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text       version4       ,see          
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,flowers1 ,plants and ,fishes1 ,birds1  
,beasts1 ,flyes1 and ,bees1     ,hils1  
,dales1 ,plaines1 ,pastures1 ,skies1    
,seas1 ,rivers1 ,trees1     ,there's    
nothing neere at hand1 or farthest      
sought1     ,but with the needle may be 
shap'd and wrought4          --,,john   
,,taylor 7,the ,praise of the ,needle74 
,the ,artistic ,crafts ,series of       
,technical ,handbooks ,edited by ,w4 ,r4
 ,lethaby  ,,embroidery ,,and ,,tapestry
 ,,weaving  ,a ,practical ,text-,book of
 ,design and ,workmanship  by  ,,mrs4   
,,archibald ,h4 ,,christie  ,with       
,drawings by the ,author and ,other     

,illustrations  ,second ,edition        
,revised 7,a reprint of the ,first      
,edition1 with various slight           
alterations in text7  ,third ,edition   
,revised 7,a reprint of the ,second     
,edition7        ,published by ,john    
,hogg #ac ,paternoster ,row ,london     
#aiab    ,illustration3 ,frontispiece   
,see page #bdi4    ,printed by          
,ballantyne1 ,hanson  ,co4 at the       
,ballantyne ,press1 ,edinburgh          
,,editor',s ,,preface   ,needlework1    
which is still practised traditionally  
in every house1 was once a splendid art1
 an art in which ,english workers were  
especially famous1 so that1 early in the
 ,x,i,i,ith century1 vestments          
embroidered in ,england were eagerly    
accepted in ,rome1 and the kind of work 
wrought here was known over ,europe as  
,english ,work4 ,embroideries facon     
d',angleterre often occupy the first    
place in foreign inventories4  ,at      
,durham are preserved some beautiful    
fragments of embroidery worked in the   

,xth century1 and many examples1        
belonging to the great period of the    
,x,i,i,ith and ,x,i,vth centuries1 are  
preserved at the ,south ,kensington     
,museum1 which is particularly rich in  
specimens of this art4 ,in order to     
judge of what were then its             
possibilities it is worth while to go   
and see there three notable copes1 the  
blue cope1 the ,sion cope1 and the      
rose-colour ,jesse-tree cope1 the last  
two of which are certainly ,english1 and
 the former probably so4 ,the ,sion cope
 bears a remnant of an inscription which
 has unfortunately been cut down and    
otherwise injured1 so that all that ,i  
have been able to read is as follows3   
,,davn ,,pers 3 ,,de 3 ,v 4442 probably 
the name of the donor4  ,in the         
,x,i,i,ith century the craft of         
embroidery was practised both by men and
 women4  ,that great art patron1 ,henry 
the ,third1 chiefly employed for his    
embroideries1 says ,mr4 ,hudson ,turner1
 a certain ,mabel of ,bury ,st4         

,edmund's1 whose skill as an            
embroideress seems to have been         
remarkable1 and many interesting records
 of her curious performances might be   
collected4 ,and ,i have found a record  
of an embroidered chasuble made for the 
king by ,mabilia of ,st4 ,edmund's in   
#abdb4 ,the most splendid piece of      
embroidery produced for this king must  
have been the altar frontal of          
,westminster ,abbey1 completed about    
#abfi4 ,it was silk1 garnished with     
pearls1 jewels1 and translucent enamels4
 ,four embroideresses worked on it for  
three years and three-quarters1 and it  
seems to have cost a sum equal to about 
,l#cjjj of our money4  ,the ,london     
,broderers did not receive a formal     
charter of incorporation until #aefa1   
but they must have been a properly      
organised craft centuries before4 ,in #b
 ,henry ,,iv4 it was reported to        
,parliament that divers persons of the  
,craft of ,brauderie made unfit work of 
inferior materials1 evading the search  

of the ,wardens of ,brauderie in the    
said ,city of ,london4  ,in ,paris1 in  
the year #abie1 there were ninety-three 
embroiderers and embroideresses         
registered as belonging to the trade4   
,the term of apprenticeship to the craft
 was for eight years1 and no employer   
might take more than one apprentice at a
 time4 ,in the ,x,v,ith century the     
,guild was at the height of its power1  
and embroideries were so much in demand 
that the ,jardin des ,plantes in ,paris 
was established to furnish              
flower-subjects for embroidery design4  
,it was founded by the gardener1 ,jean  
,robin1 and by ,pierre ,vallet1 brodeur 
to ,henry ,,iv4 ,in the ,x,v,i,i,ith    
century the company numbered #bej       
past-masters4  ,to this craft the       
present volume forms1 ,i believe1 an    
admirable introduction and text-book1   
not only on the side of workmanship1 but
 also on that difficult subject1        
design--difficult1 that is1 from its    
having been so much discussed in books1 

yet entirely simple when approached1 as 
here1 as a necessary part of            
workmanship4 ,it is fortunate that we   
have not as yet learned to bother our   
cooks as to which part of their work is 
designing and which is merely           
mechanical4 ,of course the highest      
things of design1 as well as of         
workmanship1 come only after long       
practice and to the specially gifted1   
but none the less every human creature  
must in some sort be a designer1 and it 
has caused immense harm to raise a cloud
 of what ,morris called sham technical  
twaddle between the worker and what     
should be the spontaneous inspiration of
 his work4 ,what such combination has   
produced in past times1 may perhaps best
 be understood by some reading in old   
church inventories of the simply        
infinite store of magnificent           
embroidered vestments which once adorned
 our churches4 ,in an inventory of      
,westminster ,abbey ,i find mentioned   
such patterns as roses and birds1       

fleur-de-luces and lybardes1 angels on  
branches of gold1 roses and ships1      
eagles and angels of gold1 castles and  
lions1 white harts1 swans1 dogs1 and    
antelopes4  ,w4 ,r4 ,,lethaby4          
,september #aijf4     ,,author',s       
,,preface   ,in the following pages the 
practical sides of ,embroidery and      
,tapestry ,weaving are discussed1 their 
historical development being only       
incidentally touched upon4  ,the        
drawings illustrating design and the    
practical application of stitches have  
been taken almost without exception from
 actual ,embroidery or ,tapestry2 the   
exceptions1 where it has been impossible
 to consult originals1 from photographic
 representations obtained from various  
sources1 among which the collection of  
,m4 ,louis de ,farcy should be          
mentioned4  ,i have to thank ,miss ,may 
,morris and ,mrs4 ,w4 ,r4 ,lethaby for  
permission to reproduce pieces of their 
work1 and ,miss ,killick1 ,colonel ,j4  
,e4 ,butler-,bowdon1 the ,viscount      

,falkland1 and the ,reverend ,f4 ,j4    
,brown of ,steeple ,aston for permission
 to reproduce work in their possession4 
,also ,i must thank the authorities of  
the ,victoria and ,albert ,museum for   
help in various ways1 and ,mr4 ,j4 ,h4  
,taylor1 ,m4,a4 ,oxf4 and ,cam41 for his
 kindness in reading the proofs4        
,,grace ,,christie4  ,ewell1 ,september 
#aijf4     ,,contents                   
,,page ,,editor',s ,,preface            
xi  ,,author',s ,,preface               
xvii   ,,part ,i  ,,embroidery          
,,chapter ,i  ,,introduction            
#bg   ,,chapter ,,ii  ,,tools1          
,,appliances1 ,,and ,,materials         
,needles--,scissors--,thimbles--,frames-
-,stand and ,frame combined--,tambour   
,frame--,cord-making                    
,appliance--,requisites for             
,transferring                           
,patterns--,pricker--,knife--,spindle--,
piercer--,materials suitable for        
,embroidering upon--,threads of all     
,kinds--,stones1 ,beads1 c4             

#cd   ,,chapter ,,iii  ,,pattern        
,,designing  ,the ,difficulties of      
,pattern ,making--,a                    
,stock-in-,trade--,some ,principles upon
 which ,patterns are ,built             
,up--,spacing-,out--,nature and         
,convention--,shading--,figure          
,work--,limitations--,colour            
#ea   ,,chapter ,,iv  ,,stitches        
,introduction--,chain ,stitch--,zigzag  
,chain--,chequered ,chain--,twisted     
,chain--,open ,chain--,braid            
,stitch--,cable ,chain--,knotted        
,chain--,split ,stitch                  
#ge   ,,chapter ,v                      
,,stitches--7continued7  ,satin         
,stitch--,long and ,short ,stitch--,stem
 ,stitch--,overcast ,stitch--,back      
,stitch--,buttonhole ,stitch--,tailor's 
,buttonhole--,fancy ,buttonhole         
,edgings--,flower in ,open ,buttonhole  
,stitch--,leaf in ,close ,buttonhole    
,stitches--,petal in ,solid             
,buttonholing                           
#ie   ,,chapter ,,vi                    

,,stitches--7continued7  ,knots and     
,knot ,stitches--,herring-bone          
,stitch--,feather ,stitch--,basket      
,stitch--,fishbone ,stitch--,cretan     
,stitch--,roumanian ,stitch--,various   
,insertion ,stitches--,picots           
#aah   ,,chapter ,,vii  ,,canvas ,,work 
,,and ,,stitches                        
,introduction--,samplers--,petit ,point 
,pictures--,cross ,stitch--,tent        
,stitch--,gobelin ,stitch--,irish       
,stitch--,plait ,stitch--,two-sided     
,italian ,stitch--,holbein              
,stitch--,rococo ,stitch                
#adg   ,,chapter ,,viii  ,,methods ,,of 
,,work  ,couching--,braid ,work--,laid  
,work--,applied ,work--,inlaid          
,work--,patch ,work                     
#afd   ,,chapter ,,ix  ,,methods ,,of   
,,work--7continued7  ,quilting--,raised 
,work--,darning--,open                  
,fillings--,darned ,netting        #ahi 
,,chapter ,x  ,methods of               
work--7continued7  ,drawn ,thread       
,work--,hem ,stitching--,simple ,border 

,patterns--,darned ,thread              
,patterns--,corners--,cut or ,open      
,work--,various ,methods of ,refilling  
the ,open ,spaces                       
#bac   ,,chapter ,,xi  ,,embroidery     
,,with ,,gold ,,and ,,silver ,,threads  
,introduction--,materials--,precautions 
for the ,prevention of                  
,tarnish--,ancient ,method of           
,couching--,its various ,good           
,points--,description of ,working       
,diagram--,working a ,raised            
,bar--,examples of ,patterns ,employed  
in ,old ,work--,illustrations upon      
,draped ,figures--,usual ,method of     
,couching--,couching ,patterns--,outline
 ,work--,raised ,work--,the ,use of     
,purls1 ,bullions1 c4                   
#bbi   ,,chapter ,,xii  ,,lettering1    
,,heraldry1 ,,and ,,emblems  ,the ,uses 
of                                      
,lettering--,marking--,monograms--,heral
dry--,emblems         #bei   ,,chapter  
,,xiii  ,,the ,,garniture ,,of ,,work   
,finishing off--,making up--,edges--,use

 of ,cord-making ,appliance--,cord      
,twisted by ,hand--,knotted             
,cord--,fringes--,tassels--,knots       
#bga   ,,chapter ,,xiv  ,,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           
#bib   ,,part ,,ii  ,,tapestry ,,weaving
   ,,chapter ,,xv  ,,introduction       
#cjg   ,,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         #cae   ,,chapter
 ,,xvii  ,,preparations ,,for ,,work    
,warping the ,loom--,dressing the       
,coat-,stave--,tracing the ,pattern upon
 the ,threads                           
#cbh   ,,chapter ,,xviii  ,,the         

,,technique ,,of ,,weaving              
,weaving--,commencing and ,fastening    
,off--,the ,interlocking ,stitch--,fine 
,drawing--,shading--,added              
,after-stitches                         
#cci   ,,notes ,,on ,,the ,,collotype   
,,plates                                
#cee  ,,the ,,collotype ,,plates        
#cfi  ,,index                           
#djb     ,,part ,i--,,embroidery        
,,chapter ,i  ,,introduction   ,in the  
practice of embroidery the needlewoman  
has an advantage not now shared by      
workers in any other craft1 in that the 
technical processes are almost a matter 
of inherited skill4 ,every woman can    
sew1 and it is with little more than the
 needle and thread1 which she habitually
 employs1 that the greatest masterpieces
 of the art have been stitched4 ,the art
 of embroidery1 however1 is not merely  
an affair of stitches2 they are but the 
means by which ideas can be expressed in
 intelligible form1 and memories of all 
kinds of things be pictured on stuffs4  

,to laboriously train the hand is       
scarcely worth while unless it is       
capable of expressing something that is 
at least pretty4 ,nowadays much         
embroidery is done with the evident     
intent of putting into it the minimum   
expenditure of both thought and labour1 
and such work furnishes but a poor ideal
 to fire the enthusiasm of the novice2  
happily1 there still exist many fine    
examples showing what splendid results  
may be achieved2 without some knowledge 
of this work we cannot obtain a just    
idea of the possibilities of the art4   
,it is obvious that much advantage can  
be gained from studying the accumulated 
experience of the past in addition to   
that current in our own day4 ,to do this
 intelligently1 the history of          
embroidery must be followed in order    
that the periods richest in the various 
kinds of work may be ascertained4       
,museums afford useful hunting-grounds  
for the study of past work2 other       
sources are private collections1        

churches1 costume in pictures or on     
engraved brasses1 and manuscript        
inventories such as those of cathedral  
treasuries1 which sometimes contain     
interesting detailed descriptions of    
their embroidered vestments and         
hangings4  ,blind copying of old work is
 not of much value2 it is not possible  
or desirable to imitate ,x,i,i,ith      
century work now1 but much can be       
learned by examining fine examples in an
 appreciative and analytical spirit4 ,in
 what way the design has been built up  
can be discovered2 the most complicated 
result may often be resolved into quite 
elementary lines4 ,the student must find
 out wherein lie the attraction and     
interest1 note good schemes of colour1  
and learn about stitches and methods of 
work by close examination of the        
embroidery1 both front and back4  ,every
 one knows what embroidery is1 and a    
formal definition seems unnecessary4 ,as
 a matter of fact1 it would be a        
difficult task to give one1 since       

weaving1 lace-making1 and embroidery are
 but subtle variations of the same art4 
,this art may be of the highest or the  
most homely character1 and the latter is
 by no means to be despised4 ,simple    
unaffected work decorating the things of
 every-day use can give a great deal of 
pleasure in its way4 ,this should surely
 be the accomplishment of every woman1  
for though she may not have the skill to
 attain to the highest branches1 it     
would at least enable her to decorate   
her home with such things as the        
counterpanes1 curtains1 and other       
objects that set such a personal stamp  
upon the ,english domestic work of      
several centuries1 and which nowadays   
can hardly be found except stored up in 
museums4  ,it is advisable as a general 
rule that the design be both made and   
carried out by the same person4 ,from   
the worker's own point of view the      
interest must be much greater when      
working out her own ideas than when     
merely acting as amanuensis to another4 

,the idea is more likely to be expressed
 with spirit2 further there is the      
possibility of adding to or altering1   
and thereby improving1 the work as it   
progresses4 ,the designer must in any   
case be well acquainted with stitches   
and materials1 for they play an         
important part in achieving good        
results4 ,the individuality of the      
worker should be evident in her work2   
indeed it generally is1 for even plain  
hems by two people bear quite different 
characters2 the degree of individuality 
present1 varies with each one1 but in   
any case it will be much more marked if 
the design and stitching bear the stamp 
of the same personality4  ,the          
difference between good and             
unsatisfactory results should be        
carefully thought out1 for it is often  
but a small matter4 ,the best kind of   
work is that which appeals to the       
intelligence as well as to the eye1     
which is another way of saying there    
should be evidence of mind upon the     

material4 ,work must be interesting in  
some way if it is to be attractive2 it  
had better almost be faulty and         
interesting than dull1 dry1 and correct4
 ,it can interest by reminding us of    
pleasant things1 such as familiar       
flowers1 shady woods1 or green lawns2   
birds1 beasts1 and so forth can be      
depicted in their characteristic        
attitudes1 or a story can be told2 in   
fact1 work can be made attractive in a  
hundred different ways4 ,it must not    
show signs of having wearied the worker 
in the doing2 variety and evidence of   
thought lavishly expended upon it will  
prevent this1 and enthusiasm will       
quicken it with life4  ,the selection of
 the object to work comes at an early   
stage1 and is a matter to be well       
considered1 for it is a pity to spend   
time and labour upon unsuitable objects 
when there are many excellent ones to   
choose from4 ,in thinking over what to  
work it should be realised that it takes
 no longer to execute one rather        

important piece than several of a less  
ambitious character1 and that the former
 is generally more worth the doing4     
,whether the subject is a suitable one  
for embroidery or not sometimes depends 
upon the method chosen for carrying it  
out2 for instance1 anything that has to 
endure hard wear must be treated in such
 a way as to stand it well4  ,dress is a
 fine subject for embroidery2 but1 for  
the decoration to be satisfactory1 the  
art of designing dress must be          
understood1 and the dress must also be  
well cut1 or the embroidery will be     
quite wasted upon it4 ,what is termed   
art dress1 proverbially bad1 well       
deserves its reputation4 ,there is a    
great difference in the quantity of work
 that may be put into dress decoration2 
this may be simply an embroidered vest1 
collar1 and cuffs1 or it may be actually
 an integral part of the costume1 which 
as a much bigger and more difficult     
undertaking is correspondingly finer in 
effect when successfully carried out4   

,amongst larger objects that well repay 
the labour of embroidery1 hangings of   
various kinds1 quilts1 screens1         
furniture coverings1 altar frontals1    
church vestments1 may be mentioned2     
amongst smaller1 are bags1 boxes1       
book-covers1 gloves or mittens1         
bell-pulls1 cushions1 mirror frames1 all
 kinds of household linen1 infants'     
robes1 and so on1 and for church use    
such things as alms-bags1 book-markers1 
stoles1 pulpit and lectern frontals4    
,then a panel may be worked with the    
deliberate intention of framing it to   
hang on a wall4 ,there is no reason why 
the painter should have the monopoly of 
all the available wall space1 for       
decorative work is undoubtedly in place 
there2 a piece of embroidered work might
 well fill a panel over a mantel-piece4 
,there is no need to discuss what not to
 do1 but1 if the attraction to embroider
 a tea-cosy is too strong to resist1 it 
should surely be of washable materials4 
,embroidery has distinct practical      

advantages over some other crafts       
practised nowadays--no special studio   
need be devoted to its use1 for most    
work can be done in any well-lighted    
room1 which indeed will be rendered more
 attractive by the presence of an       
embroidery frame1 for this is in itself 
a characteristic and dainty piece of    
furniture4 ,it need but seldom interfere
 with one of our pleasant traditions1   
genial converse with1 and about1 our    
neighbours1 for it is a distinctly      
sociable occupation4 ,work of this kind 
can be put down and taken up at leisure2
 the necessary outlay in materials need 
not be extravagant1 and so on4 ,many    
other points might be thought of1 but   
the claims of the art do not demand any 
special pleading1 for it is pleasant in 
the actual working1 and can produce an  
infinite variety of most interesting    
results4     ,,chapter ,,ii  ,,tools1   
,,appliances1 ,,and ,,materials         
,needles--,scissors--,thimbles--,frames-
-,stand and ,frame   combined--,tambour 

,frame--,cord-making                    
,appliance--,requisites for             
,transferring                           
,patterns--,pricker--,knife--,spindle--,
piercer--,suitable   ,materials for     
,embroidering upon--,threads of all     
,kinds--,stones1   ,beads1 c4   ,good   
workmanship takes a prominent1 though   
not the first1 place4 ,technical        
excellence in needlework1 as in all     
other artistic crafts1 is a question of 
the worker's perseverance and her       
ability in the use of tools4 ,in        
embroidery these are few and simple1 and
 are as follows3--  ,needles4--,for most
 purposes needles known as long-eyed    
sharps are used4 ,tapestry needles1     
similar to these1 but with blunt points1
 are useful for canvas work and darned  
netting4 ,for gold work a special needle
 can be procured with sharp point and   
long wide eye4 ,a bent needle makes a   
crooked stitch2 but needles if made of  
good steel should not bend2 they break  
if used unfairly4 ,the eye should be    

cleanly cut1 or it roughens the thread4 
,the needle must be just stout enough to
 prepare for the thread an easy passage 
through the material4                   
,scissors4--,three pairs may be         
necessary2 for ordinary work a small    
pair with fine sharp points1 for gold   
work small ones with strong points      
similar to nail scissors1 and for       
cutting-out purposes a large pair with  
one rounded and one sharp point4        
,thimbles4--,steel ones are said to be  
most serviceable1 silver are most usual2
 but whatever the material they must be 
neatly made in order not to wear the    
thread4  ,frames4--,a common type of    
frame is shown at fig4 #a4 ,it is made  
in various sizes2 the one here          
represented measures #ah inches across4 
,it consists of four pieces of wood1 two
 rollers for the top and base and two   
side pieces4 ,each of the rollers has a 
piece of webbing securely nailed along  
it1 and its extremities are pierced with
 holes to receive the side pieces4      

,these are formed of two long wooden    
screws1 fitted with movable nuts1 which 
adjust the width of the frame and the   
tautness of the stretched work4 ,the    
piece of material that is stretched     
between is the link that keeps the frame
 together1 for the screw ends fit just  
loosely in the holes of the rollers4    
,the side pieces are sometimes made of  
flat laths of wood pierced with holes at
 regular intervals2 in these are        
inserted metal pins1 by means of which  
the work is kept stretched4 ,fig4 #i    
represents a frame of this type4 ,if the
 frame is a very large one it can have a
 strengthening bar fixed across the     
centre from roller to roller4           
,illustration3 ,fig4 #a4  ,the frame is 
most convenient for work when fixed in a
 stand1 although it can be used leaning 
against a table or the back of a chair4 
,a very large frame would be supported  
upon trestles1 but for ordinary         
purposes1 a stand1 such as the one shown
 in fig4 #b1 is practical4 ,it consists 

of two upright wooden posts1 a little   
over #b feet in height1 which are       
connected near the base by a            
strengthening cross piece4 ,both this   
and the uprights are adjustable2 the    
centre part of the posts is arranged to 
slide up and down1 and can be fixed at  
any convenient height by the insertion  
of a long metal pin2 the width of the   
cross piece is regulated in similar     
fashion1 being made firm1 by a screw1 at
 the required width1 thus allowing      
various sized frames to be used in the  
same stand4 ,the frame is fixed in place
 by metal clamps1 and a wooden pivot is 
arranged so as to permit the stretched  
work to be inclined at any angle        
convenient4 ,both stand and frame should
 be well made and of good wood1 for they
 must be able to stand strain and be    
perfectly firm and true when fixed for  
work4  ,illustration3 ,fig4 #b4  ,a     
small circular frame1 such as is shown  
in fig4 #c1 is useful for marking linen 
or for any small work4 ,this1 formed of 

two hoops fitting closely one within the
 other1 can be procured in wood1 ivory1 
or bone1 of various sizes1 the one      
illustrated being about #f inches in    
diameter4 ,the material to be worked    
upon is stretched between these hoops   
like the parchment on a drum4 ,these    
tambour frames1 as they are called1 are 
sometimes fixed into a small stand or   
fitted with a wooden clamp for fastening
 to a table2 this frees both hands for  
work4 ,these tambours cannot well be    
recommended2 the material is apt to     
stretch unevenly1 and a worked part1 if 
flattened between the hoops1 is liable  
to be damaged4  ,illustration3 ,fig4 #c4
  ,the illustration at fig4 #d shows a  
simple little instrument for making a   
twisted cord4 ,it is interesting to note
 that ,etienne ,binet1 who wrote on     
embroidery about #afbj1 when discussing 
some necessary equipment for an         
embroideress mentions un rouet pour     
faire les cordons4  ,there is sometimes 
a difficulty in procuring the cord just 

right to suit the finished work2 the    
texture may be too coarse to put beside 
fine embroidery1 it may not be a good   
match1 and1 even if so at first1 it may 
fade quite differently from the worked  
silks4 ,for these and other reasons it  
is a safe method to make the cord one's 
self1 possibly with some materials of   
the kind already used in the embroidery4
  ,illustration3 ,fig4 #d4  ,this       
appliance enables the worker to make any
 kind of twisted cord2 it is as simple  
as a toy to handle1 and gives excellent 
results4 ,it is a metal instrument about
 #h inches in height4 ,the three small  
discs are wheels1 supported on the arms 
of an upright cross which has a heavy   
circular base4 ,these three wheels are  
connected by a cord with a larger wheel 
below that has a handle attached to it4 
,the cord runs in a groove round the    
circumference of each wheel1 and must be
 held taut in position4 ,by turning the 
handle of the large wheel the three     
small ones are set in motion4 ,three    

hooks1 attached to the axles of the     
small wheels1 are therefore rotated with
 them4 ,one end of each ply of the cord 
in making is looped on to one of these  
hooks1 the other ends are attached to   
three similar hooks fixed into a block  
of wood which1 when in use1 is firmly   
clamped to the table4 ,further          
instruction in the making of cords is   
given in ,chapter ,,xiii4               
,illustration3 ,fig4 #e4  ,to trace the 
pattern on to the material the following
 articles may be required3 ,indian ink1 
a small finely-pointed sable brush1 a   
tube of oil paint1 flake white or light 
red1 according to the colour of the     
ground material1 turpentine1 powdered   
charcoal or white chalk for pounce1     
tracing paper1 drawing-pins1 and a      
pricker4 ,this last-mentioned tool is   
shown in fig4 #e4 ,it is about #e inches
 long1 and is like a needle with the    
blunt end fitted into a handle4 ,for    
rubbing on the pounce some soft clinging
 material rolled into a ball is         

necessary4 ,a piece of old silk hose    
tightly rolled up makes an excellent pad
 for the purpose4  ,the knife shown in  
fig4 #f is useful for cutting out at    
times when the use of scissors is not   
practical4 ,it is used in an upright    
position1 with the point outwards4      
,illustration3 ,fig4 #f4  ,a spindle for
 winding gold thread upon whilst working
 is shown in fig4 #g4 ,it is about #h   
inches long4 ,a soft padding of cotton  
thread is first placed round 7between ,a
 and ,b1 fig4 #g71 and the gold thread  
wound upon that4 ,the end of the thread 
passes through the forked piece at the  
top on its way to being worked into the 
material4 ,the use of this or some      
similar appliance enables the worker to 
avoid much touching of the metal        
threads4  ,a small tool called a piercer
 is represented by fig4 #h2 it is used  
in gold work2 the flat end assists in   
placing the gold in position1 and also  
in making the floss silk lie quite flat2
 the pointed end is used for piercing   

holes in the material for passing coarse
 thread to the back1 and for other      
purposes4 ,this little tool1 made of    
steel1 is about #e inches in length4    
,illustration3 ,fig4 #g4  ,illustration3
 ,fig4 #h4   ,,materials  ,the surface  
is a matter of special interest in      
embroidery work4 ,this makes the choice 
of materials of great importance4       
,besides the question of appearance1    
these must be suitable to the purpose1  
durable1 and1 if possible1 pleasant to  
work with and upon4 ,the materials      
chosen should be the best of their kind1
 for time and labour are too valuable to
 be spent upon poor stuffs2 occasionally
 a piece of old work is seen with the   
ground material in shreds and the       
embroidery upon it in a good state of   
preservation1 which is a pity1 for a    
newly applied ground of any kind is     
never as satisfactory as the original   
one4 ,still another plea for the use of 
good materials is the moral effect they 
may have upon the worker1 inciting her  

to put forth her best efforts in using  
them4  ,illustration3 ,fig4 #i4  ,the   
purpose to which the work is to be put  
usually decides the ground material1    
besides governing pattern1 stitches1 and
 everything else4 ,a background is      
chosen1 as a rule1 to show to advantage 
and preserve what is to be placed upon  
it1 though sometimes it is the other way
 about1 and the pattern is planned to   
suit an already existing ground4  ,a    
background must take its right place1   
and not be too much in evidence1        
although if of the right kind it may be 
full of interest4 ,there are1 roughly   
speaking1 three ways of treating the    
ground1 leaving the material just as it 
is1 covering part of it with stitching1 
or working entirely over it4  ,if there 
is no work upon the ground the choice of
 material becomes more important4       
,texture1 colour1 tone1 and possibly    
pattern1 have all to be considered1     
though the problem is often best solved 
by the selection of a plain white linen4

 ,the question of texture is sometimes  
one of its suitability for stitching    
upon2 colour and tone may be of all     
kinds and degrees from white to black2  
these two1 as a rule1 being particularly
 happy ones4 ,if the ground stuff is    
patterned1 as in the case of a damasked 
silk1 it must be specially chosen to    
suit the work to be placed upon it2     
small diaper patterns are frequently    
very good1 since they break up the      
surface pleasantly without being too    
evident4  ,linen1 which well answers all
 the usual requirements1 is1 for this   
reason1 very frequently chosen for a    
ground material4 ,it can be procured in 
great variety1 the handmade linens being
 the best of all4 ,of kinds besides the 
ordinary are twilled linens1 of which   
one named ,kirriemuir twill is similar  
to the material used in the fine old    
embroidered curtains4 ,some damask      
linens look very well as backgrounds for
 embroidery2 the pattern is sometimes a 
slightly raised diaper1 which forms a   

pleasantly broken surface4 ,loosely     
woven linens can be obtained specially  
suitable for drawn thread work4 ,in any 
case1 if there is dressing in the new   
material1 it must be well boiled before 
the embroidery is commenced3 this makes 
it much softer for stitching through4   
,coloured linens are rarely             
satisfactory1 a certain kind of blue    
being almost the only exception4 ,the   
safest plan is to keep to pure white1 or
 to the unbleached varieties that have a
 slightly grey or warm tone about them4 
,wools1 silks1 and flax threads all look
 well upon a linen ground2 it is not    
usually in good taste to embroider with 
poor thread upon a rich ground material1
 and1 upon the other hand1 gold thread  
and floss demand silk or velvet rather  
than linen1 though any rule of this kind
 may on occasion be broken4  ,velvet and
 satin make excellent backgrounds for   
rich work2 they should not be used      
unless of good quality4 ,the pile of the
 best velvet is shorter than that of    

poorer kinds1 and so is easier to       
manipulate1 which is a further reason   
for using the best4 ,it is in any case a
 difficult material1 so much so that    
work is often carried out on linen and  
afterwards applied to a velvet ground4  
,the modern velvets1 even the best of   
them1 are for quality or colour not     
comparable with the old ones4  ,silk of 
different kinds is largely employed1    
since it makes a suitable ground for    
many kinds of embroidery4 ,twilled and  
damasked silks are much used2 in the    
last-named kind1 patterns must be       
carefully chosen to suit the particular 
purpose4 ,a thick ribbed silk is rarely 
satisfactory for embroidery purposes4   
,for working with silk thread1 an       
untwisted floss takes the first place1  
but it needs some skill in manipulation4
 ,filofloss is somewhat similar1 but it 
has a slight twist in it1 making it     
easier to work1 though producing a less 
satisfactory result4 ,filosel is useful 
for some kinds of work1 but it is a     

poorer quality of silk4 ,the purse      
silks1 and what is called embroidery    
silk1 are all excellent2 they are       
tightly twisted varieties of fine       
quality4 ,there are various others in   
use2 a visit to a good embroidery depot 
will probably be the best means of      
finding out about these and about       
materials in general4  ,wools can be    
obtained in various thicknesses and     
twistings1 each good in their way4 ,some
 workers prefer a but slightly twisted  
wool2 however1 examples of old wool work
 are to be found in which a finely      
twisted variety is used with most       
satisfactory effect4  ,flax threads can 
be obtained in very good colours1 and   
are to be highly recommended4 ,there are
 various cottons procurable1 either     
coloured or white1 that are good for    
marking and other embroidery purposes   
where an evenly twisted thread is       
desirable4  ,pearls and precious stones 
take their place in rich embroideries1  
also various less expensive but pretty  

stones may often be made use of         
effectively4  ,beads are a fascinating  
material to work with2 all kinds of     
pretty things can be done with them1    
either sewing them upon a ground1       
knitting or crocheting1 or making use of
 a small bead loom4 ,a good deal of the 
ready-made bought bead work1 that only  
requires a monotonous ground to be      
filled in around an already worked      
pattern of sorts1 is not at all         
suggestive of its possibilities4 ,beads 
of both paste and glass can be obtained 
in much greater variety than is usually 
known1 from the most minute in size to  
large varieties of all kinds of shapes  
and patterns1 the colours of most of    
them being particularly good4 ,the      
larger ornamental beads are useful in   
many ways1 sometimes taking the place of
 tassels or fringes4  ,many kinds of    
most curious materials are at times     
brought into the service of embroidery1 
but the above-mentioned ones are the    
most usual4     ,,chapter ,,iii         

,,pattern ,,designing    ,the           
,difficulties of ,pattern ,making--,a   
,stock-in-,trade--,some   ,principles   
upon which ,patterns are ,built         
,up--,spacing-,out--,nature and         
,convention--,shading--,figure          
,work--,limitations--,colour4   ,a      
beginner sometimes experiences          
difficulty in preparing her own         
patterns4 ,a designer needs a wide      
knowledge of many subjects1 which       
necessitates much time being given to   
study2 also drawing ability is necessary
 to enable the worker to set down her   
ideas upon paper4 ,for much simple and  
pretty work1 however1 a slight          
acquaintance with drawing and design is 
sufficient1 and any one who can master  
the requisite stitches can also acquire 
some knowledge of these two subjects4   
,the word design frightens some who do  
not know quite what it means or entails4
 ,perhaps they do not realise that the  
design has already been begun when the  
object to be worked has been settled1   

and the material1 thread1 and stitches  
have been decided upon--the rest comes  
in much the same way1 partly by a system
 of choice2 as it is necessary to know  
what materials there are which can be   
used1 so must the chief varieties of    
pattern be known from which choice can  
be made4 ,all patterns are built up on  
some fundamental plan1 of which the     
number is comparatively small4 ,the     
ability to choose1 plan1 and arrange is 
in a greater or less degree inherent in 
every one1 so there should be1 after    
all1 no great difficulty in the design4 
,the necessary underlying qualities     
are--a nice taste1 freedom from         
affectation1 an eye for colour and form1
 and1 it might be added1 a fair share of
 common sense4  ,a pattern maker        
requires some stock-in-trade1 and it is 
wise to collect together a store of some
 well-classified design material of     
ascertained value1 ready to be drawn    
upon when required4 ,a good knowledge of
 plants and flowers is very necessary4  

