas. It is dated 1798, and was worked by
Alice Knight, the author's great-grandmother. The birds, trees, and
flowers, the charming little border patterns, and the comical cats
standing on either hillocks or housetops, are all characteristic of
sampler work. Working the sampler was once the regular introduction to
mending, marking, and embroidery, and one was done by almost every
XVIIIth century child as a part of education, indeed the practice of
working samplers was continued some decades into the XIXth century.
Actual size of original, eighteen inches by twelve.
PLATE XI.--_An Example of Persian Embroidery._--Formerly in the
collection of Lord Leighton, and now in that of the London County
Council's Central School of Arts and Crafts. The embroidery is carried
out almost entirely in chain stitch with brilliantly coloured silks,
upon a fine semi-transparent ground. The flowers that appear dark in the
reproduction are worked in a bright rosy red, others are yellow and
orange, and the leaves are in pale grey green outlined with a dark
myrtle shade of the same.
Size of panel, about five feet by four.
PLATE XII.--_A Detail from an Embroidered Tablecloth._--The entire
surface of this fine white linen cloth is strewn with a profusion of
beautiful flowers, worked in floss silk in bright colours. The flowers
were all drawn directly from nature by the worker, Mrs. W. R. Lethaby.
PLATE XIII.--_An Embroidered Altar Frontal, executed by Miss May Morris,
designed by Mr. Philip Webb._--The work is carried out with floss silk
in bright colours and gold thread, both background and pattern being
embroidered. The five crosses, that are placed at regular intervals
between the vine leaves, are couched in gold passing upon a silvery silk
ground.
PLATE XIV.--_Two Pieces of Ancient Weaving taken from Tombs in
Egypt._--These are exhibited in the Victoria and Albert Museum. The
upper example is about five inches square, dated IIIrd to VIIth century,
Egypto-Roman work, and is said to have decorated a child's tunic. It is
woven in coloured silks upon a green ground; the colours are still
wonderfully fresh and bright. Weavers may see various interesting
technical as well as other points in this early work. For instance, how
the difficulty of the narrow detached vertical lines, necessitated by
change of colour in the weft, has been overcome by using surface
stitching instead, the easier horizontal lines being woven in the usual
way. A good deal of this surface stitching can be seen in the ancient
weaving; sometimes an entire pattern is picked out by this method, the
ground having been first woven all over in some plain colour.
The lower border pattern is a band of weaving about two inches in width,
Saracenic work. It is woven in coloured silks and linen thread upon the
actual warp threads of the garment that it decorates. The weft threads
were probably omitted for the space of one and a half inches when the
fabric was being made in order that some ornamentation might be put in,
in this way. Some of the weft threads have perished, leaving the warp
exposed to sight; this enables the student to understand better the
manner in which it was carried out.
PLATE XV.--_An Example of a Tapestry Field strewn with Flowers._--This
kind of decoration is characteristic of many tapestry grounds, for the
style is particularly suited to the method of work, and very happy in
result. The detail shown in this plate is taken from a piece of late
XVIth century Flemish work; it carries on, however, a much earlier
tradition. The ground is of a dark blue colour, and the flowers varied
as in nature.
PLATE XVI.--_A Tapestry Bag, woven in coloured silk and gold thread by
the Author._--The ground is woven with black silk, decorated with gold
at the top and base. The centre panel is carried out in brightly
coloured silks and gold thread. The various compartments are filled with
representations of flowers, birds, and fishes, upon an alternating
purple and blue background. The dividing lines are of gold thread.
Size of bag, ten inches by six.
THE COLLOTYPE PLATES
[Illustration: Plate I.--A detail from a XIVth Century English Cope.]
[Illustration: Plate II.--Two Heads from a XIVth Century English Cope
preserved at Steeple Aston, Oxfordshire.]
[Illustration: Plate III.--A small portion of a Quilted Coverlet,
probably of Sicilian work. Date about 1400.]
[Illustration: Plate IV.--A portion of an Altar Cloth Band, embroidered
in coloured silk threads upon a white linen ground.]
[Illustration: Plate V.--A portion of a late XVth Century Orphrey,
embroidered with the arms of Henry Stafford, Duke of Buckingham.]
[Illustration: Plate VI.--A detail of Foliage taken from a late XVIth
Century Embroidered Picture, representing the story of Daphne.]
