,decoration ,,handbook ,,of ,,embroidery4 ,decoration ,,handbook ,,of ,,embroidery ,,by ,l4 ,,higgin4 ,,edited ,,by ,,lady ,,marian ,,alford4 ,,published ,,by ,,authority ,,of ,,the ,,royal ,,school ,,of ,,art-,,needlework1 ,,and ,,dedicated ,,to ,,their ,,president1 ,h4,r4,h4 ,,princess ,,christian1 ,,of ,,schleswig-,,holstein1 ,,princess ,,of ,,great ,,britain ,,and ,,ireland4 ,decoration ,,london3 ,,sampson ,,low1 ,,marston1 ,,searle1 ,,and ,,rivington1 ,,crown ,,buildings1 ,,fleet ,,street4 #ahhj4 7,all rights reserved47 ,,note4 ,plates ,nos4 #d and #ai show a portion only of the designs by ,mr4 ,w4 ,morris and ,mr4 ,fairfax ,wade4 ,decoration ,,preface4 ,in drawing up this little ,handbook of ,embroidery we do not pretend to give such complete technical directions as would enable a beginner in this beautiful art to teach herself2 because learning without practical lessons must be incomplete1 and can only lead to disappointment4 ,we have sought1 therefore1 only to respond to the inquiries we are constantly receiving1 and to supply useful hints to those who are unable to avail themselves of lessons1 and are forced to puzzle over their difficulties without help from a trained and experienced embroiderer2 at the same time1 the rules we have laid down and the directions we have given may serve to remind those who have passed through the classes1 of many little details which might easily be forgotten when the lessons are over1 though so much of the success of embroidery depends upon them4 ,we have given a short description of the most useful stitches1 and have pointed out their applicability to different styles of work2 we have named the various materials which are best suited as grounds for embroidery1 and the silks1 filoselles1 crewels1 c41 which are most commonly employed1 with practical rules for their use in the best and most economical manner4 ,also we have given such plain directions as to stretching1 framing1 and cleaning the work as are possible in a limited space1 and without practical illustration4 ,we venture to hope we have thus supplied a want that has been long felt by those who interest themselves in the art in which ,englishwomen once excelled1 but which had languished of late years1 and almost died out amongst us1 though it has always been taught in many continental cities1 where embroideries have never ceased to be required for church decoration4 ,we have abstained from giving any directions as to the tracing of designs upon material1 for two sufficient reasons3 firstly1 that the ,royal ,school of ,art-,needlework has never supplied designs alone1 or in any other form than as prepared work2 and secondly1 that having made experiments with all the systems that have been brought out for stamping1 ironing from transfer-papers1 or with tracing powder1 it has been found that designs can only be artistically and well traced on material by hand painting4 ,those ladies who can design and paint their own patterns for embroidery are independent of assistance1 and to those who are unable to do so we cannot recommend any of the methods now advertised4 ,it has been thought unnecessary to enter into the subject of ecclesiastical embroidery at present4 ,this has been so thoroughly revived in ,england1 and practised in such perfection by sisterhoods--both ,anglican and ,roman ,catholic--as well as by some of the leading firms of church decorators1 that we have not felt ourselves called upon to do more than include it in our course of lessons4 ,the sthetic side of our subject we have purposely avoided1 as it would lead us further than this purely technical guide-book pretends to go4 ,but we propose shortly to bring out a second part devoted to design1 composition1 colour1 and the common-sense mode of treating decorative ,art1 as applied to wall-hanging1 furniture1 dress1 and the smaller objects of luxury4 ,we shall examine and try to define the principles which have guided ,eastern and ,western embroideries at their best periods1 hoping thus to save the designers of the future from repeating exploded experiments against received canons of good taste2 checking1 if we can1 the exuberance of ignorant or eccentric genius1 but leaving room for originality4 ,mrs4 ,dolby1 who by her presence and her teaching helped ,lady ,welby to start the ,royal ,school of ,art-,needlework1 has left behind her a most valuable guide for medival work in her ,church ,embroidery1 ,ancient and ,modern1 which will always be a first-class authority4 ,the ,author and the ,editor of this handbook are equally impressed with the responsibility they have undertaken in formulating rules for future embroiderers4 ,they have consulted all acknowledged authorities1 and from them have selected those which the teachers in the ,royal ,school of ,art-,needlework have found the most practical and instructive4 ,should any of their readers favour them with hints or criticisms1 or give them information as to pieces of embroidery worth studying1 or stitches not here named1 any such communications will be gratefully received and made use of in future editions4 ,,the ,,editor4 ,decoration ,decoration ,,table ,,of ,,contents4 ,,chapter ,i4 ,page #a4 ,,of ,,implements ,,and ,,materials ,,used ,,in ,,modern ,,embroidery4 ,,page ,needles #a ,scissors #a ,prickers1 c4 #b ,crewels #c ,tapestry ,wool #d ,arrasene #d ,embroidery or ,bobbin ,silk #e ,rope ,silk #e ,fine ,silk #f ,purse ,silk #f ,raw or ,spun ,silk #f ,vegetable ,silk #f ,filoselle #g ,tussore #g ,gold #h ,japanese ,gold ,thread #h ,chinese ,gold #h ,gold and ,silver ,passing #h ,bullion or ,purl #h ,spangles #i ,plate #i ,recipes for ,preserving ,gold #aj ,,chapter ,,ii4 ,page #aa4 ,,textile ,,fabrics ,,used ,,as ,,grounds ,,for ,,embroidery4 ,linens #aa ,flax #aa ,twill #aa ,kirriemuir ,twill #aa ,sailcloth #ab ,oatcake ,linen #ab ,oatmeal ,linen #ab ,smock ,linen #ab ,bolton1 or ,workhouse ,sheeting #ab ,satins and ,silks #ad ,silk ,sheeting #ad ,tussore and ,corah ,silks #ae ,plain ,tapestries #ae ,brocatine #ae ,cotton and ,woollen #af ,velveteen #af ,utrecht ,velvet #af ,velvet ,cloth #af ,felt #af ,diagonal ,cloth #af ,serge #ag ,soft1 or ,super ,serge #ag ,cricketing ,flannel #ag ,genoa or ,lyons ,velvet #ag ,silk ,velvet ,plush #ag ,cloths of ,gold and ,silver #ah ,,chapter ,,iii4 ,page #ai4 ,,stitches4 ,stem ,stitch #ai ,split ,stitch #bb ,satin ,stitch #bc ,blanket ,stitch #bc ,button-hole ,stitch #bd ,knotted ,stitch #bd ,chain ,stitch #bg ,twisted ,chain #bh ,feather ,stitch #bi ,,chapter ,,iv4 ,page #cc4 ,frames and ,framing #cc ,,chapter ,v4 ,page #cg4 ,,stitches ,,used ,,in ,,frame ,,embroidery4 ,feather ,stitch #cg ,couching or ,laid ,embroidery #ci ,net-patterned ,couching #da ,brick ,stitch #da ,diaper ,couchings #db ,basket ,stitch #db ,spanish ,embroidery #dc ,cross ,stitch #de ,simple ,cross ,stitch #df ,persian ,cross ,stitch #df ,burden ,stitch #ej ,stem ,stitch #ea ,japanese ,stitch #ea ,tambour ,work #ea ,opus ,anglicum #eb ,cut ,work #ed ,inlaid ,appliqu #ed ,onlaid ,appliqu #ed ,gold ,embroidery #eg ,backing #eh ,stretching and ,finishing #ei ,embroidery ,paste #ei ,cleaning #fj ,,illustrations4 ,description of the ,plates #fb ,sixteen ,plates1 containing #bd ,designs #fe to #if ,decoration ,decoration ,,handbook ,,of ,,embroidery4 ,,chapter ,i4 ,,of ,,materials ,,and ,,implements ,,used ,,in ,,modern ,,embroidery4 ,,implements4 ,needles4--,the best embroidery needles for ordinary crewel handwork are ,nos4 #e and #f4 ,for coarse sailcloth1 flax1 or oatcake1 ,no4 #d4 ,for frame embroidery1 or very fine handwork1 the higher numbers1 from #g to #aj4 ,it is a mistake to use too fine a needle4 ,the thread of crewel or silk should always be able to pass loosely into the eye1 so as not to require any pulling to carry it through the material4 99 99 99 99 99 ,scissors should be finely pointed1 and very sharp4 99 99 99 99 99 ,thimbles which have been well worn1 and are therefore smooth1 are best4 ,some workers prefer ivory or vulcanite4 ,two thimbles should be used for framework4 99 99 99 99 99 ,prickers are necessary for piercing holes in gold embroidery1 and also for arranging the lie of the thread in some forms of couching4 ,decoration ,decoration ,,materials4 ,,crewels1 ,,and ,,how ,,to ,,use ,,them4 ,crewel should be cut into short threads1 never more than half the length of the skein4 ,if a long needleful is used1 it is not only apt to pull the work1 but is very wasteful1 as the end of it is liable to become frayed or knotted before it is nearly worked up4 ,if it is necessary to use it double 7and for coarse work1 such as screen panels on sailcloth1 or for embroidering on ,utrecht velvet1 it is generally better doubled71 care should be taken never to pass it through the eye of the needle1 knotting the two ends2 but two separate threads of the length required should be passed together through the needle4 ,crewel should not be manufactured with a twist1 as it makes the embroidery appear hard and rigid2 and the shades of colour do not blend into each other so harmoniously as when they are untwisted4 ,in crewels of the best quality the colours are perfectly fast1 and will bear being repeatedly washed1 provided no soda or washing-powder is used4 ,directions for cleaning crewel work are given later2 but it should not be sent to an ordinary laundress1 who will most certainly ruin the colours4 ,crewel is suitable for embroidery on all kinds of linen--on plain or diagonal cloth1 serge1 flannel1 c4 ,it is also very effective when used in conjunction with embroidery silk1 or filoselle1 either in conventional designs1 or where flowers are introduced4 ,the leaves may be worked in crewels1 and the flowers in silk1 or the effect of the crewels increased by merely touching up the high lights with silk4 99 99 99 99 99 ,tapestry ,wool is more than twice the thickness of crewel1 and is used for screen panels1 or large curtain borders1 where the work is coarse1 and a good deal of ground has to be covered4 ,it is also used for bath blankets and carriage and sofa rugs4 ,tapestry wool is not yet made in all shades4 ,fine crewels are used for delicately working small figures1 d'oyleys1 c42 but there is also a difficulty about obtaining these in all shades1 as there is not much demand for them at present4 99 99 99 99 99 ,arrasene is a new material4 ,it is a species of worsted chenille1 but is not twisted round fine wire or silk1 like ordinary chenille2 though it is woven first into a fabric1 and then cut in the same manner4 ,it serves to produce broad effects for screen panels1 or borders1 and has a very soft1 rich appearance when carefully used4 ,it is made also in silk2 but this is inferior to worsted arrasene1 or the old-fashioned chenille4 ,decoration ,,silks4 ,embroidery1 or ,bobbin ,silk1 which has now almost superseded floss1 is used for working on satin and silk1 or for any fine work4 ,it is made in strands1 each of which has a slight twist in it to prevent its fraying as floss does4 ,as this silk is required in all varieties of thickness1 it is manufactured in what is technically called rope1 that is1 with about twelve strands in each thread4 ,when not rope silk1 it is in single strands1 and is then called fine silk4 ,as it is almost always necessary to use several strands1 and these in varying number1 according to the embroidery in hand1 the rope silk has to be divided1 or the fine doubled or trebled1 as the case may be4 ,if rope silk is being used1 the length required for a needleful must be cut and passed carefully between finger and thumb once or twice1 that it may not be twisted4 ,it should then be carefully separated into the number of strands most suitable