,transcriber's ,note3  ,the printed     
,errata have been corrected in the text4
 ,a few additional printer's errors have
 been corrected1 details of the         
corrections can be found at the end of  
this e-text4         99       99        
99       99       99     ,,art ,,in     
,,needlework     ,,text-,,books ,,of    
,,ornamental ,,design   ,,art ,,in      
,,needlework  ,a ,,book ,,about         
,,embroidery  ,,by  ,,lewis ,f4 ,,day   
,,author ,,of ',,windows1'              
',,alphabets1' ',,nature ,,in           
,,ornament' ,,and ,,other ,,text-,,books
 ,,of ,,ornamental ,,design   ,,mary    
,,buckle   ,,london3 ,b4 ,t4 ,,batsford 
#id ,,high ,,holborn #aijj  ,,bradbury1 
,,agnew1  ,,co4 ,,ld41 ,,printers1      
,,london ,,and ,,tonbridge4             
,,preface4   ,embroidery may be looked  
at from more points of view than it     
would be possible in a book like this to
 take up seriously4 ,merely to hover    
round the subject and glance casually at
 it would serve no useful purpose4 ,it  

may be as well1 therefore1 to define our
 standpoint3 we look at the art from its
 practical side1 not1 of course1        
neglecting the artistic1 for the        
practical use of embroidery is to be    
beautiful4  ,the custom has been1 since 
woman learnt to kill time with the      
needle1 to think of embroidery too much 
as an idle accomplishment4 ,it is more  
than that4 ,at the very least it is a   
handicraft3 at the best it is an art4   
,this contention may be to take it      
rather seriously2 but if one esteemed it
 less it would hardly be worth writing  
about1 and the book1 when written1 would
 not be worth the attention of students 
of embroidery1 needleworkers1 and       
designers of needlework to whom it is   
addressed4 ,it sets forth to show what  
decorative stitching is1 how it is done1
 and what it can do4 ,it is illustrated 
by samplers of stitches2 by diagrams1 to
 explain the way stitches are done2 and 
by examples of old and modern work1 to  
show the artistic application of the    

stitches4  ,a feature in the book is the
 series of samplers designed to show not
 only what are the available stitches1  
but the groups into which they naturally
 gather themselves1 as well as the use  
to which they may be put3 and the back  
of the sampler is given too3 the reader 
has only to turn the page to see the    
other side of the stitching--which to a 
needlewoman is often the more helpful4  
,lest that should not be enough1 the    
stitches are described in the text1 and 
a marginal note shows at a glance where 
the description is given4 ,this should  
be read needle and thread in hand--or   
skipped4 ,samplers and other examples of
 needlework are uniformly on a scale    
large enough to show the stitch quite   
plainly4 ,the examples of old work      
illustrate always1 in the first place1  
some point of workmanship2 still they   
are chosen with some view to their      
artistic interest4  ,in other respects  
,art is not overlooked2 but it is ,art  
in harness4 ,design is discussed with   

reference to stitch and stuff1 and      
stitch and stuff with reference to their
 use in ornament4 ,it has been          
endeavoured also to show the effect     
needlework has had upon pattern1 and the
 ways in which design is affected by the
 circumstance that it is to be          
embroidered4  ,the joint authorship of  
the work needs1 perhaps1 a word of      
explanation4 ,this is not just a man's  
book on a woman's subject4 ,the scheme  
of it is mine1 and ,i have written it1  
but with the co-operation throughout of 
,miss ,mary ,buckle4 ,our classification
 of the stitches is the result of many a
 conference between us4 ,the description
 of the way the stitches are worked1 and
 so forth1 is my rendering of her       
description1 supplemented by practical  
demonstration with the needle4 ,she has 
primed me with technical information1   
and been always at hand to keep me from 
technical error4 ,with reference to     
design and art ,i speak for myself4  ,my
 thanks are due to the authorities at   

,south ,kensington for allowing us to   
handle the treasures of the national    
collection1 and to photograph them for  
illustration2 to ,mrs4 ,walter ,crane1  
,miss ,mabel ,keighley1 and ,miss ,c4   
,p4 ,shrewsbury1 for permission to      
reproduce their handiwork2 to ,miss     
,argles1 ,mrs4 ,buxton ,morrish1        
,colonel ,green1 ,r4,e41 and ,messrs4   
,morris and ,co41 for the loan of work  
belonging to them2 and to ,miss ,chart  
for working the cross-stitch sampler4   
,i must also acknowledge the part my    
daughter has had in the production of   
this book3 without her constant help it 
could never have been written4          
,,lewis ,f4 ,,day4      ,january #ast1  
#aijj4     ,,contents4       ,,chap4    
,,page       #a4 ,,embroidery ,,and     
,,embroidery ,,stitches                 
#a       #b4 ,,canvas ,,stitches        
#ab       #c4 ,,crewel-,,stitch         
#bf       #d4 ,,chain-,,stitch          
#ch       #e4 ,,herring-,,bone-,,stitch 
#dg       #f4 ,,buttonhole-,,stitch     