,this is best acquired by making careful
 drawings from nature4 ,in choosing     
flowers for embroidery purposes1 the    
best-known ones1 such as the daisy1     
rose1 or carnation1 give more pleasure  
to the observer than rare unrecognisable
 varieties4 ,figures1 birds1 beasts1 and
 such things as inscriptions1 monograms1
 shields of arms and emblems1 all demand
 study and drawing1 both from           
miscellaneous examples and from         
embroideries4  ,the treatment of all    
these should be studied in old work1 in 
order that the curious conventions and  
all kinds of amusing and interesting    
ideas that have gradually grown up in   
the past may still be made use of and   
added to1 instead of being cast aside in
 a wild endeavour after something       
original4 ,the student who collects a   
supply of the foregoing materials will  
find she has considerably widened her   
knowledge during the process1 and is    
better prepared to make designs4  ,in   
making a pattern the first thing to be  

decided upon is some main idea1 the     
detail that is to carry it out must then
 be considered4 ,this latter may be of  
various types1 such as flowers1 foliage1
 figures1 animals1 geometrical forms1   
interlacing strapwork1 quatrefoils1 c41 
c42 perhaps several of these motifs may 
be combined together in the same design4
  ,illustration3 ,fig4 #aj4  ,one of the
 simplest plans upon which a pattern can
 be arranged is that of some form       
recurring at regular intervals over the 
surface4 ,the principle involved is     
repetition2 an example of it is shown at
 fig4 #aj4 ,the form that is used here  
is a sprig of flower1 but the repeating 
element admits of infinite variation1 it
 may be anything from a dot to an angel4
  ,illustration3 ,fig4 #aa4  ,copes and 
chasubles1 bedspreads and curtains1 are 
often to be seen decorated with some    
repeating form4 ,fig4 #aa shows in      
outline a conventional sprig that is    
repeated in this fashion over the       
surface of a famous cope in ,ely        

,cathedral4 ,fig4 #ab is an example of a
 sprig of flower taken from a ,x,v,i,ith
 century embroidered curtain2 similar   
bunches1 but composed of different      
flowers1 recur at intervals over this   
hanging4  ,it may interest the practical
 worker to know what are the different  
stitches used upon this figure4 ,the    
petals of the top flower are in chain   
stitch in gradated colouring1 the centre
 is an open crossing of chain surrounded
 by stamens in stem stitch in varied    
colour1 the outermost leaves are        
outlined in stem stitch with an open    
filling of little crossed stitches4 ,the
 petals of the lower flower are worked  
similarly1 and the centre is carried out
 in chain stitch and ,french knots4 ,the
 leaves are filled in with ingenious    
variations of these stitches4           
,illustration3 ,fig4 #ab4  ,the         
repeating element is perhaps a          
symbolical figure1 a heraldic shield1 or
 it may be some geometrical form that   
supplies the motive4 ,fig4 #ac is a     

conventional sprig of hawthorn that     
ornaments in this way an altar frontal  
at ,zanthen4 ,it is by no means         
necessary that the element which repeats
 should be always identical2 so long as 
it is similar in size1 form1 and general
 character it will probably be the more 
interesting if variety is introduced4   
,the principle of repetition is again   
found in fig4 #ad1 but with an          
additional feature2 a sprig of flower is
 used1 with the further introduction of 
diagonal lines1 expressed by leaf       
sprays1 which are arranged so as to     
surround each flower and divide it from 
the adjoining ones4  ,illustration3     
,fig4 #ac4  ,it is advisable to space   
out the required surface in some way    
before commencing to draw out a pattern2
 for carrying out fig4 #ad it would be  
well to pencil out the surface as in    
fig4 #ae2 a connection between these two
 will be perceived at a glance4 ,this   
spacing-out of the required surface in  
one way or another is of great          

assistance1 and may even prove          
suggestive in the planning of the       
design4 ,it helps the regularity of the 
work1 and order is essential in design  
as in most other things in life4        
,illustration3 ,fig4 #ad4  ,another very
 usual expedient is that of introducing 
a main central form1 with others        
branching out on either side and        
symmetrically balancing each other4 ,an 
example of this is given in fig4 #af4   
,the symmetry may be much more free than
 this2 a tree is symmetrical taken as a 
whole1 but the two sides do not exactly 
repeat each other4  ,illustration3 ,fig4
 #ae4  ,a plan very commonly employed is
 that of radiating main lines all       
diverging from one central point4 ,fig4 
#ag shows a design following this       
principle2 there is infinite variety in 
the ways in which this may be carried   
out4  ,illustration3 ,fig4 #af4         
,illustration3 ,fig4 #ag4  ,another     
method would be to plan a continuous    
flowing line with forms branching out on

 one side or on both4 ,figs4 #ah and #ai
 are border designs1 for which purpose  
this arrangement is often used1 though  
it can also well form an all-over       
pattern2 sometimes these lines used over
 a surface are made to cross each other1
 tartan wise1 by running in two         
directions1 producing an apparently     
complicated design by very simple means4
  ,illustration3 ,figs4 #ah and #ai4    
,illustration3 ,fig4 #bj4  ,designs may 
be planned on the counterchange         
principle4 ,this is a system of mass    
designing that involves the problem of  
making a pattern out of one shape1      
continually repeated1 and fitting into  
itself in such a way as to leave no     
interstices4 ,the simplest example of   
this is to be found in the chess board1 
and it will easily be seen that a great 
number of shapes might be used instead  
of the square4 ,fig4 #bj is an example  
of a counterchange design carried out in
 inlay2 for this method of work         
counterchange is very suitable4 ,on     

reference to the chapter upon this work 
another example will be found 7page     
#aha74 ,fig4 #ba illustrates the same   
principle1 further complicated by the   
repetition of the form in three         
directions instead of in two only4      
,illustration3 ,fig4 #ba4  ,a method of 
further enriching a straightforward     
pattern1 covering a plain surface1 is to
 work a subsidiary pattern upon the     
background4 ,this is usually of a       
monotonous and formal character in order
 not to clash with the primary          
decoration1 though this relationship may
 sometimes be found reversed4 ,it has   
the appearance of being some decoration 
belonging to the ground rather than to  
the primary pattern2 in its simplest    
form it appears as a mere repeating dot 
or a lattice 7see fig4 #bb71 but it may 
be so elaborated as to cover with an    
intricate design every portion of the   
exposed ground not decorated with the   
main pattern4  ,many other distinct     
kinds of work might be mentioned1 such  

as needlework pictures1 the             
story-telling embroideries that can be  
made so particularly attractive4        
,embroidered landscapes1 formal gardens1
 mysterious woods1 views of towns and   
palaces1 are1 if rightly treated1 very  
fine4 ,in order to learn the way to work
 such subjects we must go to the        
,x,v,ith and ,x,v,i,ith century petit   
point pictures1 and to the detail in    
fine tapestries4 ,the wrong method of   
going to work is to imitate the effect  
sought after by the painter4            
,illustration3 ,fig4 #bb4  ,it is a     
mistake in embroidery design to be too  
naturalistic4 ,in painting it may be the
 especial aim to exactly imitate nature1
 but here are wanted embroidery flowers1
 animals and figures1 possessing the    
character and likeness of the things    
represented1 but in no way trying to    
make us believe that they are real4 ,the
 semblance of a bumble bee crawling upon
 the tea cloth gives a hardly pleasant  
sensation and much savours of the       

practical joke1 which is seldom in good 
taste2 the needle1 however1 adds        
convention to almost anything1 and will 
usually manage the bee all right unless 
the worker goes out of the way to add a 
shadow and a high light4 ,such things as
 perspective1 light and shade or        
modelling of form1 should all be very   
much simplified if not avoided1 for     
embroidery conforms to the requirements 
of decoration and must not falsify the  
surface that it ornaments4 ,shading is  
made use of in order to give more       
variety to1 and exhibit the beauty of1  
colour by means of gradation1 to explain
 more clearly the design1 and so on2 it 
is not employed for the purpose of      
fixing the lighting of the composition  
from one point by means of              
systematically adjusted light and shade1
 or of making a form stand out so       
realistically as to almost project from 
the background4  ,in avoiding too much  
resemblance to natural forms it is not  
necessary to make things ugly2 a        

conventional flower implies no unmeaning
 straightness or impossible curve1 it   
may keep all its interesting            
characteristics1 but it has to obey     
other requirements specially necessary  
in the particular design4 ,another point
 to be noted is that1 since there is    
freedom of choice of flowers and other  
objects1 only those perfect and         
well-formed should be chosen2 all       
accidents of growth and disease may1    
happily1 be omitted2 if anything of this
 kind is put in it helps to give the    
naturalistic look which is to be        
avoided4 ,both sides of a leaf should   
match1 though it may happen in nature1  
through misfortune1 that one is deformed
 and small4  ,in figure work1 which1    
though ambitious1 is one of the most    
interesting kinds of embroidery1 the    
figures1 like all other things1 must be 
treated with a certain amount of        
simplicity2 very little attempt must be 
made to obtain flesh tones1 roundness of
 form1 perspective1 or foreshortening4  

,the work should be just sufficiently   
near to nature to be a good embroidery  
rendering of it4 ,however1 without      
overstepping the limits there is a great
 deal that may be expressed1 such things
 as character1 gesture1 grace1 colour1  
and so on1 matters which are after all  
of first importance4 ,detail1 if of the 
right kind1 may be filled in1 but it is 
wrong to attempt what is to the craft   
very laborious to obtain1 for this would
 be misdirected energy1 which is great  
waste4 ,a right use of the figure can be
 seen in the ,x,i,i,ith century         
embroidery pictures1 which1 covering    
mediaeval church vestments1 often       
display episodes from the lives of the  
saints4 ,these are some of the          
masterpieces of the art of embroidery2  
observation of nature is carried to a   
marvellous pitch1 but the execution     
never sinks into commonplace realism4   
,certain restrictions are always        
present1 in making a design1 that must  
be conformed to1 such as1 the limit of  

space1 the materials with which the work
 is to be carried out1 the use to which 
it will be put1 and so on4 ,these1      
instead of being difficulties1 can      
afford help in the way of suggestion and
 limitation4 ,a bad design may look as  
if it obeyed them unwillingly--a form is
 perhaps cramped1 perhaps stretched out 
in order to fit its place1 instead of   
looking as if it naturally fitted it    
whether the confining lines were there  
or not4 ,in the early herbals1          
illustrated with woodcuts1 examples can 
be found over and over again of a flower
 filling a required space simply and    
well2 fig4 #bc is taken from the herbal 
of ,carolus ,clusius1 printed at        
,antwerp in #afja by the great house of 
,plantin4 ,the draughtsman in this case 
had to draw a plant to fit a            
standard-sized engraver's block1 and he 
had a certain number of facts to tell   
about it2 he drew the plant as simply   
and straightforwardly as possible1      
making good use of all the available    

space1 the result being a well-planned  
and balanced piece of work1 with no     
affectation or unnecessary lines about  
it4  ,illustration3 ,fig4 #bc4  ,fine   
colour is a quality appreciated at first
 sight1 though often unconsciously4 ,it 
is a difficult subject to speak of very 
definitely2 an eye for colour is natural
 to some1 but in any case the faculty   
can be cultivated and developed4 ,by way
 of studying the subject1 we can go to  
nature and learn as much as we are      
capable of appreciating2 even such      
things as butterflies1 shells1 and      
birds' eggs are suggestive4 ,again1     
embroideries1 illuminated manuscripts1  
pictures1 painted decoration1 may be    
studied1 and so on2 in fact1 colour is  
so universal that it is not possible to 
get away from it4 ,unfortunately we are 
sometimes forced to learn what to avoid 
as well as what to emulate4  ,colour is 
entirely relative1 that is to say it    
depends upon its immediate surroundings 
for what it appears to be4 ,also it has 

effects varying with the material which 
it dyes2 wool is of an absorbent nature1
 whereas silk has powers of reflection4 
,it is a safe plan to use true colours1 
real blue1 red or green1 not slate1     
terra cotta1 and olive4 ,gold1 silver1  
white and black1 are valuable additions 
to the colour palette2 it should be     
remembered about the former that        
precious things must be used with       
economy or they become cheap and perhaps
 vulgar4  ,illustration3 ,fig4 #bd4     
,for getting satisfactory colour there  
is a useful method which can at times be
 made use of2 this is to stitch it down 
in alternate lines of two different     
tints1 which1 seen together at a little 
distance1 give the desired effect4      
,backgrounds can be covered over with   
some small geometrical pattern carried  
out in this way1 such as is shown in    
fig4 #bd1 perhaps using in alternation  
bright blue and black instead of a      
single medium tint of blue all over4 ,at
 a slight distance the tone may be the  

same in either case1 but this method    
gives a pleasantly varied and refined   
effect1 which avoids muddiness1 and     
shows up the pattern better4 ,this same 
method is used for expressing form more 
clearly as well as for colour2 waves of 
hair1 for instance1 are much more       
clearly expressed when worked in this   
way4     ,,chapter ,,iv  ,,stitches     
,introduction--,chain ,stitch--,zigzag  
,chain--,chequered ,chain--,twisted     
,chain--,open ,chain--,braid            
,stitch--,cable ,chain--,knotted        
,chain--,split   ,stitch4   ,it is      
necessary for every worker to have a    
certain amount of knowledge of stitches1
 for they are1 so to speak1 the language
 of the art1 and though not of first    
importance1 still there is a great deal 
in stitchery4 ,the needlewoman should be
 absolute master of her needle1 for     
there is a great charm in beautifully   
carried out stitching2 also a good      
design can be made mechanical and       
uninteresting by a wrong method of      

execution4 ,the simplest and most common
 stitches are the best1 and are all that
 are necessary for the doing of good    
work4 ,work carried out entirely in one 
stitch has a certain unity and character
 that is very pleasing4 ,there are a    
great number of stitches in existence1  
that is1 if each slight variation has a 
different name assigned to it4 ,the     
names are sometimes misleading1 for     
often the same stitch is known by       
several different ones2 descriptive     
names have where possible been chosen   
for those discussed in the following    
pages4  ,a worker may find it useful to 
keep by her a sampler with the most     
characteristic stitches placed upon it2 
a glance at this will be suggestive when
 she is in doubt as to which to use1 for
 it is often difficult to recollect just
 the right and most suitable one at a   
moment's notice4 ,it is necessary to    
learn only the main varieties1 for each 
individual worker can adapt1 combine1   
and invent variations to suit a special 

purpose4  ,the direction of the stitch  
is important2 tone1 if not colour1 can  
be very much altered by change in       
direction2 also growth and form can be  
suggested by it2 for instance1 lines    
going across a stem are not usually so  
satisfactory as those running the length
 of it2 these suggesting growth better4 
,folds of drapery are often explained by
 direction of the lines of stitching    
quite as much as by gradation of colour4
  ,with reference to the stitches       
described in the following chapters1 the
 worker is advised to try to work them  
by simply examining the diagrams1 and1  
if in any difficulty1 then to refer to  
the printed description1 for such       
directions are apt to be tedious4 ,the  
simplest way to master these is to let  
some one read them out step by step1 and
 to work from dictation4 ,it should be  
remembered that the use of a particular 
thread often makes or mars a stitch1    
some requiring soft silks to show them  
to advantage1 whilst others may need a  

stoutly twisted thread4  ,chain stitch  
is universal1 and one of the most       
ancient of stitches4 ,it is the most    
commonly used of a group that might be  
described as linked stitches4 ,much     
beautiful work has been carried out     
entirely in it1 and when a monotonous   
even line is required1 this is a most   
suitable stitch to employ4 ,it is       
equally in request for outline and      
filling in1 and its chain-like          
adaptability makes it specially good for
 following out curved forms or spiral   
lines4 ,tambour stitch is practically   
the same in result1 though worked in    
quite a different manner1 for it is     
carried out in a frame with a fine      
crochet hook1 instead of with a needle4 
,this makes it quicker in execution1 but
 more mechanical in appearance1 so it is
 not to be as much recommended4         
,illustration3 ,fig4 #be4  ,to work     
chain stitch 7fig4 #be7 bring the needle
 through at the top of the traced line1 
hold the working thread down towards the

 left with the thumb1 insert the needle 
at the point where the thread has just  
come through and bring it up on the     
traced line about one-sixteenth of an   
inch further along1 draw the thread     
through over the held down thread4 ,it  
should show a neat line of              
back-stitching on the reverse side4 ,the
 chain can be made broader by inserting 
the needle a little to the right1       
instead of at the exact point where the 
last thread came through4 ,care must be 
taken in the working not to draw the    
thread too tightly1 as this stitch is   
inclined to pucker the material1        
especially when it is worked in curved  
lines4  ,a flower and leaf worked with a
 solid filling of chain stitch are shown
 in fig4 #bf4 ,the dark outline of the  
flower is in back stitch1 the centre a  
mass of ,french knots1 and the stem in  
stem stitch4 ,by working the petals in  
curved lines in this way the shape is   
well suggested1 and the play of light on
 the curves is particularly happy1      

especially if the thread used is silk or
 gold4 ,another slight variation from   
this would be to work the lines of chain
 stitch in different shades of colour1  
and so get each petal gradually either  
lighter or darker towards its base2 this
 gives a very pretty effect4 ,fig4 #bg  
shows an oak leaf carried out in this   
way1 the lines upon it indicate the way 
in which the stitches would be worked4  
,the rule in solid fillings is to work  
from the outside inwards where possible1
 and thus make sure of a good outline4  
,illustration3 ,fig4 #bf4  ,in the      
,victoria and ,albert ,museum there is a
 white linen dress#a daintily           
embroidered in chain stitch4 ,it is an  
excellent example of a kind of design   
suitable to this stitch2 the leaves and 
flowers are carried out in lines of     
chain stitch following the outline1 and 
in these lines use is made of strongly  
contrasting colour to both show up the  
form better1 and also decorate it4 ,the 
leaf in fig4 #bh is in style somewhat   

similar to this1 and is intended to be  
carried out in two distinct colours4    
,illustration3 ,fig4 #bg4               
,illustration3 ,fig4 #bh4  ,chain       
stitches can be worked singly2 they are 
used in this way as a powdering over a  
background4 ,sometimes they may be seen 
conventionally suggesting the small     
feathers on the shoulder of a bird's    
wing by being dotted over it at regular 
intervals4 ,fig4 #bi shows how they     
might be used to carry out a tiny       
flower1 five separate stitches represent
 the petals1 and two more the leaves at 
the base2 this is a simpler and more    
satisfactory method than to attempt very
 minute forms with satin stitches4      
,illustration3 ,fig4 #bi4  ,the common  
chain makes a particularly neat border  
stitch taken in zigzag fashion4 ,to work
 this 7fig4 #cj7--,trace two parallel   
lines on the material and work the chain
 across from side to side at an angle of
 #de deg4 to the traced lines4 ,for     
further security it is well to catch    

down the end of the stitch just         
completed with the needle as it         
commences the following one4 ,the line  
can be further decorated by placing a   
,french knot1 perhaps in a contrasting  
colour1 in each little triangular space 
left by working the stitch4             
,illustration3 ,fig4 #cj4               
,illustration3 ,fig4 #ca4  ,there is an 
ingenious method of working ordinary    
chain stitch in a chequering of two     
colours 7fig4 #ca74 ,it is quite simple 
to work4 ,thread a needle with two      
different coloured threads1 commence the
 chain stitch in the usual way until the
 thread has to be placed under the point
 of the needle for forming the loop4    
,place only one of the two threads      
underneath1 leaving the other on one    
side out of the way1 then draw the      
needle and thread through over the one  
held down4 ,a chain stitch will have    
been formed with the thread that was    
looped under the needle4 ,for the next  
stitch1 the alternate thread is placed  

under1 and so on1 taking each thread in 
turn4 ,the thread not in use each time  
usually requires a little adjustment to 
make it entirely disappear from the     
surface4  ,twisted chain is worked very 
similarly to the ordinary chain stitch4 
,it has not such a decidedly looped     
appearance1 which is sometimes an       
advantage4 ,to work it 7fig4            
#cb7--;,bring the thread through at the 
top of the line1 hold it down under the 
thumb to the left1 and insert the needle
 to the left of the traced line1        
slightly below the point where the      
thread has come through4 ,bring it out  
again on the traced line1 about         
one-eighth of an inch lower down1 and   
draw it through over the held down      
thread4  ,an entirely different effect  
can be obtained by working this stitch  
much closer together1 but in exactly the
 same way4 ,it will then resemble a     
satin stitch slightly raised on one     
side4 ,this is known as rope stitch and 
is at times very useful4  ,illustration3

 ,fig4 #cb4  ,illustration3 ,fig4 #cc4  
,open chain stitch makes a good broad   
line2 it looks best when worked with a  
stout thread4 ,to carry out the stitch  
7fig4 #cc7--,trace two parallel lines   
upon the material1 about one-eighth of  
an inch apart1 and bring the thread     
through at the top of the left-hand one4
 ,hold the thread down with the thumb   
and insert the needle exactly opposite  
on the other line1 bring it up          
one-eighth of an inch lower down and    
draw the thread through over the held   
down part1 leaving a rather slack loop  
upon the material4 ,then insert the     
needle on the first line again1 inside  
the slack loop1 and bring it out        
one-eighth of an inch below4 ,repeat    
this on each side alternately4 ,fig4 #cd
 is a drawing from a piece of white     
linen work in which the open chain      
stitch is used in combination with other
 stitches4 ,this figure1 with its       
open-work centre1 is repeated diagonally
 over a white linen cloth exhibited in  

the ,victoria and ,albert ,museum4      
,illustration3 ,fig4 #cd4  ,braid stitch
 rather resembles a fancy braid laid    
upon the material4 ,it looks best when  
carried out with a stoutly twisted      
thread4 ,to work it 7fig4 #ce7--,trace  
two parallel lines upon the material    
about one-eighth of an inch apart1 and  
bring the thread through at the         
right-hand end of the lower line4 ,throw
 the thread across to the left and hold 
it slackly under the thumb4 ,place the  
needle pointing towards the worker under
 this held thread1 then twist it round  
towards the left and over the held      
thread until it points in the opposite  
direction4 ,it will now have the thread 
twisted loosely over it4 ,next1 insert  
the needle on the upper line one-eighth 
of an inch from the starting-point1 and 
bring it through on the lower line      
exactly underneath4 ,place the thumb    
over the stitch in process of making and
 draw the thread through as the diagram 
shows4 ,it can be worked openly or more 

closely as preferred4  ,illustration3   
,fig4 #ce4  ,illustration3 ,fig4 #cf4   
,cable chain is descriptively named1    
for1 when worked with a stoutly twisted 
thread1 it has very much the appearance 
of a chain laid upon the material1      
rather too much so perhaps to be a      
pretty embroidery stitch4 ,to work it   
7fig4 #cf7--;,bring the needle through  
at the top of the traced line1 throw the
 thread round to the left and hold it   
down with the thumb near where it has   
come through the material4 ,pass the    
needle under the held down thread from  
left to right and draw it through until 
there is only a small loop left4 ,insert
 the needle in the centre of this loop1 
on the traced line about one-sixteenth  
of an inch below the starting-point4    
,bring it out a quarter of an inch below
 and outside the loop4 ,take the thread 
in the right hand and tighten the loop  
that has now been formed1 and then pass 
the thread under the point of the needle
 towards the left 7see diagram74 ,place 

the left thumb over the stitch in       
process of making and draw the thread   
through2 this will complete the first   
two links of the chain2 to continue1    
repeat from the beginning4  ,knotted    
chain is a pretty stitch2 to look well  
it must be worked with a stout thread4  
,to carry it out 7fig4 #cg7--,trace two 
parallel lines upon the material1 about 
one-eighth of an inch apart4 ,bring the 
thread through at the right hand end in 
the centre between the two lines1 then  
insert the needle on the upper line     
one-sixteenth of an inch further along1 
and bring it through on the lower line  
immediately below4 ,draw the thread     
through and there will be a short       
slanting line left upon the material4   
,throw the thread round to the left and 
hold it under the thumb1 then pass the  
needle and thread through the slanting  
line from above downwards1 leaving the  
thread a little slack4 ,place the thread
 again under the thumb1 then in the same
 way as before1 from above downwards1   

pass the needle and thread through this 
slack loop4 ,this makes the first two   
links of the chain2 the last one will   
not be properly fixed in place until the
 next stitch is taken4 ,the dotted      
vertical line on the diagram shows the  
piece of material taken up by the needle
 upon commencing the next stitch4       
,illustration3 ,fig4 #cg4               
,illustration3 ,fig4 #ch4  ,split stitch
 is a most useful one for many purposes4
 ,it is difficult to distinguish from a 
fine chain when done1 but in the working
 it much more resembles stem stitch4 ,it
 can be carried out in the hand or in a 
frame4 ,this stitch1 frequently seen    
upon ancient work1 was much used for    
both draperies and features2 the lines  
of the stitching usually1 by their      
direction1 expressing moulding of form  
or folds of drapery4 ,to work it 7fig4  
#ch7--;,bring the thread through at the 
lower end of the traced line1 then      
insert the needle about one-eighth of an
 inch further along1 and bring it       

through on the line two or three threads
 nearer the starting-point2 whilst      
bringing it through take it also through
 the centre of the working thread1 which
 thus splits each stitch4  ,,footnote3  
#a ,no4 #ahd1 #ahih4     ,,chapter ,v   
,,stitches--7continued7    ,satin       
,stitch--,long and ,short ,stitch--,stem
 ,stitch--,overcast   ,stitch--,back    
,stitch--,buttonhole ,stitch--,tailor's 
,buttonhole--,fancy   ,buttonhole       
,edgings--,flower in ,open ,buttonhole  
,stitch--,leaf in ,close   ,buttonhole  
,stitches--,petal in ,solid             
,buttonholing4   ,,satin ,,and ,,similar
 ,,stitches  ,satin stitch is perhaps   
the most commonly used of all stitches4 
,it is more quickly worked by hand1 but 
for complicated work the help of a frame
 is required4 ,floss silk thread is seen
 to greatest advantage in a stitch of   
this kind1 for it shows off the         
glossiness of silk particularly well4   
,it is straightforward in the working   
and needs no further description than is

 given by the diagram 7fig4 #ci74 ,the  
stitches may vary in length1 they must  
neither be impracticably long nor1 on   
the other hand1 too much cut up1 lest   
the silky effect be partly lost4 ,these 
stitches lie close together and in      
parallel lines2 the chief difference    
between satin and several other closely 
allied stitches being that these others 
may radiate or vary in direction        
according to the space to be filled4    
,the stitch is usually worked in oblique
 lines2 stems1 leaves1 and petals would 
be treated in this way2 sometimes it is 
worked regularly having regard to the   
warp and woof of the material2 it would 
be treated thus when used in conjunction
 with cross or stroke stitch4           
,illustration3 ,fig4 #ci4  ,it will be  
seen that there is as much silk at the  
back as on the front of the work4 ,there
 is a method of carrying out the stitch 
by which this waste of material at the  
back is avoided2 the thread is returned 
to the front close to where it went     

through instead of crossing over and    
coming up on the other side4 ,the effect
 on the right side1 however1 is not so  
good1 so this method cannot be          
recommended4  ,one of the technical     
difficulties with satin stitch is to get
 a neat firm line at the edges of the   
filled space2 this is excellently       
attained by the ,chinese and ,japanese1 
who use this satin stitch a great deal4 
,they frequently work each petal of a   
complicated flower separately1 leaving  
as a division1 between each one and the 
next1 a fine line of material firmly and
 clearly drawn4  ,illustration3 ,fig4   
#dj4  ,the stitch is much used for      
raised work1 and also lends itself well 
to gradation of colour4 ,fig4 #dj is an 
example of shading in satin stitch4 ,in 
this case each new row of stitches fits 
in just between those of the last row2  
this is a bold but very effective method
 of expressing gradation4 ,a variation  
upon this is shown in fig4 #db2 the     
bands of different colour are here      

necessarily worked in a chevron pattern 
which makes the shading rather more     
gradual4 ,an example of the same thing  
can be seen in fig4 #dd in the leaf upon
 which the squirrel sits4 ,apart from   
gradation of colour1 the surface to be  
covered by satin stitch has often to be 
partitioned up in some way in order to  
make the satin stitches of a practical  
length4  ,illustration3 ,fig4 #da4      
,long and short stitch is a very slight 
variation1 if any1 from satin stitch4   
,the name describes the method of       
working1 for it is carried out by       
working alternately a long and a short  
stitch1 the stitches being picked up    
just as in satin stitch4 ,it is useful  
for close fillings and shaded work1 and 
also as a solid outline for any kind of 
open filling4 ,the working of the stitch
 can be seen in fig4 #da1 where the band
 of lightest colour on the upper part of
 the leaf is worked in long and short   
stitch4 ,the advantage of this way of   
working can be seen at once1 it makes a 

firm outline on the one edge and a      
nicely broken-up one on the other1 just 
ready for another shade to be worked in4
 ,in order to carry out the rest of the 
shading on the leaf in the same way the 
stitches can be all of the same length2 
this will always ensure a broken line at
 the edge1 which is a necessity for this
 method of gradation4 ,long and short   
stitch used as an outline for a leaf    
with an open filling can be seen on page
 #bji4 ,the opus plumarium or feather   
stitch that we read of in the           
descriptions of the old embroideries was
 a similar stitch to this1 and so       
called1 some say1 because it resembled  
the plumage of a bird4  ,illustration3  
,fig4 #db4  ,stem stitch1 well known and
 frequently in use for various purposes1
 such as for lines1 outlines1 gradated  
and flat fillings1 and so on1 is usually
 done in the hand1 and is quite simple2 
fig4 #dc explains the working4 ,if a    
broad line is required the needle is put
 in more obliquely1 and a raised effect 

can be obtained by working over a laid  
thread4 ,the thread must be kept to the 
same side of the needle1 either to the  
left or to the right as better suits the
 purpose in hand2 the effect is more    
line-like when it is kept to the right4 
,occasionally1 when just a double line  
is to be worked1 it is deliberately done
 in the two ways1 and then the line     
resembles a narrow plait4 ,a solid      
filling in stem stitch should be worked 
in lines as illustrated in the squirrel 
in fig4 #dd4 ,this little beast is taken
 from the curtain shown in ,plate       
,,vii41 and is a good example of the    
life and interest that the introduction 
of such things adds to embroideries4    
,illustration3 ,fig4 #dc4               
,illustration3 ,fig4 #dd4  ,the stitches
 just described were largely used in    
crewel work4 ,this is a rather vague    
name that denotes a decorative kind of  
needlework carried out with coloured    
wools upon a plain white linen ground4  
,the design is usually composed of      

conventionally treated leaves and       
flowers1 often growing from boldly      
curved stems4 ,these were partly shaded 
in solid stitches1 partly worked with   
geometrical open fillings2 ornamental   
birds and beasts of all kinds were      
introduced1 and the effect of the whole 
was very beautiful4 ,the work is        
characteristically ,english1 and a great
 deal of it was executed in the         
,x,v,i,ith century4 ,plates ,,vii4 and  
,,viii4 are illustrative of the type of 
work1 and fig4 #de represents a detail4 
,the various stitches which occur in    
this drawing are stem1 herring-bone1    
long and short1 knot1 basket1           
buttonhole1 single chain and satin      
stitches4  ,illustration3 ,fig4 #de4    
,illustration3 ,fig4 #df4               
,illustration3 ,fig4 #dg4  ,overcast    
stitch in embroidery is practically a   
very short raised satin stitch4 ,it     
requires neat workmanship1 and then     
makes a bold clear line or outline4 ,to 
work it 7fig4 #df7--,run or couch down a

 thread on the traced line1 then with   
fine thread cover this over with close  
upright stitches1 picking up as little  
material as possible each time in order 
to make the line clear and round4 ,the  
stitch is worked most perfectly in a    
frame4  ,back stitch sometimes makes a  
good line or outline4 ,to work it 7fig4 
#dg7--;,bring the needle through        
one-sixteenth of an inch from the end of
 the traced line1 insert it at the      
commencement and bring it through again 
one-sixteenth of an inch beyond where it
 first came out4 ,each stitch1 it will  
be seen1 commences at the point where   
the last one finished4   ,,buttonhole   
,,stitch ,,and ,,its ,,application      
,buttonhole stitch1 which is well known 
in plain needlework1 is very useful also
 in embroidery1 besides being an        
important stitch in needlepoint lace4   
,owing to its construction it is well   
suited for the covering of raw edges1   
but it is also adaptable to a variety of
 other purposes1 such as are open or    

close fillings of leaves and flowers1   
cut work1 and the outlining of applied  
work4  ,illustration3 ,fig4 #dh4  ,there
 are two ways of forming the stitch1 the
 common buttonhole and what is called   
tailor's buttonhole4  ,to work the      
ordinary buttonhole stitch 7fig4        
#dh7--;,bring the needle through at the 
left-hand end of the traced line1 hold  
the thread down to the left with the    
thumb and insert the needle as shown in 
the diagram1 draw it through over the   
held thread to complete the stitch4 ,it 
is worked openly in the diagram1 but it 
may1 as required1 be either more or less
 open or quite closed4  ,illustration3  
,fig4 #di4  ,the tailor's buttonhole is 
for some purposes more satisfactory2 the
 stitch is firmer than the other kind   
owing to the heading having an extra    
knot in it2 this makes it also more     
ornamental4 ,to work it 7fig4           
#di7--;,commence in the same way as the 
last stitch until the needle and thread 
are in the position shown in fig4 #dh   

then1 with the right hand take hold of  
the thread near the eye of the needle1  
bring it down and loop it under the     
point from right to left1 draw the      
needle and thread through over these two
 loops1 and the first stitch is made4   
,illustration3 ,fig4 #ej4  ,buttonhole  
stitch can be varied in many ways1      
dependent mainly upon the spacing of the
 stitch and the direction that the      
needle takes when picking up the        
material4 ,fig4 #ej shows four simple   
varieties2 the first is the open        
buttonhole spaced slightly irregularly  
and with a thread slipped underneath it2
 any variety of spacing can be arranged1
 and the thread shown running           
underneath1 which sometimes forms a     
pretty addition1 is usually of a        
contrasting colour or material4 ,the    
second shows the stitches taken         
slanting-wise1 so that they cross each  
other4 ,in the third the stitches are at
 different angles and of unequal length4
 ,the fourth example shows two lines of 