for the embroidery in hand2 for ordinary work three is about the best number4 ,these must be threaded together through the needle1 care being taken not to tangle the piece of rope from which they have been detached4 ,there need be no waste if this operation is carefully done1 as good silk will always divide into strands without fraying4 ,in using fine silk1 one length must be cut first1 then other strands laid on it1--as many as are needed to form the thickness required4 ,they should be carefully laid in the same direction as they leave the reel or card4 ,if placed carelessly backwards and forwards1 they are sure to fray1 and will not work evenly together4 ,with silk still more than with crewel1 it is necessary to thread all the strands through the needle together1 never to double one back1 and never to make a knot4 ,it is intended in future to do away with this distinction between rope and fine silk1 and to have it all manufactured of one uniform thickness1 which will consist of eight strands of the same quality as the fine silk at present in use4 ,as it will1 however1 still be necessary to divide the thread1 and even perhaps occasionally to double it1 the directions given above will be useful4 99 99 99 99 99 ,purse ,silk is used sometimes for diapering1 and in rare cases in ordinary embroidery1 where a raised effect is required4 99 99 99 99 99 ,raw or spun silk is a soft untwisted cream-coloured silk1 used for daisies and other simple white flowers1 or in outlining4 ,it is much cheaper than embroidery silk or filoselle4 99 99 99 99 99 ,vegetable ,silk 7so-called7 is not used or sold by the ,royal ,school4 99 99 99 99 99 ,filoselle1 when of good quality1 is not1 as some people suppose1 a mixture of silk and cotton4 ,it is pure silk1 but of an inferior quality2 and therefore cheaper4 ,it answers many of the purposes of bobbin silk1 but is not suitable for fine embroidery on silk or satin fabrics4 ,it should be used also in strands1 and the same remarks hold good with regard to its not being doubled1 but cut in equal lengths4 99 99 99 99 99 ,tussore4--,interesting experiments have recently been made with the ,tussore1 or wild silk of ,india1 which bids fair to create a revolution in embroidery4 ,not only can it be produced for less than half the price of the cultivated silk of ,italy1 ,china1 or ,japan1 but it also takes the most delicate dyes with a softness that gives a peculiarly charming effect4 ,it can scarcely be said to be in the market as yet1 but in all probability before this work is through the press it will have become an important element in decorative needlework4 ,it is much less glossy than cultivated silk4 ,decoration ,decoration ,,gold ,,thread1 c4 ,japanese gold thread1 which has the advantage of never tarnishing1 is now extremely difficult to obtain4 ,being made of gilt paper twisted round cotton thread1 it cannot be drawn through the material by the needle2 but must in all cases be laid on1 and stitched down with a fine yellow silk1 known as ,maltese1 or ,horse-tail4 99 99 99 99 99 ,chinese gold is manufactured in the same manner as the ,japanese2 but being of a much redder colour is not so satisfactory in embroidery unless a warm shade is desirable for a particular work4 99 99 99 99 99 ,gold and silver passing1 a very fine kind of thread1 can either be used for working through the material1 or can be laid on like the ,japanese gold4 ,they are suitable for raised gold or silver embroidery4 99 99 99 99 99 ,bullion1 or ,purl1 is gold or silver wire made in a series of continuous rings1 like a corkscrew4 ,it is used in ecclesiastical work1 for embroidering official and military uniforms1 and for heraldic designs4 ,it should be cut into the required lengths--threaded on the needle and fastened down as in bead-work4 ,purl is sometimes manufactured with a coloured silk twisted round the metal though not concealing it1 and giving rich tints to the work4 99 99 99 99 99 ,spangles were anciently much used in embroidery1 and were sometimes of pure gold4 ,they are but little used now4 99 99 99 99 99 ,plate consists of narrow plates of gold or silver stitched on to the embroidery by threads of silk1 which pass over them4 99 99 99 99 99 ,the ,french and ,english gold thread is made of thin plates of metal cut into strips1 and wound round strands of cotton in the same manner as the ,japanese gold4 ,if the metal is real1 the cost is of course great4 ,it is sold by weight1 gold being about #bjs4 per oz41 and silver1 #ajs4 per oz4 ,in addition to its superiority in wear1 it has this advantage1 that old gold or silver thread is always of intrinsic value1 and may be sold at the current price of the metal whatever state it may be in4 ,many varieties of gilt thread are manufactured in ,france and ,england1 which may be used when the great expense of real gold is objected to4 ,but although it looks equally well at first1 it soon becomes tarnished1 and spoils the effect of the embroidery4 ,gold and silver threads are difficult to work with in ,england1 and especially in ,london1 as damp and coal-smoke tarnish them almost before the work is out of the frame4 ,mrs4 ,dolby recommends cloves being placed in the papers in which they are kept4 ,decoration ,,recipes ,,for ,,preserving ,,gold4 ,we give here two recipes1 which may be found serviceable4 ,they are from different sources2 the first is a very old one4 ,they may preserve gold for a certain time4 #a4 ,isinglass dissolved in spirits of wine and brushed over the thread or braid1 which should be hung over something to dry1 and not touched with the hand4 #b4 ,spirits of wine and mastic varnish mixed very thin and put on in the same way with a brush4 ,decoration ,decoration ,,chapter ,,ii4 ,,textile ,,fabrics ,,used ,,as ,,grounds ,,for ,,embroidery4 ,,linens4 ,there are many varieties of unglazed1 half-bleached linens1 from that thirty-six and forty inches wide1 used for chair-back covers1 to that ninety inches wide1 used for large table-covers1 curtains1 c4 ,there are also endless varieties of fancy linens1 both of hand and power-loom weaving1 for summer dresses1 for bed furniture1 chair-back covers1 table-cloths1 c4 99 99 99 99 99 ,flax is the unbleached brown linen1 often used for chair-back covers4 99 99 99 99 99 ,twill is a thick linen suitable for coverings for furniture4 99 99 99 99 99 ,kirriemuir ,twill is a fine twilled linen made at ,kirriemuir1 and is good for tennis aprons1 dresses1 curtains1 c4 99 99 99 99 99 ,sailcloth is a stout linen1 of yellow colour1 and is only suitable for screen panels4 99 99 99 99 99 ,oatcake ,linen1 so called from its resemblance to ,scotch oatcake1 has been popular for screen panels or washstand backs4 ,it is very coarse and rough4 99 99 99 99 99 ,oatmeal ,linen is finer and of a greyer tone4 ,it is also used for screens1 and for smaller articles4 99 99 99 99 99 ,smock ,linen is a strong even green cloth4 ,it makes an excellent ground for working screens1 and is also used for tennis aprons4 99 99 99 99 99 ,crash4--,properly speaking1 the name crash is only applied to the coarse ,russian home-spun linen1 which has been such a favourite from the beauty of its tone of colour4 ,it is1 however1 erroneously applied to all linens used for embroidery1 whether woven by hand-loom or machinery2 and this confusion of names frequently leads to mistakes4 ,crash is almost always very coarse1 is never more than eighteen inches wide1 and cannot be mistaken for a machine-made fabric4 ,it is woven by the ,russian peasants in their own homes1 in lengths varying from five to ten yards1 and1 therefore1 though sent over in large bales1 it is very difficult to find two pieces among a hundred that in any way match each other4 99 99 99 99 99 ,bolton1 or ,workhouse ,sheeting1 is a coarse twilled cotton fabric1 seventy-two inches wide1 of a beautiful soft creamy colour1 which improves much in washing4 ,it is inexpensive1 and an excellent ground for embroidery1 either for curtains1 counterpanes1 chair coverings1 or for ladies' dresses1 or tennis aprons4 ,it resembles the twilled cotton on which so much of the old crewel embroidery was worked in the seventeenth century1 and is one of the most satisfactory materials when of really good quality4 99 99 99 99 99 ,all descriptions of linen1 except the oatcake and sailcloth1 can be embroidered in the hand4 ,decoration ,decoration ,,textile ,,fabrics4 ,,satins ,,and ,,silks4 ,satins and ,silks can only be embroidered in a frame4 ,furniture satins of stout make1 with cotton backs1 may be used without backing2 but ordinary dress satins require to have a thin cotton or linen backing to bear the strains of the work and framing4 ,nothing is more beautiful than a rich white satin for a dress embroidered in coloured silks4 ,for fans1 a very fine1 closely woven satin is necessary1 as it will not fold evenly unless the satin is thin2 and yet it must be rich enough to sustain the fine embroidery1 without pulling1 or looking poor4 ,a special kind of satin is made for the manufacture of fans1 and none other is available4 99 99 99 99 99 ,silk ,sheeting of good quality1 ,satin de ,chine and other silk-faced materials of the same class1 may either be embroidered in the hand1 or framed2 but for large pieces of work a frame is essential4 ,these materials are suitable for curtains1 counterpanes1 piano coverings1 or panels1 and indeed for almost any purpose4 ,the finer qualities are very beautiful for dresses1 as they take rich and graceful folds1 and carry embroidery well4 99 99 99 99 99 ,tussore and ,corah ,silks are charming for summer dresses1 light chair-back covers1 or embroidered window blinds4 ,they will only bear light embroidering in silk or filoselle4 ,within the last year successful experiments have been made in dyeing these ,indian silks in ,england4 ,the exact shades which we admire so much in the old ,oriental embroideries have been reproduced1 with the additional advantage of being perfectly fast in colour4 ,nothing can be more charming as lining for table-covers1 screens1 curtains1 c42 and they are rather less expensive than other lining silks4 ,the fabrics known as ,plain ,tapestries are a mixture of silk and cotton1 manufactured in imitation of the handworked backgrounds so frequent in ancient embroideries--especially ,venetian4 ,almost all the varieties of ,opus ,pulvinarium1 or cushion stitch1 have been reproduced in these woven fabrics4 99 99 99 99 99 ,brocatine is a silk-faced material1 woven to imitate couched embroidery4 ,the silk is thrown to the surface and is tied with cotton threads from the back4 ,as ground for embroidery it has an excellent effect4 ,decoration ,,textile ,,fabrics4 ,,cottons ,,and ,,woollens4 ,velveteen1 if of good quality1 makes an excellent ground for screen panels1 chair-covers1 portires1 curtains1 borders1 c4 ,it can be worked in the hand if the embroidery be not too heavy or large in style4 99 99 99 99 99 ,utrecht ,velvet is only suitable for coarse crewel or tapestry wool embroidery4 ,it is fit for curtain dados or wide borderings4 99 99 99 99 99 ,velvet ,cloth is a rich plain cloth1 finished without any gloss4 ,it is a good ground for embroidery1 either for curtains or altar-cloths4 ,it is two yards wide4 99 99 99 99 99 ,felt is sometimes used for the same purposes1 but does not wear nearly so well1 and is difficult to work4 99 99 99 99 99 ,diagonal ,cloth can be worked either in the hand or frame1 although it is always much better in the latter4 ,it is used for table-covers1 curtains1 chair-seats1 c4 99 99 99 99 99 ,serge is usually made thirty-six inches wide4 ,it has long been in favour for curtains1 small table-covers1 dresses1 c4 ,it can