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HANDBOOK OF EMBROIDERY.
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HANDBOOK OF EMBROIDERY
BY L. HIGGIN.
EDITED BY LADY MARIAN ALFORD.
PUBLISHED BY AUTHORITY OF THE ROYAL SCHOOL OF ART-NEEDLEWORK,
AND DEDICATED TO THEIR PRESIDENT,
H.R.H. PRINCESS CHRISTIAN, OF SCHLESWIG-HOLSTEIN,
PRINCESS OF GREAT BRITAIN
AND IRELAND.
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LONDON:
SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,
CROWN BUILDINGS, FLEET STREET.
1880.
(_All rights reserved._)
NOTE.
Plates Nos. 4 and 19 show a portion only of the designs by Mr. W.
Morris and Mr. Fairfax Wade.
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PREFACE.
In drawing up this little "Handbook of Embroidery" we do not pretend
to give such complete technical directions as would enable a beginner
in this beautiful art to teach herself; because learning without
practical lessons must be incomplete, and can only lead to
disappointment.
We have sought, therefore, only to respond to the inquiries we are
constantly receiving, and to supply useful hints to those who are
unable to avail themselves of lessons, and are forced to puzzle over
their difficulties without help from a trained and experienced
embroiderer; at the same time, the rules we have laid down and the
directions we have given may serve to remind those who have passed
through the classes, of many little details which might easily be
forgotten when the lessons are over, though so much of the success of
embroidery depends upon them.
We have given a short description of the most useful stitches, and
have pointed out their applicability to different styles of work; we
have named the various materials which are best suited as grounds for
embroidery, and the silks, filoselles, crewels, &c., which are most
commonly employed, with practical rules for their use in the best and
most economical manner.
Also we have given such plain directions as to stretching, framing,
and cleaning the work as are possible in a limited space, and without
practical illustration. We venture to hope we have thus supplied a
want that has been long felt by those who interest themselves in the
art in which Englishwomen once excelled, but which had languished of
late years, and almost died out amongst us, though it has always been
taught in many continental cities, where embroideries have never
ceased to be required for church decoration.
We have abstained from giving any directions as to the tracing of
designs upon material, for two sufficient reasons: firstly, that the
Royal School of Art-Needlework has never supplied designs alone, or in
any other form than as prepared work; and secondly, that having made
experiments with all the systems that have been brought out for
"stamping," ironing from transfer-papers, or with tracing powder, it
has been found that designs can only be artistically and well traced
on material by hand painting. Those ladies who can design and paint
their own patterns for embroidery are independent of assistance, and
to those who are unable to do so we cannot recommend any of the
methods now advertised.
It has been thought unnecessary to enter into the subject of
ecclesiastical embroidery at present. This has been so thoroughly
revived in England, and practised in such perfection by
sisterhoods--both Anglican and Roman Catholic--as well as by some of
the leading firms of church decorators, that we have not felt
ourselves called upon to do more than include it in our course of
lessons.
The æsthetic side of our subject we have purposely avoided, as it
would lead us further than this purely technical guide-book pretends
to go. But we propose shortly to bring out a second part devoted to
design, composition, colour, and the common-sense mode of treating
decorative Art, as applied to wall-hanging, furniture, dress, and the
smaller objects of luxury.
We shall examine and try to define the principles which have guided
Eastern and Western embroideries at their best periods, hoping thus to
save the designers of the future from repeating exploded experiments
against received canons of good taste; checking, if we can, the
exuberance of ignorant or eccentric genius, but leaving room for
originality.
Mrs. Dolby, who by her presence and her teaching helped Lady Welby to
start the Royal School of Art-Needlework, has left behind her a most
valuable guide for mediæval work in her "Church Embroidery, Ancient
and Modern," which will always be a first-class authority.
The Author and the Editor of this handbook are equally impressed with
the responsibility they have undertaken in formulating rules for
future embroiderers. They have consulted all acknowledged authorities,
and from them have selected those which the teachers in the Royal
School of Art-Needlework have found the most practical and
instructive.