spaced buttonhole stitch fitting neatly 
the one into the other and forming a    
solid line4 ,one row is worked first1   
leaving just sufficient space between   
each stitch for the second row to fill  
up1 which can be carried out by         
reversing the position of the material  
and exactly repeating the first line in 
the same or in a different colour4      
,illustration3 ,fig4 #ea4  ,a flower    
filled in with open buttonhole stitch is
 shown at fig4 #ea4 ,the centre consists
 of a mass of ,french knots1 and the    
outside line is in satin stitch4 ,the   
innermost circle of buttonholing is     
worked first1 the next row is worked    
over the heading of the first row as    
well as into the material2 the          
succeeding rows are worked in the same  
way until the outside limit is reached1 
and there the satin stitch just covers  
the heading of the last row of          
buttonhole stitching4 ,gradation of     
colour can easily be introduced by using
 a different shade for each circle of   

stitches1 and this produces a very      
pretty effect4 ,an open method of       
filling a space1 whether flower1 leaf1  
drapery1 or background1 is sometimes    
preferable to a solid filling1 and the  
two methods can very well be used       
together as each shows off the other4   
,these light fillings give opportunity  
for further variety and ingenuity in the
 stitching1 and prevent the work from   
looking heavy4 ,a butterfly1 carried out
 partly in open stitches1 is illustrated
 in fig4 #eb4  ,illustration3 ,fig4 #eb4
  ,fig4 #ec is1 in the original1 a gay  
little flower carried out in orange and 
yellow4 ,the stitch employed here is a  
close buttonhole4  ,illustration3 ,fig4 
#ec4  ,another example of the use of    
close buttonhole is shown in the ivy    
leaf in fig4 #ed4 ,the stitch is worked 
in two rows1 back to back1 in each lobe 
of the leaf1 and the resulting ridge    
down the centre rather happily suggests 
the veining4 ,this method of filling in 
might be just reversed for a rose leaf2 

the heading of the stitch would then    
suggest the serrated edge1 and the      
meeting of the two rows down the centre 
the line of the vein4  ,illustration3   
,fig4 #ed4  ,a cluster of berries can be
 very prettily worked in buttonhole     
stitch in the way shown in fig4 #ee4    
,the stitches are so arranged that the  
heading outlines each berry1 and the    
needle enters the material at the same  
point1 always in the centre4 ,a bullion 
stitch in a darker colour marks the eye 
of the berry4  ,illustration3 ,fig4 #ee4
  ,a good method of filling a space with
 solid buttonhole stitching is shown in 
fig4 #ef4 ,each row is worked into the  
heading of the preceding row1 and the   
stitches do not pierce the material     
except in the first row and at the      
extremities of succeeding rows4 ,they   
are placed rather close together in     
order to completely cover the ground4   
,the stitch is worked1 first1 from left 
to right1 then for the next row from    
right to left2 this is quite easy and   

enables the work to be continuously     
carried out4 ,sometimes1 when the first 
row is done1 the thread is thrown across
 to the side where the row began1 and   
there made fast2 then the second row is 
worked with stitches which take up the  
thrown thread as well as the heading of 
the first row4 ,by using a more open    
buttonhole and thus partly exposing the 
laid thread1 a filling1 both quick and  
effective1 is obtained4 ,this is a      
useful method to employ when the work is
 done over a padding of threads1 for    
there is no necessity to pierce the     
material except at the edges4           
,illustration3 ,fig4 #ef4     ,,chapter 
,,vi  ,,stitches--7continued7    ,knots 
and ,knot ,stitches--,herring-bone      
,stitch--,feather ,stitch--,basket      
,stitch--,fishbone ,stitch--,cretan     
,stitch--,roumanian ,stitch--,various   
,insertion ,stitches--,picots4   ,,knots
 ,,and ,,knot ,,stitches  ,it would be  
difficult to go far in embroidery       
without requiring knots for one purpose 

or another4 ,they are useful in all     
sorts of ways1 and make a pleasant      
contrast to the other stitches4 ,for the
 enrichment of border lines and various 
parts of the work1 both pattern and     
background1 they are most serviceable1  
and also for solid fillings2 for such   
places as centres of flowers or parts of
 leaves1 they are again valuable4 ,they 
have been used to form a continuous     
outline1 but owing to their tendency to 
make a weak line1 not frequently2 indeed
 they usually show to better advantage  
when slightly separated4  ,examples are 
to be seen of ,english knotted line work
 in which the knotting was executed in  
the thread previously to embroidering   
with it4 ,the knotting of thread was a  
pastime with ladies in the ,x,v,i,ith   
century4 ,the thread1 usually a linen   
one and as a rule home spun1 was wound  
upon a netting-needle1 and by the aid of
 this a close series of knots was made  
upon it2 when finished it somewhat      
resembled a string of beads4 ,balls of  

this prepared knotted thread may still  
be found1 treasured up in old work      
receptacles4 ,when prepared it was      
couched on to the material with fine    
thread1 like a cord or braid1 and made  
to follow out some prearranged pattern4 
,in white linen work it was used for    
carrying out ornamental borderings on   
infants' robes and other dainty         
articles4  ,illustration3 ,fig4 #eg4    
,french knots can be worked in the hand 
or in a frame4 ,they are easier to      
manage in the latter1 and to look well  
they must be neatly and firmly made4    
,completed they should resemble beads   
lying end upwards on the material4 ,to  
work the ,french knot 7fig4             
#eg7--;,bring the thread through the    
material at the required point1 take    
hold of it with the left finger and     
thumb near the starting-point 7,a on    
plan71 then let the point of the needle 
encircle the held thread twice1 twist   
the needle round and insert it at point 
,b on plan1 draw the thread through to  

the back1 not letting go the held thread
 until necessary4 ,fig4 #eh shows some  
,french knots decorating a leaf spray1  
and various other examples of their use 
can be found in the book4               
,illustration3 ,fig4 #eh4  ,bullion     
knots resemble tight curls of thread    
laid on the material4 ,they can be used 
as a variation from ,french knots1 and  
even for the representation of petals   
and small leaves4 ,to be satisfactory   
they must be firm1 stout1 and tightly   
coiled2 some knack is required to make  
them properly4 ,to work the bullion knot
 7fig4 #ei7--;,bring the thread through 
at the required place1 insert the needle
 one-eighth of an inch from this point  
and bring it through again exactly at   
it4 ,take hold of the thread about two  
inches from where it came through and   
twist it several times round the point  
of the needle1 the number of times being
 dependent on the required length of the
 knot4 ,place the left thumb upon the   
tight coil on the needle1 in order to   

keep it in place1 and draw the needle   
and thread through it1 then pass the    
thread through to the back at the point 
where the needle was last inserted      
7point ,a on plan74 ,the thumb must not 
be removed until it is in the way4 ,fig4
 #fj represents a flower1 of which the  
centre is formed of bullion together    
with ,french knots4  ,illustration3     
,fig4 #ei4  ,illustration3 ,fig4 #fj4   
,illustration3 ,fig4 #fa4  ,fig4 #fa    
shows a knotted stitch that is similar  
in result to the knotted threads        
discussed earlier in the chapter4 ,in   
this case the knotting of the thread and
 the fixing to the material is done at  
the same time4 ,it is a useful stitch   
when a jagged line is wanted1 and can be
 seen used1 for instance1 for the       
branching veins in open work leaves1 as 
in fig4 #fb4 ,the diagram explains the  
working of the stitch2 at point ,a on   
the plan the left thumb holds the thread
 down whilst the stitch is in progress4 
,illustration3 ,fig4 #fb4               

,,miscellaneous ,,stitches              
,illustration3 ,fig4 #fc4  ,the stitch  
illustrated at fig4 #fc is very similar 
to the common herring-bone4 ,the only   
practical difference is that in the     
plain needlework stitch there is usually
 a smaller piece of material picked up  
by the needle each time4 ,to work it as 
in the diagram--,trace two parallel     
lines on the material and bring the     
thread through at the commencement of   
the lower line1 insert it on the        
opposite line rather farther along and  
there pick up a stitch1 as the needle is
 doing in the figure4 ,then on the      
opposite line pick up a similar stitch a
 little in advance of the one just      
finished4 ,after this work the stitches 
on either line alternately1 commencing  
each one at the point where the last one
 ended2 this forms on the underside a   
double row of back stitches4 ,it is     
quite easy to work this stitch with the 
back stitches on the working side1 and  
when they are required to be on the     

surface it is advisable to do it in that
 way4 ,when embroidering upon a         
semi-transparent material this stitch is
 a satisfactory one to use1 the back    
stitching follows out the outline on    
either side of the form1 and the        
crossing of the threads on the under    
side shows through prettily4 ,this      
stitch sometimes goes by the name of    
double back stitch4 ,it is useful in    
many ways1 making a light stitch for    
stems1 leaves1 or flowers2 it can be    
sometimes found in ,eastern work used   
for an entire embroidery4 ,when used for
 flowers or leaves the width and the    
closeness of the stitch are varied to   
suit the shape to be filled4 ,an example
 of its use as a flower filling is shown
 in the carnation at fig4 #fd1 which is 
carried out in four shades of colour4   
,considerable use is made of this stitch
 in embroidered curtain shown in ,plate 
,,vii42 it is there employed for all the
 stems and various flowers upon the     
hanging4  ,illustration3 ,fig4 #fd4     

,illustration3 ,fig4 #fe4  ,the feather 
stitch1 often used to decorate plain    
needlework1 is now to be discussed2     
although similar in name it must not be 
confused with the feather or plumage    
stitch that has already been mentioned4 
,the stitch is so simple and so much in 
use as hardly to need description2 fig4 
#fe explains the working4 ,there can be 
many slight variations of the stitch1   
the worker perhaps devising them needle 
in hand4 ,two are shown in fig4 #ff4    
,the one to the left is worked very like
 the ordinary stitch2 the needle picks  
up the material in a straight line      
instead of slightly obliquely1 and each 
stitch touches the one immediately      
above2 it is here made use of as a      
couching stitch1 a bunch of threads of a
 contrasting colour is laid on the      
material1 and the stitch worked over it 
from side to side4 ,the right-hand      
example shows the ordinary feather      
stitch worked more closely and in a     
broader line2 carried out in this way1  

it can be used for a leaf filling4      
,illustration3 ,fig4 #ff4  ,basket      
stitch1 useful for a solid line1 shows  
up very clearly when worked with a stout
 twisted thread4 ,this stitch would be  
appropriately used when applied to some 
representation of basket work4 ,to carry
 out the diagram 7fig4 #fg7--,trace two 
parallel lines on the material1 and to  
commence1 bring the thread through on   
the left-hand line1 then insert the     
needle on the right-hand line about     
one-eighth of an inch lower down and    
bring it through on the left-hand line  
exactly opposite 7see needle in fig472  
the next stitch is worked by inserting  
the needle on the right-hand line but   
above the last stitch1 that is at point 
,a on diagram1 and bringing it through  
at ,b4 ,to continue1 repeat from the    
beginning4  ,illustration3 ,fig4 #fg4   
,a particularly good line for a border  
is made by fishbone stitch4 ,it can be  
worked in one colour1 or as easily in a 
chequering of two or three1 as shown in 

the diagram 7fig4 #fh72 to carry it out 
in this way the worker must have two    
threads in use1 bringing through each as
 required4 ,for such purposes as the    
fillings of small leaves1 this stitch is
 very useful 7see fig4 #eh74 ,the       
meeting of the stitches in the centre   
suggest the veining line1 also the      
change in direction of the thread gives1
 to the two sides of the leaf1 pleasant 
variation in tone4 ,to work it--,trace  
three parallel lines upon the material  
and bring the thread through on the     
upper line at the left-hand end4 ,insert
 the needle and bring it through as in  
process in the diagram1 then repeat the 
same stitch on the other side the       
reverse way1 that is1 insert the needle 
just over the central line and bring it 
through on the upper one close to the   
last stitch4 ,care must be taken that   
the stitches cross well over each other 
at the centre1 or the material will show
 through4  ,illustration3 ,fig4 #fh4    
,illustration3 ,fig4 #fi4  ,the stitch  

shown in fig4 #fi1 known as plait or    
,cretan1 is commonly seen on ,cretan and
 other ,eastern embroideries4 ,it can be
 used as a solid border stitch or as a  
filling1 varying in width as required4  
,to work it--,bring the thread through  
on the lower central line1 then insert  
the needle on the uppermost line and    
bring it through on the next below as in
 process in the diagram2 then1 still    
keeping the thread to the right1 insert 
the needle immediately underneath on the
 lowest line and bring it through on the
 line next above1 in fashion similar to 
the last stitch1 but in reverse         
direction4 ,to continue1 work the stitch
 alternately on one side and the other1 
always keeping the thread to the right  
of the needle4 ,in order to make the    
central plait broader take up rather    
less material with the needle2 this will
 decrease the outer and increase the    
inner lines4 ,fig4 #gj is taken from a  
,cretan embroidery1 in which this stitch
 is mainly used4  ,illustration3 ,fig4  

#gj4  ,illustration3 ,fig4 #ga4         
,another similar but more simple stitch1
 often seen in ,eastern work1 is shown  
in fig4 #ga4 ,it can also frequently be 
found employed on ,x,v,i,ith century    
,english wool work hangings4 ,it is     
sometimes called ,roumanian stitch1 and 
is composed of one long stitch crossed  
by a short one in the centre4 ,to work  
it--,trace two parallel lines on the    
material and bring the thread through on
 the left-hand line at the top4 ,insert 
the needle on the opposite line and     
bring it through near the centre1 as    
shown in process in the diagram4 ,for   
the next half of the stitch the needle  
enters the material at point ,a on plan1
 and is brought through again on the    
left-hand line close to the last stitch1
 and so in position to commence again4  
,an illustration of this stitch in use  
as a filling can be seen at fig4 #gb4   
,it is worked in four shades of green   
wool1 and each line of stitches is so   
arranged as to encroach slightly on the 

line before by means of setting each    
stitch just between two of the last row4
 ,this method of working has two        
advantages2 the shading is thus made    
more gradual1 and a pleasant undulating 
effect is given to the surface of the   
leaf4 ,this can be most easily          
understood by a practical trial of the  
stitch and method4  ,illustration3 ,fig4
 #gb4   ,,insertion ,,stitches  ,there  
is occasion sometimes in embroidery to  
join edges together visibly4 ,this gives
 an opportunity for some additional     
pretty stitching--the addition of       
something like this1 that is perhaps not
 absolutely necessary1 has extra value  
from the evidence it gives of the       
worker's interest and delight in her    
work1 a quality always appreciated2 on  
the other hand1 work done from the      
motive of getting a result with as      
little labour as possible is valued at  
just its worth4  ,these insertion       
stitches are useful for joining together
 edges of cushion covers1 bags1 detached

 bands1 also for the ornamentation of   
dress1 and for embroideries upon which  
drawn thread work is not possible4 ,a   
stout thread is usually suitable for the
 purpose4 ,the raw edges must first be  
turned in and flattened1 and the parts  
to be joined can if necessary be tacked 
in place on a temporary ground such as  
toile ciree4  ,fig4 #gc illustrates a   
twisted insertion stitch that is quickly
 executed and very frequently used4 ,the
 diagram sufficiently explains the      
working without further description4    
,illustration3 ,fig4 #gc4  ,buttonhole  
stitch can be turned to account for this
 purpose4 ,fig4 #gd shows the tailor's  
buttonhole used as an insertion stitch2 
for this purpose it is the better of the
 two kinds of buttonhole4 ,the stitches 
could be arranged in various ways2 in   
the present example three are worked    
closely together on either side in turn4
 ,the only difficulty with this         
buttonhole insertion is that on one side
 the stitch has to be worked in         

direction contrary to that usual1 that  
is from right to left instead of from   
left to right4 ,in the diagram the      
needle is shown working in this reverse 
way4  ,illustration3 ,fig4 #gd4         
,illustration3 ,fig4 #ge4  ,fig4 #ge is 
a knotted insertion stitch2 the knot at 
each side makes the stitch a very rigid 
one4 ,to work it--,bring the thread     
through at the lower left-hand side1    
insert the needle on the upper side a   
little towards the right1 draw the      
thread through1 and then tie the knot on
 it as in process in the diagram4       
,illustration3 ,fig4 #gf4  ,a rather    
more complicated joining stitch is shown
 in fig4 #gf4 ,it could be carried out  
with different coloured threads4 ,the   
two sides must be first worked with the 
edging1 which is practically the braid  
stitch described on page #hh4 ,commence 
the stitch in exactly the same way as   
when carrying out braid stitch1 but work
 on the edge of the material as in      
buttonholing1 the working edge in this  

case being away from the worker4 ,let   
the worker1 having reached the point of 
pulling the thread through to complete  
the stitch1 draw it out in the direction
 away from her4 ,this will draw the     
stitch towards the edge1 where it will  
form a knot4 ,in the diagram one of the 
stitches has been partly undone in order
 to show the working more clearly4 ,when
 the two sides are bound with the       
stitch1 they can be laced together with 
another thread as in the illustration4  
,,picots  ,picots are commonly in use in
 lace work and they are sometimes       
required for embroidery purposes1       
especially in the kinds of work nearly  
allied to lace1 such as cut work1 or for
 an added ornament to an edging stitch4 
,illustration3 ,fig4 #gg4  ,fig4 #gg    
shows too small picots added to a       
buttonhole bar1 and on the lower bar is 
shown the method of working the         
left-hand picot4 ,the pin that passes   
into the material behind the bar can be 
fixed in the bar itself if there happens

 to be no material underneath4 ,after   
reaching the point illustrated in the   
diagram1 the needle draws the thread    
through1 thus making a firm knot round  
the loop4 ,this completes the picot1 the
 bar is then buttonholed to the end4    
,the second picot is made in much the   
same way2 instead1 however1 of putting  
the needle as the diagram shows1 bring  
the thread up through the centre of the 
loop1 then round under the pin from left
 to right1 and it will be in position to
 make three buttonhole stitches along   
the loop1 which completes the second    
example4  ,illustration3 ,fig4 #gh4     
,the upper bar on fig4 #gh shows a      
buttonholed picot4 ,the bar must be     
worked to the left-hand end of the      
required picot2 the thread is then from 
there taken back about one-eighth of an 
inch and threaded through the edge of   
the buttonhole4 ,this is repeated to and
 fro until there is a loop composed of  
three threads ready to be buttonholed   
over4 ,upon this being done1 the thread 

will have arrived at the right point to 
continue the bar4  ,bullion stitch makes
 another simple picot--,work the bar to 
the point where the picot is required1  
then1 instead of taking the next stitch1
 insert the point of the needle in the  
heading of the last stitch4 ,leave the  
needle in this position1 and twist the  
thread six or eight times round the     
point of it1 just as for the bullion    
knot 7fig4 #ei74 ,place the left thumb  
over the tight coil thus formed1 and    
pull the needle and thread through      
tightly in order to make the stitch     
double up into a tight semi-circle1 then
 continue the buttonholing to the end of
 the bar4     ,,chapter ,,vii  ,,canvas 
,,work ,,and ,,stitches                 
,introduction--,samplers--,petit ,point 
,pictures--,cross ,stitch--,tent        
,stitch--,gobelin ,stitch--,irish       
,stitch--,plait ,stitch--,two-sided     
,italian ,stitch--,holbein              
,stitch--,rococo ,stitch4   ,canvas     
work1 known in the ,x,i,i,ith century as

 opus pulvinarium or cushion work1 is of
 great antiquity1 and seems to have had 
an independent origin in several        
countries4 ,it is sometimes given the   
misleading name of tapestry1 perhaps    
owing to hangings of all kinds being    
called tapestries1 whether loom-woven1  
worked with the needle1 or painted4     
,large wall hangings with designs       
similar to those of woven tapestries    
have been most successfully carried out 
on canvas in cross or tent stitch2 as a 
rule1 however1 smaller objects are      
worked1 such as furniture coverings1    
screens or cushions1 whence it is       
obvious canvas work received its ancient
 and descriptive ,latin name4 ,many     
,eastern carpets are worked upon a      
strong canvas in a kind of tent stitch1 
and so come under the heading of canvas 
work4 ,it is a particularly durable     
method of embroidering1 and this makes  
it suitable for use upon anything       
subjected to hard wear4  ,the work has  
usually a very decided and attractive   

character of its own4 ,a familiar       
example of this can be seen in the      
,x,v,i,i,ith century samplers4 ,its     
peculiar character is perhaps due to the
 fact that it cannot break away from a  
certain conventionality due to constant 
use of the same stitch1 and its         
dependence upon the web of the fabric4  
,this regularity prevents the work from 
showing certain faults of design that   
other methods may exaggerate4 ,it is    
hardly possible to copy a natural spray 
of flowers in cross stitch and keep it  
very naturalistic4 ,the stitch being    
square and alike all over gives a       
formality of treatment to every part of 
the design1 also1 some detail is        
perforce omitted owing to the           
impossibility of putting it in2 all of  
this tends to a right method of         
treatment1 which renders the sampler an 
admirable lesson not only in workmanship
 but also in design4  ,the ,x,v,ith and 
,x,v,i,ith century pictorial subjects   
worked upon fine canvas in cross or tent

 stitch afford instances of most        
interesting work in canvas stitches4    
,some of these1 though1 as a rule1 very 
much smaller in size1 equal1 in their   
way1 the finest tapestries4 ,most of    
them1 if judged from a painter's        
standpoint1 would be pronounced         
failures1 but this effect is not what is
 sought after2 the method of treatment  
belongs rather to the great traditions  
of the tapestry weaver1 and is not      
governed by the canons of the painter4  
,plate ,,vi4 shows a detail of foliage  
from a particularly fine example of this
 work lately added to the ,victoria and 
,albert ,museum collection4#b  ,in what 
went by the name of ,berlin wool work1  
popular in the early ,x,i,xth century1  
we have before us a degenerate offshoot 
of this fine and poetic kind of work in 
which all its possibilities are missed1 
with a result that is prosaic in the    
extreme4 ,some of the canvas-work seat  
covers decorated with geometrical       
designs1 seen on ,chippendale chairs1   

were a pleasant and satisfactory        
variation in their way1 but in most of  
the work after that period1 the attempt 
at impossible naturalistic effect gave  
such unsatisfactory results as to almost
 deal a death blow to all canvas        
embroidery4 ,it is1 however1 a method   
too good and useful to die out2 it must 
always be more or less in vogue4        
,patterns carried out in canvas stitches
 are sometimes to be seen worked        
apparently upon velvet or similar ground
 materials4 ,this is done by first      
laying the canvas upon the velvet and   
stitching through both materials2 this  
would have to be carried out in a frame4
 ,the threads of the canvas are         
afterwards either withdrawn or closely  
cut off4 ,in the former case1 the       
stitches must be drawn tight1 or the    
finished work will not look well4 ,this 
method has the advantage of saving the  
labour of working the background1 and   
sometimes it suits the pattern to have a
 contrast in the ground material4 ,in   

old embroideries1 heraldic devices may  
be seen successfully treated in this    
way4  ,the usual canvas stitches can be 
worked upon other fabrics that have an  
even and square mesh1 such as various   
kinds of linen2 also other embroidery   
stitches1 such as stem1 satin1 or chain1
 can be used upon canvas2 they are then 
always worked with a certain regularity1
 following the web of the material4     
,canvas work can be done in the hand or 
in a frame1 but the technique is often  
better in work done in a frame4 ,in     
all-over work it is important that not  
even a suggestion of the ground fabric  
should be allowed to show through2 for  
this reason work in light colours should
 be done on white canvas1 and vice      
versa1 as far as possible1 also the     
thread used must suit in thickness the  
mesh of the canvas4 ,to work a plain    
ground well is less easy than to work   
the pattern1 though it may sound more   
simple4 ,the back of the work1 though   
not necessarily similar to the front1   

must be alike in stitch all over1 for   
the direction the stitch takes at the   
back affects the regularity of          
appearance of the front4 ,the stitch    
must not be commenced in exactly the    
same place in each row1 lest a ridge    
should appear upon the surface2 this can
 be avoided by using threads of         
different lengths4 ,a ground is usually 
commenced at the lower left-hand corner1
 and a pattern1 if a complicated one1   
from the centre outwards4 ,these        
technical points are of importance1 but 
they are of little value unless the     
stitches are at the same time expressing
 an interesting and suitable design4    
,the stitches used are exceedingly      
numerous2 those described in the        
following pages are the varieties most  
commonly seen4  ,cross stitch1 the best 
known in this group1 can be worked in   
slightly different ways1 according to   
the purpose for which it is required4   
,on the surface it is always the same1  
but it can vary at the back4 ,for       

instance1 when used for marking purposes
 it should form on the reverse side     
either a cross or a square1 to do either
 of which demands some ingenuity on the 
part of the worker4 ,for ordinary work  
the really correct method is to complete
 each stitch before going on to the     
next1 though grounding is frequently    
done by working the first half of the   
stitch along an entire line1 and        
completing the cross upon a return      
journey4 ,in any case1 the crossing must
 always be worked in the same direction4
  ,cross stitch is a double stitch      
worked diagonally over two threads of   
the canvas each way4 ,it can1 however1  
be taken over more or fewer threads if  
required larger or smaller4 ,to work it 
7fig4 #gi7--;,bring the needle through  
on the upper left side of the threads to
 be covered1 and take it back again on  
the lower right1 then bring it through  
on the upper right side and return it to
 the back on the lower left1 which      
completes the first stitch4             

,illustration3 ,fig4 #gi4  ,tent stitch 
7fig4 #hj7 is the finest canvas stitch1 
and is therefore suitable for work      
involving much detail4 ,pictorial and   
heraldic subjects are frequently carried
 out in it4 ,it is worked diagonally    
over a perpendicular and horizontal     
thread of the canvas4 ,the diagram shows
 the method of working both back and    
front4 ,it will be noticed that though  
the line goes alternately from left to  
right and from right to left1 the stitch
 is always the same at the back as well 
as the same upon the front2 if this were
 not so1 alternate rows would have a    
different appearance upon the right     
side4 ,the diagram does not show the    
connection between the first and the    
second row1 but it is evident that it   
must be a short upright line4           
,illustration3 ,fig4 #hj4  ,gobelin     
stitch is a useful variety2 it lends    
itself to shading better than cross     
stitch4 ,it is most often worked upon a 
fine single canvas1 and it can be used  

as a raised stitch4 ,fig4 #ha represents
 the stitch2 it is worked similarly to  
tent stitch but over two threads in     
height and one in width1 no matter      
whether the single or double thread     
canvas is used4 ,in order to work it as 
a raised stitch1 a line of some kind of 
padding is thrown across the canvas1 and
 the stitch taken over it4 ,this line   
can be arranged to show in part1 in     
which case the material must be one     
presentable1 such as a gold cord or     
narrow braid4 ,the padding would be     
covered with stitching to form the      
background1 and left exposed for the    
pattern1 which would probably be a      
simple repeating form of some kind4     
,gobelin stitch is sometimes worked     
quite perpendicularly just over two     
threads in height4  ,illustration3 ,fig4
 #ha4  ,irish stitch is pretty and      
quickly worked4 ,it is usually taken    
perpendicularly over four threads of the
 canvas 7fig4 #hb71 though the number   
over which it is taken may vary4 ,it is 

worked in such a way as to make the     
stitches of each succeeding row fit     
between those of the last row1 and can  
be carried out either diagonally or in  
horizontal lines4 ,what is known as     
,florentine work is carried out in a    
stitch of this kind4 ,the pattern in    
this kind of work is taken horizontally 
across the ground in a succession of    
shaded zigzag lines4  ,illustration3    
,fig4 #hb4  ,plait stitch is often used 
for grounding4 ,it resembles a simple   
plait laid in close rows to and fro on  
the ground4 ,it can frequently be seen  
used upon the ,italian ,x,v,ith century 
linen work1 that in which the pattern is
 left in plain linen1 and the ground    
worked in some colour4 ,the diagram in  
fig4 #hc shows the method of working the
 stitch4 ,if carried out correctly1 the 
back of the material should show a row  
of short perpendicular lines1 each      
composed of two threads4  ,illustration3
 ,fig4 #hc4  ,two-sided ,italian stitch 
is descriptively named1 for it is alike 

on both sides4 ,this is frequently seen 
on ,x,v,ith and ,x,v,i,ith century      
,italian linen work1 similar to that    
mentioned above4 ,a loosely woven linen 
makes a suitable ground material1 for in
 the working the stitches must be pulled
 firmly1 so as to draw the threads of   
the fabric together2 this gives over the
 ground a squared open-work effect1     
which is very pretty4 ,fig4 #hd explains
 the working of the stitch2 it is shown 
in four stages1 and is quite simple2 the
 final result is a cross surrounded by a
 square4 ,the lowest figure in the      
diagram shows the last stage1 for the   
upper side of the square is filled in   
when the row above is worked4 ,the      
drawing together of the web is not      
shown1 but at a trial it should be done1
 for in that lies the special character 
of the stitch4 ,the silk used must be   
just thick enough to well cover the     
linen1 but not too thick1 for then the  
work would be clumsy4  ,illustration3   
,fig4 #hd4  ,illustration3 ,fig4 #he4   

,holbein stitch 7fig4 #he71 also known  
as stroke or line stitch1 is alike on   
both sides1 and is often used in        
conjunction with cross and satin stitch1
 as well as alone4 ,very intricate and  
interesting patterns can be devised to  
be carried out with these three         
stitches1 worked always with regard to  
the web of the linen4 ,squared paper    
could be used for planning the design1  
as the stitches would all be practically
 of the same length1 and the pattern    
must be one that can be easily carried  
out alike on both sides4 ,the stitch is 
worked as follows3 ,an even running     
stitch1 picking up as much material as  
it leaves1 is taken all round the       
pattern4 ,this does half the work on    
either side2 the gaps are then filled up
 by the running stitch being taken in a 
contrary direction1 which completes the 
pattern4 ,occasionally stitches go off  
at an angle from the running pattern2   
these are completed on the first journey
 by a satin stitch being made at the    

necessary point4 ,the present diagram is
 a zigzag line1 with one of these       
stitches going off at each angle4 ,fig4 
#hf is an example of a border design    
carried out in ,holbein stitch4         
,illustration3 ,fig4 #hf4               
,illustration3 ,fig4 #hg4  ,the stitch  
illustrated in fig4 #hg is known as     
rococo stitch4 ,it is a useful one for  
carrying out a conventional design1 such
 as1 to give a simple illustration1 a   
flower sprig repeating in the spaces    
formed by a trellis pattern4 ,the effect
 of the stitch when worked cannot be    
judged from this diagram2 to see this   
properly a piece of canvas must be      
worked entirely over with it4 ,the      
pattern chosen is usually one that lends
 itself to being worked in diagonal     
lines1 as this stitch is best worked in 
that way4 ,it entirely hides the canvas 
background1 and is carried out very     
similarly to the oriental stitch in fig4
 #ga4 ,by the help of that diagram and  
description and the present one1 which  

gives various steps1 the worker will    
easily master the stitch1 which is quite
 simple4 ,the ordinary carrying out of  
the stitch is shown where the needle is 
at work1 and in another part the        
diagram1 by some loosened stitches1     
illustrates how to pass from one cluster
 to the next4  ,some fine examples of   
canvas work design1 introducing a       
variety of stitches1 may be seen in the 
,victoria and ,albert ,museum4 ,these   
are large panels filled with foliage and
 flowers growing about architectural    
columns4#c  ,,footnotes3  #b ,no4 #hgi1 
#aijd4  #c ,no4 #eag-ebb1 #ahif4        
,,chapter ,,viii  ,,methods ,,of ,,work 
,couching--,braid ,work--,laid          
,work--,applied ,work--,inlaid          
,work--,patch   ,work4   ,,couching     
,couching is the name given to a method 
of embroidery in which one thread is    
attached to the material by another one4
 ,sometimes not only one thread but a   
number of threads are couched down      
together2 or it may be cord1 braid1 or  

metal thread that is attached to the    
material in this way4 ,fig4 #hh shows   
some couching in progress4 ,the method  
probably arose through the difficulty   
experienced in passing either coarse or 
very delicate threads through a         
material4 ,couching is constantly in use
 with gold thread embroidery1 and it is 
further discussed in the chapter upon   
that subject1 where also is described an
 entirely different method1 which is to 
be recommended for couching other as    
well as for gold threads4               
,illustration3 ,fig4 #hh4  ,couching is 
useful in a variety of ways1 e4g4 for   
carrying out work in line or for        
outlining other embroidery1 applied work
 for instance1 which is frequently      
finished off by means of a couched      
thread2 in the case of a difficult      
ground material1 it is one of the most  
manageable methods of working4 ,the     
geometrical open fillings of leaves and 
backgrounds are often composed of lines 
of thread thrown across and couched down

 at regular intervals4 ,fig4 #hi is an  
example of a favourite filling of this  
kind4 ,embroidery stitches can be made  
use of for couching down other threads2 
a bunch of threads may be laid upon the 
material1 and an open chain1 buttonhole1
 or feather stitch worked over in order 
to fix it in place4  ,illustration3     
,fig4 #hi4  ,braid work is quickly and  
easily executed2 it needs only a        
suitable pattern and a pretty braid for 
couching down to be most successful4    
,there are a few points to be observed  
about the technique--the cut edge of a  
braid is awkward to manage1 for it must1
 with a special needle1 be taken through
 to the back of the material and there  
made secure and flat2 for this reason   
the design should be so planned as to   
have as few breaks as possible4         
,interlacing strap work designs1 of     
which a simple example is given in fig4 
#ij1 are very suitable for braid work4  
,the thread that couches down the braid 
may be quite invisible1 or1 on the other

 hand1 it may be made use of to further 
decorate the braid by being placed      
visibly across it1 perhaps forming a    
chequering or other simple pattern1 as  
shown in fig4 #ia4 ,ravellings of the   
braid may be used as invisible couching 
threads for stitching it down4 ,curves  
and sharp corners need special attention
 by way of extra stitches4 ,the         
completed work is much improved by      
several hours' pressure under a weight4 
,illustration3 ,fig4 #ij4   ,,laid      
,,work  ,illustration3 ,fig4 #ia4  ,laid
 work might be described as couching on 
a more extended scale--a given space is 
covered with threads taken from side to 
side in parallel lines close together1  
fixed at either extremity by entering   
the material4 ,further security is      
usually given by small couching stitches
 dotted down at intervals over the laid 
threads1 or by throwing single lines of 
thread across in a contrary direction   
and tying these down at intervals with  
couching stitches4 ,yet another way is1 

to work a split or stem stitch over the 
laid threads1 and thus fix them down4   
,fig4 #ib shows a flower carried out in 
laid work4 ,the tying-down threads can  
often be made use of in one way or      
another to further decorate1 or to      
explain form1 by means of contrasting   
colour1 change in direction1 and so on4 
,the laid stitches in this flower are   
taken from the centre outwards and fixed
 in place by couched circular lines of  
thread4 ,the centre of the flower has a 
geometrical filling1 composed of a      
couched lattice pattern with ,french    
knots between4 ,conventional centres of 
this and like kinds are very pretty for 
embroidery flowers2 such patterns as    
those shown in fig4 #ic can often be    
seen in use1 and they need only a trial 
to be frequently adopted4               
,illustration3 ,fig4 #ib4               
,illustration3 ,fig4 #ic4  ,laid work   
shows off the gloss and texture of silk 
to great advantage1 which is due to the 
thread being laid upon the material     

without being cut up into small         
stitches4 ,floss silk is much used for  
the work2 it must not be at all twisted 
in the laying down1 since this mars the 
effect4 ,the work is carried out in a   
frame2 it is quickly executed and       
economical1 the thread being practically
 all upon the surface4 ,owing to the    
length of the stitches1 this is not a   
very durable method1 so it should not be
 subjected to hard wear4 ,the work has  
sometimes a flimsy1 unsatisfactory      
appearance1 probably because of these   
long stitches4 ,it will be seen that the
 silk passing through to the back1 and  
then immediately to the front again1    
takes up very little of the material4 ,a
 method in use for giving greater       
strength in this way is to lay the silk 
first in alternate lines and to fill up 
the gaps thus left upon a second journey
 across the form4 ,for added strength1  
use might be made of a linen thread at  
the back1 as in the point couche rentre 
ou retire method that is discussed      

later4  ,illustration3 ,fig4 #id4  ,a   
gold thread outline gives a nice finish 
to laid work4 ,if there is nothing in   
the way of an outline1 and the pattern  
and ground are both covered with laid   
threads1 the edges of the pattern are   
likely to look weak4 ,fig4 #id shows a  
leaf filled in with rather loosely laid 
threads and outlined and veined with    
gold passing1 the veining answering the 
double purpose of fixing down the laid  
threads and veining the leaf at the same
 time4  ,in this work1 the colouring is 
frequently in flat tones1 but if        
necessary it is quite easy to introduce 
gradation4 ,further variety can be      
obtained by a contrast in colour in the 
tying-down threads4   ,,applied ,,work  
,the ancient ,latin term opus consutum1 
and the modern ,french one applique1    
which is perhaps the name most commonly 
in use1 both refer to the same kind of  
work2 what is now called cut work is    
quite different from this1 and is       
described elsewhere4 ,under the heading 

of applied work comes anything that1 cut
 out of one material1 is applied to     
another2 it may have been previously    
embroidered1 or it may be just the plain
 stuff4 ,both kinds can1 as has been    
proved1 be carried out with excellent   
effect1 but much unsuitable and badly   
designed work has been done by this     
method1 with the result that the very   
name has fallen into disrepute4  ,the   
simplest kind of applied work is that in
 which the design1 traced upon one      
material1 then cut out along the outline
 of the pattern1 is applied to another  
material1 the junction of the two       
materials being hidden by a cord or     
suitable stitch4 ,the applied work is   
most often flat1 but it can be in slight
 or in strong relief4 ,the texture of   
the materials employed may be an        
important factor in the result1 for a   
contrast in material as well as in      
colour is often wanted2 sometimes the   
former alone is sufficient4 ,the choice 
of material depends very much upon the  

use to which the finished work will be  
put1 but this simple form of applied    
work often relies for part of its effect
 upon an intrinsic interest in the      
material1 so it is usually carried out  
with such materials as velvet1 satin1 or
 silk1 either plain or figured4  ,the   
design for this kind of work should be  
of a bold conventional type1 such as    
large foliage with the character of the 
heraldic mantling2 any naturalistic     
flowers1 figures1 or animals easily     
become grotesque4 ,a simple outline to  
the forms is necessary1 both because of 
the technical difficulties and for the  
effect of the finished work4 ,this kind 
of work is hardly suitable for          
expressing fine detail2 oftentimes it is
 seen from a distance1 and many         
indentations on an outline sometimes    
tend to weaken it4 ,heraldry can be well
 expressed by this method4 ,fig4 #ie is 
an example from a piece of ,x,i,i,ith   
century work1 a fragment of the surcoat 
of ,william de ,fortibus1 third ,earl of