now be obtained at the school fifty-four inches wide1 in many shades4 99 99 99 99 99 ,soft or ,super ,serge1 also fifty-four inches wide1 is an excellent material1 much superior in appearance to diagonal cloth1 or to the ordinary rough serge4 ,it takes embroidery well4 99 99 99 99 99 ,cricketing flannel is used for coverlets for cots1 children's dresses1 and many other purposes4 ,it is of a beautiful creamy colour1 and is a good ground for fine crewel or silk embroidery4 ,it need not be worked in a frame4 99 99 99 99 99 ,genoa or ,lyons ,velvet makes a beautiful ground for embroidery2 but it can only be worked in a frame1 and requires to be backed with a thin cotton or linen lining1 if it is to sustain any mass of embroidery4 ,for small articles1 such as sachets or casket-covers1 when the work is fine and small1 the backing is not necessary4 ,screen panels of velvet1 worked wholly in crewels1 or with crewel brightened with silk1 are very effective4 ,three-piled velvet is the best for working upon1 but is so expensive that it is seldom asked for4 99 99 99 99 99 ,silk ,velvet ,plush 7a new material7 can only be used in frame work1 and must be backed4 ,it is useful in appliqu from the many beautiful tones of colour it takes4 ,as a ground for silk or gold embroidery it is also very good4 ,decoration ,,textile ,,fabrics4 ,,gold ,,and ,,silver ,,cloth4 ,cloth of ,gold or ,silver is made of threads of silk woven with metal1 which is thrown to the surface4 ,in its best form it is extremely expensive1 varying from #d to #f per yard1 according to the weight of gold introduced4 ,cloth of silver is generally #c the yard4 99 99 99 99 99 ,inferior kinds of these cloths are made in which silk largely predominates1 and shows plainly on the surface4 ,they are frequently woven in patterns1 such as diaper or diagonal lines1 with a tie of red silk1 in imitation of the diaper patterns of couched embroidery4 ,they are chiefly used in ecclesiastical or heraldic embroidery2 their great expense preventing their general use4 ,decoration ,,chapter ,,iii4 ,,stitches ,,used ,,in ,,hand ,,embroidery ,,as ,,taught ,,at ,,the ,,royal ,,school ,,of ,,art-,,needlework4 ,to avoid pulling or puckering the work1 care should be taken--firstly1 that the needle is not too small1 so as to require any force in drawing it through the material2 secondly1 the material must be held in a convex position over the fingers1 so that the crewel or silk in the needle shall be looser than the ground2 and thirdly1 not to use too long needlefuls4 ,these rules apply generally to all handworked embroideries4 ,,stitches4 ,stem ,stitch4--,the first stitch which is taught to a beginner is stem stitch 7wrongly called also1 crewel stitch1 as it has no claim to being used exclusively in crewel embroidery74 ,it is most useful in work done in the hand1 and especially in outlines of flowers1 unshaded leaves1 and arabesque1 and all conventional designs4 ,illustration3 ,no4 #a4--,,stem ,,stitch4 ,it may be best described as a long stitch forward on the surface1 and a shorter one backward on the under side of the fabric1 the stitches following each other almost in line from left to right4 ,the effect on the wrong side is exactly that of an irregular back-stitching used by dressmakers1 as distinguished from regular stitching4 ,a leaf worked in outline should be begun at the lower or stalk end1 and worked round the right side to the top1 taking care that the needle is to the left of the thread as it is drawn out4 ,when the point of the leaf is reached1 it is best to reverse the operation in working down the left side towards the stalk again1 so as to keep the needle to the right of the thread instead of to the left1 as in going up4 ,illustration3 ,no4 #b4 ,the reason of this will be easily understood3 we will suppose the leaf to have a slightly serrated edge 7and there is no leaf in nature with an absolutely smooth one74 ,it will be found that in order to give this ragged appearance1 it is necessary to have the points at which the insertions of the needle occur on the outside of the leaf3 whereas if the stem stitch were continued down the left side1 exactly in the same manner as in ascending the right1 we should have the ugly anomaly of a leaf outlined thus3-- ,illustration3 ,no4 #c4 ,if the leaf is to be worked solidly1 another row of stem stitching must be taken up the centre of it 7unless it be a very narrow leaf71 to the top4 ,the two halves of the leaf must then be filled in1 separately1 with close1 even rows of stem stitch1 worked in the ordinary way1 with the needle to the left of the thread4 ,this will prevent the ugly ridge which remains in the centre1 if it is worked round and round the inside of the outline4 ,stem stitch must be varied according to the work in hand4 ,if a perfectly even line is required1 care must be taken that the direction of the needle when inserted is in a straight line with the preceding stitch4 ,if a slight serrature is required1 each stitch must be sloped a little by inserting the needle at a slight angle1 as shown in the illustration4 ,the length of the surface stitches must vary to suit the style of each piece of embroidery4 99 99 99 99 99 ,split ,stitch is worked like ordinary stem1 except that the needle is always brought up through the crewel or silk1 which it splits1 in passing4 ,the effect is to produce a more even line than is possible with the most careful stem stitch4 ,it is used for delicate outlines4 ,split stitch is rarely used in hand embroidery1 being more suitable for frame work3 but has been described here as being a form of stem stitch4 ,the effect is somewhat like a confused chain stitch4 99 99 99 99 99 ,satin ,stitch--,french ,plumetis--is one of those chiefly used in white embroidery1 and consists in taking the needle each time back again almost to the spot from which it started1 so that the same amount of crewel or silk remains on the back of the work as on the front4 ,this produces a surface as smooth as satin3 hence its name4 ,it is chiefly used in working the petals of small flowers1 such as ,forget-me-nots1 and in arabesque designs where a raised effect is wanted in small masses4 ,illustration3 ,no4 #d4--,,satin ,,stitch4 99 99 99 99 99 ,blanket ,stitch is used for working the edges of table-covers1 mantel valances1 blankets1 c41 or for edging any other material4 ,it is simply a button-hole stitch1 and may be varied in many ways by sloping the stitches alternately to right and left2 by working two or three together1 and leaving a space between them and the next set2 or by working a second row round the edge of the cloth over the first with a different shade of wool4 ,illustration3 ,no4 #e4--;,,blanket ,,stitch4 99 99 99 99 99 ,knotted ,stitch1 or ,french ,knot1 is used for the centres of such flowers as the daisy or wild rose1 and sometimes for the anthers of others4 ,the needle is brought up at the exact spot where the knot is to be3 the thread is held in the left hand1 and twisted once or twice round the needle1 the point of which is then passed through the fabric close to the spot where it came up3 the right hand draws it underneath1 while the thumb of the left keeps the thread in its place until the knot is secure4 ,the knots are increased in size according to the number of twists round the needle4 ,when properly made1 they should look like beads1 and lie in perfectly even and regular rows4 ,illustration3 ,no4 #f4--,,knotted ,,stitch1 or ,,french ,,knot4 ,this stitch is very ancient1 and does not seem confined to any country1 and the ,chinese execute large and elaborate pieces of embroidery in it1 introducing beautiful shading4 ,a curious specimen of very fine knotting stitch was exhibited at the ,royal ,school in #ahgh1 probably of ,french workmanship4 ,it was a portrait of ,st4 ,ignatius ,loyola1 not more than six inches in length1 and was entirely executed in knots of such fineness1 that without a magnifying glass it was impossible to discover the stitches4 ,this1 however1 is a tour de force1 and not quoted as worthy of imitation4 ,there is one variety of this stitch1 in which the thread is twisted a great many times round the needle1 so as to form a sort of curl instead of a single knot4 ,this is found in many ancient embroideries1 where it is used for the hair of saints and angels in ecclesiastical work4 ,knotted stitch was also employed largely in all its forms in the curious and ingenious but ugly style in vogue during the reign of ,james ,i41 when the landscapes were frequently worked in cross1 or feather stitch1 while the figures were raised over stuffing1 and dressed1 as it were1 in robes made entirely in point lace1 or button-hole stitches1 executed in silk4 ,the foliage of the trees and shrubs which we generally find in these embroidered pictures1 as well as the hair in the figures1 were worked in knotted stitches of varying sizes1 while the faces were in tent stitch or painted on white silk1 and fastened on to the canvas or linen ground4 ,illustration3 ,no4 #g4--;,,bullion ,,knot4 ,another variety of knotting1 which is still occasionally used1 resembles bullion1 being made into a long roll4 ,a stitch of the length of the intended roll is taken in the material1 the point of the needle being brought to the surface again in the same spot from which the thread originally started2 the thread is then twisted eight or ten times round the point of the needle1 which is drawn out carefully through the tunnel formed by the twists1 this being kept in its place by the left thumb4 ,the point of the needle is then inserted once more in the same place as it first entered the material1 the long knot or roll being drawn so as to lie evenly between the points of insertion and re-appearance1 thus treating the twisted thread as if it were bullion or purl4 99 99 99 99 99 ,chain ,stitch is but little used in embroidery now1 although it may sometimes be suitable for lines4 ,it is made by taking a stitch from right to left1 and before the needle is drawn out the thread is brought round towards the worker1 and under the point of the needle4 ,illustration3 ,no4 #h4--;,,chain ,,stitch4 ,the next stitch is taken from the point of the loop thus formed forwards1 and the thread again kept under the point1 so that a regular chain is formed on the surface of the material4 ,this chain stitch was much employed for ground patterns in the beautiful gold-coloured work on linen for dress or furniture which prevailed from the time of ,james ,i4 to the middle of the eighteenth century4 ,it gave the appearance of quilting when worked on linen in geometrical designs1 or in fine and often-repeated arabesques4 ,examples of it come to us from ,germany and ,spain1 in which the design is embroidered in satin stitch1 or entirely filled in with solid chain stitch1 in a uniform gold colour4 ,chain stitch resembles ,tambour work1 which we shall describe amongst framework stitches1 though it is not at present practised at this ,school4 99 99 99 99 99 ,twisted ,chain1 or ,rope stitch4 ,illustration3 ,no4 #i4--,,twisted ,,chain4 ,effective for outlines on coarse materials1 such as blankets1 carriage rugs1 footstools1 c4 ,it is like an ordinary chain1 except that in place of starting the second stitch from the centre of the loop1 the needle is taken back to half the distance behind it1 and the loop is pushed to one side to allow the needle to enter in a straight line with the former stitch4 ,it is not of much use1 except when worked with double crewel or with tapestry wool2 and should then have the appearance of a twisted rope4 99 99 99 99 99 ,feather ,stitch4--,vulgarly called long and short stitch1 long stitch and sometimes