Should any of their readers favour them with hints or criticisms, or
give them information as to pieces of embroidery worth studying, or
stitches not here named, any such communications will be gratefully
received and made use of in future editions.
THE EDITOR.
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TABLE OF CONTENTS.
CHAPTER I.
_Page 1._
OF IMPLEMENTS AND MATERIALS USED IN MODERN EMBROIDERY.
PAGE
Needles 1
Scissors 1
Prickers, &c. 2
Crewels 3
Tapestry Wool 4
Arrasene 4
Embroidery or Bobbin Silk 5
Rope Silk 5
Fine Silk 6
Purse Silk 6
Raw or Spun Silk 6
Vegetable Silk 6
Filoselle 7
Tussore 7
Gold 8
Japanese Gold Thread 8
Chinese Gold 8
Gold and Silver Passing 8
Bullion or Purl 8
Spangles 9
Plate 9
Recipes for Preserving Gold 10
CHAPTER II.
_Page 11._
TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY.
Linens 11
Flax 11
Twill 11
Kirriemuir Twill 11
Sailcloth 12
Oatcake Linen 12
Oatmeal Linen 12
Smock Linen 12
Bolton, or Workhouse Sheeting 12
Satins and Silks 14
Silk Sheeting 14
Tussore and Corah Silks 15
Plain Tapestries 15
Brocatine 15
Cotton and Woollen 16
Velveteen 16
Utrecht Velvet 16
Velvet Cloth 16
Felt 16
Diagonal Cloth 16
Serge 17
Soft, or Super Serge 17
Cricketing Flannel 17
Genoa or Lyons Velvet 17
Silk Velvet Plush 17
Cloths of Gold and Silver 18
CHAPTER III.
_Page 19._
STITCHES.
Stem Stitch 19
Split Stitch 22
Satin Stitch 23
Blanket Stitch 23
Button-hole Stitch 24
Knotted Stitch 24
Chain Stitch 27
Twisted Chain 28
Feather Stitch 29
CHAPTER IV.
_Page 33._
Frames and Framing 33
CHAPTER V.
_Page 37._
STITCHES USED IN FRAME EMBROIDERY.
Feather Stitch 37
Couching or Laid Embroidery 39
Net-patterned Couching 41
Brick Stitch 41
Diaper Couchings 42
Basket Stitch 42
Spanish Embroidery 43
Cross Stitch 45
Simple Cross Stitch 46
Persian Cross Stitch 46
Burden Stitch 50
Stem Stitch 51
Japanese Stitch 51
Tambour Work 51
Opus Anglicum 52
Cut Work 54
Inlaid Appliqué 54
Onlaid Appliqué 54
Gold Embroidery 57
Backing 58
Stretching and Finishing 59
Embroidery Paste 59
Cleaning 60
ILLUSTRATIONS.
Description of the Plates 62
Sixteen Plates, containing 24 Designs 65 to 96
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HANDBOOK OF EMBROIDERY.
CHAPTER I.
OF MATERIALS AND IMPLEMENTS USED IN MODERN EMBROIDERY.
IMPLEMENTS.
_Needles._--The best "embroidery needles" for ordinary crewel handwork
are Nos. 5 and 6. For coarse "sailcloth," "flax," or "oatcake," No. 4.
For frame embroidery, or very fine handwork, the higher numbers, from
7 to 10.
It is a mistake to use too fine a needle. The thread of crewel or silk
should always be able to pass loosely into the eye, so as not to
require any pulling to carry it through the material.
* * * * *
_Scissors_ should be finely pointed, and very sharp.
* * * * *
_Thimbles_ which have been well worn, and are therefore smooth, are
best. Some workers prefer ivory or vulcanite. Two thimbles should be
used for framework.
* * * * *
_Prickers_ are necessary for piercing holes in gold embroidery, and
also for arranging the lie of the thread in some forms of couching.