 ,albemarle1 who lived in the reign of  
,henry ,,iii42 the example can be seen  
in the ,british ,museum4 ,this method of
 work is also particularly suitable for 
such purposes as the decoration of wall 
surfaces1 for hangings of various kinds1
 or banners2 it can1 however1 be used   
for many other purposes1 provided the   
design and the materials are well       
chosen4  ,illustration3 ,fig4 #ie4      
,owing to the difficulty of working upon
 some ground stuffs1 the method has     
arisen of carrying out the embroidery   
upon an easily worked ground1 such as   
linen2 cutting it out1 when finished1   
along the outline and applying it to the
 proper ground1 the junction of the two 
materials being hidden by a cord or some
 equivalent4 ,it is usually further     
completed by light sprays or some other 
kind of finishing touches being placed  
around the applied part1 these worked   
directly on to the proper ground4 ,this 
prevents the embroidery from looking too
 bald and detached from its             

surroundings1 of which there is always a
 danger when it is carried out          
separately and then attached2 if at all 
possible it is always more satisfactory 
to work directly on to the right ground4
  ,as a matter of fact it is almost     
always possible to do this2 the workers 
of the ,x,i,i,ith century1 the period at
 which the art of embroidery was at its 
height1 carried out the most exquisitely
 fine stitching and design on such      
grounds as velvet that had almost as    
long a pile as some varieties of plush4 
,the famous cope of ,english work known 
as the ,bowden cope1 of which a detail  
is given in ,plate ,i41 is an excellent 
illustration of this point4 ,upon       
careful examination of the work it is   
apparent that between the stitching and 
the velvet there is a layer of material1
 composed either of fine linen or silk4 
,this would be of great help in the     
carrying out of the stitching4 ,it is   
exceedingly probable that this layer of 
fine material was at the commencement of

 the work laid completely over the      
velvet background of the cope2 for one  
thing1 the design1 with its finely drawn
 detail1 could easily be perfectly      
traced upon a surface of this kind and  
only imperfectly upon velvet2 another   
advantage of this method would be1 that 
the background would be kept quite free 
from dust and from getting soiled by the
 hands during the lengthy process of the
 work4 ,the stitching would be carried  
through all the surfaces1 and when      
finished1 the fine surface layer would  
be cut away close round the edges of the
 design1 which would be quite easily    
done4 ,this method of working upon a    
difficult ground is well worth trying in
 place of the applied method4  ,to      
return to the discussion of applied     
embroidery--let us suppose the          
embroidered piece to be just completed  
on its linen ground1 still stretched in 
the frame in which it was worked4 ,in   
another frame1 stretch the background   
material and trace upon it the exact    

outline of the piece to be applied4 ,cut
 out the embroidered piece carefully    
round the edge1 allowing about          
one-sixteenth of an inch margin outside 
the worked part1 leaving1 if necessary1 
little connecting ties of material here 
and there for temporary support4 ,with  
fine steel pins or needles fix the      
cut-out work exactly over the tracing   
already made on the ground material1    
then make it secure round the edge with 
rather close stitches of silk placed at 
right-angles to the outline2 with fine  
materials the raw edge of the applied   
part can be neatly tucked under and     
fixed in place by this overcast stitch4 
,a cord is next sewn on to hide the     
fixing and give a finish to the edge4   
,the colour of this cord is important1  
since its colour may increase the       
expanse of either the applied part or   
the ground4 ,sometimes a double cord is 
put round1 and in this case the inner   
one is attached to the embroidery before
 it is cut out of the frame1 and the    

second attached afterwards4 ,the inner  
one is often of a colour predominating  
in the embroidery1 and the outer one of 
the colour of the ground4 ,gold cord is 
very usual2 if a coloured silk one is   
used it must be a perfect match4 ,the   
ordinary twisted cord looks best        
attached invisibly2 to do this1 slightly
 untwist it whilst stitching1 and insert
 the needle in the opening thus formed4 
,some kinds of flat braids look well    
with the fixing stitches taken          
deliberately over them and forming part 
of the ornamentation 7see fig4 #ia74    
,bunches of silk are sometimes couched  
round with a buttonhole or other stitch1
 but whatever the outline may consist   
of1 it should be a firm bold line4  ,the
 work must be perfectly flat when       
completed4 ,puckering may occur through 
want of care in the preliminary         
straining or in the fixing on of the    
applied parts4 ,some materials are more 
easy to manage than others4 ,the        
difficult ones can if necessary have a  

preliminary backing applied1 which is   
useful also if the material is inclined 
to fray4 ,the backing may consist of a  
thin coating of embroidery paste1 or of 
tissue paper or fine holland pasted over
 the part to be applied4 ,the more all  
this kind of thing can be avoided1 the  
better the work1 for pasting of any kind
 is apt to give a stiff mechanical look2
 also1 if the work is intended to hang  
in folds any stiffness would be most    
impracticable4  ,even more than simpler 
work applied embroidery needs the finish
 of some light work upon the ground4    
,gold threads and spangles1 arranged in 
fashion similar to the sprays in fig4   
#aab1 are very often used4 ,sometimes1  
instead of this1 some small pattern in  
outline is run all over the ground in   
order to enrich it4   ,,inlaid ,,work   
,inlaid work is in effect similar to the
 applied1 and it is used for the same   
purposes4 ,the difference with this is  
that both background and pattern are cut
 out and fitted into each other1 instead

 of only one of them being cut out and  
laid on an entire ground4 ,the method of
 work is economical1 for there need be  
very little waste of material4 ,what is 
left from cutting out the pattern and   
background for one piece can be used as 
ground and pattern for another and      
possibly companion piece4 ,there is in  
,perugia a church which possesses a     
complete set of draperies of this       
description1 that were made at a good   
period for this work1 early ,x,v,ith    
century1 and evidently were designed for
 the position they occupy4 ,on          
festivals1 the piers1 pulpit1 and parts 
of the wall are hung with these rose and
 gold-coloured hangings of inlaid work4 
,the design is a conventional           
scroll-work pattern1 and the various    
hangings have alternately the rose      
ground with gold pattern1 and gold      
ground with rose pattern1 the whole     
forming a rich and harmonious           
interchange of colour4  ,illustration3  
,fig4 #if4  ,fig4 #if is an example of  

inlaid work4 ,it is a ,x,vth century    
tabard said to have belonged to ,charles
 the ,bold1 and now in the ,musee       
,historique at ,berne4 ,the pattern1 it 
will be noticed1 is planned on the      
counterchange principle1 which is       
particularly well suited for this method
 of work4  ,a very ancient piece of the 
same kind of inlaid work is the funeral 
tent of ,queen ,isi-em-,keb1 dated about
 #ihj ,b4,c41 which is in the ,boulak   
,museum1 ,cairo4 ,it is composed of     
thousands of pieces of gazelle hide dyed
 in various colours and stitched        
together so as to form a wonderful      
design4#d  ,to carry out the            
work--,stitch in a frame some holland to
 use as a background2 this may be only  
temporary1 being removed when the work  
is completed1 or it may be left for     
additional strength4 ,the materials for 
both background and pattern must first  
be carefully cut out4 ,it is a good     
plan1 where possible1 to cut the two    
together so as to ensure exact          

similarity1 for they have to fit        
together afterwards like the parts of a 
puzzle4 ,the cut edges cannot be allowed
 to fray1 so if there is any danger of  
this1 precautions must be taken to      
prevent it1 though the better way is to 
choose in the first place more suitable 
material4 ,leather is a particularly    
good example of one4 ,any pasting or    
backing which might be used for         
prevention of fraying would prevent also
 that possibility of exposing both sides
 of the work1 which in inlay is         
sometimes a valuable quality2 also1 the 
stiffening which unavoidably results    
from pasting is rarely an improvement4  
,when materials of different thicknesses
 are used together1 the thinner one can 
be lined with fine holland so as to make
 it nearer equal in strength4 ,after the
 materials are cut out the next process 
is to lay them in position on the       
prepared holland and tack them to it4   
,then1 with an overcast stitch that must
 not be allowed to pierce the under     

surface1 join all the edges together1   
and cover the stitches with a finishing 
cord or braid4 ,the backing can now be  
removed if need be4   ,,patchwork       
,patchwork can hardly attain to a high  
position amongst the various branches of
 embroidery4 ,the main object of doing  
patchwork frequently is to make good use
 of valuable scraps of waste material4  
,unless1 however1 the product shows     
evidence of well thought out colour and 
arrangement1 it cannot come under the   
heading of embroidery4 ,interesting     
results1 however1 of many kinds can be  
produced from this paint-box of brightly
 coloured scraps of material by         
ingenious mixing and shaping of them4   
,patchwork infers a rather more         
mosaic-like design than inlaid work1 to 
which it is in some respects similar4   
,the geometrically planned mosaic and   
inlay pavements that are to be seen so  
commonly in ,italy and the ,east suggest
 great variety of patterns that could be
 applied to patchwork4 ,the illustration

 at fig4 #ig is a simple example taken  
from this source4 ,too often the results
 are only alarming1 as the ,countess of 
,wilton expressively puts it1 thinking1 
probably1 of the patterns frequently    
seen upon cushions1 patterns more       
resembling bright-coloured bricks set in
 cornerwise than anything else4 ,they   
are the most unrestful looking things   
imaginable4 ,the important elements of  
the work lie in the colour1 shape1 and  
texture of the pieces used1 for upon the
 right selection the result wholly      
depends4 ,the shapes chosen must be     
simple owing to the necessity of fitting
 and stitching them together1 but there 
is plenty of variety obtainable with    
simplicity4 ,the design may consist of  
one shape repeated or several4 ,if only 
one1 it is limited to a few geometrical 
figures1 such as the square1 hexagon1 or
 shell shape2 if more than one1 there   
can be greater variety of pattern4 ,fig4
 #ih is an example in which four shapes 
are made use of1 a large and small      

circle1 an octagon1 and an ,s-like      
twist4 ,four of these twists together   
make the figure that interlaces over the
 surface4 ,embroidery stitching can be  
added to patchwork2 for instance1 this  
example might have a neat border pattern
 worked on all the ,s-shapes1 as        
suggested in the diagram1 which would   
probably considerably increase its      
interest4 ,fig4 #ii shows flowers       
springing from the base of the          
shell-form in use upon it4 ,the         
embroidery could be simply carried out  
in one colour1 or if a more gorgeous    
result were required1 variety could be  
introduced in this way as well as in the
 ground1 and a marvellous combination of
 intricate colour could be thus         
produced4  ,illustration3 ,fig4 #ig4    
,illustration3 ,fig4 #ih4  ,for the work
 to be made up satisfactorily it is     
necessary that the shapes be accurately 
cut out4 ,to ensure this1 a metal plate 
is cut and all the shapes are taken from
 it2 sometimes1 in lieu of this1 a      

pattern is cut out in stiff cardboard4  
,lay this pattern-shape on the wrong    
side of the material and pencil it      
round1 then carefully cut out the stuff1
 leaving about a quarter of an inch for 
turning in4 ,next lay the pattern-shape 
upon a piece of stiff paper or thin     
card-board and again trace off the      
shape1 this time cutting it out exactly 
to the pattern1 tack the material to the
 paper1 and stitch down the raw edges at
 the back4 ,lay the prepared patches on 
a table and put them in place by        
referring to the design1 and then       
commence sewing the edges together with 
an overcast stitch on the wrong side4   
,when all are sewn1 remove the papers   
and flatten the seams with an iron4 ,any
 braid or stitch that may be required to
 mask the join is next put on2 this may 
be made ornamental by interlacing knots 
at the corners1 or by any other device  
that happens to suit the work4 ,the last
 thing to be done is to put a neat      
lining upon the back to cover and       

protect the numerous raw edges4         
,illustration3 ,fig4 #ii4  ,,footnote3  
#d ,for further information see ,the    
,funeral ,tent of an ,egyptian ,queen1  
by ,villiers ,stuart4     ,,chapter ,,ix
  ,,methods ,,of ,,work--7continued7    
,quilting--,raised                      
,work--,darning--,open                  
,fillings--,darned ,netting4   ,quilting
 is a method of working by which three  
materials are fixed together by more or 
less all-over stitching4 ,it probably   
developed through the necessity of      
keeping the three layers in place4 ,for 
practical purposes only1 the sewing     
machine does the work excellently1 but  
by making the stitching follow out some 
prearranged design1 it is raised to the 
level of art4 ,plate ,,iii4 is an       
interesting example showing what can be 
done in the way of design with the      
stitching over the surface4 ,embroidery 
may be added to the quilting1 and this  
is often an improvement4 ,the ,eastern  
nations carry out marvellously intricate

 designs in quilting1 and ,english      
,x,v,i,i,ith century work of this kind  
shows ,eastern influence strongly4 ,a   
good example of this is a very          
interesting piece in the ,victoria and  
,albert ,museum4#e  ,the first aim in   
quilting was evidently warmth1 and the  
name denotes one of the chief uses to   
which it is put4 ,it is made use of also
 for curtains1 infants' caps or gloves  
7see fig4 #ajj71 all these things       
requiring the three layers for warmth4  
,the materials usually consist of a     
surface one1 which can be silk1 fine    
linen or anything else2 an interlining  
of some softer material having a certain
 amount of spring in it1 such as        
flannel1 cotton wadding1 or wool2 and   
for the third1 an underneath lining of  
some kind4 ,a cord is sometimes inserted
 instead of the inner layer of stuff1   
the lines of stitching running along    
either side to keep it in place4        
,occasionally there are only the top and
 the under layer1 with no intervening   

material4 ,the stitch usually employed  
is a running1 back1 or chain stitch1 and
 it can be of the colour of the surface1
 or a contrast to it4 ,gold silk is     
often seen upon a white linen ground4   
,the chief interest in the work lies in 
the choice of pattern1 such things as   
colour1 variety of stitching1 interest  
in material1 are not made much of4 ,in  
planning the pattern1 use is made of the
 knowledge that the closely stitched    
parts will lie more flatly1 so it       
frequently happens that the ground has a
 small diaper running over it1 and the  
pattern part1 being less worked upon1   
perhaps only outlined1 stands out more  
and forms an effective contrast4        
,illustration3 ,fig4 #ajj4   ,,raised   
,,work  ,in the ,x,i,vth century raised 
work was commonly done1 but few examples
 are known of date earlier than this4   
,the raised effect is obtained by an    
interposed layer of padding1 which is a 
good method of getting a certain kind of
 effect4 ,it is perhaps wise to err on  

the side of too little rather than too  
much relief4 ,an example of too much and
 also of a wrong kind is the ,english   
stump work that was popular in the      
,x,v,i,ith century1 when figures were   
stuffed like dolls1 the clothes made    
separately and attached1 even to the    
shoes and stockings4 ,germain de ,st4   
,aubin1 writing in #agfi1 describes with
 much admiration a kind of broderie en  
ronde bosse1 apparently much the same   
thing and in equally doubtful taste1    
though the skill required to carry it   
out must have been considerable4  ,the  
work1 usually done in a frame1 must be  
well carried out technically2 the       
padding should be quite perfect in the  
form required before the final surface  
layer is worked over it1 for this one   
will not make any deficiency right1 but 
will only serve to show it up the more4 
,another point to be careful about is to
 make the padding stop well within the  
traced line of the pattern1 otherwise   
the finished design will turn out much  

larger than was originally intended4    
,the outline is sometimes worked round  
at the commencement1 whereby its        
correctness is ensured4  ,illustration3 
,fig4 #aja4  ,illustration3 ,fig4 #ajb4 
,many different materials are brought   
into use for padding purposes4 ,one of  
the simplest and most durable is a      
running of thread as illustrated in fig4
 #aja4 ,the thread can be arranged so as
 to be thicker in the centre than at the
 edges by laying some extra stitches    
over that part4 ,if a quite flat padding
 is required1 the shape1 cut out in     
cloth1 felt1 or parchment1 is attached  
by stitches to the material as shown in 
fig4 #ajb2 the surface stitching would  
be taken across it4 ,cardboard1         
sometimes pasted on to the ground1 is   
used for this purpose1 but it is        
unsatisfactory in several ways2 for     
instance1 cardboard letters are         
procurable for embroidering initials    
upon linen1 but they are not at all     
practical for anything that goes through

 the wash2 moreover1 the letters are    
sometimes of bad design4 ,cotton wool is
 used as a stuffing1 its surface being  
usually covered over with muslin1 but   
this again would not stand much wear of 
any kind1 and so could only be used     
under certain conditions4               
,illustration3 ,fig4 #ajc4  ,another    
good method is to couch down a hank of  
threads of fine cotton or perhaps wool  
as illustrated in fig4 #ajc4 ,for raised
 lines there is a special kind of string
 procurable that can be couched to the  
ground material at the required places4 
,the padding1 whatever it may be        
composed of1 should be as nearly as     
possible of the same colour as the      
surface layer1 in view of any after wear
 and tear misplacing the threads4       
,illustration3 ,fig4 #ajd4  ,the top    
layer of underlay must lie in direction 
contrary to the surface embroidery      
stitching1 which is very often some form
 of satin stitch taken from side to side
 over the padding4 ,instead of going    

through the material it can be fixed on 
each side with a couching stitch1 as in 
fig4 #ajd4 ,a stronger way than these   
would be that shown in fig4 #abi4       
,buttonhole is a good stitch for working
 over a padding2 it would be worked     
solidly in the manner described and     
illustrated on page #aag1 but taken1 as 
there shown1 over a padding instead of  
over a flat surface4   ,,darning  ,there
 is a most practical sound about        
darning2 it can1 however1 be made good  
use of in embroidery as well as in plain
 needlework4 ,there are two rather      
different kinds in use2 in both the     
stitch is a running one and done in much
 the same way that a thin place would be
 darned in mending4  ,one kind of       
darning is rather popular at the present
 moment1 and examples of it may be      
familiar2 it is a large1 bold kind of   
work1 often carried out with a coarse   
twisted silk4 ,upon the background1 the 
lines of stitching usually run straight 
across or up and down1 in the pattern1  

they radiate according to the shape of  
the form to be filled4 ,the entire      
material is covered one way or another  
by the running stitches1 and just one   
thread of the ground fabric is picked up
 where necessary at irregular intervals2
 a loosely woven linen is often chosen  
for working upon1 one in which it is    
easy to pick up the single thread4      
,gradation of colour can easily be      
introduced2 the design chosen is most   
frequently some kind of conventional    
flower and leafy scroll4 ,this method of
 embroidery is seen to best advantage   
when used upon large surfaces4  ,the    
second kind is called pattern darning2  
in it the stitches are picked up in some
 regular order1 so that they form       
various geometrical patterns over the   
surface4 ,it is worked by counting the  
threads of the fine linen ground and    
picking up a single thread or more in   
some regular sequence4 ,the threads are 
run in parallel lines close together1   
either horizontally or vertically1 so as

 to take advantage of the web of the    
fabric4 ,the work is particularly pretty
 and not difficult1 requiring only      
patience and good eyesight4 ,fig4 #aje  
gives some simple examples of the       
work--,the first is a chevron pattern1  
formed by picking up one thread and     
leaving about five each time2 each      
succeeding row moves a step forward or  
backward as required to carry out the   
pattern4 ,in the second example the     
darning is taken two ways of the        
material2 in the centre1 where it meets 
and crosses1 it entirely covers the     
ground4 ,a different colour might be    
used for each direction1 which would    
look very well at the crossing in the   
centre4 ,the four corners are filled up 
with a chequer darn2 this each time     
picks up as much material as it leaves4 
,the third example shows the darning    
stitch forming a diamond pattern4       
,samplers1 dated early ,x,i,xth century1
 may be seen entirely filled with these 
pattern darns2 they are covered with    

most intricate and beautiful sample     
squares showing various patterns in     
darning1 and were possibly done in order
 to learn how to repair damask table    
linen4 ,in a collection of early        
,egyptian work in the ,victoria and     
,albert ,museum1 there is some pattern  
darning1 dated ,v,ith to ,i,xth century1
 ,a4,d41 which proves it to be a very   
early method of embroidering4           
,illustration3 ,fig4 #aje4              
,illustration3 ,fig4 #ajf4  ,this       
pattern darning1 however1 is so pretty  
that it is often possible to make use of
 it in embroidery work for all kinds of 
purposes4 ,it makes a very good         
background if there is sufficient space 
to show the pattern1 if there is not1   
the irregular darning might be used     
instead1 for it would in that case be   
just as good and much quicker to work4  
,to pattern-darn the ground with the    
ornament upon it left in the plain      
material1 perhaps not worked upon at    
all1 is a very effective method of      

carrying out a design1 see fig4 #ajf for
 example4 ,again it might very well be  
used for the conventional carrying out  
of draperies in the same way as in point
 couche rentre ou retire4#f ,the        
draperies on the figure in the          
frontispiece could easily be carried out
 with silk thread in the darning stitch1
 in fact this method of decoration more 
closely resembles the early couching    
than any other2 it is not quite as      
satisfactory because the single threads 
of the background that are picked up    
prevent the ground showing nothing but  
silk4 ,bands of this work may be seen   
ornamenting needle books or work cases2 
it shows to best advantage when worked  
finely with floss or filosel silk1 the  
coarse twisted silks are too thick for  
the purpose4   ,,open ,,work ,,fillings 
,illustration3 ,fig4 #ajg4              
,illustration3 ,fig4 #ajh4  ,patterns   
can be carried out in line1 they can be 
worked quite solidly1 and there is a    
method that lies between these two known

 as open filling4 ,the open and solid   
fillings are often used together in the 
same piece of work2 examples of this can
 be seen on the ,x,v,i,ith century      
wool-work curtains1 the large scrolling 
leaves are sometimes partly worked      
openly and a portion1 possibly reflexed1
 filled in with solid stitches in       
gradating colour2 see for an example    
,plate ,,viii4 ,this has a very good    
effect1 it prevents the work looking too
 heavy1 shows up the form more clearly1 
and allows of more variety in the       
stitching4 ,with open fillings the      
outline surrounding them must always be 
some firm decided line1 such as is made 
by a band of satin or long and short    
stitch1 or1 in the case of larger forms1
 by several rows of different line      
stitches worked closely together1 one   
inside the other1 most likely in        
different shades of colour4 ,a filling  
of open work can be carried out in a    
variety of ways2 it may be a decorated  
trellis1 a regular dotting of some kind1

 or some geometrical pattern in outline1
 or some light stitch such as an open   
buttonhole 7see fig4 #ajg71 which would 
be treated each as a diapering over the 
form to be filled4 ,it does not much    
matter what the filling is as long as it
 is dispersed pretty regularly over the 
space1 giving the effect at a little    
distance of a light pervading tone1 and 
when examined closely exhibiting an     
interesting small pattern4 ,the open    
filling method can be used entirely     
throughout a design with very pretty    
effect2 an example of this may be seen  
on an embroidered coverlet and pillow   
case in the ,victoria and ,albert       
,museum4#g ,the pattern1 composed of    
vine leaves and grapes1 is carried out  
in dark brown silk on a linen ground1   
the leaves being all outlined with satin
 stitch4 ,there is wonderful variety in 
the patterns1 no two alike1 which form  
the open fillings of the leaves2 this   
makes them most interesting to examine1 
and is evidence of enthusiasm in their  

designing4 ,fig4 #ajh1 a leaf taken from
 this specimen1 shows one method of     
filling a form with open work4#h ,fig4  
#aji shows a collection of patterns     
taken from the same piece of embroidery4
 ,it will be observed that small        
stitches of the same length compose the 
pattern1 which can be designed upon     
squared paper and easily copied on to   
the linen ground by always picking up   
the same number of threads4 ,to look    
well these little forms must be         
accurately worked1 and they or similar  
kinds can be used upon flowers1 leaves1 
beasts1 draperies1 or anything else     
quite indiscriminately4 ,fig4 #aaj1 from
 a cap in the ,victoria and ,albert     
,museum1 is a drawing showing the same  
kind of open filling in use upon a      
bird4#i  ,illustration3 ,fig4 #aji4     
,illustration3 ,fig4 #aaj4  ,a quicker  
way of carrying out these geometrical   
fillings is by using such forms as a    
lattice and throwing the lines from side
 to side across the shape to be filled1 

fixing them down1 where they cross each 
other1 with couching stitches2 the      
interstices left between the threads can
 be filled in with little stars1        
crosses1 or dots 7see fig4 #aaa74       
,buttonhole stitch1 if made use of as an
 open filling1 would be taken in lines  
straight across a form1 the stitches    
being worked possibly two or three      
closely together and then a space1 and  
so on4  ,illustration3 ,fig4 #aaa4      
,fig4 #aab suggests another method of   
lightly filling a leaf with a           
conventional veining and dotting4 ,there
 is no limit to the variety which can be
 obtained in this method of working4    
,illustration3 ,fig4 #aab4  ,open       
fillings are effective for use upon any 
work that is intended to be seen with a 
light at the back2 they make very       
decorative the various forms they fill1 
in such things as muslin window blinds1 
curtains1 fire screens1 whether hand    
screens or the larger type4 ,for        
articles of this kind the patterns      

should be rather more solid and less    
lined in character2 fig4 #aac1 taken    
from a window blind exhibited in the    
,victoria and ,albert ,museum1          
exemplifies what is meant2 most of the  
patterns illustrated in fig4 #ajj could 
be treated in a more solid manner if    
necessary1 and would look equally well  
that way4 ,when working upon transparent
 grounds special care must be taken with
 the reverse side as well as with the   
surface1 for the work to be practically 
alike upon both sides2 there must be no 
threads running from one form to another
 nor any visible fastening off of ends4 
,illustration3 ,fig4 #aac4   ,,darned   
,,netting  ,illustration3 ,fig4 #aad4   
,darned netting1 or lacis1 as it is     
sometimes called1 might almost come     
under the heading of either lace or     
embroidery4 ,it is used effectively with
 other kinds of white linen work1 bands 
or squares of it being let into the     
linen2 the contrast of the solid with   
the more open work gives a pretty       

effect4 ,fig4 #aad is an example of this
 work4 ,the darning is done on a plain  
netted ground which can be prepared by  
the worker if acquainted with netting1  
if not1 the squares can be obtained     
ready for working upon4 ,the pattern    
must be designed upon squared paper as  
for cross stitch work1 then it is simply
 a question of following out the pattern
 upon the square net ground4 ,every     
square of the patterned part must be    
crossed in each direction by two lines  
of darning1 which should about fill it  
up4 ,the various lines are run in and   
out as continuously as possible1 so as  
to avoid unnecessary fastening off or   
passing from one part to another4 ,when 
a fresh thread is required1 join it with
 a knot to the end of the last one 7see 
figs4 #afe and #aff71 and darn the ends 
in neatly with the other threads4 ,these
 knots are often used in embroidery1 for
 they are both strong and small4        
,detached stitches and parts must be    
worked by themselves2 the thread should 

not be carried from one to the other4   
,the work must be done in a frame and   
carried out with a blunt-pointed needle4
 ,the same thread is used for the netted
 ground and for the darned pattern4 ,a  
method of work that the ,french call    
dessein reserve is1 in result1 rather   
similar to this1 but it is worked in    
just the reverse way4 ,the pattern1     
whatever it may be1 is left in the plain
 linen1 and the background has certain  
threads in each direction withdrawn at  
regular intervals1 whereby the effect of
 the squared net ground is obtained4    
,,footnotes3  #e ,no4 #aefd1 #aijb4  #f 
,for description of this method1 see    
page #bch4  #g ,a piece belonging to    
,lord ,falkland4  #h ,fig4 #ah is a     
drawing from the border of the same     
example4  #i ,no4 #cjh1 #aijb4          
,,chapter ,x  ,,methods ,,of            
,,work--7continued7    ,drawn ,thread   
,work--,hem ,stitching--,simple ,border 
,patterns--,darned   ,thread            
,patterns--,corners--,cut or ,open      