#ee       #g4 ,,feather ,,and ,,oriental
 ,,stitches                             
#fb       #h4 ,,rope ,,and ,,knot       
,,stitches                              
#ga       #i4 ,,interlacings1 ,,surface 
,,stitches1 ,,and ,,diapers             
#hc      #aj4 ,,satin-,,stitch ,,and    
,,its ,,offshoots                       
#ia      #aa4 ,,darning                 
#ajf      #ab4 ,,laid-,,work            
#aab      #ac4 ,,couching               
#abb      #ad4 ,,couched ,,gold         
#aca      #ae4 ,,applique               
#add      #af4 ,,inlay1 ,,mosaic1 ,,and 
,,cut-,,work                            
#aec      #ag4 ,,embroidery ,,in        
,,relief                                
#aei      #ah4 ,,raised ,,gold          
#afe      #ai4 ,,quilting               
#agb      #bj4 ,,stitch ,,groups        
#age      #ba4 ,,one ,,stitch ,,or      
,,many8                                 
#ahj      #bb4 ,,outline                
#ahe      #bc4 ,,shading                
#ahh      #bd4 ,,figure ,,embroidery    

#aih      #be4 ,,the ,,direction ,,of   
,,the ,,stitch                          
#bjh      #bf4 ,,church ,,work          
#baf      #bg4 ,a ,,plea ,,for          
,,simplicity                            
#bbe      #bh4 ,,embroidery ,,design    
#bcb      #bi4 ,,embroidery ,,materials 
#bdb      #cj4 ,a ,,word ,,to ,,the     
,,worker                                
#bej     ,,descriptive ,,list ,,of      
,,illustrations4   #a4 ,,tapestry--to   
illustrate work on a warp not on a web4 
,from ,akhmin in ,upper ,egypt4 ,ancient
 ,coptic4 7,in the ,victoria and ,albert
 ,museum47  #b4 ,,drawn-,,work ,,on     
,,fine ,,linen1 embroidered with gold   
and colour4 ,oriental4 7,from the       
collection of ,mrs4 ,lewis ,f4 ,day47   
#c4 ,,darning ,,and ,,satin-,,stitch on 
square mesh--,the darning leaf1 green1  
follows the lines of the stuff2 outlined
 with yellow1 veined with pink and      
white2 stem1 yellow1 its foliation pink1
 outlined with white1 and ribbed with   
blue and white4 ,italian4 #agth century4

 7,v4  ,a4 ,m47  #d4 ,,cross-,,stitch   
,,upon ,,linen4 ,hungarian4 ,compare    
,illustration #de4  #e4 ,,cross-,,stitch
 ,,sampler--,a and ,b1 solid2 ,c1 line  
work2 ,d1 stroke-stitch--called also    
,holbein-stitch2 ,e1 stroke and cross   
stitches combined4  #f4                 
,,canvas-,,stitch in coloured silk upon 
linen4 ,the band ,italian1 the foliated 
diaper ,oriental4 7,mrs4 ,l4 ,f4 ,d47   
#g4 ,,canvas-,,stitch--,design          
comparatively free1 but showing in its  
outline the influence of the rectangular
 lines of the weaving4 ,cretan4 7,mrs4  
,l4 ,f4 ,d47  #h4 ,,canvas-,,stitch     
,,sampler--,a1 tent-stitch2 ,b1         
half-cross-stitch2 ,c1 cushion-stitch2  
,d1 ,moorish-stitch1 so called2 ,e1     
plait-stitch2 ,f1 couching on canvas4   
#i4 ,,cushion ,,and ,,satin-,,stitches  
,,upon ,,canvas--,the ,satin-stitches   
follow the lines of the stuff1 and form 
a diaper built upon them4 ,compare      
,illustration #ga4  #aj4 ,,two          
,,varieties ,,of ,,canvas-,,stitch1 the 