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MATERIALS.
CREWELS, AND HOW TO USE THEM.
_Crewel_ should be cut into short threads, never more than half the
length of the skein. If a long needleful is used, it is not only apt
to pull the work, but is very wasteful, as the end of it is liable to
become frayed or knotted before it is nearly worked up. If it is
necessary to use it double (and for coarse work, such as screen panels
on sailcloth, or for embroidering on Utrecht velvet, it is generally
better doubled), care should be taken never to pass it through the eye
of the needle, knotting the two ends; but two separate threads of the
length required should be passed together through the needle.
Crewel should not be manufactured with a twist, as it makes the
embroidery appear hard and rigid; and the shades of colour do not
blend into each other so harmoniously as when they are untwisted.
In crewels of the best quality the colours are perfectly fast, and
will bear being repeatedly washed, provided no soda or washing-powder
is used. Directions for cleaning crewel work are given later; but it
should not be sent to an ordinary laundress, who will most certainly
ruin the colours.
Crewel is suitable for embroidery on all kinds of linen--on plain or
diagonal cloth, serge, flannel, &c. It is also very effective when
used in conjunction with embroidery silk, or filoselle, either in
conventional designs, or where flowers are introduced. The leaves may
be worked in crewels, and the flowers in silk, or the effect of the
crewels increased by merely touching up the high lights with silk.
* * * * *
_Tapestry Wool_ is more than twice the thickness of crewel, and is
used for screen panels, or large curtain borders, where the work is
coarse, and a good deal of ground has to be covered. It is also used
for bath blankets and carriage and sofa rugs. Tapestry wool is not yet
made in all shades.
Fine crewels are used for delicately working small figures, d'oyleys,
&c.; but there is also a difficulty about obtaining these in all
shades, as there is not much demand for them at present.
* * * * *
_Arrasene_ is a new material. It is a species of worsted chenille, but
is not twisted round fine wire or silk, like ordinary chenille; though
it is woven first into a fabric, and then cut in the same manner. It
serves to produce broad effects for screen panels, or borders, and has
a very soft, rich appearance when carefully used. It is made also in
silk; but this is inferior to worsted arrasene, or the old-fashioned
chenille.
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SILKS.
_"Embroidery," or Bobbin Silk_, which has now almost superseded
floss, is used for working on satin and silk, or for any fine work. It
is made in strands, each of which has a slight twist in it to prevent
its fraying as floss does. As this silk is required in all varieties
of thickness, it is manufactured in what is technically called "rope,"
that is, with about twelve strands in each thread. When not "rope"
silk, it is in single strands, and is then called "fine" silk. As it
is almost always necessary to use several strands, and these in
varying number, according to the embroidery in hand, the rope silk has
to be divided, or the fine doubled or trebled, as the case may be.
If rope silk is being used, the length required for a needleful must
be cut and passed carefully between finger and thumb once or twice,
that it may not be twisted. It should then be carefully separated into
the number of strands most suitable for the embroidery in hand; for
ordinary work three is about the best number.
These must be threaded together through the needle, care being taken
not to tangle the piece of "rope" from which they have been detached.
There need be no waste if this operation is carefully done, as good
silk will always divide into strands without fraying.
In using "fine silk," one length must be cut first, then other strands
laid on it,--as many as are needed to form the thickness required.
They should be carefully laid in the same direction as they leave the
reel or card. If placed carelessly backwards and forwards, they are
sure to fray, and will not work evenly together. With silk still more
than with crewel, it is necessary to thread all the strands through
the needle together, never to double one back, and never to make a
knot.
It is intended in future to do away with this distinction between
"rope" and "fine" silk, and to have it all manufactured of one uniform
thickness, which will consist of eight strands of the same quality as
the "fine" silk at present in use. As it will, however, still be
necessary to divide the thread, and even perhaps occasionally to
double it, the directions given above will be useful.