embroidery stitch4 ,we propose to restore to it its ancient title of feather stitch--,opus ,plumarium1 so called from its supposed resemblance to the plumage of a bird4 ,illustration3 ,no4 #aj4--;,,feather ,,stitch4 ,we shall now describe it as used for handwork2 and later 7at page #cg71 as worked in a frame4 ,these two modes differ very little in appearance1 as the principle is the same1 namely1 that the stitches are of varying length1 and are worked into and between each other1 adapting themselves to the form of the design1 but in handwork the needle is kept on the surface of the material4 ,feather ,stitch is generally used for embroidering flowers1 whether natural or conventional4 ,in working the petal of a flower 7such as we have chosen for our illustration71 the outer part is first worked in with stitches which form a close1 even edge on the outline1 but a broken one towards the centre of the petal1 being alternately long and short4 ,these edging stitches resemble satin stitch in so far that the same amount of crewel or silk appears on the under1 as on the upper side of the work3 they must slope towards the narrow part of the petal4 ,the next stitches are somewhat like an irregular stem1 inasmuch as they are longer on the surface than on the under side1 and are worked in between the uneven lengths of the edging stitches so as to blend with them4 ,the petal is then filled up by other stitches1 which start from the centre1 and are carried between those already worked4 ,when the petal is finished1 the rows of stitches should be so merged in each other that they cannot be distinguished1 and when shading is used1 the colours should appear to melt into each other4 ,in serrated leaves1 such as hawthorn or virginia creeper1 the edging stitches follow the broken outline of the leaf instead of forming an even outer edge4 ,it is necessary to master thoroughly this most important stitch1 but practice only can make the worker perfect4 ,the work should always be started by running the thread a little way in front of the embroidery4 ,knots should never be used except in rare cases1 when it is impossible to avoid them4 ,the thread should always be finished off on the surface of the work1 never at the back1 where there should be no needless waste of material4 ,no untidy ends or knots should ever appear there2 in fact1 the wrong side should be quite as neat as the right4 ,it is a mistake to suppose that pasting will ever do away with the evil effects of careless work1 or will steady embroidery which has been commenced with knots1 and finished with loose ends at the back4 ,the stitches vary constantly according to their application1 and good embroiderers differ in their manner of using them3 some preferring to carry the thread back towards the centre of the petal1 on the surface of the work1 so as to avoid waste of material2 others making their stitches as in satin stitch--the same on both sides1 but these details may be left to the intelligence and taste of the worker1 who should never be afraid of trying experiments1 or working out new ideas4 ,nor should she ever fear to unpick her work2 for only by experiment can she succeed in finding the best combinations1 and1 one little piece ill done1 will be sufficient to spoil her whole embroidery1 as no touching-up can afterwards improve it4 99 99 99 99 99 ,we have now named the principal stitches used in hand embroidery1 whether to be executed in crewel or silk4 ,there are1 however1 numberless other stitches used in crewel embroidery3 such as ordinary stitching1 like that used in plain needlework1 in which many designs were formerly traced on quilted backgrounds--others1 again1 are many of them lace stitches1 or forms of herringbone1 and are used for filling in the foliage of large conventional floriated designs1 such as we are accustomed to see in the ,english crewel work of the sixteenth and seventeenth centuries1 on a twilled cotton material1 resembling our modern ,bolton sheeting4 ,it would be impossible to describe or even enumerate them all2 as varieties may be constantly invented by an ingenious worker to enrich her design1 and in lace work there are already #ajj named stitches1 which occasionally are used in decorative embroidery4 ,most of these1 if required1 can be shown as taught at the ,royal ,school of ,art-,needlework1 and are illustrated by samplers4 ,decoration ,decoration ,,chapter ,,iv4 ,,frames ,,and ,,framing4 ,before proceeding to describe the various stitches used in frame embroidery1 we will say a few words as to the frame itself1 the manner of stretching the material in it1 and the best and least fatiguing method of working at it4 ,the essential parts of an embroidery frame are3 first1 the bars1 which have stout webbing nailed along them1 and mortice holes at the ends2 second1 the stretchers1 which are usually flat pieces of wood1 furnished with holes at the ends to allow of their being fastened by metal pegs into the mortice holes of the bars when the work is stretched4 ,in some cases the stretchers are fastened into the bars by strong iron screws1 which are held by nuts4 ,,framing4 ,in choosing a frame for a piece of embroidery we must see that the webbing attached to the sides of the bar is long enough to take the work in one direction4 ,begin by sewing the edge of the material closely with strong linen thread on to this webbing4 ,if the work is too long to be put into the frame at one time 7as in the case of borders for curtains1 table-covers1 c471 all but the portion about to be worked should be rolled round one bar of the frame1 putting silver paper and a piece of wadding between the material and the wood1 so as to prevent its being marked4 ,the stretchers should then be put in and secured with the metal pegs4 ,a piece of the webbing having been previously stitched on to the sides of the material1 it should now be braced with twine by means of a packing needle1 passing the string over the stretchers between each stitch taken in the webbing1 and1 finally1 drawing up the bracing until the material is strained evenly and tightly in the frame4 ,if the fabric is one which stretches easily1 the bracings should not be drawn too tightly4 ,for small pieces of work a deal hand-frame1 morticed at the corners1 will suffice1 and this may be rested on the table before the worker1 being held in its position by two heavy leaden weights1 covered with leather or baize1 in order to prevent them from slipping4 ,it should be raised off the table to a convenient height1 thus saving the worker from stooping over her frame1 which tires the eyes1 and causes the blood to flow to the head4 ,there is no doubt that a well-made standing-frame is a great convenience1 as its position need not be disturbed1 and it can be easily covered up and put aside when not in use4 ,it requires1 however1 to be very well made1 and should1 if possible1 be of oak or mahogany1 or it will warp and get out of order4 ,it must also be well weighted to keep it steady4 ,for a large piece of work it is necessary to have a long heavy frame with wooden trestles1 on which to rest it4 ,the trestles should be made so as to enable the frame to be raised or lowered at will4 ,a new frame has recently been invented and is sold by the ,royal ,school1 which1 being made with hinges and small upright pins1 holds the ends of the material firmly1 so that it can be rolled round and round the bar of the frame without the trouble of sewing it on to the webbing4 ,when a frame is not in use1 care should be taken that it does not become warped from being kept in too dry or too hot a place1 as it is then difficult to frame the work satisfactorily4 ,it will be found useful to have a small basket1 lined with holland or silk1 fastened to the side of the frame1 to hold the silks1 thimbles1 scissors1 c41 needed for the work4 ,two thimbles should be used1 one on each hand1 and the best are old silver or gold ones1 with all the roughness worn off1 or ivory or vulcanite4 ,the worker ought to wear a large apron with a bib to save her dress1 and a pair of linen sleeves to prevent the cuffs from fraying or soiling her work4 ,surgeon's bent scissors are useful for frame embroidery1 but they are not necessary1 as ordinary sharp-pointed scissors will answer every purpose4 ,when silk1 satin1 or velvet is not strong enough to bear the strain of framing and embroidering1 it must be backed with a fine cotton or linen lining4 ,the backing in this case is first framed1 as described above1 and the velvet or satin must then be laid on it1 and first fastened down with pins2 then sewn down with herringbone stitch1 taking care that it is kept perfectly even with the thread of the backing1 and not allowed to wrinkle or blister4 ,it is most important that a worker should learn to use equally both hands1 keeping the right hand above the frame till the arm is tired1 then letting the left take its place while the right goes below4 ,a cover should be made large enough to envelop both the upper and under portions of the work1 and to be fastened down to the sides1 so as to protect it from dust when it is not being used1 and during work it should be kept over the portion of the embroidery not actually in hand4 ,lastly1 a good light should be chosen1 so as not to try the eyes4 ,many materials can only be embroidered in a frame1 and most work is best so done4 ,a greater variety of stitches is possible1 and on the stretched flat surface the worker can see the whole picture at once1 and judge of the effect of the colours and shading as she carries out the design4 ,it is the difference between drawing on stretched or crumpled paper4 ,decoration ,decoration ,,chapter ,v4 ,,stitches ,,used ,,in ,,frame ,,embroidery4 ,feather ,stitch4--,in framework1 as in handwork1 we restore the ancient name of ,feather work or stitch--,opus ,plumarium4 ,we have already said that it was so-called from its likeness to the plumage of a bird4 ,this comes from the even lie of the stitches1 which fit into and appear to overlap each other1 presenting thus a marked contrast to the granulated effect of tent stitches1 and the long ridges of the ,opus ,anglicum1 having no hard lines as in stem stitch1 or flat surfaces as in satin stitch4 ,feather stitch1 when worked in a frame1 is exactly the same as that worked in the hand1 except that it is more even and smooth4 ,the needle is taken backwards and forwards through the material in stitches of varying lengths2 the next row always fitting into the vacant spaces and projecting beyond them1 so as to prepare for the following row4 ,every possible gradation of colour can be effected in this way1 and it applies to every form of design--floral or arabesque4 ,natural flowers have mostly been worked in this stitch4 99 99 99 99 99 ,a skilful embroiderer will be careful not to waste more silk than is absolutely necessary on the back of the work1 while1 at the same time1 she will not sacrifice the artistic effect by being too sparing of her back stitches4 ,decoration ,decoration ,,couching1 ,,or ,,laid ,,embroidery4 ,this name is properly applied to all forms of embroidery in which the threads of crewel1 silk1 or gold are laid on the surface1 and stitched on to it by threads coming from the back of the material4 ,under this head may be classed as varieties the ordinary laid backgrounds1 diaper couchings1 brick stitch1 basket stitch1 and the various forms of stuffed couchings which are found in ancient embroideries4 ,couching outlines are usually thick strands of double crewel1 tapestry wool1 filoselle1 cord1 or narrow ribbon laid down and stitched at regular intervals by threads crossing the couching line at right angles4 ,they are used for coarse outline work1 or for finishing the edges of appliqu4 99 99 99 99 99 ,plain ,couching1 or ,laid ,embroidery4--,the threads are first laid evenly and straight from side to side of the space to be filled in1 whether in the direction of warp or woof depends on the pattern2 the needle being passed through to the back1 and brought up again not quite close1 but at a sufficient distance to allow of an intermediate stitch being taken backwards2 thus the threads would be laid alternately first1 third1 second1 fourth1 and so on4 ,this gives a better purchase at each end than if they were laid consecutively in a straight line4 ,if the line slants much1 it is not necessary to alternate the rows4 ,when the layer is complete1 threads of metal1 or of the same or different colour and texture1 are laid across at regular intervals1 and are fixed down by stitches from the back4 ,illustration3 ,no4 #aa4--,,plain ,,couching4 ,the beauty of this work depends upon its regularity4 ,this kind of embroidery1 which we find amongst the old ,spanish1 ,cretan1 and ,italian specimens1 is very useful where broad1 flat effects without shading are required2 but unless it is very closely stitched down1 it is not durable if there is any risk of its being exposed to rough usage4 ,it is possible to obtain very fine effects of colour in this style of work1 as was seen in the old ,venetian curtains transferred and copied for ,louisa1 ,lady ,ashburton4 ,these were shown at the time of the ,exhibition of ,ancient ,needlework at the ,school in #ahgh4 ,ancient embroidery can be beautifully restored by grounding in laid work1 instead of transferring it where the ground is frayed1 and the work is worthy of preservation4 ,it must be stretched on a new backing1 the frayed material carefully cut away1 and the new ground couched as we have described4 ,in other varieties of couching1 under which come the many forms of diapering1 the threads are laid in the same manner as for ordinary couching2 but in place of laying couching lines across these1 the threads of the first layer are simply stitched down from the back1 frequently with threads of another colour4 99 99 99 99 99 ,net-patterned ,couching4--,the fastening stitches are placed diagonally instead of at right angles1 forming a network1 and are kept in place by a cross-stitch at each intersection4 ,this style of couching was commonly used as a ground in ecclesiastical work of the fourteenth and fifteenth centuries4 99 99 99 99 99 ,brick ,stitch4--,the threads are laid down two together1 and are stitched across at regular intervals4 ,the next two threads are then placed together by the side1 the fastening stitches being taken at the same distance from each other1 but so as to occur exactly between the previous couplings4 ,thus giving the effect of brickwork4 99 99 99 99 99 ,diaper ,couchings4--,by varying the position of the fastening stitches different patterns may be produced1 such as diagonal crossings1 diamonds1 zigzags1 curves1 c4 ,illustration3 ,no4 #ab4--,,three ,,illustrations ,,of ,,diaper ,,couchings4 ,they are properly all gold stitches2 but purse silk1 thin cord1 or even untwisted silk may be used4 ,a wonderful example of the many varieties of diapering is to be seen in the ,south ,kensington ,museum1 ,no4 #fhi4 ,it is modern ,belgian work1 executed for the ,paris ,exhibition of #ahfg4 ,as a specimen of fine and beautiful diapering in gold1 this could scarcely be surpassed4 99 99 99 99 99 ,basket ,stitch is one of the richest and most ornamental of these ancient modes of couching4 ,rows of stuffing1 manufactured in the form of soft cotton cord1 are laid across the pattern and firmly secured4 ,across these are placed gold threads1 two at a time1 and these are stitched down over each two rows of stuffing4 ,the two gold threads are turned at the edge of the pattern1 and brought back close to the last1 and fastened in the same way4 ,three double rows of gold may be stitched over the same two rows of stuffing4 ,the next three rows must be treated as brick stitch1 and fastened exactly between the previous stitchings1 and so on1 until the whole space to be worked is closely covered with what appears to be a golden wicker-work4 ,strong silk must be used for the stitching4 ,illustration3 ,no4 #ac4--;,,basket ,,stitch4 ,the ,spanish ,school of ,embroidery has always been famed for its excellence in this style1 and has never lost the art4 ,the ,embroiderers of the ,king1 as they are called1 still turn out splendid specimens of this heavy and elaborate work1 which are used for the gorgeous trappings of the horses of the nobility on gala days and state occasions4 ,a beautiful specimen was exhibited at the ,royal ,school of ,art-,needlework1 in #ahgh1 by the ,countess ,brownlow1 of an altar-hanging1 entirely worked in basket stitch1 in gold on white satin1 and a modern example is still to be seen at the ,school in a large counterpane1 which was worked for the ,philadelphia ,exhibition from an ancient one also belonging to ,lady ,brownlow4 ,the ,spanish embroiderers used these forms of couching over stuffing with coloured silks as well as gold1 and produced wonderfully rich effects4 ,one quilt exhibited by ,mrs4 ,alfred ,morrison in #ahgh was a marvel of colouring and workmanship4 ,basket stitch is mostly used now for church embroidery1 or for small articles of luxury1 such as ornamental pockets1 caskets1 c4 ,diapering is generally employed in the drapery of small figures1 and in ecclesiastical work4 99 99 99 99 99 ,many fabrics are manufactured in imitation of the older diapered backgrounds1 and are largely used to replace them4 ,among these are the material known as silk brocatine1 and several kinds of cloth of gold mentioned in our list of materials4 ,decoration ,decoration ,,cushion ,,stitches4 ,cushion ,stitch--the ancient ,opus ,pulvinarium of the ,middle ,ages1 likewise called ,cross ,stitch--may lay claim to be one of the most ancient known in embroidery4 ,there have been many varieties1 but the principle is the same in all4 ,it is worked on and through canvas1 of which the threads1 as in tapestry1 regulate the stitches4 ,after six centuries of popularity it finally died out within the last few years as ,berlin wool work2 but will doubtless be revived again in some form after a time1 as being well fitted for covering furniture on account of its firmness and durability4 ,in ,germany and ,russia it is still much used for embroidering conventional designs on linen2 and the beautiful ,cretan and ,persian work of which so much has lately been in the market1 is executed in this style4 99 99 99 99 99 ,tent ,stitch may be placed first under this class1 in which the thread coming from beneath is carried over a single cross of the warp and woof of the canvas4 ,illustration3 ,no4 #ad4--,,tent ,,stitch4 99 99 99 99 99 ,simple ,cross ,stitch4--,the worsted or silk is brought up again to the surface1 one thread to the left of the spot where the needle was inserted1 and is crossed over the first or tent stitch1 forming a regular and even cross on the surface4 ,illustration3 ,no4 #ae4--,,simple ,,cross ,,stitch4 99 99 99 99 99 ,persian ,cross ,stitch4--,the peculiarity of this stitch is that in the first instance the silk or worsted is carried across two threads of the canvas ground1 and is brought up in the intermediate space4 ,it is then crossed over the latter half of the original stitch1 and a fresh start is made4 ,illustration3 ,no4 #af4--,,persian ,,cross ,,stitch4 ,much of the beauty of ,persian embroidery is produced by the irregularity of the crossing2 the stitches being taken in masses1 in any direction that seems most suitable to the design in hand1 instead of being placed in regular rows1 with the stitches all sloping in one direction1 as is the case with the modern ,berlin work1 this1 with the happy choice of colours for which the ,persians are so justly famous1 produces a singular richness of effect4 ,allied to these canvas stitches and having their origin in them1 are the numerous forms of groundings1 which are now worked on coarse linens1 or in fact on any fabric2 and have sometimes1 although incorrectly1 been called darning stitches1 probably from their resemblance to the patterns which are found on samplers1 for darning stockings1 old table linen1 c4 c4 ,almost any pattern can be produced in this style of embroidery1 simply by varying the relative length of the stitches4 ,following the nomenclature of the committee which named and catalogued the specimens of ancient needlework exhibited in the ,south ,kensington ,museum in #ahgb1 we have classed all the varieties of these grounding stitches under the name of ,cushion stitch4 99 99 99 99 99 ,cushion ,stitches are taken as in laid embroidery1 so as to leave all the silk and crewel on the surface1 and only a single thread of the ground is taken up2 but in place of lying in long lines1 from end to end of the material1 they are of even length1 and are taken in a pattern1 such as a waved line or zigzag2 so that when finished the ground presents the appearance of a woven fabric4 ,illustration3 ,no4 #ag4--;,,cushion ,,stitch4 ,we give an illustration of one variety of cushion stitch1 which may either be worked as described here1 or in the hand1 as in the woodcut4 ,a good modern example of this background was exhibited in the ,school1 on a bed-hanging1 worked for the ,honourable ,mrs4 ,percy ,wyndham1 from a design by ,mr4 ,w4 ,morris4 ,in the ,exhibition of ,ancient ,needlework last year were many beautiful specimens3 notably one enormous wall-hanging of ,italian seventeenth-century work1 lent by ,earl ,spencer4 ,many of the fabrics known as ,tapestries are woven imitations of these grounds1 and carry embroidery so perfectly1 that on the whole1 except for small pieces1 it seems a waste of hand-labour to work them in1 as the effect is not very far removed from that of woven material1 while the expense is1 of course1 very much greater4 ,the ancient specimens of this stitch are worked on a coarse canvas1 differing greatly from that which was recently used for ,berlin wool work4 ,it cannot now be obtained except by having it especially made to order4 ,it has been replaced by a coarse hand-woven linen for the use of the ,school1 but the ancient canvas is vastly superior1 as its looseness makes it easier for the worker to keep her stitches in regular lines4 ,in some ancient specimens the design is worked in feather stitch1 and the whole ground in cushion stitch4 ,in others the design is in fine cross or tent stitch4 ,there are several very beautiful examples of this kind of embroidery in the ,south ,kensington ,museum--,italian1 of the seventeenth century4 ,a variety of cushion stitch1 which we frequently see in old ,italian embroideries1 was taught in the ,royal ,school of ,art-,needlework by ,miss ,burden1 and used under her direction in working flesh in some large figures designed by ,mr4 ,walter ,crane for wall decoration1 and exhibited at the ,centennial ,exhibition at ,philadelphia4 ,the stitches are kept of one uniform length across the design4 ,the next row is started from half the depth of the preceding stitch and kept of the same length throughout4 ,its beauty consists in its perfect regularity4 ,if worked in the hand1 the needle is brought back underneath the material as in satin stitch2 but in the frame all the silk or worsted can be worked on the surface1 with the exception of the small fastening stitches4 ,the effect when finished is that of a woven fabric4 ,it is really more suitable in its original character of a ground stitch than for working flesh4 ,we have given an illustration of it1 