[Illustration: Plate VII.--An Embroidered XVIIth or XVIIIth Century
Wool-work Curtain.]
[Illustration: Plate VIII.--A portion of a large XVIIth Century Linen
Hanging, embroidered with coloured wools.]
[Illustration: Plate IX.--Cutwork Lettering taken from a XVIIth Century
English Sampler.]
[Illustration: Plate X.--An Embroidered Sampler.]
[Illustration: Plate XI.--An example of Persian Embroidery.]
[Illustration: Plate XII.--A detail from an Embroidered Tablecloth.
Designed and executed by Mrs. W. R. Lethaby.]
[Illustration: Plate XIII.--An Embroidered Altar Frontal, executed by
Miss May Morris, designed by Mr. Philip Webb.]
[Illustration: Plate XIV.--Two pieces of Ancient Weaving taken from
Tombs in Egypt.]
[Illustration: Plate XV.--An example of a Tapestry Field strewn with
Flowers.]
[Illustration: Plate XVI.--A Tapestry Bag, woven in coloured silk and
gold thread by the Author.]
INDEX
Altar-cloth band (Plate IV.)
Altar frontal (Plate XIII.)
Appliances, 34
Appliances and materials for tapestry weaving, 315
Applied embroidery, 174
Applied work, 172
Background, the, 46
Bag, tapestry (Plate XVI.)
Beads, 50
Bobbins, 321
Braid work, 166
_Broderie anglaise_, 222
Bullions, 235, 256
Canvas work, 147
Coat-stave, 333
Collotypes, descriptive notes on, 356
Colour, 72
Comb, 322, 344
Cope at Steeple Aston (Plate II.), 357
Cope, detail from XIVth century English (Plate I.), 356
Cord, 40, 271
Cord-making appliance, 39, 273
Cotton, 49
Couching, 164
Couching gold, ancient method of, 238
Couching gold, usual method, 250
Coverlet, quilted Sicilian (Plate III.), 358
Crewel work, 103
Curtain, XVIIth century (Plate VIII.), 361
Curtain, XVIIth century wool-work (Plate VII.), 361
Cutwork, 213, 221
Darned netting, 210
Darning, 196
Darning, pattern, 197
Design, 30, 51
Design for tapestry, 311
Designing, pattern, 51
Directions, practical, 292
Drawn thread work, 213
Dressing the coat-stave, 333
Egyptian weaving (Plate XIV.), 364
Emblems, 270
Embroidery frame used as a loom, 323
Embroidery, washing, 297
Embroidery with gold and silver threads, 229
Figure work, 69
Fine drawing, 346
Flax threads, 49
Foliage, detail of (Plate VI.), 360
Frames, embroidery, 35
Frame work, 301
Fringes, 280
Garniture of work, the, 271
Gold and silver threads, embroidery with, 229
Gold thread embroidery, 229
Heraldry, 268
Inlaid work, 180
Interlocking stitch, 347
Knife, 43
Knots, 118, 286
Knotted cord, 277
Knotted thread, 119
Laid work, 168
Lettering, 259
Lettering, cutwork, XVIIth century (Plate IX.), 362
Linen, 47
Loom, 315
Madeira work, 222
Marking, 262
Materials, 44
Materials and appliances for tapestry weaving, 315
Materials for gold work, 233
Methods of work, 164
Monograms, 259
Needles, 35, 322
Objects to work, 31, 314
Open-work fillings, 201
_Opus plumarium_, 101
Orphrey, XVth century (Plate V.), 359
Past work, study of, 28, 53
Paste, embroidery, 295
Patch work, 183
Pattern darning, 197
Pattern designing, 51
Pattern tracing, 328
Patterns, transference of, 42, 292
Persian embroidery (Plate XI.), 363
_Petit point_ pictures, 149
Picots, 143
Piercer, 43
Practical directions, 292
Precious stones, 50
Pricker, 42
Puckered work, cure of, 298
Purls, 256
Quilting, 189
Raised gold work, 253
Raised work, 192
Sampler, embroidered (Plate X.), 362
Samplers, 148
Satin, 48
Scissors, 35
Shading, 68, 348
Silk, 48, 327
Silk threads, 49
Silver and gold threads, embroidery with, 229
Spindle, 43