* * * * *
_Purse Silk_ is used sometimes for diapering, and in rare cases in
ordinary embroidery, where a raised effect is required.
* * * * *
_Raw_ or _spun silk_ is a soft untwisted cream-coloured silk, used for
daisies and other simple white flowers, or in outlining. It is much
cheaper than embroidery silk or filoselle.
* * * * *
_Vegetable Silk_ (so-called) is not used or sold by the Royal School.
* * * * *
_Filoselle_, when of good quality, is not, as some people suppose, a
mixture of silk and cotton. It is pure silk, but of an inferior
quality; and therefore cheaper. It answers many of the purposes of
bobbin silk, but is not suitable for fine embroidery on silk or satin
fabrics. It should be used also in strands, and the same remarks hold
good with regard to its not being doubled, but cut in equal lengths.
* * * * *
_Tussore._--Interesting experiments have recently been made with the
"Tussore," or "wild silk" of India, which bids fair to create a
revolution in embroidery. Not only can it be produced for less than
half the price of the "cultivated silk" of Italy, China, or Japan, but
it also takes the most delicate dyes with a softness that gives a
peculiarly charming effect. It can scarcely be said to be in the
market as yet, but in all probability before this work is through the
press it will have become an important element in decorative
needlework. It is much less glossy than cultivated silk.
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GOLD THREAD, &c.
"_Japanese gold thread_," which has the advantage of never tarnishing,
is now extremely difficult to obtain. Being made of gilt paper twisted
round cotton thread, it cannot be drawn through the material by the
needle; but must in all cases be laid on, and stitched down with a
fine yellow silk, known as "Maltese," or "Horse-tail."
* * * * *
"_Chinese gold_" is manufactured in the same manner as the Japanese;
but being of a much redder colour is not so satisfactory in embroidery
unless a warm shade is desirable for a particular work.
* * * * *
_Gold and silver passing_, a very fine kind of thread, can either be
used for working through the material, or can be laid on like the
Japanese gold. They are suitable for "raised gold or silver
embroidery."
* * * * *
_Bullion, or Purl_, is gold or silver wire made in a series of
continuous rings, like a corkscrew. It is used in ecclesiastical work,
for embroidering official and military uniforms, and for heraldic
designs. It should be cut into the required lengths--threaded on the
needle and fastened down as in bead-work. Purl is sometimes
manufactured with a coloured silk twisted round the metal though not
concealing it, and giving rich tints to the work.
* * * * *
_Spangles_ were anciently much used in embroidery, and were sometimes
of pure gold. They are but little used now.
* * * * *
_Plate_ consists of narrow plates of gold or silver stitched on to the
embroidery by threads of silk, which pass over them.
* * * * *
The French and English gold thread is made of thin plates of metal cut
into strips, and wound round strands of cotton in the same manner as
the Japanese gold. If the metal is real, the cost is of course great.
It is sold by weight, gold being about 20s. per oz., and silver, 10s.
per oz. In addition to its superiority in wear, it has this advantage,
that old gold or silver thread is always of intrinsic value, and may
be sold at the current price of the metal whatever state it may be in.
Many varieties of gilt thread are manufactured in France and England,
which may be used when the great expense of "real gold" is objected
to. But although it looks equally well at first, it soon becomes
tarnished, and spoils the effect of the embroidery. Gold and silver
threads are difficult to work with in England, and especially in
London, as damp and coal-smoke tarnish them almost before the work is
out of the frame. Mrs. Dolby recommends cloves being placed in the
papers in which they are kept.
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RECIPES FOR PRESERVING GOLD.
We give here two recipes, which may be found serviceable. They are
from different sources; the first is a very old one. They may preserve
gold for a certain time.
1. Isinglass dissolved in spirits of wine and brushed over the thread
or braid, which should be hung over something to dry, and not touched
with the hand.
2. Spirits of wine and mastic varnish mixed very thin and put on in
the same way with a brush.
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