because we are so frequently asked to describe ,burden stitch4 ,illustration3 ,no4 #ah4--;,,burden ,,stitch4 ,this form of cushion stitch worked extremely fine has been used for flesh in very ancient embroideries1 even before the introduction of the ,opus ,anglicanum1 and is found in the works of the ,flemish1 ,german1 ,italian1 and ,french schools of the fourteenth and fifteenth centuries4 ,it seems to have been worked in a frame on fine canvas1 or on a fabric of very even threads1 and the stitches so taken that the same amount of silk appears on the back as on the surface of the embroidery4 ,in a toilet cover of ancient ,spanish work recently added to the ,south ,kensington ,museum1 the design is entirely embroidered in varieties of cushion stitch in black floss silk upon a white linen ground4 ,it is1 however1 extremely rare to see this stitch used in any other way than as a ground1 except in actual canvas work2 in which we often see varieties of it used to fill in portions of the design1 while another stitch will be devoted entirely to the grounding4 ,these stitches were often executed on an open net4 99 99 99 99 99 ,stem ,stitch is used in frame embroidery1 and does not differ in any way from that described at page #bj1 under handwork1 except that the needle is of course worked through the material with both hands1 as is the case in all frame work4 ,the same may be said of split stitch2 but this is more frequently 7because more easily7 worked in a frame than done in the hand4 99 99 99 99 99 ,japanese ,stitch is a modification of stem1 but its peculiarity consists in the worker taking very long stitches1 and then bringing the needle back to within a short distance of the first starting-place2 so that they may be in even parallel lines1 advancing by gradation from left to right4 ,it is principally used for working water or ground in a landscape4 ,illustration3 ,no4 #ai4 99 99 99 99 99 ,tambour ,work has fallen into disuse1 but was greatly admired when our grandmothers in the last century sprigged ,indian muslins or silks with coloured flowers for dresses1 and copied or adapted ,indian designs on fine linen coverlets4 ,these were very refined1 but no more effective than a good chintz4 ,there are exquisite specimens of the stitch to be seen in most ,english homes1 and in ,france it was in vogue in the days of ,marie ,antoinette4 ,its use is now almost confined to the manufacture of what is known as ,irish or ,limerick lace1 which is made on net in the old tambour frames1 and with a tambour or crochet hook4 ,the frame is formed of two rings of wood or iron1 made to fit loosely one within the other4 ,both rings are covered with baize or flannel wound round them till the inner one can only just be passed through the outer4 ,the fabric to be embroidered is placed over the smaller hoop1 and the other is pressed down over it and firmly fixed with a screw4 ,a small wooden frame of this description is universally used in ,ireland for white embroidery on linen or muslin4 ,in tambour work the thread is kept below the frame and guided by the left hand1 while the hook or crochet needle is passed from the surface through the fabric1 and brings up a loop of the thread through the preceding stitch1 and the needle again inserted1 forming thus a close chain on the surface of the work4 ,the difficulty of working chain stitch in a frame probably led to the introduction of a hook for this class of embroidery4 99 99 99 99 99 ,perhaps we ought not to omit all mention of the ,opus ,anglicum or ,anglicanum 7,english work71 though it is strictly ecclesiastical1 and therefore does not enter into our province4 ,dr4 ,rock#a and other authorities agree in thinking that the distinctive feature of this style1 which was introduced about the end of the thirteenth century1 was a new way of working the flesh in subjects containing figures4 ,instead of the faces being worked in rows of straight stitches 7like that described as ,burden stitch on page #ej7 as we see in the old ,flemish1 ,german1 and ,italian work of the same period1 the ,english embroiderers invented a new stitch1 which they commenced in the centre of the cheek and worked round and round--gradually letting the lines fall into outer circles of ordinary feather stitch4 ,having thus prepared an elastic surface1 they proceeded to model the forms and make lights and shadows by pressing the work into hollows1 with small heated metal balls1 the work being probably damped as a preparation for this process4 ,so skilfully did they carry out their intention1 that the effect is still the same after the lapse of five centuries4 ,we must unwillingly add that1 though much appreciated in the thirteenth century1 the effect is rather curious and quaint than beautiful4 ,the ,syon cope in the ,kensington ,museum1 of the thirteenth century1 is a fine specimen of this attempt to give the effect of bas-relief to the sacred subjects depicted4 ,the whole cope shows how various were the stitches worked at that period4 ,on examination with a microscope1 the flesh stitch appears to be merely a fine split stitch worked spirally1 as we now work fruit4 ,,footnote3 #a ,see ,dr4 ,rock's preface to his ,descriptive ,catalogue of ,,textile ,,fabrics in the ,kensington ,museum4 ,decoration ,,cut ,,work ,,or ,,appliqu4 ,decorative cut work is of infinite variety1 but may be divided into two groups1 inlaid appliqu and onlaid appliqu4 99 99 99 99 99 ,inlaid appliqu consists in tracing the same pattern on two different fabrics1 say a gold cloth and a crimson velvet2 then cutting both out carefully1 and inlaying the gold flowers into the crimson velvet ground1 and the crimson flowers into the gold ground4 ,this kind of work may be seen constantly in ,italian rooms of the seventeenth century1 and the alternate breadths of crimson and gold give a very fine effect as of pilasters1 and in general are enriched by a valance applied at the top1 and a plain border at the bottom4 ,the inlaid part is sewn down with thread1 and covered with cord or couchings of floss silk4 ,sometimes narrow ribbons or fine strips of cut silk are stitched over the edges to keep them down flat4 99 99 99 99 99 ,onlaid appliqu is done by cutting out the pattern in one or many coloured materials1 and laying it down on an intact ground of another material4 ,parts are often shaded with a brush1 high lights and details worked in with stitches of silk1 and sometimes whole flowers or figures are embroidered1 cut out1 and couched down4 ,this sort of work is extremely amusing1 and gives scope to much play of fancy and ingenuity1 and when artistically composed it is sometimes very beautiful4 ,another style of onlaid appliqu is only worked in solid outlines1 laid down in ribbon or cord1 sometimes in both4 ,this was much in vogue in the time of ,queen ,anne1 and for a hundred years after4 ,illustration3 ,no4 #bj4 ,the ribbon1 very soft and thick1 sometimes figured1 sometimes plain1 was manufactured with a stout thread on each side1 which could be drawn1 and so regulate the ribbon and enable it to follow the flow of the pattern4 ,the ,german1 ,french1 and ,italians often enriched this style of work with a flower1 embroidered and applied thrown in here and there4 ,very small fringes also were introduced into the pattern1 or arabesqued4 ,cut work1 like the appellation ,feather stitch1 has a totally different meaning when it is given to white embroidery1 and it has nothing to do with appliqu1 but takes its name from the fact that the pattern is mostly cut or punched out1 and then edged with button-hole or plain overlaid stitch4 ,in working appliqu it is best1 although not absolutely necessary1 to have the design traced on the material to be used as a ground1 which must then be framed as for ordinary embroidery4 ,a copy of the design must be made on tracing-paper1 and the outlines carefully pricked out with a needle or pin1 laying the paper on several folds of flannel or cloth for greater convenience in pricking4 ,a pad1 made of a long strip of flannel about four inches wide1 rolled very tightly1 must be made ready1 and some pounce made of about equal quantities of finely powdered charcoal and pipe-clay4 ,the leaf or scroll which is wanted for the work must now be selected1 and the pricked design laid face downwards on the fabric which is to be applied4 ,the flannel pad must be dipped in the pounce and rubbed well into the outlines of the pricked design1 which must be held firmly in its place with the left hand4 ,on lifting the tracing-paper1 the design will be found to be marked out on the material distinctly enough for it to be cut out with a sharp pair of scissors4 ,the pounce can afterwards be dusted off4 ,the leaf or scroll having been thus cut out must be fastened in its place on the design with small pins1 and then carefully sewn down4 ,the edges are then finished off by stitches of embroidery or by a couching line 7see page #ci74 ,the stems are frequently worked in with stem stitching or couching1 and the leaves enriched by large veinings of crewel or silk work1 or in conventional designs1 with some of the many varieties of herringboning4 99 99 99 99 99 ,gold ,embroidery on velvet or satin grounds requires to be worked on a strong even linen1 and then cut out and applied in the same manner as ordinary appliqu4 ,where a particularly rich and raised effect is required any embroidery may be treated in this manner4 ,it is of course more troublesome1 but quite repays the labour spent upon it by the increased beauty of the work4 ,the transfer of old embroideries on to a new ground is usually done by appliqu1 although we have already described a better process at page #ci4 ,in transferring old needlework it is necessary to cut away the ground close to the edge of the embroidery4 ,it is then placed on the new material1 which has been previously framed1 and the outline tacked down4 ,the best way of finishing is then to work in the edges with silks dyed exactly to match the colours in the old work4 ,if properly done1 it is impossible to discover which are old and which new stitches1 and only by examining the back1 that the work has been transferred at all4 ,we used the words dyed to match advisedly1 as it is impossible otherwise to procure new silks which will correspond with the old4 ,embroidery transferred in this manner is as good as it was in its first days1 and in many cases is much better1 for time often has the same mellowing and beautifying effect in embroideries as in paintings4 ,a less expensive1 but also a much less charming1 method is to edge the old embroidery after applying it to the new ground with a cord or line of couching4 ,with this treatment it is1 however1 always easy to perceive that the work has been transferred4 ,for almost all kinds of appliqu it is necessary to back the material2 and it is done in this manner3-- ,a piece of thin cotton or linen fabric is stretched tightly on to a board with tacks or drawing-pins4 ,it is then covered smoothly1 and completely1 with paste4 ,the wrong side of the velvet1 satin1 serge1 or whatever is to be used in the work1 is then pressed firmly down on the pasted surface with the hands1 and then left to dry4 ,in giving the foregoing account of the most typical stitches1 we hope we have succeeded in showing the principle on which each should be worked4 ,they form the basis of all embroidery1 and their numerous modifications cannot be fully discussed in the limit we have prescribed to ourselves4 ,it is sufficient to observe that the instruction we have tried to impart is that which it is absolutely necessary for the needleworker to master thoroughly before she attempts to cope with the