,work--,various ,methods of   ,refilling
 the ,open ,spaces4   ,this method of   
work is the acknowledged link between   
embroidery and lace1 and was possibly   
the origin of the latter4 ,drawn work is
 that in which the threads of either the
 warp or the weft of the material are   
withdrawn and those remaining worked    
into a pattern1 by either clustering    
together or working over them in some   
fashion4 ,the cut or open work1 as it is
 sometimes called1 is that in which both
 warp and weft are in places cut away1  
and the open spaces thus formed are     
partly refilled with a device of one    
kind or another4  ,the work is most     
often carried out in white thread on    
white linen1 but coloured threads may   
occasionally be introduced with         
advantage4 ,it is a durable method of   
work1 and particularly suitable for the 
decoration of various house-linens1     
things that must undergo daily wear and 
wash2 its rather unobtrusive character  
too makes it the more suitable for this 

purpose4 ,the work is used in           
conjunction with other kinds of         
embroidery1 perhaps making a neat finish
 to an edge1 or lightening what would   
otherwise be too heavy in appearance4   
,drawn thread and cut work can be       
carried out with such detail and        
fineness as to really become most       
delicate lace4 ,in this chapter1        
however1 it is intended to be treated   
rather as an adjunct to other           
embroidery1 therefore only elementary   
work will be discussed4 ,more attention 
might with advantage be paid to the     
design of this kind of work1 for more   
might be done with it than sometimes is4
 ,for one thing1 there is very little   
variety in the patterns1 and the result 
often seems a spidery mass of           
incomprehensible threads with no very   
perceivable plan2 perhaps if more       
attention were paid to the proportion   
and massing of the solid and open parts1
 a better result might be attained4     
,neatness and simplicity are good       

qualities in the pattern1 the method of 
work not being suited to the expression 
of the various larger and bolder types  
of design4   ,,drawn ,,thread ,,work    
,in drawn work the question is how to   
treat the remaining warp threads after  
the weft has been withdrawn4 ,they can  
be clustered in bunches in different    
ways with ornamental stitches added1 or 
be entirely covered over with darning or
 overcast stitches in such a way as to  
form a pattern4  ,the beginning of most 
drawn thread work is hem stitching1 the 
two edges marking the limit of the      
withdrawn threads have usually to be hem
 stitched before any pattern can be     
carried out4 ,one method of doing this  
is in progress in fig4 #aae4 ,in order  
to work it1 draw out three or four      
threads of the warp and tack the hem    
down to the top edge of the line thus   
made4 ,the diagram explains the         
remainder of the working4               
,illustration3 ,fig4 #aae4  ,fig4 #aaf  
shows in the first example clusters of  

four threads drawn together at each edge
 by hem stitching in such a way as to   
form a ladder-like pattern4 ,this and   
the one below are the ornamentations of 
a plain hem that are most commonly seen4
 ,the variation in pattern in the lower 
one is obtained by drawing together on  
the lower edge two threads from two     
consecutive bunches in the upper row    
instead of just repeating over again the
 same divisioning as before4 ,these two 
examples are drawn to show the reverse1 
not the working side4  ,illustration3   
,fig4 #aaf4  ,another way of disposing  
of the undrawn threads is to cover them 
with a kind of darning stitch1 as       
illustrated in fig4 #aag4 ,this kind of 
work is more solid than the other1 and  
is for that reason very durable4 ,this  
example is commenced at the right-hand  
corner1 where the threads are drawn     
loosely in order to explain the working4
 ,the needle1 which should have a blunt 
point1 takes the thread to and fro      
alternately over and under two clusters 

of warp thread1 drawing them together a 
little during the process2 half-way     
down1 the needle leaves the first set of
 threads and continues working with the 
second and a new set 7see needle in     
diagram74 ,when this is worked down to  
the base the needle takes the thread    
invisibly up the centre of the worked   
part to the point where it is required  
for the continuation of the pattern4    
,the working of this simple pattern     
explains the principle upon which all   
kinds of pretty and more complicated    
designs can be carried out4 ,the darning
 thread may be coloured2 in a more      
intricate design two or three different 
colours might be introduced4            
,illustration3 ,fig4 #aag4              
,illustration3 ,fig4 #aah4  ,fig4 #aah  
shows another pattern in the same kind  
of work4 ,the darning stitch begins by  
working to and fro over and under four  
clusters of warp threads1 part way down 
it continues over the two central ones  
only1 leaving the outside clusters alone

 for the present4 ,it finishes up1 as at
 the beginning1 to and fro over the     
four4 ,the threads that were left are   
next covered with an overcast stitch1   
the adjoining ones in each case are     
caught together in the centre in order  
to form the ,x shape that recurs along  
the pattern4 ,this darning kind of work 
is very closely allied to weaving1 and  
especially the kind often seen in       
,coptic work1 in which bands of the woof
 threads are purposely omitted in       
places1 whilst the fabric is being made1
 in order that a pattern may be         
hand-woven in afterwards to take their  
place4 ,many beautiful examples of this 
work are on view in the ,victoria and   
,albert ,museum4  ,illustration3 ,fig4  
#aai4  ,in working a drawn thread border
 round a square shape1 at each corner   
there comes an open space that requires 
a filling4 ,fig4 #aai shows two wheels  
that are commonly used to ornament such 
places4 ,the square in the first one has
 a preliminary groundwork of threads    

thrown across from corner to corner and 
from side to side1 all meeting and      
crossing in the centre4 ,the working    
thread is brought through at this point 
and the wheel commenced by taking a kind
 of back stitch over a bar and bringing 
the needle up beyond the next bar4 ,it  
then takes the thread a step back and   
over the same bar and brings it up      
beyond the next2 this goes on until the 
circle is of sufficient size1 the       
stitches growing a little longer in each
 succeeding row4 ,in the diagram the    
thread is loosened at the end to explain
 the working4 ,the lower example is a   
commonly used wheel1 which is made by   
the thread running round alternately    
over and under a bar until the wheel is 
completed4 ,it should be as solid as the
 upper one1 but is purposely left loose 
in the diagram4 ,either of the wheels   
could have a line of buttonhole         
stitching worked round the edge as a    
finish4 ,this figure shows also the two 
usual ways of making firm the raw edges 

in cut work--the square shape is bound  
by an overcast stitch1 and the round one
 by buttonholing4   ,,cut ,,or ,,open   
,,work  ,cut work can be most           
interesting both to look at and to carry
 out4 ,in the ,x,v,i,ith century ,italy 
was famous for its punto tagliato or cut
 work4 ,john ,taylor mentions rare      
,italian cutworke in ,the ,praise of the
 ,needle4 ,this poem may perhaps be of  
interest to some2 it was prefixed to a  
book of embroidery patterns of cut work 
named ,the ,needle's ,excellency4 ,it   
ran through twelve editions1 the first  
of which was printed in #afba1 and sold 
at the signe of the ,marigold in ,paules
 ,churchyard4 ,copies may be seen in the
 ,british ,museum ,library2 in the      
,bodleian1 ,oxford1 in the ,ryland's    
,library1 ,manchester1 and occasionally 
elsewhere4 ,fig4 #abj shows a pattern   
taken from this book4  ,there are       
several distinct varieties of cut work1 
for instance1 that known as renaissance 
embroidery1 which is usually composed of

 an arabesque design from which the     
background is cut away1 leaving the     
pattern in the linen2 the cut edges are 
outlined and protected by an overcast   
stitch4 ,the pattern has to be specially
 planned with the idea of holding       
strongly together1 but1 if necessary1   
buttonholed bars can be added to form   
strengthening ties in any weak part4    
,another kind of cut work is that known 
as broderie anglaise1 and sometimes as  
,madeira work1 over which our           
grandmothers spent much time1 perhaps   
without adequate result4 ,the pattern is
 followed out by round holes pierced in 
the linen with a stiletto and then      
overcast round the edges4 ,at the       
present day the work is done mostly by  
machinery1 though hand work also is     
procurable4  ,illustration3 ,fig4 #abj4 
,perhaps the prettiest kind of cut work 
is that in which various-shaped spaces  
are cut out of the linen1 and these     
filled in1 in part1 with some design    
built up with stitches4 ,there are      

various methods of refilling the spaces 
cut out1 one of the simplest is a       
diapering formed by some lace stitch1   
such as an open buttonhole4 ,as a rule1 
the decoration of the open spaces is    
based upon bars of thread that are      
either composed of warp or woof threads 
left1 instead of being cut away1 or else
 upon fresh threads thrown across in    
various directions4 ,the pattern is     
planned on and about these strengthening
 ties1 and where necessary receiving    
support from them4 ,an ingenious worker 
will soon devise ways of refilling the  
spaces by all kinds of interesting      
patterns1 which can be geometrical or   
floral1 or any kinds of objects that can
 be attractively represented in         
conventional fashion1 such as figures1  
birds1 insects1 ships in full sail1 or  
anything else4 ,it must1 however1 be    
remembered that the various forms       
filling the spaces are for use in the   
way of strength as well as for ornament1
 and that the work is often put upon    

objects that have to endure daily wear4 
,open work is frequently mixed with     
other1 and especially with white        
embroidery1 and such things as          
counterpanes may be seen arranged with a
 chequering of alternate squares of     
embroidered linen and open work4  ,fig4 
#aba shows in progress a simple method  
of filling a space1 mainly making use of
 the strengthening threads that have    
been left at regular intervals over the 
cut part4 ,the threads are covered with 
an overcast stitch1 and alternate       
squares of those that recur over the    
space are decorated with a cross4 ,this 
is made by the working thread1 after    
reaching the right point at the centre  
of an overcast line1 being thrown across
 the space and then twisted back over   
itself to the starting-point1 where it  
is in the right position for continuing 
the overcast line4 ,the crosses being   
put in at the same time as the          
overcasting of the bars renders some    
forethought necessary to get each in at 

just the right time and place4          
,illustration3 ,fig4 #aba4              
,illustration3 ,fig4 #abb4  ,another    
kind of filling can be seen in progress 
in fig4 #abb4 ,the stitches used in it  
are overcast and buttonhole4 ,with the  
help of this last-mentioned stitch      
patterns of all kinds can be carried    
out1 for each succeeding row of the     
stitch can be worked into the heading of
 the last row1 and in this way it is    
possible to build up any required shape4
 ,this figure is a working diagram of a 
piece of cut work of which the completed
 square with its surrounding decoration 
can be seen in fig4 #cd4 ,after         
overcasting the raw edges a diagonal    
thread is thrown across 7,e ,d on plan71
 upon which the pattern shall be built  
up2 the thread is taken once to and fro 
and then twisted back again for a third 
crossing4 ,commence by overcasting the  
threads from point ,d1 and upon reaching
 the part where the pattern is widened  
out1 change the stitch to an open       

buttonholing 7as shown on line ,b74 ,it 
is worked openly in this way in order to
 leave space for another row of the same
 kind of stitching to be fitted in from 
the opposite side1 which is the next    
thing to be done4 ,then an outer row of 
buttonhole stitch is worked on each side
 of the central bar and into the heading
 of the first row of stitching2 this is 
shown in progress where the needle is at
 work4 ,the entire pattern is carried   
out in this way1 first laying down      
foundation threads in the necessary     
places and then covering them up with   
either overcasting or buttonhole stitch 
as required4 ,it is easily possible to  
carry out flowers and all kinds of other
 things sufficiently well to make them  
pleasantly recognisable4     ,,chapter  
,,xi  ,,embroidery ,,with ,,gold ,,and  
,,silver ,,threads                      
,introduction--,materials--,precautions 
for the ,prevention of                  
,tarnish--,ancient ,method of           
,couching--,its various ,good           

,points--,description of ,working       
,diagram--,working a ,raised            
,bar--,examples of ,patterns ,employed  
in ,old ,work--,illustrations upon      
,draped ,figures--,usual ,method of     
,couching--,couching ,patterns--,outline
   ,work--,raised ,work--,the ,use of   
,purls1 ,bullions1 c4   ,gold and silver
 threads have always played an important
 part in embroidered work1 and are a    
most valuable addition to the worker's  
stock of materials1 for they give a     
splendour and richness that is not      
obtainable in any other way4 ,they have 
been utilised from the earliest times in
 both embroidery and weaving2 in        
scripture and other ancient historical  
writings there is abundant proof of this
 fact4  ,the earliest form of gold      
thread in use was the pure metal beaten 
into thin plates and then cut into long 
narrow strips2 that it was sometimes    
rounded into wire form is very probable4
 ,the first wire-drawing machine is said
 to have been invented by a workman at  

,nuremberg1 but it was not until two    
centuries later that the drawing-mills  
were introduced into ,england4  ,gold   
thread1 similar to that we now use1     
entwined about a silk one1 is mentioned 
in a ,x,i,vth century ,latin poem2 also1
 it is known that in the ,x,i,i,ith     
century our ,english ladies prepared    
their own gold thread before working it 
in1 and it was of the same type as ours1
 the gold being spirally twisted round a
 thread of silk or flax4#aj  ,to be a   
skilled worker with gold thread needs   
considerable application and practice4  
,there is much variety in the work1 some
 branches of it being more simple to    
manipulate than others4 ,it is desirable
 for all workers to understand something
 of gold work1 for it is frequently     
employed in conjunction with other      
embroidery1 as well as alone4 ,fig4 #abc
 shows a couched line of gold thread    
outlining some silk embroidery1 which   
gives a pretty jewel-like effect of     
something precious in a setting of gold4

  ,illustration3 ,fig4 #abc4  ,gold     
embroidery may be divided roughly into  
three main classes1 outline work1 solid 
flat work1 and raised work4 ,outline    
work is1 as far as technique is         
concerned1 one of the simplest forms of 
gold embroidery4 ,the pattern is        
followed round with a gold cord or      
double thread of passing1 fixed either  
visibly or invisibly with a couching    
stitch2 the work needs but an           
interesting design and suitable         
background to be most successful4 ,fig4 
#abd illustrates a portion of a design1 
carried out with gold cord upon a velvet
 ground1 which has been further enriched
 by the addition of little applied white
 flowers4 ,the raised work1 and that    
which introduces the use of purls and   
bullions1 is at once more complicated1  
and perhaps hardly as pleasing as the   
simpler flat work4  ,illustration3 ,fig4
 #abd4  ,the method of applying the gold
 to the material is usually by couching 
of one form or another1 for most of the 

threads are too inflexible to be        
stitched through4 ,the ground1 if it    
shows at all1 is usually a rich stuff1  
such as velvet1 satin1 or silk1 in order
 to be in keeping with the valuable     
thread4 ,if the ground chosen is        
difficult to work upon1 the embroidery  
is carried out upon linen1 and the      
finished work afterwards applied to the 
ground4 ,if both background and pattern 
are solidly embroidered1 linen can be   
used as the permanent ground4 ,it is    
usual to have two layers of material for
 working upon1 for gold threads are     
heavy and require the support of the    
double ground4 ,there are several       
advantages in this double material1 as  
the old workers knew1 for we find they  
commonly used two4 ,the under-layer can 
be a strong linen1 and the surface one  
silk1 satin1 or a fine linen1 as        
required4   ,,materials  ,a variety of  
metal threads are manufactured for      
embroidery purposes1 and they are all   
obtainable in gold1 silver1 or          

imitations of these2 aluminium thread   
has been made lately1 and has the       
advantage of being untarnishable1 but   
its colour and quality do not seem quite
 satisfactory1 and it is not popular4   
,the imitation threads are never worth  
the using2 they tarnish to a worse      
colour1 and are more difficult in       
manipulation2 what goes by the name of  
real gold1 is silver or copper1 plated  
with the more valuable metal4 ,the pure 
gold thread is said not to be so        
practical as this1 being too brittle2   
but somehow or other it was more        
successfully manufactured in the past   
than nowadays1 for some gold work six   
centuries old exhibits beautifully      
bright threads4  ,the following list    
comprises the chief threads used in this
 work3--  ,passing4--,this is a bright  
smooth thread1 resembling in appearance 
a gold wire2 it consists of a narrow    
flat strip of gold spirally twisted     
round a silken thread4 ,it can be       
obtained in different sizes1 the finest 

qualities going by the name of tambour4 
,most passing has to be couched on to   
the material1 but it is possible to     
stitch in the tambour like ordinary     
thread4  ,purl4--,this resembles a      
smooth round hollow tube of metal1 very 
pliable and elastic2 when pulled        
lengthways it is found to be constructed
 like a closely coiled spiral spring4   
,it is manufactured in lengths of about 
one yard1 and for use it is cut into    
small sections of any required size with
 scissors or a knife4 ,there are several
 varieties of purl1 namely1 the smooth1 
rough1 check1 and wire check4 ,the      
smooth has a bright polished appearance1
 which is obtained by a flat gold wire  
being spun spirally round2 the rough has
 a duller and more yellow appearance1   
which is owing to the wire having been  
rounded2 the check is bright and        
sparkling1 and consists of the flattened
 wire spun in a different way1 so that  
parts of it catch the light and sparkle2
 the wire check is the same thing1 but  

duller and of a deeper yellow1 owing    
again to its being made of the round    
wire4  ,bullion4--,this is the name     
given to the larger sizes of purl4      
,pearl ,purl4--,this is manufactured in 
the same spiral tube-like fashion as the
 other purl1 but the gold wire is       
previously hollowed out in this inverted
 ,u shape1 the convex side being the one
 exposed4 ,this1 when spun round1 has   
the appearance of a string of tiny gold 
beads4 ,it is frequently used as an     
outlining thread4  ,various gold twists 
and cords can be obtained2 they are     
composed of several threads twisted up  
in the usual cord fashion1 each ply     
consisting of gold spun round a silk    
thread4  ,plate is a flat strip of metal
 commonly about one-sixteenth of an inch
 wide2 it can be obtained in different  
widths4  ,spangles4--,these are small   
variously shaped pieces of thin metal1  
usually pierced with a hole in the      
centre for fixing on to the material4   
,they are frequently circular in shape1 

and either flat or slightly concave2 the
 latter are the prettier4 ,many fancy   
shapes also are obtainable1 but they are
 inclined to look tawdry1 and suggestive
 of the pantomime4  ,cloth of ,gold and 
,silver4--,this is a fabric manufactured
 of silk1 with gold or silver thread    
inwoven in the making4 ,it is not now so
 much used as formerly1 when it was in  
great request for robes of kings and    
other high dignitaries of church or     
state4  ,a special make of silk for     
couching down gold thread is obtainable 
in various colours4 ,it is called       
horsetail or sewings1 and is both fine  
and strong4  ,padding for use in raised 
gold work is usually yellow1 and for    
silver1 white or grey4 ,yellow soft     
cotton1 linen thread1 or silk1 are all  
used for the purpose4  ,various         
precautions can and must be taken to    
keep the gold thread bright1 for under  
unfavourable circumstances it rapidly   
assumes a bad colour2 the silver thread 
is even more liable to tarnish than the 

gold1 and it turns a worse colour1 going
 black4 ,there is a special paper       
manufactured to wrap threads in1 and the
 stock supply should be kept in a tin or
 air-tight bottle2 this is in order to  
protect the metal from damp1 which is   
most injurious2 to do this is a         
difficult matter in the ,english        
climate4 ,linen used for working upon1  
or as backing1 is best unbleached1 for  
sometimes the chemicals used in the     
bleaching process have a deleterious    
effect upon the gold2 a piece of gold   
embroidery wrapped up in cotton wool for
 preservation has been found completely 
spoiled by some chemical in this wool1  
which proved more disastrous than       
exposure to air would have been4 ,gas1  
strong scents1 handling 7especially with
 hot hands71 all have an evil effect1   
and so should be avoided as much as     
possible4 ,work even whilst in progress 
should be kept covered as much as is    
practicable1 and should not be allowed  
to hang about2 the quicker it is done   

the better4 ,a piece of finished work   
can be polished up with a leather pad or
 a brush1 similar to a housemaid's brush
 for silver-cleaning purposes2 this of  
course1 must be used with care4         
,,ancient ,,method ,,of ,,couching      
,gold thread can be couched on to the   
material in two distinct ways1 one of   
them in use at the present day1 the     
other one that was commonly practised in
 the ,x,i,i,ith and ,x,i,vth centuries4 
,about the second half of the last-named
 century the earlier method was         
supplanted by the present one4 ,almost  
every example of early gold thread work 
exhibits this obsolete and ingenious    
method of couching4 ,the ,syon cope and 
the ,jesse cope in the ,victoria and    
,albert ,museum may be mentioned as     
famous examples4 ,m4 ,louis de ,farcy#aa
 draws especial attention to this       
beautiful method of working1 to which he
 gives the name point couche rentre ou  
retire1 and strongly urges its revival2 
he points out many distinct advantages  

it has over the method now in use4  ,the
 durability is very great1 owing to the 
couching thread being upon the reverse  
side1 where it is protected from wear   
and tear1 and being out of sight can be 
made strong and durable4 ,if a thread is
 accidentally broken it does not        
necessarily give way along an entire    
line1 as may easily happen in the       
present method4 ,a proof of this point  
can be seen upon the beautiful ,ascoli  
cope lately in the ,victoria and ,albert
 ,museum1 about which there has been so 
much discussion of late as to in what   
country it originated1 and who was the  
rightful owner4 ,the early couching     
worked entirely over the background of  
the cope is in a state of perfect       
preservation2 portions of the gold      
thread drapery have here and there been 
couched by the other method1 the tying  
down threads have1 in those parts1      
mostly disappeared1 and the gold hangs  
loose and ragged upon the surface4  ,by 
the way in which it is worked1 there    

results a particularly pleasing and even
 surface1 agreeably varied by play of   
light and shade4 ,another advantage of  
the ancient method is that the completed
 work is very flexible2 this point will 
appeal to those who have experienced the
 extreme stiffness of a large surface of
 ordinarily couched metal threads4      
,flexibility is an invaluable quality   
for any work destined1 like copes and   
curtains1 to hang in folds4             
,representations of draperies upon      
figures are well expressed1 for by the  
way in which they are worked there comes
 an indentation along the lines marking 
the folds2 this emphasises them rather  
happily1 and also breaks up the surface 
in a satisfactory manner4  ,fig4 #abe is
 a diagram that will aid in explaining  
the working1 it gives both the front and
 the reverse side4 ,this has been found 
to be the simplest and the most         
practical method of obtaining a result  
similar to the early examples2 there is1
 however1 no means other than           

examination of result whereby to get at 
this obsolete method4 ,to all appearance
 there is upon the surface a kind of    
satin stitch worked in gold passing1 the
 stitches carrying out some geometrical 
pattern1 such as a chevron or lattice2  
but at the back a linen thread is seen  
running to and fro in close parallel    
lines in the same direction as the      
surface thread1 and at regular intervals
 encircled by the gold passing1 just as 
if this was intended to couch down the  
linen thread4  ,illustration3 ,fig4     
#abe4 ,front4 ,back4  ,the ingenuity and
 satisfactoriness of the method must be 
admitted by all who give it a trial1 and
 it is interesting to conjecture how it 
may have arisen4 ,possibly weaving      
suggested it to the embroiderers1 for1  
take away the intervening material1 and 
it is not unlike woven work1 and these  
two arts would very likely be the       
accomplishment of the same person4      
,perhaps the commonly used method of    
taking a coarse thread through to the   

back 7see fig4 #afg7 suggested it1 for  
this is briefly the whole process4  ,in 
order to try the couching1 a two-fold   
ground material must be firmly stretched
 in an embroidery frame1 a strong linen 
underneath and a thinner closely woven  
one upon the upper side4 ,some fine gold
 passing and some strong linen thread1  
well waxed1 are required to work with1  
also an embroidery needle with long eye 
and sharp point1 the size1 which is     
important1 depending upon the threads in
 use2 the needle has to pierce the      
two-fold ground material1 making a hole 
only just large enough for the passage  
of a double gold thread4  ,if the linen 
has a regular even thread the drawn     
pattern shown in the diagram can be     
worked by counting the threads of the   
ground fabric1 but if this is difficult 
or impossible1 as in the case say of a  
twilled surface1 a careful tracing must 
be made upon the linen2 a beginner may  
find this the easier way in any case4   
,the end of the gold thread1 which by   

now1 in readiness for working1 will be  
wound upon the bobbin or spindle1 must  
be passed through to the back at the    
starting-point1 the top left-hand corner
 in the diagram4 ,the linen thread      
secures it at the back and then comes   
through to the front upon the traced    
line exactly beneath 7see arrow on      
plan74 ,it now encircles the gold thread
 which the left hand draws out rather   
tautly1 and then returns by the same    
hole to the back1 pulling the metal     
thread through with it4 ,there is knack 
in taking the gold thread only just     
through and leaving the completed stitch
 straight and flat upon the surface4    
,the process is now repeated1 the linen 
thread coming through to the front again
 upon the next traced line1 and so on4  
,when the base of the pattern is reached
 the gold thread is taken through once  
upon that line1 and then commences a    
like journey upwards4  ,this practically
 explains the couching2 variety is      
obtained by change of pattern1 but the  

method of carrying it out is always the 
same4 ,figs4 #abf1 #abg1 and #abh show  
three patterns taken from old examples  
of this couching4  ,illustration3 ,fig4 
#abf4  ,illustration3 ,fig4 #abg4  ,the 
difficulties in technique are easily    
overcome2 an important aid in this      
matter is the use of materials exactly  
right2 this means needles and threads of
 the correct size1 the ground composed  
of suitable fabrics1 and properly       
strained in a frame4 ,the aim in the    
working is to get each stitch perfectly 
flat and straight in its correct place  
in spite of the obstinacy of the metal  
thread2 to avoid making the perforation 
larger than necessary1 for this makes   
the work clumsy2 to make each succeeding
 line lie closely beside the last one1  
for the surface must be of solid gold1  
and if the ground showed through in     
places it would impoverish the effect4  
,illustration3 ,fig4 #abh4  ,the        
direction of the couched thread is      
usually either vertical or horizontal1  

and it may be both of these in the same 
piece of work4 ,the reason of this may  
be because it is worked by counting the 
threads of the fabric1 or because the   
pattern is always treated as a diaper   
and placed upon the surface without     
regard to contour4 ,the exception to    
this rule of direction is when the      
couching is taken along a stem or the   
narrow hem of a robe to form the border1
 or along a girdle1 it then follows the 
direction of the band1 this being       
evidently the most straightforward and  
satisfactory method to use for the      
purpose4  ,illustration3 ,fig4 #abi4    
,front4 ,back4  ,the point couche rentre
 ou retire is an excellent method to use
 for working a raised bar4 ,fig4 #abi   
shows the front and reverse sides of a  
bar worked by it4 ,the gold thread comes
 cleanly through from the back of the   
material instead of being clumsily      
doubled upon the surface1 and the       
durability is evidently great4 ,the     
linen thread1 it will be seen1 runs to  

and fro at the back1 at each turn       
securing the gold thread4               
,illustration3 ,fig4 #acj4  ,in fig4    
#acj this couching is to be seen in use 
upon drapery4 ,it is taken entirely over
 the exterior surface of the cloak1 and 
upon the crown1 sceptre1 and model of   
the church4 ,the lines expressing the   
folds of drapery are in this case shown 
by the couching at these places being   
taken in a different direction4 ,fine   
gold passing is used for the couched    
thread1 much finer than can possibly be 
shown in the drawing1 and the pattern   
chosen for the couching down is a       
chevron4 ,the other parts of the work   
are done with silk thread in a fine     
chain or split stitch4 ,the play of     
light upon the varied surface of the    
golden cloak is very beautiful2 the     
drawing of the figure is perhaps        
primitive1 and1 regarded from the       
draughtsman's point of view1 somewhat   
ludicrous2 it is however sufficiently   
good to express all that its author     

intended1 and there is something very   
human in this dignified little king who 
would not have you forget that he       
founded a church4 ,the king who is      
personified here is ,edward the         
,confessor1 so the church is            
,westminster ,abbey1 of which he was the
 founder4  ,illustration3 ,fig4 #aca4   
,the ,madonna and child forming the     
frontispiece of the work is another     
example of this couching4 ,the method of
 expressing the folds of drapery is     
slightly different from that employed   
upon the king's robes4 ,all drapery     
carried out in this stitch is worked in 
somewhat the same fashion1 that is1 the 
couching running to and fro between the 
lines marks each fold as roughly shown  
at fig4 #aca4 ,this method leaves an    
indented line to express the drapery1   
which is a more satisfactory way than a 
simple line of dark colour worked over  
the gold1 as in more modern work4 ,the  
indented line is often further          
emphasised by a line of dark silk       

stitched along it1 which is done in this
 case4 ,the figures are taken from the  
,jesse cope in the ,victoria and ,albert
 ,museum2#ab this vestment1 with its red
 silk background and its finely coloured
 and drawn ancestors of ,christ posed   
amongst encircling vine branches1 is a  
most beautiful1 though sadly mutilated1 
example of ,x,i,i,ith century design and
 workmanship4   ,,modern ,,method ,,of  
,,couching  ,in the usual form of       
couching the gold thread is attached to 
the material by fine strong silk4 ,the  
thread is fastened down as a rule       
two-fold1 sometimes even three-fold2    
this method is both quicker and more    
effective than couching each thread     
separately4 ,as the couching thread is  
necessarily in evidence1 decorative use 
is often made of it as well as          
practical2 the stitches1 for instance1  
may be planned so as to carry out some  
pattern 7see fig4 #acb7 instead of being
 put down at random4 ,there is no limit 
to the variety of the patterns that can 

be devised in this way4  ,decorative use
 can be made of the colour of the       
couching thread2 a hot colour warms the 
tone of the gold and a cool one does the
 reverse2 and the more contrasting the  
colour the more it is in evidence4      
,illustration3 ,fig4 #acb4              
,illustration3 ,fig4 #acc4  ,the gold   
thread may be couched solidly in        
straight lines1 as the above figure     
shows1 or it may be arranged in wavy    
lines either close or open1 as in fig4  
#acc4 ,the thread is waved by bending it
 round the pointed end of a piercer just
 before fixing down4 ,this waving line  
is particularly suitable for the gold   
thread1 since the slight change in      
direction allows the light to play upon 
the metal very prettily4 ,for this      
reason gold is often couched solidly in 
circular or shell form over a ground4   
,in gold embroidery1 therefore1 the     
direction of the thread is a specially  
important matter4  ,illustration3 ,fig4 
#acd4  ,at the end of a line a technical

 difficulty sometimes arises in the     
turning of the thread1 which is apt to  
be clumsy4 ,this difficulty is overcome 
in various ways2 the most usual is to   
return the doubled thread as neatly as  
possible and continue the next line2    
another is to cut the thread sharp off1 
secure it close to the end with a double
 stitch1 and recommence in like fashion2
 the thread can sometimes be passed     
through to the back and brought up in   
position for working the next line4 ,the
 fine point of a leaf may present       
difficulties in the same way2 sometimes 
one of the two threads is temporarily   
let slip and the point completed with   
the single one1 the left thread being   
picked up upon the return 7see fig4     
#acd74 ,for such occasions as this it is
 more practical to wind the two threads 
of passing upon separate bobbins1 and   
bring them together at the working4     
,another way of overcoming the point    
difficulty is shown at fig4 #ace4       
,,raised ,,work  ,the couched gold      

threads may be raised in parts by means 
of some kind of padding interposed      
between it and the ground4 ,they are    
very effective so treated1 since the    
raised metal catches and reflects the   
light in a pleasing manner4 ,this       
raising of the thread1 however1 has been
 carried to such extremes as to resemble
 goldsmith's work rather than           
embroidery1 and it is then hardly in    
good taste4  ,illustration3 ,fig4 #ace4 
,a simple method of raising the gold is 
to lay down lines of string at stated   
intervals over the ground4 ,the         
well-known form called basket stitch is 
done in this way2 fig4 #acf illustrates 
this stitch1 a part of the square is    
left unworked in order to expose the    
under-layer of string4 ,to carry out the
 diagram--,first couch down the lines of
 string at regular intervals over the   
surface1 then commence laying on the    
gold by carrying a doubled thread of    
passing over two bars of string1 and    
there fixing it down to the material1   

then over two more and fixing it down   
again1 and so on to the end of the line4
 ,this is exactly repeated for a second 
line of passing1 then1 for the next two 
lines1 commence by carrying the passing 
for the first stitch over one bar only1 
and for the remainder of the line over  
the two as before4 ,this process        
repeated makes the wicker-like pattern  
so frequently seen in gold work4 ,it can
 be used as a filling or as a border4   
,it is evident that with the same       
arrangement of strings many other       
patterns could be carried out by varying
 the points of couching down4           
,illustration3 ,fig4 #acf4  ,another way
 in which string is used for padding the
 gold is illustrated in fig4 #acg4 ,the 
pattern1 which in the first part is two 
diamond shapes and a border line1 is    
laid down in string4 ,the doubled gold  
thread is then taken horizontally to and
 fro in close parallel lines over the   
part to be worked1 and fixed by couching
 stitches at necessary intervals2       

wherever else these stitches may be put1
 one must always be placed upon each    
side of a raised line to make it sharp  
and clear4 ,other kinds of padding are  
used in this method of work2 for        
instance1 a lozenge shape may be stuffed
 with layers of soft cotton1 as shown in
 the second part of this same diagram4  
,sometimes most complicated patterns are
 laid down in string and covered with   
gold thread in this way1 e4g43--fig4    
#ach shows an interlacing pattern taken 
from the border of an orphrey upon a    
,x,vth century chasuble4  ,illustration3
 ,fig4 #acg4   ,,the ,,use ,,of ,,fancy 
,,gold ,,threads  ,a cursory glance must
 be given to the use of purls and other 
fancy threads1 but these are mostly used
 nowadays for badges on uniforms1 or for
 masonic purposes1 and are carried out  
by the trade4 ,these threads1 when      
tarnished1 are very difficult to clean1 
they easily turn a bad colour and catch 
the dust1 and for real embroidery       
purposes are not as satisfactory as the 

plainer threads4  ,illustration3 ,fig4  
#ach4  ,purl and bullion must be cut    
very accurately into pieces of the      
required size1 and attached to the      
material as a bead would be4 ,the metal 
must be as little as possible touched   
with the fingers2 the cut pieces can be 
placed upon a tray lined with some soft 
springy substance1 such as felt1 in     
order to be easily picked up with the   
point of the needle1 and they can be    
adjusted to their right position upon   
the work by the aid of the flat end of  
the piercer2 unnecessary handling may be
 avoided in this way4  ,these threads1  
laid over padding either straight across
 or at an angle1 may be used for the    
stems or petals of conventional flowers4
 ,the various kinds1 dull1 bright1 and  
check1 may perhaps be used in           
succession4  ,plate is frequently taken 
to and fro over the same kind of forms  
over a prepared padding1 being caught   
down by a stitch on each side by a      
method the ,french call le guipe4 ,it   

needs skill and practice to do this     
well4 ,crinkled plate used to be couched
 on to work1 but now is not much used in
 this way4  ,pearl purl is most often   
seen outlining a form filled in with the
 other threads2 an enlarged example of  
this thread lies vertically down the    
centre of fig4 #aci1 the end of it is   
pulled out1 in order to show the        
formation of the thread4  ,illustration3
 ,fig4 #aci4  ,spangles are usually sewn
 down separately2 they may be attached  
by stitches from the centre outwards or 
by the thread being passed through a    
piece of purl and then returning to the 
back through the hole in the centre of  
the spangle4 ,fig4 #aci illustrates     
another way of using these spangles to  
form a long tail shape4 ,here again they
 are attached with the help of pieces of
 purl4 ,in the same figure are given    
some illustrations of the use of the    
fancy threads2 to learn more about them 
the student should examine ,x,v,ith to  
,x,v,i,i,ith century gold work during   