pattern in the bare linen1 the          
background worked--,a1 plait-stitch1 the
 ornament outlined2 ,b1 stitches drawn  
tightly together so as to pull the      
threads of the linen apart1 giving very 
much the effect of drawn-work4 ,compare 
,illustration #b4 7,mrs4 ,l4 ,f4 ,d47   
#aa4 ,,crewel-,,stitch ,,sampler--,a and
 ,c1 crewel-stitch2 ,b and ,d1          
outline-stitch2 ,e1 back-stitch2 ,f1    
spots2 ,g and ,h1 stem-stitch2 ,j1      
crewel and outline-stitches in          
combination4  #ab4 ,,back ,,of          
,,crewel-,,stitch ,,sampler4  #ac4      
,,crewel-,,work--the stem only worked in
 crewel-stitch4 ,embroidered in green1  
blue1 and brown wools upon white cotton4
 ,old ,english4 7,coll4 of ,miss        
,argles47  #ad4 ,,crewel-,,work1 in     
which crewel-stitch hardly occurs4      
,embroidered in coloured wools upon     
white cotton4 ,old ,english4 7,coll4 of 
,j4 ,m4 ,knapp1 ,esq47  #ae4            
,,crewel-,,stitch ,,in ,,twisted ,,silk4
 ,the scroll in green upon a            

brownish-purple ground2 the smaller     
leafage upon the scroll in brighter     
green2 the flowers and butterflies in   
blue and pink4 ,modern4 7,mrs4 ,l4 ,f4  
,day47  #af4 ,,chain-,,stitch ,,and     
,,knots--,part of the same piece of work
 as ,illustration #bd4 ,indian4 7,v4    
,a4 ,m47  #ag4 ,,chain-,,stitch         
,,sampler--,a1 chain-stitch solid and in
 line2 ,b1 magic stitch2 ,c1 church     
chain2 ,d1 cable chain2 ,e1 ,vandyke    
chain2 ,f1 ,mountmellic chain2 ,g1      
,mountmellic cable--all so called4  #ah4
 ,,back ,,of ,,chain-,,stitch ,,sampler4
  #ai4 ,,chain ,,and ,,surface          
,,stitches--the latter a kind of        
buttonholing1 only occasionally worked  
into the stuff4 ,part of a lectern cover
 in white thread upon a thin1 greyish   
white linen stuff4 ,german1 #adth       
century4 7,v4  ,a4 ,m47  #bj4           
,,herringbone ,,sampler--,a1 ,b1 ,c1    
varieties of herring-bone2 ,d1 a        
combination of ,a and ,c2 ,e1 fishbone2 
,f1 a close variety of ,a2 ,g1 tapestry 

stitch1 so called4  #ba4 ,,back ,,of    
,,herringbone ,,sampler4  #bb4          
,,buttonhole ,,sampler--,a1 ,b1 ,c1     
ordinary buttonhole and variations upon 
it2 ,d1 two rows of buttonhole worked   
slanting one into the other2 ,e1 crossed
 buttonhole2 ,f1 tailor's buttonhole2   
,g1 ladder 7called also ,cretan7 stitch2
 ,h1 herringbone buttonhole2 ,j1        
buttonhole diaper4  #bc4 ,,back ,,of    
,,buttonhole ,,sampler4  #bd4           
,,buttonhole1 ,,chain1 ,,and ,,knot     
,,stitches--chiefly in white floss silk 
on dark purple satin1 with touches of   
crimson at the points from which the    
stitches radiate4 ,the rings on the     
outer ground are not worked1 but done in
 the dyeing of the satin4 ,part of the  
same piece of work as #af4 ,modern      
,indian from ,surat4 7,v4  ,a4 ,m47     
#be4 ,,feather-,,stitch ,,sampler--,a to
 ,g1 ordinary feather-stitch and its    
variations2 ,g ,g1 feather chain4  #bf4 
,,back ,,of ,,feather-,,stitch          
,,sampler4  #bg4 ,,oriental-,,stitch    