artistic element of her work4 ,that it is a creative art is undoubted1 for no two pieces of embroidery are alike unless executed by the same hand1 and from the same design4 ,for the advanced artist there is a store of instruction in the fine collection at ,south ,kensington1 which1 seen by the light of ,dr4 ,rock's invaluable ,catalogue of ,textile ,fabrics1 is an education in itself1 of which the ethnological as well as the artistic interest cannot be over-estimated1 and it is within the reach of all who can find time to bestow upon it4 ,,stretching ,,and ,,finishing4 ,always avoid using an iron to embroidery4 ,it flattens the work1 and is apt to injure the colour4 ,for embroidery on linen1 unless very badly done1 it will be found quite sufficient to stretch the work as tightly as possible with white tacks or drawing-pins on a clean board1 and damp it evenly with a sponge4 ,leave it until quite dry1 and then unfasten it1 and1 if necessary1 comb out the fringe4 ,if it is new work1 it should not be fringed until after it has been stretched4 ,for crewel work on cloth or serge1 it is sometimes necessary to rub a little shoemaker's paste on to the back of the embroidery1 while it is tightly stretched4 ,when pasting can be avoided1 it is always better to do without it2 but it serves to steady the work in some cases1 and makes it wear better4 ,unless it is absolutely necessary1 it is better not to paste the back of screen panels1 whatever may be the materials on which they are worked2 but more especially satin or velvet1 as it interferes with the straining of the work by the cabinet-maker4 99 99 99 99 99 ,we give a recipe for ,,embroidery ,,paste1 which is said to be excellent3--,three and a half spoonfuls of flour1 and as much powdered resin as will lie on a half-penny4 ,mix these well and smoothly with half a pint of water1 and pour it into an iron saucepan4 ,put in one teaspoonful of essence of cloves1 and go on stirring till it boils4 ,let it boil for five minutes1 and turn it into a gallipot to cool4 ,n4,b4--,let the gallipot have in it a muslin bag3 the water can then be drained out from time to time1 and the paste will be much better4 ,,cleaning4 ,good crewels will always wash or clean without injury2 but the cheap and inferior worsteds will not do so4 ,ordinary crewel work on linen may be washed at home1 by plunging it into a lather made by water in which bran has been boiled1 or even with simple soap-suds1 so long as no soda or washing-powder is used4 ,it should be carefully rinsed without wringing1 and hung up to dry4 ,when almost dry1 it may be stretched out with drawing-pins on a board1 and will not require ironing4 ,embroidery on cloth or serge may often be cleaned with benzoline1 applied with a piece of clean flannel2 but in any case1 where a piece of work is much soiled1 or in the case of fine d'oyleys1 it is safer to send it to the cleaner's4 99 99 99 99 99 ,messrs4 ,pullar and ,son1 ,perth ,dye ,works1 are very successful in cleaning all kinds of embroidery without injuring it4 ,in many cases it may be well dyed--the silk in which the design is worked always showing a different shade from the ground4 ,decoration ,,appendix4 ,,designs ,,for ,,embroidery4 ,decoration ,decoration ,,description ,,of ,,the ,,plates4 ,no4 #a4--;,,design ,,for ,,wall-,,panel4 ,by ,mr4 ,e4 ,burne-,jones4 ,worked in outline on neutral-tinted hand-woven linen in brown crewel4 ,this style of embroidery is very suitable for internal decoration1 where a good broad effect is required without a large amount of labour4 ,a frieze or dado1 or complete panelling of a room1 may be worked in this way at a comparatively small cost4 ,no4 #b4--;,,design ,,for ,,wall ,,or ,,screen ,,panel4 ,by ,mr4 ,walter ,crane4 ,representing the ,four ,elements4 ,embroidered in crewels on a silk ground of dead gold colour partly outlined4 ,no4 #c4--;,,design ,,for ,,quilt ,,or ,,table ,,cover4 ,by ,mr4 ,george ,aitchison4 ,a border of sunflowers and pomegranates1 with powderings of the same for the centre4 ,this has been embroidered on cream-coloured satin de chine in solid crewel work1 with charming effect1 both for a counterpane and curtains4 ,no4 #d4--;,,design ,,for ,,wall ,,panelling ,,or ,,curtains4 ,by ,mr4 ,fairfax ,wade4 ,to be worked in outline and solid embroidery1 in silk or filoselle1 on satin de chine4 ,no4 #e4--;,,design ,,for ,,quilt ,,or ,,couvre-,,pied4 ,by ,mr4 ,fairfax ,wade4 ,to introduce squares of ,greek or guipure lace4 ,worked in golden shades of silk on linen1 lined with silk of the same colour4 ,the embroidery is partly solid and partly outline1 very fine and delicate4 ,no4 #f4--;,,design ,,for ,,sofa-,,back ,,cover4 ,by ,mr4 ,w4 ,morris4 ,worked on hand-woven linen in two shades of gold-coloured silks4 ,outline4 ,no4 #g4--;,,design ,,for ,,sofa-,,back ,,cover ,,or ,,piano ,,panel4 ,by ,mr4 ,george ,aitchison4 ,worked in two shades of blue silk on hand-woven linen or satin de chine4 ,no4 #h4--;,,design ,,for ,,appliqu4 ,by ,mr4 ,fairfax ,wade4 ,nos4 #i and #aj4--;,,designs ,,for ,,chair-,,seats ,,or ,,cushions4 ,by ,miss ,jekyll4 ,periwinkle and ,iris4 ,no4 #aa4--;,,design ,,for ,,border4 ,by ,miss ,webster4 ,to be worked in outline in silk or crewel4 ,no4 #ab4--;,,design ,,for ,,border ,,for ,,curtain ,,or ,,table ,,cover4 ,designed by ,miss ,burnside1 of the ,r4,s4,a4,n4 ,no4 #ac4--,,table ,,border4 ,designed by ,mr4 ,fairfax ,wade4 ,conventional ,buttercup4 ,to be worked either solid or in outline4 ,no4 #ad4--,,table ,,border4 ,designed by ,mr4 ,walter ,crane4 ,for solid embroidery in crewel or silk4 ,no4 #ae4--,,table ,,border4 ,designed by ,mr4 ,walter ,crane4 ,for solid embroidery in crewel or silk4 ,no4 #af4--;,,border4 ,designed by ,miss ,mary ,herbert1 ,r4,s4,a4,n4 ,for crewel or silk embroidery1 either in outline or solid4 ,no4 #ag4--,,two ,,panels4 ,designed by ,rev4 ,selwyn ,image4 ,representing ,juno and ,minerva4 ,no4 #ah4--,,two ,,panels4 ,designed by ,rev4 ,selwyn ,image4 ,representing ,venus and ,proserpine4 ,to be worked in outline on linen1 as ,no4 #a1 or in coloured silks on a groundwork of satin de chine4 ,no4 #ai4--,,wall ,,hanging4 ,designed by ,mr4 ,w4 ,morris4 ,to be worked on linen in outline4 ,no4 #bj4--,,wall ,,hanging4 ,designed by ,mr4 ,w4 ,morris4 ,worked on linen4 ,background in ,silk ,cushion ,stitch4 ,no4 #ba4--;,,border ,,for ,,appliqu4 ,copied from ,ancient ,italian work4 ,no4 #bb4--;,,italian ,,design4 ,a ,specimen4 ,showing the application of transposed ,appliqu4 ,illustration3 #a4 ,,design ,,for ,,wall ,,panel4 ,by ,e4 ,burne-,jones4 ,illustration3 #b4 ,,design ,,for ,,wall ,,panel4 ,by ,walter ,crane4 ,illustration3 #c4 ,,design ,,for ,a ,,quilt ,,or ,,table ,,cover4 ,by ,george ,aitchison4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #d4 ,,design ,,for ,,wall ,,panel ,,or ,,curtain4 ,by ,fairfax ,wade4 ,illustration3 #e4 ,,design ,,for ,a ,,quilt ,,or ,,couvre-,,pied4 ,by ,fairfax ,wade4 ,illustration3 #f4 ,,design ,,for ,a ,,sofa-,,back ,,cover4 ,by ,william ,morris4 ,illustration3 #g4 ,,design ,,for ,a ,,sofa-,,back ,,cover ,,or ,,piano ,,panel4 ,by ,george ,aitchison4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #h4 ,,design ,,for ,,appliqu4 ,by ,fairfax ,wade4 ,illustration3 ,,designs ,,for ,,chair-,,seats ,,or ,,cushions4 7#i4 ,,periwinkle #aj4 ,,iris47 ,by ,miss ,jekyll4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #aa4 ,,design ,,for ,a ,,border4 ,by ,miss ,webster4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #ab4 ,,design ,,for ,a ,,border ,,for ,a ,,curtain ,,or ,,table ,,cover4 ,by ,miss ,burnside4 ,illustration3 ,,designs ,,for ,,table ,,borders4 ,no4 #ac by ,fairfax ,wade2 #ad and #ae by ,walter ,crane2 #af by ,mary ,herbert4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #ag4 ,,two ,,designs ,,for ,,wall ,,panels--,,juno ,,and ,,minerva4 ,by the ,rev4 ,selwyn ,image4 ,illustration3 #ah4 ,,two ,,designs ,,for ,,wall ,,panels--,,venus ,,and ,,proserpine4 ,by the ,rev4 ,selwyn ,image4 ,illustration3 #ai4 ,,design ,,for ,,wall-,,hanging4 ,by ,william ,morris4 ,illustration3 #bj4 ,,design ,,for ,,wall-,,hanging4 ,by ,william ,morris4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #ba4 ,,design ,,for ,,border ,,for ,,appliqu4 ,from ,ancient ,italian ,work4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #bb4 ,,italian ,,design4 ,showing the application of transposed ,appliqu4 ,vincent ,brooks ,day ,son1 ,lith4 ,decoration ,royal ,school of ,art-,needlework4 ,incorporated under ,the ,companies' ,acts1 #ahfb and #ahfg1 by licence of the ,board of ,trade1 granted under #cj and #ca ,vic41 c4 #aca1 sec4 #bc4 ,share ,capital1 #aj1jjj1 in #ajjj ,shares of #aj each4 ,debenture ,capital1 #aj1jjj1 to be issued in ,debentures of #ej each4 ,patrons4 ,,her ,,majesty ,,the ,,queen4 ,h4,r4,h4 ,,the ,,prince ,,of ,,wales4 ,h4,r4,h4 ,,the ,,princess ,,of ,,wales4 ,president4 ,h4,r4,h4 ,,the ,,princess ,,christian ,,of ,,schleswig-,,holstein4 ,princess of ,great ,britain and ,ireland4 ,vice-,president4 ,,the ,,lady ,,marian ,,alford4 ,managing ,committee4 ,,the ,,countess ,,spencer4 ,,the ,,countess ,,cowper4 ,,the ,,countess ,,brownlow4 ,,the ,,viscountess ,,downe4 ,,the ,,lady ,,sarah ,,spencer4 ,,the ,,hon4 ,,lady ,,welby ,,gregory4 ,,the ,,hon4 ,,mrs4 ,,percy ,,wyndham4 ,,mrs4 ,,edward ,,baring4 7,with power to add to their number47 ,honorary ,members of the ,managing ,committee4 ,,the ,,lady ,,charlotte ,,schreiber4 ,,the ,,hon4 ,,lady ,,hamilton-,,gordon4 ,,the ,,lady ,,fitzhardinge4 ,,the ,,hon4 ,,mrs4 ,,stuart ,,wortley4 ,finance ,committee4 ,,the ,,duke ,,of ,,westminster1 ,k4,g4 ,,the ,,earl ,,brownlow4 ,,the ,,lord ,,sudeley4 ,,sir ,,coutts ,,lindsay1 ,,bart4 ,,the ,,right ,,hon4 ,,sir ,,william ,,henry ,,gregory1 ,k4,c4,m4,g4 ,,michael ,,biddulph1 ,,esq41 ,m4,p4 ,,edmund ,,oldfield1 ,,esq4 ,bankers4 ,,london ,,and ,,county ,,bank1 ,albert ,gate ,branch4 ,solicitors4 ,,messrs4 ,,trinders ,,curtis-,,hayward1 #d1 ,bishopsgate ,street ,within1 ,e4,c4 ,offices4 ,,exhibition ,,road1 ,,south ,,kensington4 ,,prospectus4 ,the ,school was founded in #ahgb1 under the ,presidency of ,h4,r4,h4 the ,princess ,christian of ,schleswig-,holstein1 for the twofold purpose of supplying suitable employment for ,gentlewomen and restoring ,ornamental ,needlework to the high place it once held among the decorative arts4 ,it was first established1 under the title of ,school of ,art-,needlework1 in ,sloane ,street2 but in #ahge was removed to the present premises in the ,exhibition ,road1 and ,her ,majesty the ,queen was graciously pleased to grant to it the prefix of ,royal4 ,the ,royal ,school of ,art-,needlework exhibited at the ,centennial ,exhibition of ,philadelphia1 #ahgf1 and received a ,certificate of ,award--medals not being granted to institutions or corporate bodies4 ,a ,silver ,medal was also granted by the ,jurors of the ,international ,exhibition1 ,paris1 #ahgh1 for embroideries exhibited there4 ,the result of seven years' experience of the working of the ,school has shown that the objects for which it was formed are appreciated by the public1 and has justified its establishment on a permanent basis4 ,this has accordingly been effected under a special licence from the ,board of ,trade1 granted under authority of an ,act of ,parliament which authorizes the incorporation of associations not constituted for purposes of profit4 ,the ultimate profits of the ,association1 after payment of all ,debentures1 are to be applied to such charitable or other purposes as the ,association may from time to time determine1 not being inconsistent with the provisions of the ,memorandum of ,association1 which require that the ,shareholders