which period they were in popular use4  
,,footnotes3  #aj ,see ,dr4 ,rock's     
,textile ,fabrics4  #aa ,in ,la         
,broderie du ,onzieme ,siecle jusqu'a   
,nos ,jours4  #ab ,no4 #age1 #ahhi4     
,,chapter ,,xii  ,,lettering1           
,,heraldry1 ,,and ,,emblems    ,the     
,uses of                                
,lettering--,marking--,monograms--,heral
dry--,emblems4   ,lettering of one kind 
or another is frequently in request4 ,it
 is useful for inscriptions1 verses1    
names attached to figures1 the signing  
and dating of work1 and for the more    
ordinary purposes of marking linen and  
so forth4 ,signed and dated work has    
peculiar attractiveness3 it can be      
placed amidst definite historical       
associations3 an authenticated piece of 
embroidery1 say of the reign of ,king   
,richard ,coeur de ,lion1 ,queen ,anne1 
or ,george ,,iii41 would be an          
historical document and a standard to   
gauge the period of any uninscribed     
examples4 ,although few of us are likely

 to possess treasures of the ,x,i,i,ith 
century1 signed and dated pieces of our 
great-grandmothers' embroideries are    
interesting personal landmarks in family
 history1 so for this reason1 amongst   
others1 unostentatious marks of         
identification are by no means out of   
place4 ,descriptive names or verses are 
also a means of amplifying the story and
 so enlivening our curiosity4           
,illustration3 ,fig4 #adj4  ,lettering  
can answer a further purpose still2 it  
can enrich the design1 for1 if rightly  
chosen and employed1 letters are very   
decorative4 ,they may be seen forming a 
border to a piece of work4 ,the three   
letters in fig4 #adj were taken from an 
,x,ith century embroidered cope1 which  
has a fine inscription running round the
 entire lower margin4#ac ,the names of  
the saints and martyrs standing in rows 
in the columned arcades1 affected at    
certain periods1 are sometimes inscribed
 in the mouldings of the arches above   
them or along the base2 kneeling donors 

can be seen naively presenting a little 
scroll inscribed with prayers1 and many 
other interesting uses of lettering     
might be recalled4 ,the names ,st4 ,luke
 and ,st4 ,john1 shown in fig4 #ada1 are
 taken from a beautiful embroidered     
example of ,gothic lettering4           
,illustration3 ,fig4 #ada4  ,illuminated
 manuscripts supply fine examples of    
initial letters and writing4 ,a visit to
 the show-cases in the ,king's ,library 
at the ,british ,museum will be of great
 interest to the student2 the           
illustrations also to be seen there1 the
 beautifully composed and coloured      
figure-subjects1 would be equally       
suitable for carrying out in embroidery2
 indeed it is very probable that many of
 the figure compositions on the old     
copes and chasubles were derived from   
such a source4 ,fig4 #adb gives as an   
example of an alphabet one taken from a 
,benedictionale of late ,x,vth century  
date4  ,illustration3 ,fig4 #adb4  ,a   
practical purpose to which lettering is 

often put is the marking of linen4 ,to  
learn how to do this used to be a       
recognised part of a girl's education1  
and was one of the objects of the       
sampler4 ,marking can be anything from a
 simple cross-stitch initial to an      
elaborately worked monogram4 ,for simple
 work the corner to be marked can be    
tacked upon toile ciree1 a material not 
unlike ,american cloth4 ,tambour frames 
also are useful for this purpose4  ,fig4
 #adc shows the stitches most used for  
working simple letters such as those    
seen upon the old samplers4 ,the first  
is cross stitch1 which for marking      
purposes should be worked so as to be   
alike on both sides4 ,to do this        
requires some forethought whilst the    
work progresses1 and necessitates an    
occasional doubling of one of the       
crossed stitches1 in order to reach the 
point for commencing the next one and at
 the same time preserving a cross on    
each side4  ,illustration3 ,fig4 #adc4  
,the second stitch in the diagram shows 

a square on one side and is a cross upon
 the reverse4 ,this makes a good stitch 
for the purpose1 is quite simple to     
manipulate1 and is easier to manage than
 the cross on both sides4  ,the third   
example is made use of when a larger    
letter is required4 ,it is known as     
blanket stitch1 and is used for the     
marking of such things4 ,it may be      
further completed by a neat back stitch 
just fitting along the outside edges of 
the other stitches4  ,illustration3     
,fig4 #add4  ,many embroidery stitches  
are suitable for marking purposes1 such 
as satin1 chain1 stem1 back1 rope1      
basket1 and others4 ,the ,oriental      
stitch which carries out the letter in  
fig4 #add is a good one when both sides 
can be seen1 for though these are quite 
different1 it is presentable upon       
either4 ,the diagram shows the          
appearance of the stitch on the front   
and on the back4  ,a simple initial     
letter may be made interesting by       
enriching the ground behind it with some

 form of diaper patterning4 ,an example 
of this is shown in fig4 #ade4 ,the     
letter could be worked in a plain satin 
stitch over a padding of threads1 and   
the pattern on the ground in a darning  
stitch and ,french knots1 or in any     
other suitable way4  ,illustration3     
,fig4 #ade4  ,a monogram carried out in 
embroidery can be a very pretty thing2  
there is scope in it for ingenuity both 
of design and of stitching4 ,the letters
 may be decorated and tied up with a    
floral spray1 strap work or a           
combination of several motifs4 ,fig4    
#adf shows a monogram composed of the   
letters ,i4 ,g4 ornamented and bound    
together by a ribbon-like interlacing   
band4 ,the letters are worked in a      
raised satin stitch1 and a running      
stitch in another colour threads in and 
out down the centre of each letter4 ,the
 outline is stem stitch in a darker     
colour4 ,the band is outlined on both   
sides with an overcast stitch1 which    
always makes a particularly neat edging 

for anything of this sort4 ,the centre  
is filled with a row of ,french knots1  
the tassels are worked in close lines of
 stem stitch1 and the petals of the     
small flowers in satin stitch1 finished 
off with a ,french knot at the centre4  
,illustration3 ,fig4 #adf4  ,another    
mark of proprietorship and origin was   
the shield of arms of the owner1 which  
introduces the subject of heraldry4 ,a  
shield executed with the needle is often
 seen1 and looks particularly rich4     
,heraldry is an intricate science1 full 
of pitfalls for the unwary1 and demands 
an earnest study of its complex rules   
and regulations4 ,every one should know 
at least some fine examples of great    
national shields such as the ,lions of  
,england1 the ,fleur de ,lys of ,france1
 and the ,imperial ,eagle4 ,examples of 
shields surmounted by helmets and crests
 with quaint and flowing mantling are to
 be seen in all kinds of art work4      
,various stitches and methods specially 
lend themselves to the expression of    

heraldry4 ,those which1 like cross      
stitch1 impose a certain simplicity1 are
 very good4 ,another suitable medium is 
applied work1 of which an illustration  
can be seen on page #ie4 ,gold and      
silver thread are very useful here1 and 
look exceptionally rich when couched in 
the ,x,i,i,ith century method4 ,fig4    
#adg is an embroidered coat of arms     
dated the first half of the ,x,i,vth    
century4 ,it is executed almost entirely
 in the point couche rentre ou retire4  
,the arms are those of the ,clinton and 
,leyburne families--argent1 #f cross    
crosslets fitchee #c1 #b and #a on a    
chief azure1 two mullets or4            
,illustration3 ,fig4 #adg4  ,in         
designing heraldic work care must be    
taken to introduce no debased forms such
 as were current after the ,x,vth       
century4 ,the ,x,i,i,ith and ,x,i,vth   
centuries are the periods considered    
best for the study of this subject4     
,heraldry sometimes adds historic       
interest to embroideries2 owners or     

donors may be traced by their coat of   
arms appearing upon some part of the    
work4  ,illustration3 ,fig4 #adh4       
,allied to heraldry and marking are a   
number of decorative objects that have  
acquired peculiar traditional           
significance of an emblematic or        
symbolical nature1 hard to define4 ,the 
,cross of ,christianity may be          
instanced1 the olive branch of peace1   
the mirror of truth1 and the snake of   
eternity4 ,the name of a saint is       
frequently declared by an emblem        
accompanying the figure4 ,in appropriate
 surroundings emblems may often be used 
effectively4 ,for knowledge about these 
things the student must go to various   
books that deal with the special        
subject4 ,fig4 #adh is an illustration  
of the well-known emblem1 the ,pelican  
in her piety4  ,,footnote3  #ac ,this   
cope is full of interest in every       
detail4 ,see ,m4 ,louis de ,farcy1 ,la  
,broderie du ,onzieme ,siecle jusqu'a   
,nos ,jours4 ,plate ,,ii4     ,,chapter 

,,xiii  ,,the ,,garniture ,,of ,,work   
,finishing off--,making up--,edges--,use
 of ,cord-making ,appliance--,cord      
,twisted by ,hand--,knotted             
,cord--,fringes--,tassels--,knots4      
,when the embroidery is completed1 the  
making up1 the addition of tasteful     
finishing touches1 and such things as   
fringes1 tassels1 and linings1 must all 
be considered4 ,these will1 if          
judiciously made use of1 give a         
distinction and character to the work   
that might be missed if due care and    
thought were not expended upon such     
details4 ,this part of the work might be
 compared to the garnishing of a boiled 
fowl with lemon and parsley1 a minor    
detail1 but a very effective one4  ,it  
is possible1 by the help of such        
expedients1 to emphasise certain colours
 and bring out points of the design1 as 
well as to give completeness and finish4
 ,such things as fringes1 cords1 and    
tassels are often more satisfactory when
 made by the worker and with materials  

like those used in the embroidery1 for  
such will be more likely to be in       
keeping with the character of the rest1 
and to be more interesting in detail4   
,in the finishing off the same taste and
 neatness of execution is required as in
 the embroidery4 ,good work can be very 
much marred in the making up2 on the    
other hand1 a little extra interest     
added on a part not often seen renders  
it doubly valuable4  ,the mounting of   
certain things should not be attempted  
at home2 boxes should be handed over to 
the cabinetmaker1 books to the          
bookbinder1 and so on1 for it is not    
possible for any one not an expert to do
 these things properly1 and even good   
work can look poor if badly set4  ,the  
question how to appropriately finish off
 an edge often arises2 let it be hem    
stitched rather than plain hemmed2 or a 
narrow line of drawn thread work may be 
inserted1 for an open-work border is    
frequently a set-off to the rest of the 
embroidery4 ,if a binding is placed over

 the edge this can be fixed with a      
pretty stitch1 or the stitch alone can  
bind the edge1 one such as buttonhole1  
overcast1 or that shown in fig4 #gf4    
,with some stitches the edge of the     
material can be rolled over a piping    
cord and the stitch worked over the thus
 emphasised margin4  ,the difficulty of 
procuring cord suitable for use with    
embroidered work makes the appliance    
illustrated at fig4 #adi a useful       
possession4#ad ,the cords made upon this
 wheel can be of any thickness1         
according to the number of plies and the
 substance in each4 ,different colours  
and materials can be twisted up         
together1 such as a gold and silk       
thread4  ,illustration3 ,fig4 #adi4  ,to
 make a three-plied cord1 cut three     
equal lengths of thread rather longer   
than the required cord is to be1 as it  
shortens in the twisting4 ,make a loop  
at each end of the thread1 or1 better   
still1 attach tiny metal rings at the   
ends4 ,hook the threads in position as  

shown in the diagram1 and place the     
instrument far enough from the clamped  
block of wood to make the threads that  
are stretched between quite taut4 ,now  
commence the twisting by turning the    
large wheel quickly with an even motion 
in the direction that continues to twist
 up the threads1 keeping the left hand  
on the instrument to steady it1 for it  
gradually slides towards the block as   
the twisting continues4 ,when           
corkscrew-like knots begin to come in   
the threads1 stop revolving the wheel1  
unhook the two outer threads and place  
them both on the central hooks together 
with the third thread1 keeping them taut
 during the process4 ,revolve the large 
wheel again1 in the direction opposite  
to that in which it has been working1   
and continue turning until the cord is  
tightly twisted up4 ,it is now made1 and
 can be removed from the machine4 ,the  
second twisting had better be over-done 
rather than not sufficiently1 since if  
over-twisted the cord rights itself upon

 being removed from the machine4 ,a     
two-ply cord is made in like manner1 by 
using first the two outer hooks only1   
and then placing both threads together  
on the central hooks4  ,there is a      
simple way of making this cord without  
the help of any instrument1 but it is   
not possible to get the perfect result  
that the machine gives4 ,it is most     
easily carried out by two persons1      
though one can do it4 ,in order to make 
a two-plied cord1 by hand1 take a thread
 rather more than twice the length of   
the required cord4 ,let each worker take
 an end of the thread in the right hand 
and commence to twist it between the    
thumb and finger1 each working in       
direction opposite to the other and     
keeping the thread at tension4 ,when    
twisted as much as possible without     
getting corkscrew-like knots in the     
thread1 the cord must be doubled in half
 by holding it at the centre and        
bringing together the two ends1 which   
are then knotted4 ,during the entire    

process the thread must be kept under   
tension4 ,if one end of the cord is now 
let go it should immediately twist      
itself up tight1 and remain in that     
position4 ,if any small knots form      
during the process run the cord sharply 
through the fingers once or twice to    
straighten it out4  ,illustration3 ,fig4
 #aej4  ,illustration3 ,fig4 #aea4      
,illustration3 ,fig4 #aeb4  ,another    
pretty kind of cord is a knotted one4   
,it is made in the hand in most         
primitive fashion by using the two first
 fingers as crochet hooks4 ,the thread  
used for making it should be stout and  
firm4 ,to commence making the cord1 knot
 two pieces of thread together and place
 the threads in position as shown in    
fig4 #aej4 ,the next step is shown in   
fig4 #aea1 which is the index finger of 
the left hand bringing the darker thread
 through the loop4 ,fig4 #aeb shows this
 thread looped on the finger1 the cord  
held in the left hand instead of the    
right1 and the right hand in process of 

drawing the lighter thread1 which was   
the last loop1 tight4 ,the next move1   
fig4 #aec1 shows the right-hand first   
finger making the new loop with the     
lighter thread1 and fig4 #aed shows the 
loop on the finger1 the cord passed over
 to be held in the right hand again1 and
 the left hand this time pulling the    
last loop tight4 ,continue making the   
cord by following out the last four     
positions consecutively4  ,illustration3
 ,fig4 #aec4  ,illustration3 ,fig4 #aed4
  ,a very usual finish to an edge is a  
fringe4 ,this can be made either by     
fraying out the material or by adding a 
detached fringe1 either knotting it in  
or attaching it in some other way4 ,if  
the fringe is to be a frayed-out one1   
the best way to do it is to first draw  
out a few warp threads where the head of
 the fringe is to come1 then hem stitch 
the upper edge of this1 see the         
right-hand end of fig4 #aee2 this makes 
the heading of the fringe secure1 after 
which the remainder of the warp threads 

can be withdrawn4 ,when fringing a      
square in this fashion1 it is well to   
save some of the frayings out to knot in
 at the four corners where otherwise    
there would be gaps4  ,illustration3    
,fig4 #aee4  ,to knot an added fringe   
into the border is a very simple matter4
 ,begin by cutting the threads that are 
to compose it all to one length1 about  
double that of the required fringe4     
,take a few together to form a bunch and
 double it in half4 ,with a stiletto    
make a hole near the edge of the        
material2 then bring from the back a    
crochet hook through this hole1 and draw
 the loop formed by the doubling of the 
bunch a little way through1 then take   
the ends of the bunch through the loop  
and draw them tight in order to make the
 knotting firm4  ,illustration3 ,fig4   
#aef4  ,there are many ways of          
patterning a plain fringe1 sometimes a  
change of colour in the knotted-in      
threads is sufficient1 as shown in fig4 
#aef4 ,another very usual way is to     

divide the bunches and refasten them    
together in some way to form a pattern4 
,fig4 #aeg is an example of this2 they  
may be either knotted together1 as in   
the first half of the diagram1 or bound 
with thread as in the second half1 the  
needle reaching the required places by  
running in zigzag fashion up the thread 
and down again4  ,illustration3 ,fig4   
#aeg4  ,a simple fringe can be made of  
strands twisted together1 as in the     
first half of fig4 #aeh4 ,this is made  
upon the same principle as the twisted  
cord already described4 ,about three    
threads of the fringe are twisted up    
tight1 and an adjoining three treated in
 the same fashion4 ,these threes are    
then twisted together in the direction  
opposite to that which has just been    
used1 and thus are securely locked      
together4 ,the ends of the completed    
fringe may require a little trimming off
 to make all of an equal length4 ,the   
second half of the diagram shows a      
durable and simple fringe made by a     

close series of knots down the thread4  
,illustration3 ,fig4 #aeh4  ,fig4 #aei  
suggests two methods by which a         
stitching of coloured thread near the   
margin can help to decorate a plain     
fringed edge4  ,illustration3 ,fig4     
#aei4  ,a row of tassels makes a pretty 
finish to various things4 ,complicated  
tassel-making requires a professional   
hand2 even a simple tassel requires     
making properly4 ,the first proceeding  
is to wind some thread round a piece of 
cardboard1 which should be a little     
wider than the tassel is to be long2    
then double a piece of the same thread  
and thread the two ends into a needle1  
thus leaving a loop at the usual knot   
end4 ,slip the needle through the centre
 of the wound thread close to the       
cardboard1 then through the loop and    
draw the thread tight2 this will bind   
the threads securely at that point4     
,they can then be cut exactly opposite  
this on the other side1 which will      
release the cardboard4 ,give the binding

 thread another tightening pull1 and    
then take the needle and thread straight
 through the centre1 as shown in fig4   
#afj1 and fasten it off with a good     
knot4 ,this knot will be in the ball    
part of the tassel and will help to make
 it round4 ,next1 double the tassel into
 shape ready for the collar4 ,thread the
 needle as before and make the thread   
encircle the tassel1 as shown in the    
second figure in the diagram1 drawing   
the thread quite tight1 and1 if         
necessary1 winding it several times     
round the neck of the tassel until the  
collar is of sufficient width1 then take
 the needle and thread straight through 
the centre1 bringing it out at the top1 
where it can be made use of to fix the  
tassel in its place upon the work4 ,with
 sharp scissors trim the edge of the    
tassel which now is complete4 ,the ball 
part can be further decorated by        
covering it with an open network of     
stitches in some contrasting colour2    
buttonhole and various lace stitches can

 be used for the purpose4               
,illustration3 ,fig4 #afj4   ,,knots    
,knots1 which can be very pretty1 are at
 times required in embroidery2 anything 
that requires a fastening may give an   
opportunity for some pretty interlacing 
strap work or knotting4 ,also knots may 
be practically useful in both weaving   
and embroidery1 for sometimes a         
finishing thread must be knotted on to a
 new one1 since there may be no         
opportunity of making a firm            
commencement with the aid of the        
material4  ,the knot shown in fig4 #afa 
is called the girdle knot2 it might be  
made use of in many other ways4 ,to     
carry it out1 make a loop with one end  
of the cord and hold it between the left
 finger and thumb1 the looped part being
 towards the right1 and the end that    
points downwards to the left passing    
over the other end4 ,take up the other  
piece of cord1 pass it diagonally across
 the surface of the loop1 commencing    
from the right-hand lower side1 then    

round under one end and over the other1 
then up into the loop from underneath1  
over its own end that crosses the loop  
there1 and then out under the loop at   
the top right-hand corner4              
,illustration3 ,fig4 #afa4  ,the        
,chinese knot1 which is used for a      
sailor's collar1 is shown in fig4 #afb4 
,the looped end can be left as large as 
necessary4 ,to work it the first part of
 the knot is laid in position on the    
table1 commencing at point ,a2 for the  
latter part 7from point ,c7 the thread  
is interlaced through to the finish4 ,it
 can then be pulled tight1 taking care  
in the drawing-together process that the
 various loops are adjusted in right    
position4  ,illustration3 ,fig4 #afb4   
,illustration3 ,fig4 #afc4  ,another    
ornamental knot is shown at fig4 #afc4  
,to make it--,form a loop and hold it   
between the left thumb and finger1 the  
loop pointing to the right1 the longer  
end pointing upwards and passing over   
the end that points downwards4 ,take    

hold of the end pointing upwards1 pass  
it perpendicularly downwards across the 
surface of the loop1 then round under   
the other end1 up over its own end1     
under the side of the loop1 over its own
 end that lies across the loop1 and out 
under the loop at the right-hand end4   
,pull as tight as required4 ,all these  
knots may be made of double cord by     
running a second through1 following the 
lead of the first1 just before          
tightening up the knot4 ,the one last   
described may be made of doubled cord   
from the commencement1 the looped end   
being used as the working end3 the knot 
will then finish off with a loop at one 
end1 which can be used as a loop or cut 
if required4  ,illustration3 ,fig4 #afd4
  ,fig4 #afd is an example of a pretty  
piece of interlacing strap work attached
 to a fastening4  ,the weavers' knot    
7fig4 #afe7 is useful for practical     
purposes in both weaving and embroidery2
 this knot is universally employed by   
the cotton weavers when the warp breaks4

 ,it is made as follows--,place the two 
ends that are to be knotted together    
between the thumb and first finger of   
the left hand in such a way that they   
cross each other at right angles1 the   
end that points towards the left passing
 under the one pointing towards the     
right4 ,pass the long end of thread that
 hangs down towards the right1 and which
 is the newly attaching piece1 over the 
thumb1 round the back of the end        
pointing to the left in front of the    
other end1 and let it hang down again   
towards the right1 holding the loop thus
 made between the thumb and finger2 then
 pass the end pointing towards the right
 down through this loop and out on the  
opposite side4 ,to draw the knot tight1 
pull the end which hangs down towards   
the right1 which will tighten the loop  
and so complete the knot4               
,illustration3 ,fig4 #afe4  ,the reef   
knot 7fig4 #aff7 is another useful one1 
and it has this advantage over the      
weaver's knot1 that both short ends     

return parallel to the long ones instead
 of going off at an angle2 this makes it
 neater for some purposes4              
,illustration3 ,fig4 #aff4  ,,footnote3 
#ad ,this will be found described in    
detail in ,chapter ,,ii4 ,there is an   
interesting drawing of a neat little    
machine1 similar to this1 but worked by 
cogwheels1 in ,l',art du ,brodeur1 by   
,germain de ,st4 ,aubin 7#aggj74        
,,chapter ,,xiv  ,,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 ,frame4   ,the   
best method of getting the pattern on to
 the material is to draw it on directly 
with a brush2 since this1 however1 is   
not always possible1 other ways of doing
 it can be employed4  ,the pattern can  
be transferred to the background by a   
process called pouncing4 ,to do this fix

 some tracing-paper over the design and 
carefully take the outline2 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 embroidery4 ,the next  
process is the perforation of the       
pattern4 ,lay the tracing upon some     
substance of the nature of thick felt1  
then with a pricker or a needle1 held in
 an upright position1 pierce tiny holes 
all round the outline of the pattern1   
very close together4 ,this completed1   
attach the perforated tracing securely  
to the material1 the smooth side of the 
perforations towards the stuff4 ,both   
material and tracing paper may be fixed 
to a board with drawing pins4 ,next1 rub
 the pounce1 which consists of finely   
powdered charcoal or of white chalk1    
lightly over the perforated parts with a
 soft pad1 keeping the rubbing always in
 the same direction2 once or twice at   
the most over the surface is quite      
sufficient1 often too much is rubbed    

through1 which afterwards is only in the
 way4 ,the pad1 first dipped into the   
pounce1 is rubbed preparatorily upon    
some paper to remove the superfluous    
powder1 and then upon the actual work4  
,carefully remove the tracing-paper2    
there should now be visible upon the    
surface of the material1 in charcoal    
dust1 a perfectly clear reproduction of 
the pattern4 ,should1 however1 the      
impression be blurred1 it is quite easy 
to flick everything away with a duster  
and repeat the process4 ,the causes of  
failure would most probably be that the 
perforations were too large or too far  
apart1 or that there was some movement  
of either paper or material during the  
process4 ,it is necessary for the       
pattern to be permanently fixed upon the
 ground material2 blow lightly to remove
 any superfluous powder1 then1 with a   
brush dipped in light red oil-paint     
moistened with turpentine1 trace a fine 
clear line over the powdered pattern4   
,when this is dry1 what is left of the  

charcoal can be lightly dusted away4    
,red is in most cases a good colour to  
use for tracing purposes1 for if by     
chance any tracing should show or come  
off on the thread it will be a          
clean-looking colour1 and one           
comparatively easily removed in any     
after cleaning4  ,red or blue carbonised
 paper is used for tracing patterns2 it 
is not a good medium though it may be an
 expeditious one4 ,if it is used1 an    
after painting over the outline will    
make the marking permanent4  ,when      
pouncing or painting is difficult1 a    
method of indicating the pattern upon   
the stuff is to trace the design on     
tissue paper1 and tack it to the ground 
material with cotton1 the stitching of  
which should follow the outline of the  
design1 and be kept as much as possible 
upon the front4 ,the thin paper is then 
torn away1 and there will be some       
suggestion of pattern left upon the     
material4  ,transparent ground stuffs   
need only be laid upon the pattern2 then

 the tracing can be taken directly on   
the stuff4  ,paste is sometimes in      
request for embroidery purposes2 the    
following is a good recipe--,pour rather
 less than half a pint of cold water    
into a saucepan1 add to this a piece of 
carpenter's glue about the size of a    
small filbert and place it on the fire  
to heat4 ,put three teaspoonfuls of     
flour into a basin1 and with cold water 
mix to a smooth paste2 when the water in
 the saucepan boils add it to the paste1
 stirring well all the time2 then place 
the mixture in the saucepan and boil for
 about two minutes4 ,when cold it is    
ready for use4 ,it may be required as a 
preservative2 for instance1 canvas work 
when finished can have a thin coating of
 paste rubbed over the back in order to 
preserve the stitches from giving or    
running2 when the work is to be used for
 such things as furniture coverings this
 may be a good thing to do4 ,applied    
work is sometimes pasted on to its new  
ground1 and a backing may be fixed to   

the surface material by paste4 ,the more
 all this can be avoided the better1 for
 its tendency is to give a stiff        
mechanical look to work2 professional   
people1 however1 are rather fond of the 
paste pot4 ,paste1 if used1 must be of  
the right kind1 or it will do more harm 
than good4 ,it should be very fresh1 and
 have no acid in its ingredients1 of    
which gum arabic must not be one if any 
after stitching has to take place       
through the stuff1 for gum makes it hard
 and less penetrable4 ,the paste must be
 applied and allowed to dry thoroughly  
before the work is removed from the     
frame4 ,a finger makes a good brush for 
the purpose4 ,the paste should be put on
 as thinly and evenly as possible1 care 
being taken not to rub on the cross of  
the material1 since this might stretch  
it unevenly4  ,shoemakers' paste is     
easily procured1 and can be used for    
embroidery purposes4 ,this is made from 
rye flour1 and is very strong4 ,it is   
harmless if perfectly fresh4  ,a good   

many things go to the keeping of work   
fresh and orderly1 which is a very      
important matter4 ,the work must be kept
 carefully covered up when not in use2  
finished parts can sometimes be covered 
whilst the work is going on1 for the    
covering is easily raised when          
comparison with the part in progress is 
necessary4 ,the work should have some   
protection if the hand rests on it2 the 
worker should wear a white apron with   
sleeves4 ,the worker's hand should be   
cool1 dry1 and smooth2 hot hands should 
frequently be washed4 ,the use of pumice
 stone cures slight roughness1 but fine 
work cannot be attempted if the fingers 
are for any reason constantly rough4    
,wools and silks need a case to keep    
them orderly and clean4 ,the best way to
 preserve valuable embroidery is to     
frame it1 which1 of course1 is not      
always practicable1 but it is a sure    
safeguard against moth and dust4  ,for  
washing embroidery special soap should  
be procured4 ,it is not well to use any 

ordinary soap1 for this may contain     
alkali1 which would injure the colours  
in the work4 ,dissolve the soap in      
boiling water1 and add cold to make it  
just warm and of the required strength4 
,immerse the embroidery in the lather   
thus made1 and work it about gently1    
avoiding any friction4 ,when clean1     
rinse first in warm water1 afterwards in
 cold1 to which a little salt may be    
added4 ,the water must be squeezed out  
carefully and the material quickly      
dried4 ,if ironing is necessary it must 
be done on the wrong side1 but if the   
work can be pinned out on a board to    
dry1 and in this way stretched and      
smoothed without any ironing1 so much   
the better1 for the embroidery will not 
be flattened at all4 ,another way of    
ironing embroidery that is not harmful  
is to do it from underneath while some  
one holds out the material4  ,it is easy
 to prevent the puckering of work when  
it is carried out in the frame2 there   
is1 however1 no necessity for it to     

occur in hand work4 ,certain stitches   
are more inclined to draw up the        
material than others1 and extra care has
 to be taken in working upon the cross  
of the fabric4 ,the work should be held 
in convex fashion over the fingers of   
the left hand4 ,weights are occasionally
 attached to the corners of the work to 
prevent any unconscious drawing of it   
up4  ,there are remedies for the cure of
 slightly puckered work4 ,place on a    
drawing-board some clean blotting-paper1
 damp it evenly over with a wet         
handkerchief1 and then lay the work1    
right side up1 upon it4 ,fix the work   
down to the board with drawing-pins1    
inserted at regular short intervals     
round the edge1 endeavouring during the 
process to stretch the material to its  
original shape4 ,this needs doing       
carefully1 for it is quite possible to  
stretch it to a wrong shape1 and it will
 remain as now pinned out4 ,next1 lay   
some white paper or a handkerchief upon 
the surface of the work1 and then place 

upon it a flat weight that presses      
equally on every part of the embroidery4
 ,leave it undisturbed for a night1 and 
the puckering will probably be cured4   
,work1 if not puckered1 may be improved 
by going through this process1 which    
practically amounts to a mild ironing1  
but without any injurious effects4      
,illustration3 ,fig4 #afg4  ,there are  
various points about the thread that    
should be known4 ,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 
working4 ,this is a better way than a   
fastening on the wrong side1 for it is  
both neater and more secure4 ,a knot    
made at the beginning is fairly safe1   
but it is undesirable for several       
reasons4 ,the needleful should not be   
lengthy lest it gets worn before it is  
all worked in4 ,with some threads it is 
important to thread only the proper end 
into the eye of the needle1 since one   
way they will work in roughly and the   

other way smoothly4 ,an end of a coarse 
thread can be taken through to the back 
of the material by the help of a fine   
one2 the fine thread is brought through 
from the back by the needle1 it then    
encircles the coarse one1 and returns to
 the back by the same hole1 pulling the 
coarse thread with it1 as in process in 
fig4 #afg4 ,taking it through by the aid
 of a thick needle would make too large 
a hole4 ,thread can be knotted into the 
eye of the needle if for any reason it  
is required to be quite safe from       
accidental unthreading4 ,the neatest way
 of doing this is to pass the needle    
through the centre of the thread and    
draw it tight2 this is a useful trick   
for any unskilled worker with needles   
and thread1 for re-threading also may be
 a difficulty4 ,when work has to be     
unpicked it is better to cut the threads
 rather than do any drawing out1 for    
they are in any case unfit for further  
use1 and this method wears the material 
less2 a beginner must not shirk         

unpicking if first-rate results are to  
be obtained4   ,,frame ,,work  ,certain 
stitches and methods of work cannot be  
carried out except with the help of a   
frame1 others are hand stitches1 and    
some few can be worked either way4 ,work
 done in a frame takes longer than that 
done by hand1 and is rather more        
fatiguing4 ,each method has its         
advantages2 in the frame it is perhaps  
easier to get good technique1 for       
difficulties such as puckering the      
material1 irregular stitching1 and so   
on1 are more easily avoided1 also it is 
more possible to see the effect of the  
whole whilst the part progresses4 ,in   
frame work a thimble is required for    
each hand1 for one pushes the needle    
through from above and one from below4  
,it is a rest to be able to reverse the 
hands1 so both should be equally        
dexterous in either position4  ,to dress
 the frame correctly is an important    
preliminary1 for unless done well the   
effect of much after labour may be      

spoiled4 ,in the chapter upon tools and 
appliances in fig4 #i is shown a piece  
of linen stretched in the frame ready   
for commencing work4  ,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 frame4 ,a corner may  
require marking or a small detail of    
embroidery carrying out upon it4 ,a     
portion is cut out of the centre of the 
stretched linen1 and the piece or part  
of the material to be worked stitched   
securely to it1 as illustrated in the   
diagram4 ,the remainder of the material1
 if there is any1 can be folded up and  
pinned out of the way over the rollers4 
,to return to the dressing of the       
frame--the linen to be stretched1 before
 being fixed in place1 must be hemmed or
 herring-boned down at the top and base 
and then sewn with overcast stitches to 
the webbings1 inclining during the      
process to pucker the webbing rather    

than the material4 ,the side pieces can 
now be put through the holes at the ends
 of the rollers and the metal pins      
inserted1 or nuts adjusted1 as the case 
may be1 in order to stretch the material
 to the right tension4 ,the raw edges at
 the sides must now be turned in or     
bound with tape1 and a string securely  
attached at intervals along the edge2   
this is for lacing the string through   
that now braces the material to the     
sides of the frame 7see fig4 #a74 ,the  
screw-sided frame has an advantage over 
the side pieces shown in fig4 #i1 in    
that in the former an extra turn can1 at
 this point1 be given to the nuts to    
still further stretch the material2 on  
the other hand1 some workers prefer the 
flat side pieces1 thinking that they    
make the frame more rigid4  ,if the     
material1 when fixed to the two         
webbings1 is too long for the frame1 it 
must be wound round one of the rollers  
until of the correct size4 ,this must be
 done carefully1 for a delicate fabric  

might get damaged in the process2 the   
roller can be padded with soft paper1   
and an interlining of tissue paper can  
be inserted and wound up with the       
material4 ,it may not always be         
desirable to do this winding round the  
rollers2 in that case fine glazed       
holland can be stretched in the frame1  
and the part to be first embroidered    
fixed to it4 ,when the first part of the
 work is completed1 the holland is cut  
out of the frame and fresh pieces       
substituted as the work goes on4 ,if it 
is not wished that the stitches should  
be taken through both surfaces1 as would
 here be the case1 it would be possible 
to cut the linen partly away underneath1
 and use it only as a kind of inner     
frame for stretching the material on1 in
 a way somewhat like that already       
described 7see fig4 #i74  ,a backing to 
the material1 however1 is often a       
necessity--perhaps heavy work may be put
 on it or the stuff itself is fragile2  
in such cases there must be a backing of