,,sampler--,a to ,e1 ,oriental-stitch   
and its varieties2 ,f1 ,oriental-stitch 
worked into buttonhole2 ,g1 not properly
 a form of ,oriental-stitch1 though     
bearing some resemblance to it4  #bh4   
,,back ,,of ,,oriental-,,stitch         
,,sampler4  #bi4 ,,rope ,,and           
,,knot-,,stitch ,,sampler--,a1          
rope-stitch2 ,b1 open rope-stitch2 ,c1  
what is called ,german knot-stitch2 ,d1 
open ,german knot-stitch2 ,e1 ,old      
,english knot-stitch1 so called2 ,f1    
bullion-stitch2 ,g1 ,french knots4  #cj4
 ,,back ,,of ,,rope ,,and               
,,knot-,,stitch ,,sampler4  #ca4 ,a     
,,tour-,,de-,,force ,,in                
,,knots--,worked entirely in the one    
stitch2 the drawing lines expressed by  
voiding4 ,in white and coloured silks   
upon a very dark blue ground4 ,chinese4 
7,mrs4 ,l4 ,f4 ,d47  #cb4               
,,interlacing-,,stitch ,,sampler--,a1   
,interlaced crewel-stitch2 ,b1          
interlaced back-stitch2 ,c1 back-stitch 
twice interlaced2 ,d1 interlaced        

chain-stitch2 ,e1 interlaced darning2   
,f1 interlaced herringbone2 ,g1         
herringbone twice interlaced2 ,h1 an    
interlaced version of ,c in             
,illustration #bj2 ,j1 interlaced       
,oriental-stitch2 ,k1 interlaced        
feather-stitch4  #cc4 ,,back ,,of       
,,interlacing ,,sampler4  #cd4          
,,surface-,,stitch ,,sampler--,a1 ,d1   
,g1 various surface stitches2 ,b1       
surface buttonhole2 ,h and ,c1 surface  
darning2 ,e1 ,japanese darning1 as it is
 called2 ,f1 net passing2 ,j1 surface   
buttonhole over bars2 ,k1 surface       
buttonhole over slanting stitches4  #ce4
 ,,lace ,,or ,,surface-,,stitch ,,and   
,,satin-,,stitch1 much of it worn away4 
,in straw-coloured floss upon pale blue 
silk4 ,part of a dress4 ,french4 ,late  
#ahth century4 7,mrs4 ,l4 ,f4 ,d47  #cf4
 ,,satin-,,stitch ,,sampler--,worked in 
floss1 the stitch in various directions1
 to give different effects4             
,incidentally it shows various ways of  
breaking up a surface in satin-stitch4  

,compare with ,illustration #ch1 which  
shows the effect of the stitch in       
twisted silk4  #cg4 ,,back ,,of         
,,satin-,,stitch ,,sampler4  #ch4       
,,satin-,,stitch ,,in ,,coarse ,,twisted
 ,,silk4  #ci4 ,,satin-,,stitch ,,in    
,,twisted ,,silk--,outlines voided4     
,worked in white and occasional red and 
yellow upon black satin4 ,indian4       
,modern4 7,v4  ,a4 ,m47  #dj4           
,,satin-,,stitch ,,and1 on the birds'   
bodies1 ,,plumage-,,stitch--,the ends of
 the stalks worked in ,french knots2 the
 veins of the leaves in fine white cords
 laid on to the satin stitch4 ,the      
outlines voided1 and the voiding        
occasionally worked across with stitches
 wide enough apart to show the ground   
between4 ,in white and bright-coloured  
silk floss upon a black satin ground4   
,chinese4 7,mrs4 ,l4 ,f4 ,d47  #da4     
,,sampler--,showing offshoots from satin
 and crewel stitches1 and incidentally  
illustrating various ways of shading4   
,a1 crewel-stitch2 ,b1 plumage-stitch1  

worked in the hand2 ,c1 split-stitch2   
,d1 plumage-stitch1 worked in the frame4
  #db4 ,,back ,,of ,,sampler #da4  #dc4 
,,darning ,,sampler--,except in the     
background the stitches follow the lines
 of the drawing1 regardless of the      
weaving of the stuff4 ,the customary    
outlining of the pattern is here        
omitted1 to show how far it may1 or may 
not1 be needful4  #dd4                  
,,darning--,,designed ,,by ,,william    
,,morris4 ,in delicate colours upon a   
sea-green ground1 outlined with black   
and white4 ,part of the border of a     
table-cloth1 the property of ,messrs4   
,morris  ,co4  #de4 ,,flat              
,,darning--,solid and open1 following   
the lines of a square mesh1 and stepping
 in tune with it2 the outline voided2   
all in white thread4 ,old ,german4      
7,gewerbs ,museum1 ,munich47  #df4      
,,laid-,,work ,,sampler1 showing various
 ways 7split-stitch and couching7 in    
which the sewing down may be done1 and  
the various directions it may           