shall not take any personal profit out of the ,association4 ,the government of the ,school is vested in3 ,first4--,a ,president1 ,vice-,president1 and ,general ,council4 ,second4--,a ,managing ,committee to be selected from the ,general ,council1 except as to ,honorary ,members to be nominated by the ,managing ,committee4 ,third4--,a ,finance ,committee1 of whom a majority are to be elected by the ,shareholders1 and the remainder nominated by the ,managing ,committee4 ,the sanction of this ,committee is required for all expenditure4 ,agencies have now been opened in ,liverpool1 ,manchester1 ,leeds1 ,norwich1 ,birmingham and ,glasgow2 and a member of the staff has been sent out to take charge of the ,school of ,art-,needlework in ,philadelphia4 ,the ,show ,rooms are open from #aj a4m4 to #f p4m4 in ,summer1 and to #e p4m4 in ,winter1 and close on ,saturdays at #b p4m4 ,all letters must be addressed ,the ,secretary4 ,lists of designs1 prices of prepared and finished work1 terms for lessons1 and addresses of ,provincial ,agents1 may be obtained by writing to the ,secretary4 ,a ,branch ,school for ,scotland has now been opened in ,glasgow4 ,show ,rooms at #ajh1 ,st4 ,vincent ,street4 ,decoration ,,royal ,,school ,,of ,,art-,,needlework4 ,,exhibition ,,road1 ,,south ,,kensington4 ,,prepared ,,work4 ,decoration ,work can be obtained from the ,,royal ,,school ,,of ,,art-,,needlework having a design traced1 a portion of the embroidery commenced1 and sufficient materials for finishing4 ,ladies' own materials will be traced and prepared for working if desired4 ,dresses must be cut out and tacked together before being sent to the ,school1 and lines marked on the material to show where the design is to be placed4 ,when an order for prepared work is executed exactly by the directions given1 or when the selection of ,design or ,colouring is left to the ,school1 the work cannot be exchanged or taken back4 ,the materials supplied with the work are considered more than sufficient to finish it1 and if more are required afterwards they must be purchased separately4 ,a few specimen prices are quoted1 but no estimates can be given for prepared work1 except in cases of large orders where a great quantity of material is supplied4 ,all ,designs supplied are ,copyright of the ,royal ,school of ,art-,needlework1 and must not be made use of for purposes of sale4 ,designs on paper are not supplied under any circumstances1 nor can work be sent out on approbation4 ,all work supplied is stamped with the monogram of the ,,royal ,,school ,,of ,,art-,,needlework1 as above1 in addition to the letters ,p4 ,w4 ,n4,b4--,an extra charge is made for all designs not ordinarily used for ,prepared ,work4 ,,approximate ,,prices ,,of ,,prepared ,,work ,,and ,,materials4 ,,table ,,covers1 on ,diagonal1 from #a #as4 to #e #es4 ,serge #ahs4 to #c #cs4 ,,linen ,,table ,,covers1 yard square1 #ads4 #f;d4 to #a #ajs4 ,,chair ,,back ,,covers1 ,linen1 #gs4 #f;d4 to #a #as4 ,,borders1 on ,linen1 suitable for ,table ,covers or ,dresses1 from #es4 per yard4 ,,borders1 on ,serge or ,diagonal1 suitable for ,table ,covers or ,dresses1 from #gs4 per yard4 ,,borders1 on ,serge or ,diagonal1 suitable for ,curtains1 ,chimney ,valances1 c41 from #acs4 per yard4 ,n4,b4--,if several yards are ordered of one pattern the price is lower4 ,,banner ,,screens1 ,linen 7various71 #hs4 #f;d4 to #aes4 #f;d4 ,diagonal1 #abs4 #f;d4 to #b #bs4 ,,babies' ,,blankets1 from #ads4 #f;d4 ,,bath ,,blankets1 yard square1 #ags4 #f;d42 yard and a half square1 #bfs4 ,,children',s ,,dress1 from #ahs4 to #a #ajs4 ,,tennis ,,aprons1 from #a #as4 ,,cushions1 ,linen1 #gs4 #f;d4 to #abs #f;d42 on ,diagonal1 c41 #ajs4 #f;d4 to #a #as4 ,,toilet ,,mats or ,d',,oyley1 #h inches square1 from #a #fs4 to #c #cs4 per dozen4 ,,folding ,,screens1 on ,sailcloth1 #a #as4 to #a #ajs4 per panel4 ,,crewels4 ,crewels are sold at the rate of #h;d4 per ounce skein1 or in quarter-pound bundles1 containing not more than four shades1 at #bs4 ,in quarter-pound bundles1 containing selected colours1 at #cs4 ,,embroidery ,,silks1 at #fs4 #f;d4 per ounce reel1 and #cs4 #c;d4 per half-ounce reel of one shade2 or at #hs4 per ounce of selected colours4 ,,filoselle1 #cs4 #f;d4 per ounce4 ,,needles1 #i;d4 per packet4 ,,materials1 suitable for embroidery1 such as ,homespuns1 ,fancy ,linens1 ,serge1 ,diagonal1 ,utrecht ,velvet1 ,satin de ,chine1 c4 c41 may be purchased at the ,school4 ,,not ,,less ,,than ,,one ,,yard ,,sold4 ,decoration ,decoration ,,list ,,of ,,designs4 ,,chair ,,backs4 ,honeysuckle1 ,bramble1 ,poppy1 ,passion ,flower1 ,taxonia1 ,wild ,rose1 ,apple ,blossom1 ,orange with ,flowers1 ,virginia ,creeper1 ,fish and ,bulrushes1 ,winter ,cherry1 ,corn ,flower1 ,hops1 ,carnations1 ,cherry1 ,daisy ,powdered1 ,primrose ,powdered1 ,faust ,motto1 ,iris ,seed1 ,japanese1 ,jessamine1 ,lantern ,plant1 ,periwinkle1 ,potato1 ,zynia1 ,tiger ,lily1 ,geranium1 ,burrage1 ,corncockle1 ,hawthorn1 ,daffodil1 ,iris1 ,love-in-a-,mist1 c4 c41 with many conventional designs4 ,,narrow ,,borders4 ,,suitable ,,for ,,dresses ,,or ,,table ,,covers4 ,love-in-a-,mist1 ,daisy1 ,poppy1 ,honeysuckle1 ,strawberry1 ,forget-me-,not1 ,flax1 ,jessamine1 ,blackberry1 ,virginia ,creeper1 ,hawthorn1 ,daffodil1 ,cowslip1 ,cherry1 ,buttercup1 ,mountain ,ash1 ,ragged ,robin1 ,potentilla1 ,apple ,blossom1 ,strawberry and ,blossom1 ,christmas ,rose1 c4 c41 also many conventional designs4 ,,curtain ,,borders4 ,sunflower1 ,pomegranate1 ,passion ,flower1 ,taxonia1 ,poppy1 ,lilies1 ,magnolia1 ,orange1 ,hops1 ,marguerites1 ,love-in-a-,mist1 ,wild ,rose1 ,arbutus1 ,chrysanthemum1 ,iris1 ,cowslip1 ,primrose1 ,apple1 c4 c4 ,the same ,designs can be had in ,horizontal ,borders for ,chimney ,valances1 wide ,table ,borders1 and can be adapted for any purpose4 ,n4,b4--,the ,royal ,school of ,art-,needlework has no ,branch ,school nor any ,agency in ,london4 ,royal ,school of ,art-,needlework4 ,,exhibition ,,road1 ,,south ,,kensington4 ,september1 #ahgh4 ,the ,committee of ,management of the ,,royal ,,school ,,of ,,art-,,needlework has now organized ,classes for ,teaching ,ornamental ,needlework at their premises in the ,exhibition ,road1 ,south ,kensington4 ,these ,classes are especially established for the instruction of ,ladies and ,children1 and include every kind of stitch in ,crewel1 ,silk1 and ,gold4 ,ladies who wish to take lessons1 or send their ,children1 are requested to send their names to the ,secretary1 who will inform them when to attend4 ,each ,course will consist of ,six ,lessons4 ,,crewels4 ,,third ,,class--,,six ,,lessons4 s4 d4 ,one ,person #a #d #j ,two of same ,family #a #af #j ,three ditto #b #h #j ,,silk ,,and ,,appliqu4 ,,second ,,class--,,six ,,lessons4 ,one ,person #a #aj #j ,two of same ,family #b #e #j ,three ditto #c #j #j ,,ecclesiastical ,,embroidery4 ,,first ,,class--,,six ,,lessons4 ,one ,person #b #j #j ,two of same ,family #c #j #j ,three ditto #d #j #j ,,single ,,lessons4 ,one single ,lesson 7for #a hour7 on ,lesson day #j #g #j ,ditto ditto ,special day #j #h #f ,ditto on ,ecclesiastical ,work 7at any time7 #j #aj #f ,private ,lessons at ,home1 #ajs4 #f;d4 the hour and expenses4 ,special terms for ,classes of ,twelve and upwards4 ,,finished ,,work4 ,,curtain ,,borders1 on ,serge or ,diagonal ,cloth1 from #b #ajs4 to #aj #ajs41 about #c yards long4 ,,dress ,,borders1 on ditto1 from #gs4 to #ahs4 per yard4 on ,house ,flannel1 from #cs4 #f;d4 to #ajs4 #f;d4 per yard4 ,,curtain ,,borders1 on ,linen1 from #a #ajs4 to #f #fs4 each4 ,,table ,,borders1 on ,linen1 from #a #as4 to #b #ajs4 ,,chair ,,backs1 on ,linen1 from #ads4 #f;d4 to #b #ajs4 ,,sofa ,,backs1 on ,linen and ,silk1 from #b #bs4 to #aj4 ,,table ,,covers1 on ,linen1 from #a #cs4 to #e4 ,serge1 from #a #as4 to #g4 ,diagonal1 from #cjs4 to #bf4 ,,small ,,chair ,,seats1 on ,diagonal1 from #acs4 to #b #abs4 ,,large ,serge1 from #acs4 to #c #cs4 ,,cushions1 made up1 from #b #bs4 to #e #gs4 ,,children',s ,,dresses1 from #a #as4 to #c #cs4 ,,aprons1 from #abs4 #f;d4 to #a #as4 ,,children',s ,,french ,,blouses1 #ahs4 #f;d4 to #b #cs4 ,,ladies' ,,lawn ,,tennis ,,aprons1 from #a #es4 to #c #ajs4 ,,linen ,d',,oyleys1 from #b #gs4 to #h #hs4 per dozen4 ,,tea ,,cosies1 on ,diagonal1 from #afs4 #f;d4 ,,kettledrum ,d',,oyleys1 each #es4 #f;d4 to #afs4 #f;d4 ,,sachets1 with ,mat to correspond1 on ,linen1 from #a #fs4 ,,folding ,,screens1 from #ac to #ajj4 ,,curtains1 on ,serge or ,linen1 from #aj to #fj per pair4 ,,mantel ,,valances1 from #b #bs4 to #aj #ajs4 ,,banner ,,screens1 from #a #ajs4 ,,counterpanes1 from #f to #hj4 ,,table ,,screens1 from #d #ds4 ,,ladies' ,,algerian ,,hoods1 from #c to #aj4 ,,fans1 ,mounted1 from #b #gs4 to #bj4 ,,carriage ,,rugs1 from #b to #aj4 ,,blotter ,,and ,,envelope ,,box1 from #h #hs4 on ,linen1 from #a #es4 ,,envelope ,,box1 on ,linen1 from #c4 ,,photograph ,,frames1 from #a #ajs4 ,,bellows1 from #a #ags4 ,,opera ,,cloaks1 from #c #cs4 ,,nightingale ,,dressing ,,jacket1 from #b4 ,,bath ,,slippers1 from #fs4 #f;d4 per pair4 ,,washstand ,,backs1 from #a #es4 ,,blanket ,,mats1 for ,bath1 #aes4 #f;d4 ,,berceaunette ,,covers1 from #a #ajs4 ,,sunshade ,,covers1 from #c #cs4 ,,piano ,,panels1 from #a #cs4 ,,babies' ,,head ,,flannels1 from #a #cs4 ,,cloaks1 from #d #ds4 ,,handkerchief ,,sachets1 from #c #cs4 ,,knitting ,,pockets1 from #a #as4 ,p4 ,o4 ,orders ,payable to ,l4 ,,higgin1 ,exhibition ,road4 ,not more than #ah ,stamps received4 ,,agents ,,in ,,the ,,country4 ,liverpool3 ,messrs4 ,,rumney ,,love1 ,bold ,street4 ,manchester3 ,messrs4 ,e4 ,,goodall ,,co41 ,king ,street4 ,leeds3 ,messrs4 ,,marsh1 ,,jones1 ,,cribbs4 ,norwich3 ,messrs4 ,,robertson ,,sons1 ,queen ,street4 ,glasgow3 ,messrs4 ,,alexander ,,howell1 #ajh1 ,st4 ,vincent ,street4 ,birmingham3 ,messrs4 ,,manton1 ,,sons1 ,,gilbert4 ,and for ,america3 ,messrs4 ,,torrey1 ,,bright1 ,,capen1 ,boston4 ,,branch ,,school ,,for ,,scotland3 #aaf1 ,,st4 ,,vincent ,,street1 ,,glasgow4 ,all information to be obtained at the ,show ,rooms1 #ajh1 ,st4 ,vincent ,street4 ,as advertisements have from time to time appeared in various newspapers offering for sale designs of the ,royal ,school of ,art-,needlework1 the ,public is requested to note that no designs either on pricked paper1 or in any other form than on commenced work1 are1 or ever have been1 sold by the ,school1 or supplied to any agent4 ,further1 that no tracing powder is used in preparing the patterns1 or sold for that purpose4 ,all designs1 therefore1 offered as those of the ,royal ,school are either entirely spurious1 or are pirated from theirs4 ,,chiswick ,,press3--,c4 ,,whittingham1 ,,tooks ,,court1 ,,chancery ,,lane4 ,transcriber's ,note ,minor typographic errors in punctuation have been corrected without note4 ,hyphenation has been made consistent in the main body of the text without note4 ,please note that the author uses the term 'high light' rather than the more usual 'highlight'4 ,the following amendments have been made3 ,page #ae--;grounds amended to ground--,as ground for embroidery it has an excellent effect4 ,page #ec--the page reference to ,burden stitch has been amended from #di to #ej4 ,the first #aj captioned illustrations 7starting with ,no4 #a4--,,stem ,,stitch7 have been made consistent with the later illustrations1 by the removal of the word ,illustration and a comma at the beginning of each of those captions4 ,the two illustrations on page #ha 7,plates #aa and #ab7 were printed in reverse order in the original4 ,the captions have been amended to the correct numeric order in this e-text4 ,currency indicators 7s4 and d47 were printed in italics in the original text4 ,the convention has not been retained in this e-text4