 some kind4 ,this usually consists of   
fine holland or linen1 which is first   
stretched in the frame and then has the 
surface material securely stitched to it
 with overcast stitches1 care being     
taken that both materials are equally   
strained4  ,to frame velvet1 sew it to  
the webbing by the selvedges or that way
 of the material1 since the pile with   
that arrangement is more manageable when
 the embroidery is in progress4         
,illustration3 ,fig4 #afh4     ,,part   
,,ii  ,,tapestry ,,weaving     ,,chapter
 ,,xv  ,,introduction   ,weaving1 a most
 ancient art1 naturally precedes        
embroidery1 for this necessitates an    
already existing ground stuff1 which is 
generally some kind of woven material4  
,all varieties of weaving are done by   
one little-varied method1 that of the   
weft passing to and fro in and out of   
the warp1 and thus binding the whole    
into a fabric or web4  ,the kind of     
weaving which demands from the worker   
the greatest artistic skill is that     

which produced the great masterpieces of
 ,flanders1 once known as ,arras1 from  
the town of that name1 and now commonly 
called ,gobelins tapestry1 so named from
 the ,manufacture des ,gobelins in      
,paris1 at which establishment1 founded 
over three hundred years ago1 it is     
still produced4  ,it is this kind of    
weaving that is now to be discussed1 but
 without the least suggestion that the  
pupil should work upon a scale so large 
as is usually followed1 though there is 
no reason against doing so if it is     
practicable4 ,tapestry weaving is so    
constantly associated with objects of   
large size1 such as wall hangings1 that 
it is scarcely realised as an art in    
this smaller way and as an alternative  
to embroidery4 ,yet it can be work of a 
most interesting kind even when produced
 in pieces only six inches square1 as is
 well shown by existing specimens of the
 work of the weavers in ,egypt who      
flourished in the early centuries of the
 ,christian era4 ,examples of this work 

can be seen in many museums2 they       
consist frequently of decorative panels 
of tapestry work inlaid in linen tunics 
and stuffs that have been used as grave 
clothes4 ,these early ,coptic examples  
are1 like all tapestry1 built up by     
interweaving various threads upon       
warp-strings stretched in close parallel
 lines4 ,by varying the colour of the   
threads that are thus manipulated upon  
the warp1 patterns of any degree of     
complexity can be built up directly by  
hand1 and without the assistance of any 
further mechanical contrivance4 ,the    
peculiarity of this ancient weaving is  
that the patterns are frequently woven  
upon the warp-threads of some fabric1   
from which the weft either has been     
removed1 or1 what is perhaps more       
probable1 been purposely left out when  
the material was made1 to leave space   
for this decorative pattern weaving to  
be added to it4  ,the ,latin name for   
the workman who in this way wove in the 
ornamental patterns was ,plumarius1     

which is a name known to be applied to  
an embroiderer also4 ,this weaving of   
small subjects is certainly very little 
removed from embroidery2 it may fairly  
be called needlework1 for it is as often
 carried out with needles as with       
bobbins1 the former being frequently    
better suited to the size of the work4  
,in execution weaving is not more       
difficult than embroidered work2 it can 
be done in an ordinary room and upon a  
simple loom that is not more cumbersome 
than an embroidery frame2 in fact an    
embroidery frame can sometimes be used  
in the place of a loom4  ,weaving takes 
about as long in doing as finely        
stitched solid needlework1 for in       
weaving the entire fabric is made1 both 
pattern and ground4 ,the speed with     
which the work can be done of course    
varies considerably1 being mainly       
dependent upon the design that is being 
carried out4 ,also the quality of the   
materials used affects the rate of      
working2 for instance1 the thickness of 

the warp-strings and the placing of them
 nearer together or further apart4      
,moreover the weft may be composed of   
one strand or of several strands        
together4  ,in weaving1 unless the      
materials used are very fine1 it is     
impossible to get minute detail in      
drawing2 fortunately it is seldom       
necessary to attempt much of this4 ,the 
simpler and more direct work is as good 
as1 and sometimes better than1 that with
 finely gradated colour1 shading1 and   
form4 ,on the other hand1 work1 small in
 scale1 even though simply treated1 does
 not look well when carried out with    
very coarse materials1 for they seem out
 of proportion to the size of it4  ,the 
main difficulty in the technique of the 
work lies in the attainment of good     
draughtsmanship1 which of course        
includes light and shade as well as     
outline4 ,it is naturally more difficult
 to draw by means of bobbin and thread1 
in horizontal lines1 than to work       
unrestrictedly with a pencil1 or even   

with an embroidery needle4  ,there is a 
great deal in the preparation of the    
design2 as in all other crafts this must
 be suited to the method of work2       
otherwise the difficulties of execution 
will be greatly increased and the result
 will be less satisfactory4 ,this is    
even more important in weaving than in  
embroidery1 for in the latter the stitch
 and method may possibly be chosen to   
suit the design1 but in weaving no      
variation of stitch is possible2 all    
must be carried out in the same way4    
,tapestry weaving1 whether for wall     
hangings or for small objects1 has the  
same technical difficulties1 and certain
 restrictions govern all work of the    
kind4 ,one point to be observed is1 the 
main lines of the design should go as   
little as possible in the same direction
 as the warp threads4 ,this is because  
with each change of colour in the weft  
that occurs in the direction of the     
warp1 there comes an inevitable         
separation in the woven material1 which1

 oft repeated1 would materially impair  
the strength of the fabric4 ,the less   
frequently this occurs1 of course1 the  
better1 since it entails additional     
labour1 either a joining-together stitch
 at the time of working or an           
after-sewing up from the back4 ,long    
lines made by change of colour going    
straight or at a slight angle across the
 warp-threads1 are perfectly simple to  
manage1 and the hatching lines of       
shading1 as well as the outline1 should 
be taken as much as possible in this    
direction4  ,it will be noticed that    
most tapestries have the ribbed lines of
 warp going horizontally across2 in the 
loom these lines are perpendicular1 so  
this means that the design has been     
placed and carried out sideways upon it4
 ,this is for the reason just under     
discussion1 for the long lines of a     
design are most frequently              
perpendicular1 take1 for instance1 lines
 of figures1 draperies1 or architecture1
 and so by placing the design sideways  

in the loom1 most of the important lines
 will come in the direction most easy   
for the working of them4  ,with small   
pieces it frequently does not matter    
which way it is carried out1 but it is  
useful to know when making the design   
that there is the alternative of placing
 it either way upon the warp-threads4   
,if this matter were not considered and 
arranged1 there might come a good deal  
of twisting round one or two            
warp-threads which would be most        
unsatisfactory in working and in        
appearance4 ,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      
square1 although working in very        
straightforwardly at the top and base2  
if1 instead of being a straight band1   
the inner edge was vandyked1 the work   
would be well knitted together upon all 
sides 7see fig4 #afi74 ,in such ways as 
this the technical pitfalls can be      
somewhat avoided by a designer who      

understands the method of the work4     
,illustration3 ,fig4 #afi4  ,to lay down
 definite rules for designing is        
practically impossible2 right and wrong 
depend upon so many circumstances4 ,the 
study of fine tapestries of the best    
periods is one of the most satisfactory 
ways of learning what one may or may not
 attempt2 the beautifully flowered      
grounds in many of these show what      
excellent motives flowers make1 and how 
they should be treated4 ,it is not      
usually a good plan to introduce in any 
part of the work much plain ground1 for 
it is inclined to look poor2 this is    
very likely the reason why the grass in 
tapestry-land is often covered with such
 profusion of flowers4 ,tapestry calls  
for beautiful colour1 richness1 and     
plenty of interesting detail2 it is     
essentially decorative work1 and must be
 treated as such4 ,the arrangement of   
colours and tones need to be sharply    
defined2 if by chance a dark leaf comes 
against another dark one1 a line of     

light colour is sometimes deliberately  
run between1 perhaps shading or         
outlining one of the forms2 a flower may
 even change its colour as it passes    
over different backgrounds2 what is more
 remarkable is that this change1 unless 
sought for1 is imperceptible4  ,the work
 may be applied to all kinds of uses1   
such as coverings for furniture1 mats1  
curtains1 bell-pulls1 book-covers1 bags1
 boxes1 and so forth4 ,anything that    
hangs upon a wall is particularly       
suitable for working in tapestry1 for at
 a little distance this kind of work    
shows up more effectively than          
embroidered work does4 ,a great many    
articles1 such as alms-bags1 frontals of
 all kinds1 stoles and book-markers1 for
 use in churches could most excellently 
be carried out in tapestry4             
,,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 ,thread4   ,,tools ,,and        
,,appliances  ,the chief requisite for  
weaving is the loom2 this can be made by
 a carpenter from a working drawing4 ,in
 the ,victoria and ,albert ,museum there
 is a model of a small tapestry loom1   
presented by ,william ,morris1 which a  
novice will do well to examine4 ,it is  
quite possible to carry out a small     
piece of weaving upon an embroidery     
frame1 but to work in a loom which has  
all the proper appliances is always     
quicker1 better1 and absolutely         
necessary with work of any size4  ,there
 are two main varieties of tapestry     
loom1 one in which the warp-threads are 
horizontal1 and another in which they   
are vertical4 ,the latter kind is       
considered to give the best results1    
mainly owing to the possibility of the  
worker's seeing the right side of the   
work whilst it is in progress4 ,this is 
a great advantage1 for tapestry is woven
 with the reverse side towards the      

worker1 and progresses by such gradual  
steps that the weaver is prone to lose  
sight of the whole whilst paying        
attention to the part in progress1 and  
it will be easily understood that to be 
able to go round and view the entire    
piece is of immense help4 ,a detail may 
perhaps be corrected during the progress
 of the work1 but afterwards this would 
be an awkward matter4 ,it is one of the 
difficulties of weaving to have to      
finish completely each step as it comes 
up4 ,working from the wrong side is not 
so hard as it might seem1 for both sides
 are practically alike2 the side towards
 the worker1 however1 shows ends of     
thread and thread passing from one place
 to another1 which make it somewhat     
unpresentable4  ,illustration3 ,fig4    
#agj4  ,illustration3 ,fig4 #aga4  ,fig4
 #agj shows a drawing of a small loom   
with some warp stretched upon it in     
readiness for commencing work4 ,it      
stands upon the ground1 and is about #d 
feet high by #b-a_/b feet wide4 ,it is  

made of beechwood2 a hard wood like this
 is best1 for there must be no          
possibility of the rollers bending with 
the strain of the warp4 ,the loom       
consists of two uprights standing upon  
heavy feet2 these uprights are joined   
together at the top and base by         
strengthening cross bars4 ,two wooden   
rollers are fixed into the uprights 7see
 ,a and ,b in fig4 #agj7 and in the     
surface of each of these a narrow groove
 is hollowed out lengthwise 7see fig4   
#aga72 this is for the purpose of       
holding a long metal pin1 by means of   
which the warp-threads are kept in      
place4 ,the rollers are fitted at one   
extremity with a handle for turning them
 round1 and at the other with a ratchet 
and toothed wheel to prevent unwinding4 
,the purpose of the upper roller is to  
hold the supply of warp-thread and      
unwind it as required2 the lower one is 
for winding up the web as the work      
progresses1 so that upon a loom of this 
size a piece of work of considerable    

length can easily be carried out4       
,illustration3 ,fig4 #agb4  ,the warp   
soon after it passes from the top roller
 is divided into two leaves by a        
cylindrical wooden bar about one inch in
 diameter1 called the cross stave 7see  
fig4 #agb74 ,the cross stave may be oval
 or round in section2 if it is oval the 
warp-threads may be moved more widely   
apart when required by turning the stave
 round1 but this is not often necessary4
 ,the upper part of the cross stave can 
be seen in position in the loom diagram1
 which shows also how the stave divides 
the threads1 which pass alternately one 
in front and one behind the bar4 ,after 
this the threads are passed through a   
comb-like instrument1 having about      
fourteen divisions to the inch 7see fig4
 #agc74 ,this extends from side to side 
of the loom1 and lies in a groove made  
in the bar that fixes the coat-stave 7,c
 in fig4 #agj7 in position at either    
extremity4 ,it can be taken out and     
exchanged for another with a different  

divisioning1 if necessary2 without doing
 this1 however1 it is quite possible to 
put at intervals two threads through one
 division1 or to pass over one          
occasionally if need be4 ,the threads   
are next fixed in the lower roller4     
,illustration3 ,fig4 #agc4  ,the        
coat-stave can be seen projecting from  
near the top of the loom4 ,a number of  
looped threads called coats are fixed to
 it1 and each one of these encircles a  
thread of the warp4 ,they are attached  
only to those threads that were passed  
behind the cross stave and form the back
 leaf of the warp1 and they are for the 
purpose of pulling these forward when   
required4  ,underneath the lower roller 
is fixed a wooden tray1 which is useful 
for holding bobbins1 comb1 or scissors4 
,on the loom is hung a small mirror     
facing the right side of the work 7see  
fig4 #agj74 ,this enables the weaver to 
glance now and then through the         
warp-strings at any detail that is in   
progress4  ,smaller looms can be made1  

suitable for placing upon a table2      
these1 standing about two feet in       
height1 must in some way be firmly fixed
 to the table1 in order to be properly  
rigid for work4  ,illustration3 ,fig4   
#agd4  ,the thread composing the woof is
 wound upon a wooden bobbin or shuttle1 
such as that shown in fig4 #agd4 ,the   
chief point about this is1 that it may  
not have sharp angles that might catch  
in the warp whilst passing to and fro4  
,the pointed end is sometimes made use  
of to poke between the warp-threads and 
press down the weft4 ,a fresh bobbin is 
employed for each colour1 and the wool  
is wound upon it two or three strands   
together1 just as may happen to be      
required for the work4 ,large           
blunt-pointed needles about three inches
 long 7fig4 #age7 are often used in     
place of bobbins1 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 bobbin1 which is1 
after all1 only a needle with an extra  

long thread4  ,illustration3 ,fig4 #age4
  ,illustration3 ,fig4 #agf4  ,a comb is
 necessary for pressing down the weft   
whilst the work is in progress4 ,combs  
vary in size and shape2 fig4 #agf shows 
one suitable for this type of work2 it  
is #a-a_/b inches square1 slightly      
wedge-shaped1 and about one-eighth of an
 inch thick4 ,boxwood is the most       
suitable wood to make them from1 since  
it is particularly hard and fine in the 
grain4 ,they are sometimes made of      
metal1 ivory1 or bone2 for large work1  
metal combs of a heavier type are used4 
,illustration3 ,fig4 #agg4  ,an         
embroidery frame1 which has been already
 mentioned as a possible substitute for 
the loom1 is oftentimes an article more 
easily procured4 ,fig4 #agg illustrates 
how a frame of this kind may be prepared
 with warp-threads for weaving4 ,one    
with the screw side pieces is the best1 
for these enable the tension of the warp
 to be slightly adjusted if the working 
shows any tendency to slacken the       

thread4  ,to prepare the frame for      
weaving--,place the parts together at   
the required distance from each other2  
secure the end of some warp-thread to   
some part of the frame1 and then        
commence to wind it round and round over
 the two rollers1 placing the threads at
 approximately the right distance apart1
 taking into account when doing this    
that the two leaves thus formed will    
eventually be brought into the same     
plane4 ,when the required width of      
warp-thread is wound upon the rollers1  
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 centre4 ,then slide it up
 close to the top roller and secure it  
by tying it with string at each end 7see
 diagram74 ,the same process is gone    
through with a second pin1 which is tied
 to the lower roller4  ,the warp-threads
 can now be adjusted to their proper    
distance apart1 as they will probably be

 a little irregularly spaced4 ,the next 
process is to weave two or three courses
 of warp-thread close to the            
knitting-pins at either end2 this brings
 the warp still nearer to being in the  
one plane1 and enables the threads to be
 arranged in perfect order by the aid of
 the point of the bobbin or a needle1   
and they will remain as now placed4     
,the frame is now ready for work4 ,a    
piece of plain web1 about half an inch  
in width1 is usually woven before the   
actual design is begun2 this serves as a
 selvedge for turning in when the       
completed work is mounted1 and also gets
 the warp into condition much better for
 working upon4  ,a thick knitting-needle
 can be passed between the alternate    
threads of the warp and placed towards  
the top of the frame1 as shown in the   
diagram4 ,this takes the place of the   
cross-stave in the loom1 and1 by thus   
dividing the warp into two leaves1 is of
 assistance when the shuttle goes in one
 direction4 ,coats cannot easily be     

applied to an embroidery frame4  ,it is 
quite possible upon a frame of this kind
 to weave a long narrow band of any     
kind4 ,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 band4 ,the    
surplus warp is then wound up on the    
upper roller until the side pieces will 
fit into the ends4 ,as it gets worked   
upon1 the completed part is wound upon  
the lower roller4 ,a piece both long and
 wide would be impracticable1 especially
 if any winding on and off the rollers  
were necessary4   ,,materials  ,there   
are very few materials required for     
tapestry weaving2 they consist of1      
string for warp1 wools1 silks1 and maybe
 gold and silver thread for the weft4   
,the warp is usually composed of a      
smooth1 strong1 evenly twisted thread1  
specially made for the purpose4 ,it can 
be procured of various thicknesses4 ,it 
happens sometimes that in parts the warp

 shows1 as a fringe or in some other    
way2 in this case it could be made of a 
strong silk thread1 such as purse silk1 
though for edges of mats1 the ordinary  
string warp fringed out is quite        
suitable4 ,occasionally weaving is      
carried out in such a way as to expose  
the warp in various parts of the work1  
the pattern being woven1 but the ground 
left altogether unworked4 ,in a case of 
this kind the colour and composition of 
the warp is naturally important1 and    
must be considered4 ,in a show-case in  
the ,british ,museum there can be seen a
 small book with an interesting woven   
binding carried out after this manner4  
,the warp is composed of gold passing1  
and the effect of this with a pattern   
carried out in brightly coloured silks  
is very pretty indeed1 the gold adding a
 rich glow to the whole4  ,wool and silk
 are the chief materials used for the   
woof4 ,it is well to choose those of    
fine texture1 for several strands can   
then be wound together upon one bobbin1 

which1 with coarse materials1 would be  
too clumsy a method4 ,when working in   
this way there is more opportunity of   
varying colour and texture1 for three   
shades may be wound upon the bobbin     
together to get a required colour1 and  
this has often a prettier effect than   
the use of an unblended colour2 also1   
silk and wool are very satisfactory     
wound and worked in together1 each      
texture showing the other to advantage4 
,fine gold or silver threads are        
frequently used in tapestry weaving4    
,they can be woven in alone1 which gives
 a metallic look1 or they may be mixed  
with strands of silk4 ,both ways are    
very good1 and the use of the metal     
thread adds great richness to the work4 
,these threads make fine backgrounds1   
and they can be used in many ways upon  
the design2 it is a common practice to  
carry out the lighting of draperies and 
of other parts in real gold1 just as    
they are treated in illuminated         
manuscripts4     ,,chapter ,,xvii       

,,preparations ,,for ,,work    ,warping 
the ,loom--,dressing the                
,coat-,stave--,tracing the ,pattern upon
   the ,threads4   ,upon commencing the 
warping of the loom the first matter to 
be decided is the length of the threads4
 ,some extra length must be measured off
 besides that actually used for weaving1
 to allow for what is taken up in fixing
 the threads and winding them round the 
rollers1 and as it is not convenient to 
work more than about half-way up the    
loom1 this also has to be allowed for in
 the length4 ,the threads must all be   
cut to one size1 and since they have to 
be doubled in halves when placed on the 
loom1 this should be twice the required 
length4  ,another question for early    
decision is the number of warp-threads  
that may be allowed per inch4 ,this     
varies with the coarseness of the       
strings and the thickness of the weft   
that will have to pass to and fro       
between them2 what governs both of these
 points is the design1 whether there is 

much detail or not1 for if the drawing  
is complicated the warp-strings must be 
fine in order to be able to carry it    
out2 this point will be better          
understood after some experience of     
working4 ,fourteen to sixteen threads to
 the inch is a very usual number4  ,the 
fixing of the threads in the upper      
roller is a very simple matter4 ,it is  
done by doubling each in halves and     
placing the loop thus formed over the   
metal pin1 which for this purpose may be
 temporarily suspended by string to the 
frame of the top of the loom just above 
the roller4 ,it can be dropped into its 
place in the groove when all the threads
 are looped upon it1 and made secure    
there for the moment by tying some      
string round the extremities of the     
roller4  ,each thread is now taken      
separately through the comb-like        
instrument4 ,the cross-stave is laid    
upon this1 so it is well to put it in   
place now1 and carry the threads        
alternately in front and behind it1     

whilst passing them through the comb4   
,the threading of the strings through   
the comb decides the number there will  
be to the inch1 so they must be put     
through at the required distance apart4 
,the upper roller is next given a       
complete turn1 which will make the metal
 pin and the threads that are round it  
secure in the groove4 ,the winding up   
must be continued until only about three
 inches of the warp-string hang below   
the lower roller4 ,some kind of tension 
must be applied to the threads whilst   
this winding is going on1 or it will be 
done irregularly2 a hand1 or several    
hands1 holding it1 answers the purpose  
well enough4  ,the next process is to   
fix the threads securely in the lower   
roller4 ,the difficulty here lies in    
getting the placing and tension of the  
threads between the two rollers exactly 
regular and even4 ,if some were slack   
and others tight it would be very       
awkward to correct afterwards1 and      
impossible to weave upon properly if    

incorrect4  ,illustration3 ,fig4 #agh4  
,fig4 #agh shows a practical method by  
which the warp may be fixed in the lower
 roller1 but any contrivance will do    
that gains the required result4 ,to     
carry out the fixing as in the diagram1 
the roller must be turned so that the   
groove comes just at the centre in the  
front4 ,four lines of warp-thread are   
then fixed from end to end of the       
roller1 two above and two below the     
groove4 ,each warp-string in turn is now
 threaded in and out of these cross     
lines1 as shown in the diagram4 ,this   
places them in regular order1 at the    
correct distance apart1 and keeps them  
at very nearly the same tension         
throughout4 ,the metal pin is now placed
 in the groove and pushes the threads   
before it4 ,it must be temporarily made 
firm there by string tied round the     
roller at intervals4  ,the next process 
is to tie the warp-threads in knots1    
either two or four together1 just where 
they emerge below the pin4 ,this        

prevents any giving way1 and if the     
threads are pulled just equally tight   
immediately before the knotting1 the    
tension of the entire warp will be the  
same4 ,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 groove4  
,the warp will now be fixed in the loom 
as shown in the drawing in fig4 #agj4   
,the placing of the coats upon the      
coat-stave is the next part of the      
preparatory work4 ,commence by fixing a 
line of warp-thread along the exterior  
side of the coat-stave1 making it secure
 to the bar at both ends4 ,the coats1   
encircling the stave and a thread of    
warp1 are fixed to this string by a kind
 of buttonhole stitch 7see fig4 #agi74  
,it is important that each loop should  
be of exactly the same size2 this can be
 ensured by temporarily fixing a rod    
across the loom at the point where the  
loops will encircle the warp-thread1 and
 then taking the loop round this bar as 

well as round the thread4               
,illustration3 ,fig4 #agi4  ,to commence
 making the coats1 take a long needleful
 of warp-thread and secure the end of it
 to the string at the right-hand end1   
and then make about three small looped  
stitches upon it 7see needle in progress
 in the diagram72 next1 instead of      
making another of the same stitches1    
take the thread down below the stave1   
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 
7see ,b74 ,usually a long and a short   
stitch are taken alternately1 but the   
number of short ones may be varied4     
,this process is continued until all the
 threads of the back leaf are encircled 
each by a loop4  ,a new length of thread
 must be knotted on to the last one as  
it gets used up4 ,the weavers' knot1    
which is shown on p4 #bia1 might be used
 for the purpose4 ,it would be made use 
of also if by chance the warp-thread    

were broken1 for it is a knot specially 
good for the purpose4  ,when the coats  
are completed there are still one or two
 preparations to be made before actually
 commencing to weave4 ,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 base4 ,this rod can be seen properly
 placed in position in fig4 #agi in     
front of the lower cylinder4 ,this is   
put there to keep the lines of the woof 
horizontal when they are being beaten   
down by the comb4  ,next wind on a      
bobbin some warp-thread similar to that 
already on the loom1 or1 if that happens
 to be very coarse1 let this be a little
 finer4 ,now weave two courses with this
 warp-thread and beat it down with the  
comb1 leaving the woof during the       
process rather loose4 ,the technique of 
weaving with all its difficulties is    
discussed in ,chapter ,,xviii4 ,when two
 of the warp-thread courses are         
complete1 insert either the pointed end 

of the bobbin or a blunt needle between 
the warp-threads below the woven        
portion1 and if necessary move the      
warp-strings a little to or fro until   
they are equally separated each from the
 other all along the line4 ,next weave  
about four more courses of the woof2    
these will serve to keep the arranged   
warp-threads still more firmly in place4
 ,then with a red pencil rule a         
horizontal line straight across the     
warp-strings about one-third of an inch 
above the woven portion4 ,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
 in4 ,between each course the comb must 
beat the woof-threads firmly down4 ,it  
is often necessary to weave over some   
portions of the surface more than over  
others as the threads pack down tighter 
in some parts4 ,the loom should be now  
in perfect order for commencing work4   
,the preparatory weaving that has been  
done is often useful afterwards as a    

selvedge4  ,it is necessary to have a   
coloured drawing of the design for      
frequent reference whilst the work is in
 progress2 also a tracing of the outline
 must be marked upon the warp-threads   
for the worker's further guidance4 ,the 
tracing upon the threads must be a      
reflection of the pattern owing to the  
fact that the work is done from the     
back4 ,it does not affect the matter if 
the design is a symmetrical one1 but to 
find the lions of ,england facing the   
wrong way in some completed piece of    
heraldic work would be most annoying4   
,in order to get a tracing of the design
 upon the threads1 a sheet of paper1    
with a distinct outline of the pattern  
upon it1 must be attached1 possibly by  
pinning1 to the further side of the     
warp-threads1 exactly where the weaving 
is to take place4 ,the outline will be  
clearly perceivable through the threads1
 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 pattern4 ,when this is   
completed1 the tracing-paper can be     
removed1 and the dots upon the warp must
 be taken all round each thread instead 
of marking one side only4 ,the marking  
round is done by holding a warp-thread  
between the finger and thumb1 placing   
the side of the nib against one of the  
dots1 and then twisting the thread to   
and fro against it4 ,all the marks upon 
the first thread are treated in         
succession in this way1 then the next   
thread is taken up and treated in       
similar fashion1 and so on until all are
 done4 ,fig4 #ahj shows a leaf marked   
upon the warp-threads in readiness for  
working4 ,this marking should be clear1 
sharp1 and decided1 all the lines being 
taken horizontally round1 as in fig4    
#ahj2 if the pattern seems to run up a  
thread1 a mark just half-way up is      
sufficient guide4 ,in a piece of work of
 any size the tracing must be done1 a   
part at a time1 for the threads moving  
slightly when the warp is unwound and   

the web wound up may displace the marks 
and make the guiding lines incorrect4   
,illustration3 ,fig4 #ahj4     ,,chapter
 ,,xviii  ,,the ,,technique ,,of        
,,weaving    ,weaving--,commencing and  
,fastening ,off--,the ,interlocking     
,stitch--,fine                          
,drawing--,shading--,added              
,after-stitches4   ,the way in which the
 woof threading in and out of the warp  
makes the web is shown at ,c1 fig4 #agi4
 ,here the woof has been taken once to  
and fro2 a movement called a weft or a  
course1 one way only1 goes by the name  
of a half pass or a shoot4 ,by the use  
of the cross stave for one direction1   
and of the coats for the other1 the     
tediousness of the process of darning in
 and out and so picking up the right    
threads is avoided4 ,it is not always   
practical to make use of these          
appliances2 for instance1 in working    
over only two or three threads it may   
not be worth while1 but when they can be
 made use of the work is done twice as  

rapidly by their help4  ,the bobbin     
enters the loom rather high up1 for     
there the division of threads is        
greatest4 ,one hand starts the bobbin   
upon its journey1 the other hand1       
entering between the divided            
warp-threads1 takes it on and out as    
required4 ,sometimes the bobbin has to  
go the entire way between the leaves1   
and at others it may be only over two or
 three threads1 this depending upon the 
pattern4 ,to enable the bobbin to make  
the return passage1 the warp must be    
redivided1 the threads that are at the  
back must be brought to the front2 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 attached4 ,this can be   
done by sections all along the line1 or 
just in one part of it if it be so      
required4  ,the weft is almost always   
taken in horizontal lines to and fro4   
,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 it4     
,about an inch of thread is left at the 
end and at the commencement of each     
length of weft2 these are secured by the
 tight packing down of the threads above
 them1 so there is as a rule no need for
 any knot or fastening off1 which would 
be necessary only in the case of        
commencing or ending off round a single 
thread1 but it is important for the     
future durability of the work to see    
that the ends are secured4 ,sometimes a 
commencement or a finish is made just   
where a natural division of the fabric  
occurs2 in this case1 the end of thread 
would not be secure1 for it might work  
loose or appear upon the right side4    
,this can usually be avoided by         
commencing a little further along the   
line4 ,the few times that fastening off 
or on is necessary1 the thread can be   
run into the part already woven with a  
smaller needle1 or else be knotted on to

 a loose end of wool4  ,the bobbins not 
actually in use hang down fixed as in   
lace work by a half-hitch4 ,fig4 #aha   
shows this in process of making2 the    
loop is passed from the finger on to the
 bobbin2 it will unwind as wanted and   
yet hold firm whilst hanging down4 ,the 
thread is always carried1 if            
practicable1 from one place to where it 
is next required1 in order to avoid     
unnecessary breaking off4 ,tapestry is  
sometimes woven with both sides alike1  
which means only that all the ends must 
be cut close off4 ,it is said that work 
so treated is quite durable4            
,illustration3 ,fig4 #aha4  ,special    
care must be taken that the weft is     
turned neatly round at the margins1     
because if it is at all loose there the 
work has a ragged1 untidy appearance4   
,this applies also to any turnings that 
may occur in other parts due to the     
carrying out of the pattern2 if in these
 places the thread is too loose upon the
 warp1 the fabric will be uneven and    

pushed out of place2 if on the other    
hand the thread there is too tight1 the 
slits will gape1 and if these are       
afterwards closed by stitching1 the     
entire material will be drawn in4 ,a new
 thread is never commenced actually at  
the margin1 for it would then be seen   
upon the right side2 it is quite easy to
 avoid this happening by commencing an  
inch further in4 ,this may entail       
beginning in a direction which is       
apparently wrong for picking up the     
proper threads1 that is1 those not      
picked up in the row below2 but this    
must happen at times1 and the work packs
 down and quite prevents the warp       
showing1 as it might be inclined to do  
in such a case4 ,it is sometimes at the 
margin a good plan to pick up two       
warp-threads together1 for this         
emphasises the edge rather pleasantly2  
this might be advisable in carrying out 
a long ribbon-like border of any kind4  
,after each shoot1 the point of the     
bobbin1 the comb1 or maybe the fingers1 

should press down the woof to make it   
lie close upon the row before1 and so   
entirely cover up the warp4 ,fig4 #ahb  
shows the comb in action1 and also the  
bobbins hanging4 ,the weft must be left 
a little slack along the line for this  
purpose1 and some experience is required
 in order to leave just the right       
slackness4 ,the turn at the edge is     
arranged first1 and then the thread     
eased evenly along its length in        
readiness for being pressed down2 it    
must have the appearance not of running 
straight across the warp-strings1 but of
 lying loosely round them4 ,for packing 
down a long line1 much more play of weft
 is required than for a short one4      
,illustration3 ,fig4 #ahb4  ,the usual  
fault with beginners is to draw the web 
too tight here and there4 ,this is a    
fault to be specially avoided1 for it   
causes the fabric to be drawn in1 and to
 vary in width1 spoiling its appearance 
and making the threads difficult to work
 upon2 also the packing down of the weft

 could not be properly done1 which would
 cause the warp-threads to be exposed in
 parts4  ,the thoroughness of this      
packing down of the weft is for several 
reasons very important4 ,the durability 
of the work is much affected by it1 both
 for the securing of the ends of wool   
already mentioned1 and for the making of
 a strong1 well-knit piece of fabric4   
,another reason is1 that the drawing of 
the various forms in the design may be  
made incorrect1 in this way3 suppose an 
apple were woven in1 apparently         
correctly1 but the wefts were not       
pressed down thoroughly1 the weaving and
 packing down of the wefts above it     
would be sure to press the part         
underneath closer together1 and the     
effect of this would be to make the     
round apple assume a flattened oval     
shape1 and cause similar changes        
throughout the work4  ,it has already   
been mentioned that wherever a change of
 colour occurs vertically1 that is1 in  
the direction of the warp-threads1 there

 results of necessity a division or slit
 in the web2 the slit1 which may be of  
any length1 if noticeable1 must be      
closed4 ,this can be done whilst the    
weaving is in progress by a method of   
interlocking the two wefts as they meet1
 or else by stitching up at the back    
when the work is finished4 ,the latter  
way is called fine drawing1 and must be 
very carefully done1 especially with    
large tapestries4  ,both methods are    
used2 the first takes longer1 but is the
 most durable4 ,old and worn tapestries 
will usually be seen to have given way  
where this stitching up at the back has 
taken place4 ,in small pieces of work1  
however1 there is not much likelihood of
 strain1 so the oversewing at the back  
answers fairly well4 ,the two ways can  
be used in conjunction4 ,supposing a    
border1 owing to its being of a         
different colour1 had to be joined the  
entire length of the work1 the          
interlocking stitches might be made at  
intervals of about half an inch1 and    

when the work was finished the          
oversewing at the back might be taken   
the entire length4  ,illustration3 ,fig4
 #ahc4  ,fig4 #ahc is a diagram         
illustrating the way in which the wefts 
may be interlocked whilst the weaving   
goes on4 ,examination of the drawing    
will probably be sufficient explanation2
 however1 interlocking is effected thus3
 ,commencing at the base1 run a weft of 
the darker wool to and fro1 leaving it  
slack at the turning point4 ,a half pass
 of the lighter-coloured woof is then   
run through1 it is threaded in an upward
 direction through the slack loop of the
 darker wool1 waits there whilst another
 weft of the darker colour is worked1   
and then is threaded down through the   
second loop that has been formed1 and   
returns to the starting-point4 ,it then 
comes back again and is threaded upwards
 through this same loop1 and waits1 as  
before1 for another to be formed1 and   
returns back through it--and so on4 ,if 
this is done properly1 no change is     

