[Footnote 1: Copyright, 1897, by Mrs. L. Barton Wilson. All rights
reserved.]
_Embroidery Stitches.--Described and Illustrated._[2]
By L. BARTON WILSON.
The stitches used in modern embroidery are not productions of this age.
They belong to the art of to-day through adaptation. They have a value
because of their antiquity far above any value which new inventions
in this line could possess. Their application has been tried without
limit and the extent of expression and delineation through them is
well known. The science of embroidery is established; its methods are
perfected. The art is rich in its heritage.
With the revival of needlework has naturally come a demand for silks of
such quality and durability as that possessed by the wonderful threads
of centuries ago, which are found in a perfect state of preservation
in many examples of old embroidery, and which seem even to grow more
mellow and beautiful in color with age. What modern science has done to
meet this demand is shown by the brilliancy and beauty of shading, and
fastness of color, which such silks as the "Corticelli" are known to
possess. This ought to be among the chief inspirations to best efforts
in this line of decorative art.
The form of embroidery which is most truly artistic, and at the same
time scientific, is that known as "Opus Plumarium"[3] or "Feather
Stitch." (The so-called "seamstress feather stitch" should not be
confounded with this.) The exceedingly beautiful 16th century examples
of the embroidery still in existence prove what is its durability and
how adequate the method. The "long and short" stitch, which is the
constituent of the work, is widely used on linens. When this stitch
is correctly laid the effect is very beautiful, and, like all primary
things, its beauty lies in its simplicity and perfect adaptability. It
is proposed to describe and illustrate the long and short stitch first,
in order that in the light of a clear understanding of this first
principle, the opus plumarium (which is considered the most difficult
embroidery, but which is really an advanced use of this simple element)
may become less formidable to amateurs.
Feather stitch should never be attempted on an unframed fabric. A
certain degree of excellence may be attained in embroidery by working
such fabrics as linen in the hand, but perfect stitch direction and
proper tension cannot be secured unless the fabric is stretched.
Embroidery stitches hold a certain definite relation to each other and
may therefore be classified into groups. A glance at the classification
will give one a clear idea of the fundamental principles of the Art. A
little study of it will furnish the key to the forms and styles of the
embroideries of the different centuries and countries and so enable one
fully to appreciate collections of antiques which are invaluable to the
learner.