Stands, embroidery frame, 37
Stitches, 75
Stitch, back, 107
Stitch, basket, 131
Stitch, braid, 88
Stitch, bullion, 121
Stitch, buttonhole, 107
Stitch, cable chain, 90
Stitch, chain, 77
Stitch, chequered chain, 84
Stitch, Cretan, 134
Stitch, cross, 152
Stitch, double back stitch, 127
Stitch, feather stitch, 129
Stitch, fishbone, 131
Stitch, French knot, 120
Stitch, Gobelin, 154
Stitch, herring-bone, 126
Stitch, Holbein, 159
Stitch, insertion, various, 139
Stitch, interlocking, 347
Stitch, Irish, 155
Stitch, knot, 124
Stitch, knotted chain, 92
Stitch, long and short, 99
Stitch, open chain, 86
Stitch, overcast, 106
Stitch, plait, 156
Stitch, rococo, 162
Stitch, rope, 86
Stitch, Roumanian, 136
Stitch, satin, 95
Stitch, split, 94
Stitch, stem, 101
Stitch, stroke, 159
Stitch, tailor's buttonhole, 109
Stitch, tambour, 77
Stitch, tent, 153
Stitch, twisted chain, 85
Stitch, two-sided Italian, 156
Stitch, zigzag chain, 83
Tablecloth, embroidered (Plate XII.), 364
Tambour frame, 39
Tapestry bag (Plate XVI.), 365
Tapestry, example (Plate XV.), 366
Tapestry weaving, introduction to, 307
Tassels, 283
Tarnish of gold and silver threads, 237
Thimbles, 35
Threads, 49, 299, 327
Threads, gold and silver, 229
Tools, 34
Tools for tapestry weaving, 315
Tracing patterns, 42, 328
Tracing patterns on warp, 336
Transferring patterns, methods of, 292
Transferring patterns, requisites for, 42
Velvet, 48
Warp, 326
Warping the loom, 328
Washing embroidery, 297
Weaving, 339
Weaving, Egyptian (Plate XIV.), 364
Weaving, tapestry, 305
Work, garniture of, 271
Work, methods of, 164
Work, preparations for, 328
Work, protection and preservation of, 292
Wools, 49, 327
Printed by BALLANTYNE, HANSON & CO.
Edinburgh & London
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EMBROIDERY MATERIALS
GEORGE KENNING & SON, GOLDSMITHS, GOLD LACEMEN, AND EMBROIDERERS, are
the actual manufacturers of all materials that are best for Embroidery
of any and every description.
[Illustration]
[Illustration]
The following are a few articles from the great variety they
manufacture: Threads, Tambours, Braids, Laces, and Cords in Gold,
Silver, Tinsel, and Aluminium; also Spangles, Sequins, Ornaments, and
Beads of every possible variety.
Please insist on your Draper or Fancy Warehouseman supplying only
materials manufactured by GEORGE KENNING & SON.
MANUFACTORY: 1/4 LITTLE BRITAIN, E.C.
_And at Liverpool, Glasgow, and Manchester._
RIBBON WEAVING FACTORY, COVENTRY
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_MILLS_-- _WAREHOUSE_--
ST. ALBANS. 51 ALDERSGATE STREET, LONDON, E.C.
_Manufacturers of Silks for Weaving and Embroidery._
_For REALLY RELIABLE BOILING and UNFADING DYES._
MAYGROVE'S DUCHESSE FLOSS.
MAYGROVE'S TWISTED EMBROIDERY.
MAYGROVE'S FILOSELLE, &c.
UNEQUALLED FOR LUSTRE, PERMANENCE, AND ARTISTIC GRADUATIONS OF COLOUR.
READY FOR USE.
FOR WEAVING.
CHINA TRAM 1000 Shades.
TUSSAH TRAM AND ORGANZINE 500 Shades.
ORIENTAL FLOCHE 500 Shades.
WORSTED YARNS--COTTON YARNS.
_STOCKED READY FOR DYEING._
Organzines, Sewings, Flosses, Twists, and SPUN SILKS.
WORSTED Cords, Genappes, Mohairs, &c. &c.
* * * * *
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LETTERING FOR LETTER CUTTERS BY A. E. R. GILL
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* * * * *
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[Illustration]
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