visible on the right side4 ,the joined  
weft will last as long as any other part
 of the weaving4  ,the process of       
stitching up at the back is simply an   
oversewing with silk or other strong    
thread4 ,the stitches must be rather    
close1 drawing the edges just           
sufficiently together1 and they must not
 show through to the right side4 ,the   
stitching together should be done while 
the work is on the loom1 since the web  
would then be in less danger of pulling 
out of shape4  ,illustration3 ,fig4     
#ahd4  ,shading in tapestry weaving is  
carried out by a hatching process which 
is most simply explained by a diagram   
7fig4 #ahd74 ,the difficulty is not in  
the working1 but in getting the form of 
the shadow or light correctly expressed4
 ,there is no need for fine gradation of
 colour and tone1 for the shading looks 
best when carried out simply and boldly1
 but the drawing of it should be decided
 and good4 ,the above figure gives but  
one intermediary tone in shading from   

one colour to another1 which is the     
ancient method of working2 at the       
present day the weavers in the          
,manufacture des ,gobelins employ       
several other intermediary tones1 thus  
allowing of finer gradation2 possibly   
however these fine gradations are not of
 such great importance1 and so need not 
have an unnecessary amount of attention 
and time devoted to their               
accomplishment4  ,the student will do   
well to examine fine examples and make  
careful drawings from them1 since this  
will teach the right way of going to    
work better than anything else can4     
,fig4 #ahe is simply a shaded leaf taken
 at random from a piece of weaving2 the 
same leaf was shown in outline in fig4  
#ahj1 so the two show the commencement  
and completion of the same piece4 ,it   
will be noticed upon studying tapestry  
that usually all the light parts of a   
work are hatched with the same colour1  
often a buff shade1 those of rich       
tapestries with gold thread4 ,this      

sameness of colour throughout gives     
unity to the work4  ,illustration3 ,fig4
 #ahe4  ,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 needle4
 ,the dots representing the seeds upon a
 strawberry could be stitched in        
afterwards in this way1 for to insert   
them while the work is going on would be
 very tedious4 ,this kind of thing must 
not be overdone1 however1 for the       
stitches are apt1 unless very deftly    
treated1 to have a laid-on look1 and    
care must be taken not to mar the evenly
 ribbed effect1 which is one of the     
characteristics of tapestry4            
,illustration3 ,fig4 #ahf4  ,this       
weaving is a most fascinating kind of   
work1 as will be found upon a trial4    
,the simplest patterns look very        
interesting when woven1 and1 on the     
other hand1 the work can be carried to  
any degree of complexity that the worker

 desires4 ,for a first trial a piece    
might be done with no attempt at        
shading2 even one such as that          
illustrated at fig4 #ahf would be       
suitable4 ,this example happens to be a 
form particularly easy for carrying out 
in weaving4 ,the worker should begin at 
the lower right-hand corner and work the
 successive flights of steps diagonally1
 as shown by the unfinished portion of  
the diagram4  ,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 embroidery1 for
 there are no varieties of methods and  
of stitch to be acquired2 still for a   
person to become a skilled weaver1      
capable of carrying out large wall      
hangings1 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 skill4 ,to carry
 out designs of less magnitude and      
intricacy is a very different matter2   

success in this smaller way is far more 
easily attained1 and is well within the 
reach of unprofessional people4         
,,notes ,,on ,,the ,,collotype ,,plates 
,,plate ,i4--,a ,detail from a ,x,i,vth 
,century ,english ,cope4--,the figure of
 ,christ which is shown in this plate is
 taken from a central group1            
representing the coronation of the      
,virgin1 in a famous cope in the        
possession of ,colonel ,j4 ,e4          
,butler-,bowdon4 ,the ground is of rich 
red silk velvet2 the face1 hands1 and   
linings of the draperies are worked in  
silk in split stitch2 the drapery1      
crown1 and surrounding architectural    
decoration are in gold thread couched by
 the early method4 ,the twisted column  
with oak leaves and the five lobed arch 
are both characteristic of ,english work
 of this period4 ,note the use of pearls
 in the lion's head and in the acorns1  
also the charmingly drawn bird4 ,an     
interesting technical point displayed in
 this example is that the work is done  

directly on to the velvet ground1       
instead of being first worked upon linen
 and afterwards as a completed piece of 
embroidery applied to the velvet4 ,the  
method in use here1 if at all possible1 
is always the most satisfactory4  ,size 
of detail1 about eleven inches by six4  
,,plate ,,ii4--,two ,heads from a       
,x,i,vth ,century ,english ,cope        
preserved at ,steeple ,aston1           
,oxfordshire4--,the cope is not now in  
its original state1 for it has been     
divided into two parts and used for the 
decoration of the altar4 ,the background
 is composed of a thin greyish white    
silk backed with a stronger material4   
,the white may have been originally some
 other colour2 it is1 however1 in its   
present state1 very beautiful and       
harmonious4 ,the drawing of the features
 in this cope is remarkably refined and 
true to nature 7the reproduction does   
not do full justice to the original74   
,the ancient method1 of working the     
faces in split stitch commencing with   

the middle of the cheek and continuing  
spirally round1 then afterwards pressing
 the centre down by some mechanical     
means1 is plainly to be observed here4  
,the effective drawing of the tresses of
 hair in alternate lines of two colours 
is well seen in the left-hand example4  
,the gold thread which is freely made   
use of all over the cope1 upon the      
draperies1 nimbi1 and surrounding       
foliage1 is marvellously bright and     
sparkling1 although nearly six hundred  
years old4 ,the manufacture of          
untarnishable gold for embroidery       
purposes seems beyond present day       
enterprise4  ,width of nimbus1 two and a
 half inches4   ,,plate ,,iii4--,a small
 portion of a ,quilted ,coverlet1       
probably of ,sicilian work4 ,date about 
#adjj4--;,in this interesting example of
 quilting1 which is exhibited in the    
,victoria and ,albert ,museum1 the      
ground is composed of a buff-coloured   
linen4 ,the raised effect is obtained by
 an interpadding of wool4 ,the          

background is run over irregularly with 
white thread1 in order to keep it more  
or less flat1 and the design1 which is  
in fairly high relief1 is outlined with 
brown thread4 ,the entire coverlet is   
embroidered with scenes from the life of
 ,tristan4 ,tristan frequently engaged  
in battle against ,king ,languis1 the   
oppressor of his country4 ,this detail  
represents ,how ,king ,languis 7of      
,ireland7 sent to ,cornwall for the     
tribute4  ,size of detail1 two feet by  
three4   ,,plate ,,iv4--,a portion of an
 ,altar ,cloth ,band1 embroidered in    
coloured silk threads upon a white linen
 ground4--,this is a piece of ,german   
,x,vth century work exhibited in the    
,victoria and ,albert ,museum4 ,it is   
embroidered almost entirely in one      
stitch1 which might be described as a   
variety of herring-bone4 ,the design is 
made up of two motives which repeat     
alternately along the band--a square    
shaped tree and a circle1 the latter    
decorated with floral sprays and1 in the

 centre of it1 a group of emblems4 ,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 plate4      
,width of embroidered band1 four and a  
half inches4   ,,plate ,v4--,a portion  
of a late ,x,vth century ,orphrey1      
embroidered with the arms of ,henry     
,stafford1 ,duke of ,buckingham4--,the  
ground is of red velvet1 and is         
embroidered with gold thread and        
coloured silks4 ,the two shields here   
represented bear the arms of the        
families of de ,bohun and ,fitzwalter4  
,each shield has for supporters two     
swans1 and is surrounded by floral      
sprays4 ,the ,stafford knot unites the  
sprays between the shields4 ,the        
chasuble upon which this orphrey is     
placed is made of a lovely brocaded silk
 decorated with falcons1 peahens1 and   
roses4  ,width of embroidered orphrey1  
about eight inches4   ,,plate ,,vi4--,a 
detail of ,foliage taken from a late    

,x,v,ith century ,embroidered ,picture  
representing the story of ,daphne4--,the
 picture is worked in coloured wools and
 silks in cross stitch upon canvas1 and 
is an admirable example of this kind of 
work1 and this particular detail is a   
good illustration of a very satisfactory
 treatment of foliage4 ,the whole panel 
measures about seven feet by two1 and is
 exhibited in the ,victoria and ,albert 
,museum4  ,height of detail1 ten and a  
half inches4   ,,plate ,,vii4--,an      
,embroidered ,x,v,i,ith or ,x,v,i,i,ith 
century ,wool-work ,curtain4--,this     
curtain1 the property of ,miss ,killick1
 is a pretty example of a small         
crewel-work hanging4 ,the design is of a
 type that was often used upon hangings 
of that period4 ,it is embroidered with 
brightly coloured wools upon a white    
linen ground1 and is in a good state of 
preservation4 ,much ingenuity as well as
 variety of stitching are shown in the  
execution of the work4  ,size of        
curtain1 about five feet by three4      

,,plate ,,viii4--,a portion of a large  
,x,v,i,ith century ,linen ,hanging      
embroidered with coloured wools4--,in   
both design and execution this curtain  
is remarkably fine4 ,the entire hanging 
is about eighteen feet in width by seven
 in height4 ,it is embroidered with a   
conventional representation of a forest2
 in the branches of the trees lodge all 
kinds of birds and beasts4 ,the type of 
design shown in this plate and in the   
last is derived from ,eastern work2 its 
introduction into ,england was due to   
the increase of trade with oriental     
nations1 which developed about this     
time4  ,size of detail1 about six feet  
by four4   ,,plate ,,ix4--,cutwork      
,lettering taken from a ,x,v,i,ith      
century ,english ,sampler4--,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 space1 when the
 unnecessary threads were withdrawn1 and

 then covered with a kind of darning    
stitch4 ,the letters are worked in      
buttonhole stitch1 each fresh line being
 taken into the heading of the last one4
 ,the other parts of the work are       
carried out in either buttonhole or     
overcast stitch4 ,the complete sampler  
is a long narrow strip of linen1 across 
which run specimen bands of various     
kinds of work4 ,it is exhibited in the  
,victoria and ,albert ,museum4  ,width  
of cutwork detail1 six inches4   ,,plate
 ,x4--,an ,embroidered ,sampler4--,the  
work is carried out in coloured silks in
 minute cross-stitch and occasional rows
 of satin stitch1 upon a ground of fine 
single-thread canvas4 ,it is dated      
#agih1 and was worked by ,alice ,knight1
 the author's great-grandmother4 ,the   
birds1 trees1 and flowers1 the charming 
little border patterns1 and the comical 
cats standing on either hillocks or     
housetops1 are all characteristic of    
sampler work4 ,working the sampler was  
once the regular introduction to        

mending1 marking1 and embroidery1 and   
one was done by almost every            
,x,v,i,i,ith century child as a part of 
education1 indeed the practice of       
working samplers was continued some     
decades into the ,x,i,xth century4      
,actual size of original1 eighteen      
inches by twelve4   ,,plate ,,xi4--,an  
,example of ,persian                    
,embroidery4--,formerly in the          
collection of ,lord ,leighton1 and now  
in that of the ,london ,county          
,council's ,central ,school of ,arts and
 ,crafts4 ,the embroidery is carried out
 almost entirely in chain stitch with   
brilliantly coloured silks1 upon a fine 
semi-transparent ground4 ,the flowers   
that appear dark in the reproduction are
 worked in a bright rosy red1 others are
 yellow and orange1 and the leaves are  
in pale grey green outlined with a dark 
myrtle shade of the same4  ,size of     
panel1 about five feet by four4         
,,plate ,,xii4--,a ,detail from an      
,embroidered ,tablecloth4--,the entire  

surface of this fine white linen cloth  
is strewn with a profusion of beautiful 
flowers1 worked in floss silk in bright 
colours4 ,the flowers were all drawn    
directly from nature by the worker1     
,mrs4 ,w4 ,r4 ,lethaby4   ,,plate       
,,xiii4--,an ,embroidered ,altar        
,frontal1 executed by ,miss ,may        
,morris1 designed by ,mr4 ,philip       
,webb4--,the work is carried out with   
floss silk in bright colours and gold   
thread1 both background and pattern     
being embroidered4 ,the five crosses1   
that are placed at regular intervals    
between the vine leaves1 are couched in 
gold passing upon a silvery silk ground4
   ,,plate ,,xiv4--,two ,pieces of      
,ancient ,weaving taken from ,tombs in  
,egypt4--,these are exhibited in the    
,victoria and ,albert ,museum4 ,the     
upper example is about five inches      
square1 dated ,i,i,ird to ,v,i,ith      
century1 ,egypto-,roman work1 and is    
said to have decorated a child's tunic4 
,it is woven in coloured silks upon a   

green ground2 the colours are still     
wonderfully fresh and bright4 ,weavers  
may see various interesting technical as
 well as other points in this early     
work4 ,for instance1 how the difficulty 
of the narrow detached vertical lines1  
necessitated by change of colour in the 
weft1 has been overcome by using surface
 stitching instead1 the easier          
horizontal lines being woven in the     
usual way4 ,a good deal of this surface 
stitching can be seen in the ancient    
weaving2 sometimes an entire pattern is 
picked out by this method1 the ground   
having been first woven all over in some
 plain colour4  ,the lower border       
pattern is a band of weaving about two  
inches in width1 ,saracenic work4 ,it is
 woven in coloured silks and linen      
thread upon the actual warp threads of  
the garment that it decorates4 ,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 in1 in this 

way4 ,some of the weft threads have     
perished1 leaving the warp exposed to   
sight2 this enables the student to      
understand better the manner in which it
 was carried out4   ,,plate ,,xv4--,an  
,example of a ,tapestry ,field strewn   
with ,flowers4--,this kind of decoration
 is characteristic of many tapestry     
grounds1 for the style is particularly  
suited to the method of work1 and very  
happy in result4 ,the detail shown in   
this plate is taken from a piece of late
 ,x,v,ith century ,flemish work2 it     
carries on1 however1 a much earlier     
tradition4 ,the ground is of a dark blue
 colour1 and the flowers varied as in   
nature4   ,,plate ,,xvi4--,a ,tapestry  
,bag1 woven in coloured silk and gold   
thread by the ,author4--,the ground is  
woven with black silk1 decorated with   
gold at the top and base4 ,the centre   
panel is carried out in brightly        
coloured silks and gold thread4 ,the    
various compartments are filled with    
representations of flowers1 birds1 and  

fishes1 upon an alternating purple and  
blue background4 ,the dividing lines are
 of gold thread4  ,size of bag1 ten     
inches by six4     ,,the ,,collotype    
,,plates  ,illustration3 ,plate ,i4--,a 
detail from a ,x,i,vth ,century ,english
 ,cope4  ,illustration3 ,plate          
,,ii4--,two ,heads from a ,x,i,vth      
,century ,english ,cope preserved at    
,steeple ,aston1 ,oxfordshire4          
,illustration3 ,plate ,,iii4--,a small  
portion of a ,quilted ,coverlet1        
probably of ,sicilian work4 ,date about 
#adjj4  ,illustration3 ,plate ,,iv4--,a 
portion of an ,altar ,cloth ,band1      
embroidered in coloured silk threads    
upon a white linen ground4              
,illustration3 ,plate ,v4--,a portion of
 a late ,x,vth ,century ,orphrey1       
embroidered with the arms of ,henry     
,stafford1 ,duke of ,buckingham4        
,illustration3 ,plate ,,vi4--,a detail  
of ,foliage taken from a late ,x,v,ith  
,century ,embroidered ,picture1         
representing the story of ,daphne4      

,illustration3 ,plate ,,vii4--,an       
,embroidered ,x,v,i,ith or ,x,v,i,i,ith 
,century ,wool-work ,curtain4           
,illustration3 ,plate ,,viii4--,a       
portion of a large ,x,v,i,ith ,century  
,linen ,hanging1 embroidered with       
coloured wools4  ,illustration3 ,plate  
,,ix4--,cutwork ,lettering taken from a 
,x,v,i,ith ,century ,english ,sampler4  
,illustration3 ,plate ,x4--,an          
,embroidered ,sampler4  ,illustration3  
,plate ,,xi4--,an example of ,persian   
,embroidery4  ,illustration3 ,plate     
,,xii4--,a detail from an ,embroidered  
,tablecloth4 ,designed and executed by  
,mrs4 ,w4 ,r4 ,lethaby4  ,illustration3 
,plate ,,xiii4--,an ,embroidered ,altar 
,frontal1 executed by ,miss ,may        
,morris1 designed by ,mr4 ,philip ,webb4
  ,illustration3 ,plate ,,xiv4--,two    
pieces of ,ancient ,weaving taken from  
,tombs in ,egypt4  ,illustration3 ,plate
 ,,xv4--,an example of a ,tapestry      
,field strewn with ,flowers4            
,illustration3 ,plate ,,xvi4--,a        

,tapestry ,bag1 woven in coloured silk  
and gold thread by the ,author4         
,,index   ,altar-cloth band 7,plate     
,,iv47  ,altar frontal 7,plate ,,xiii47 
,appliances1 #cd  ,appliances and       
materials for tapestry weaving1 #cae    
,applied embroidery1 #agd  ,applied     
work1 #agb   ,background1 the1 #df      
,bag1 tapestry 7,plate ,,xvi47  ,beads1 
#ej  ,bobbins1 #cba  ,braid work1 #aff  
,broderie anglaise1 #bbb  ,bullions1    
#bce1 #bef   ,canvas work1 #adg         
,coat-stave1 #ccc  ,collotypes1         
descriptive notes on1 #cef  ,colour1 #gb
  ,comb1 #cbb1 #cdd  ,cope at ,steeple  
,aston 7,plate ,,ii471 #ceg  ,cope1     
detail from ,x,i,vth century ,english   
7,plate ,i471 #cef  ,cord1 #dj1 #bga    
,cord-making appliance1 #ci1 #bgc       
,cotton1 #di  ,couching1 #afd  ,couching
 gold1 ancient method of1 #bch          
,couching gold1 usual method1 #bej      
,coverlet1 quilted ,sicilian 7,plate    
,,iii471 #ceh  ,crewel work1 #ajc       
,curtain1 ,x,v,i,ith century 7,plate    

,,viii471 #cfa  ,curtain1 ,x,v,i,ith    
century wool-work 7,plate ,,vii471 #cfa 
,cutwork1 #bac1 #bba   ,darned netting1 
#baj  ,darning1 #aif  ,darning1 pattern1
 #aig  ,design1 #cj1 #ea  ,design for   
tapestry1 #caa  ,designing1 pattern1 #ea
  ,directions1 practical1 #bib  ,drawn  
thread work1 #bac  ,dressing the        
coat-stave1 #ccc   ,egyptian weaving    
7,plate ,,xiv471 #cfd  ,emblems1 #bgj   
,embroidery frame used as a loom1 #cbc  
,embroidery1 washing1 #big  ,embroidery 
with gold and silver threads1 #bbi      
,figure work1 #fi  ,fine drawing1 #cdf  
,flax threads1 #di  ,foliage1 detail of 
7,plate ,,vi471 #cfj  ,frames1          
embroidery1 #ce  ,frame work1 #cja      
,fringes1 #bhj   ,garniture of work1    
the1 #bga  ,gold and silver threads1    
embroidery with1 #bbi  ,gold thread     
embroidery1 #bbi   ,heraldry1 #bfh      
,inlaid work1 #ahj  ,interlocking       
stitch1 #cdg   ,knife1 #dc  ,knots1     
#aah1 #bhf  ,knotted cord1 #bgg         
,knotted thread1 #aai   ,laid work1 #afh

  ,lettering1 #bei  ,lettering1 cutwork1
 ,x,v,i,ith century 7,plate ,,ix471 #cfb
  ,linen1 #dg  ,loom1 #cae   ,madeira   
work1 #bbb  ,marking1 #bfb  ,materials1 
#dd  ,materials and appliances for      
tapestry weaving1 #cae  ,materials for  
gold work1 #bcc  ,methods of work1 #afd 
,monograms1 #bei   ,needles1 #ce1 #cbb  
,objects to work1 #ca1 #cad  ,open-work 
fillings1 #bja  ,opus plumarium1 #aja   
,orphrey1 ,x,vth century 7,plate ,v471  
#cei   ,past work1 study of1 #bh1 #ec   
,paste1 embroidery1 #bie  ,patch work1  
#ahc  ,pattern darning1 #aig  ,pattern  
designing1 #ea  ,pattern tracing1 #cbh  
,patterns1 transference of1 #db1 #bib   
,persian embroidery 7,plate ,,xi471 #cfc
  ,petit point pictures1 #adi  ,picots1 
#adc  ,piercer1 #dc  ,practical         
directions1 #bib  ,precious stones1 #ej 
,pricker1 #db  ,puckered work1 cure of1 
#bih  ,purls1 #bef   ,quilting1 #ahi    
,raised gold work1 #bec  ,raised work1  
#aib   ,sampler1 embroidered 7,plate    
,x471 #cfb  ,samplers1 #adh  ,satin1 #dh

  ,scissors1 #ce  ,shading1 #fh1 #cdh   
,silk1 #dh1 #cbg  ,silk threads1 #di    
,silver and gold threads1 embroidery    
with1 #bbi  ,spindle1 #dc  ,stands1     
embroidery frame1 #cg  ,stitches1 #ge   
,stitch1 back1 #ajg  ,stitch1 basket1   
#aca  ,stitch1 braid1 #hh  ,stitch1     
bullion1 #aba  ,stitch1 buttonhole1 #ajg
  ,stitch1 cable chain1 #ij  ,stitch1   
chain1 #gg  ,stitch1 chequered chain1   
#hd  ,stitch1 ,cretan1 #acd  ,stitch1   
cross1 #aeb  ,stitch1 double back       
stitch1 #abg  ,stitch1 feather stitch1  
#abi  ,stitch1 fishbone1 #aca  ,stitch1 
,french knot1 #abj  ,stitch1 ,gobelin1  
#aed  ,stitch1 herring-bone1 #abf       
,stitch1 ,holbein1 #aei  ,stitch1       
insertion1 various1 #aci  ,stitch1      
interlocking1 #cdg  ,stitch1 ,irish1    
#aee  ,stitch1 knot1 #abd  ,stitch1     
knotted chain1 #ib  ,stitch1 long and   
short1 #ii  ,stitch1 open chain1 #hf    
,stitch1 overcast1 #ajf  ,stitch1 plait1
 #aef  ,stitch1 rococo1 #afb  ,stitch1  
rope1 #hf  ,stitch1 ,roumanian1 #acf    

,stitch1 satin1 #ie  ,stitch1 split1 #id
  ,stitch1 stem1 #aja  ,stitch1 stroke1 
#aei  ,stitch1 tailor's buttonhole1 #aji
  ,stitch1 tambour1 #gg  ,stitch1 tent1 
#aec  ,stitch1 twisted chain1 #he       
,stitch1 two-sided ,italian1 #aef       
,stitch1 zigzag chain1 #hc              
,tablecloth1 embroidered 7,plate        
,,xii471 #cfd  ,tambour frame1 #ci      
,tapestry bag 7,plate ,,xvi471 #cfe     
,tapestry1 example 7,plate ,,xv471 #cff 
,tapestry weaving1 introduction to1 #cjg
  ,tassels1 #bhc  ,tarnish of gold and  
silver threads1 #bcg  ,thimbles1 #ce    
,threads1 #di1 #bii1 #cbg  ,threads1    
gold and silver1 #bbi  ,tools1 #cd      
,tools for tapestry weaving1 #cae       
,tracing patterns1 #db1 #cbh  ,tracing  
patterns on warp1 #ccf  ,transferring   
patterns1 methods of1 #bib              
,transferring patterns1 requisites for1 
#db   ,velvet1 #dh   ,warp1 #cbf        
,warping the loom1 #cbh  ,washing       
embroidery1 #big  ,weaving1 #cci        
,weaving1 ,egyptian 7,plate ,,xiv471    

#cfd  ,weaving1 tapestry1 #cje  ,work1  
garniture of1 #bga  ,work1 methods of1  
#afd  ,work1 preparations for1 #cbh     
,work1 protection and preservation of1  
#bib  ,wools1 #di1 #cbg   ,printed by   
,,ballantyne1 ,,hanson  ,,co4 ,edinburgh
  ,london            99       99        
99       99       99     ,,embroidery   
,,materials  ,,george ,,kenning  ,,son1 
,,goldsmiths1 ,,gold ,,lacemen1 ,,and   
,,embroiderers1 are the actual          
manufacturers of all materials that are 
best for ,embroidery of any and every   
description4  ,illustration             
,illustration  ,the following are a few 
articles from the great variety they    
manufacture3 ,threads1 ,tambours1       
,braids1 ,laces1 and ,cords in ,gold1   
,silver1 ,tinsel1 and ,aluminium2 also  
,spangles1 ,sequins1 ,ornaments1 and    
,beads of every possible variety4       
,please insist on your ,draper or ,fancy
 ,warehouseman supplying only materials 
manufactured by ,,george ,,kenning      
,,son4  ,,manufactory3 #a_/d ,,little   

,,britain1 ,e4,c4  ,and at ,liverpool1  
,glasgow1 and ,manchester4  ,,ribbon    
,,weaving ,,factory1 ,,coventry         
99       99       99       99       99  
,j4 ,,maygrove  ,,co4 ,,ltd4  ,,mills-- 
,,warehouse-- ,,st4 ,,albans4       #ea 
,,aldersgate ,,street1 ,,london1 ,e4,c4 
,manufacturers of ,silks for ,weaving   
and ,embroidery4  ,for ,,really         
,,reliable ,,boiling and ,,unfading     
,,dyes4  ,,maygrove',s ,,duchesse       
,,floss4      ,,maygrove',s ,,twisted   
,,embroidery4          ,,maygrove',s    
,,filoselle1 c4  ,,unequalled ,,for     
,,lustre1 ,,permanence1 ,,and ,,artistic
 ,,graduations ,,of ,,colour4  ,,ready  
,,for ,,use4   ,,for ,,weaving4  ,,china
 ,,tram                 #ajjj ,shades4  
,,tussah ,,tram ,,and ,,organzine   #ejj
 ,shades4 ,,oriental ,,floche           
#ejj ,shades4 ,,worsted                 
,,yarns--,,cotton ,,yarns4   ,,stocked  
,,ready ,,for ,,dyeing4  ,organzines1   
,sewings1 ,flosses1 ,twists1 and ,,spun 
,,silks4 ,,worsted ,cords1 ,genappes1   

,mohairs1 c4 c4          99       99    
99       99       99   ,,plaster ,,casts
  ,,lettering ,,for ,,letter ,,cutters  
,,by ,a4 ,e4 ,r4 ,,gill  ,plaster ,casts
 of the ,stones shown on the ,collotype 
,plates1 numbers #ac1 #ad1 and #ae1 in  
the ,portfolio1 ,manuscript and         
,inscription ,letters1 by ,edward       
,johnston1 price #cs4 #f;d4 net1 are    
obtainable from the ,publisher1 or      
direct from ,messrs4 ,c4 ,,smith        
,,sons1 ,moulders1 #ae ,kentish ,town   
,road1 ,london1 ,n4,w41 at the following
 prices3--  ,roman ,capital ,letters    
7,incised74         ,lower-case         
,italics1 c4 7,incised74      #abs4 net 
per set of three4 ,raised ,letters1     
,capitals1 c4                           
,,packed--,,delivered ,,free ,,in       
,,london--,,carriage ,,forward ,,for    
,,country  ,these ,casts being          
facsimiles of the actual stones make the
 best kind of models for ,letter        
,cutters and ,sculptors1 and all who    
have to do with ,inscriptions4 ,being   

small1 they are easily handled4  ,the   
,portfolio1 ,manuscript and ,inscription
 ,letters1 by ,edward ,johnston1 is     
intended as a working supplement to his 
handbook1 ,writing and ,illuminating1   
and ,lettering1 price #fs4 #f;d4 net4   
,it contains #af plates in all1         
measuring #i-g_/h x #ab-c_/h inches1    
with full descriptions and notes4       
,,john ,,hogg1 ,publisher1 #ac          
,,paternoster ,,row1 ,,london1 ,e4,c4   
99       99       99       99       99  
,,robert ,s4 ,,ronald  ,decorator and   
,upholsterer  ,illustration  ,loom      
,maker to the ,royal ,school of ,art1   
,south ,kensington  ,table or ,pedestal 
,looms to ,order  ,prices on            
,application  ,office and ,works-- ,,st4
 ,,ann',s ,,hill1 ,,wandsworth1         
,,london1 ,s4,w4          99       99   
99       99       99   ,,the ,,artistic 
,,crafts ,,series   ,,bookbinding ,,and 
,,the ,,care ,,of ,,books4 ,by ,,douglas
 ,,cockerell4 ,third ,edition4 #abb     
,drawings by ,,noel ,,rooke4 #h ,pages  

,collotype ,reproductions4 #ceb pp4 #es4
 net4  ,,extract ,,from ,the ,times4    
444 ,a capital proof of the reasoned    
thoroughness in workmanship1   which is 
the first article in the creed of those 
who 444 are   attempting to carry into  
practice the industrial teaching of     
,ruskin   and ,william ,morris4         
,,silverwork ,,and ,,jewellery4 ,by ,h4 
,,wilson4 ,second ,edition4 #bhj        
,diagrams by the ,author4 #cb ,pages of 
,collotype ,reproductions4 #ejj pp4 #fs4
 #f;d4 net4  ,containing special        
chapters1 fully illustrated1 based on   
demonstrations and with notes by        
,professor ,,unno ,,bisei and ,professor
 ,t4 ,,kobayashi1 of the ,imperial ,fine
 ,art ,college at ,tokyo1 giving the    
traditional method of ,casting1         
,damascening1 ,incrustation1 ,inlaying1 
,engraving1 and ,metal ,colouring still 
practised in ,japan1 also on ,niello1   
the ,making of ,boxes and ,card ,cases1 
with chapters on ,egyptian and ,oriental
 methods of work4   ,,woodcarving3      

,,design ,,and ,,workmanship4 ,by       
,,george ,,jack4 #gi ,drawings by the   
,author4 #af ,pages of ,collotype       
,reproductions4 #cbj pp4 #es4 net4      
,,extract ,,from ,the ,builders'        
,journal4    ,undoubtedly the best guide
 to ,woodcarving extant4444 ,a practical
   work1 written with clearness and     
literary power by a practical man   444 
of great artistic talent4444 ,the       
illustrations are excellent4   ,,stained
 ,,glass ,,work4 ,by ,c4 ,w4 ,,whall4   
#gc ,diagrams by ,two of ,his           
,apprentices4 #af ,pages of ,collotype  
,reproductions4 #cib pp4 #es4 net4      
,,extract ,,from ,the ,scotsman4    ,it 
provides an exposition at once          
instructive and interesting of   the    
workshop practice of the craft 444 of   
,stained ,glass1 animated   throughout  
by an encouraging and cheerful sense of 
the dignity and   the elevating         
influence of such an occupation4        
,,embroidery ,,and ,,tapestry ,,weaving4
 ,by ,mrs4 ,a4 ,h4 ,,christie4 #agh     

,diagrams and ,illustrations by the     
,author4 #af ,pages of ,collotype       
,reproductions4 #cbj pp4 #fs4 net4      
7,third ,edition47  ,,extract ,,from    
,the ,pall ,mall ,gazette4    ,mrs4     
,christie has performed her task to     
admiration1 444 and her   lucid         
explanations of various kinds of        
stitches 444 should be of   value to all
 workers at embroidery or tapestry      
weaving and to   novices anxious to     
learn4   ,,writing ,,and ,,illuminating1
 ,,and ,,lettering4 ,by ,,edward        
,,johnston4 #bbg ,illustrations and     
,diagrams by the ,author and ,,noel     
,,rooke4 #h ,pages of ,examples in ,red 
and ,black4 #bd ,pages of ,collotype    
,reproductions4 #eab pp4 7,fifth        
,edition47  ,,extract ,,from ,the       
,athenaeum4    444 ,this book belongs to
 that extremely rare class in which     
every   line bears the impress of       
complete mastery of the subject4 ,we    
congratulate ,mr4 ,johnston on having   
produced a work at once original   and  

complete4   ,,hand-,,loom ,,weaving4 ,by
 ,,luther ,,hooper4 #abe ,drawings by   
the ,author and ,,noel ,,rooke4         
,coloured and ,collotype ,reproductions4
 #cfh pp4 #fs4 net4  ,,extract ,,from   
,the ,morning ,post4    444 ,every phase
 and process in weaving is described    
with so clear   and careful an          
exactitude1 that1 helped as the text is 
by the   ,author's sketches and         
diagrams1 the reader should have no     
difficulty   in conquering with its aid 
the rudiments of the craft4             
,,portfolios 7in the ,series7 already   
issued4  ,,school ,,copies ,,and        
,,examples4 ,selected by ,w4 ,r4        
,,lethaby and ,a4 ,h4 ,,christie4 #ab   
,drawing ,copies 7#a in colours71 with  
,descriptive ,letterpress4 #cs4 #f;d4   
net4  ,,manuscript ,,and ,,inscription  
,,letters4 ,for ,schools and ,classes   
and the ,use of ,craftsmen4 ,by ,,edward
 ,,johnston4 ,with #e ,plates by ,a4 ,e4
 ,r4 ,,gill1 #af ,plates in all4 ,full  
,notes and ,descriptions by the ,author4

 #cs4 #f;d4 net4 7,second ,edition47    
,,new ,,volume ,,in ,,the ,,press       
,,heraldry ,,for ,,craftsmen ,,and      
,,designers  ,,by  ,w4 ,h4 ,,st4 ,,john 
,,hope1 ,m4,a4  ,further ,volumes and   
,portfolios in preparation4   ,,on      
,,workmanship  ,a ,,lecture ,,by ,h4    
,,wilson  ,,author ,,of ,,silverwork    
,,and ,,jewellery  #as4 #f;d4 net       
,,john ,,hogg1 #ac ,,paternoster ,,row1 
,,london