take--vertical1 horizontal1 following   
the ornamental forms1 or crossing them4 
#dg4 ,,laid-,,work--,the couching       
crosses the flower forms in straight    
lines2 and in the eye of the flower     
where the threads cross1 the two are    
sewn down at a single stitch4 ,the      
spiral stems a sort of laid cord4       
,flower in blue1 sewn with blue and     
outlined with gold2 leaves1 a bright    
fresh green stitched with olive4        
,japanese4 7,v4  ,a4 ,m47  #dh4         
,,laid-,,work4 ,the sewing down of the  
leaves crosses them in curved lines     
which suggest roundness4 ,the stem in   
gold basket pattern4 ,part of a         
coverlet4 ,worked upon a cedar-coloured 
ground chiefly in dark blue and white1  
the blue couched with white1 the white  
and other colours couched with red4     
,indo-,portuguese4 #agth century4 7,v4  
,a4 ,m47  #di4 ,,laid-,,work ,,and      
,,some ,,surface-,,stitch4 ,the         
stitching which sews down the floss     
takes the direction of the scroll1 c41  

and gives drawing4 ,the surface work in 
the stems is done upon a ladder of      
stitches across4 ,part of a chalice     
veil4 ,italian4 ,early #agth century4   
7,v4  ,a4 ,m47  #ej4 ,,laid-,,work      
,,sampler--,the straight lines of laid  
floss varied in colour to suggest       
shading4 ,the stalk padded1 and the     
pattern made by the stitching upon it   
thereby emphasised4  #ea4 ,,bullion     
,,and ,,couched ,,cord--,a1 ,the        
somewhat loose design of the border in  
bullion shows rather plainly the way it 
is done4 ,b1 ,the solid discs of spiral 
cord are unusual1 but most              
characteristic of the method of         
couching4 ,the stitches sewing down the 
cord are not apparent4 ,oriental4 7,mrs4
 ,l4 ,f4 ,d47  #eb4 ,,sampler ,,of      
,,couched ,,silk--,the broad central    
band and the narrow beaded lines are in 
floss1 and show the effect of sewing it 
more or less tightly down4 ,the two     
intermediate bands are in cord couched  
with threads in the direction of its    

twist1 not very easily distinguishable  
unless by contrast of colour4  #ec4     
,,couching ,,in ,,looped ,,threads--,the
 effect is not unlike that of           
chain-stitch or fine knotting4 ,rather  
over actual size4 ,worked in bright     
colours upon a pale green crepe ground4 
,chinese4 7,mrs4 ,l4 ,f4 ,d47  #ed4     
,,reverse ,,couching--,showing on the   
face of it no sign of couching4 7,after 
the manner of the ,syon ,cope47  #ee4   
,,back ,,of ,,reverse                   
,,couching--,showing the parallel lines 
of couched linen thread which sew down  
the silk upon the surface 7,illustration
 #ed74 ,the zigzag pattern of the       
stitching might equally well have taken 
other lines4  #ef4 ,,couched ,,gold     
,,sampler--,a1 ,b1 ,c1 ,d1 flat work2   
,e1 part flat1 part raised2 ,f1 ,g1 ,h1 
,j1 basket and other patterns raised    
over cords4  #eg4 ,,couching ,,in       
,,various ,,diaper ,,patterns1          
,,outlined ,,in ,,part ,,with ,,plate4  
,silver on pale pink silk4 7,coll4 of   

,mrs4 ,t4 ,buxton ,morrish47  #eh4      
,,gold ,,couching ,,in ,,open           
,,threads--,a1 ,the lines of gold which 
form a scale pattern on the dragon's    
body1 are wide enough apart to let the  
red ground grin through4 ,elsewhere the 
couching1 contrary to mediaeval         
practice1 follows the shapes1 line      
within line until they are occupied4    
,the floss embroidery1 in white and     
colours1 is in surface-satin-stitch4    
,chinese4 ,b1 ,the open lines of gold   
look somehow richer than if the metal   
had been worked solid upon the crimson  
ground4 ,old ,venetian4 7,mrs4 ,l4 ,f4  
,d47  #ei4 ,,couched ,,outline ,,work2  
only an occasional detail worked solid2 
suggests damascening4 ,the border is in 
gold1 the filling in silver1 thread on a
 greyish-green velvet4 ,part of an      
,italian housing or saddlecloth4 #afth  
century4 7,v4  ,a4 ,m47  #fj4           
,,applique--,satin upon velvet1 outlined
 with two threads of gold couching4     
#fa4 ,,applique ,,panel--,designed and  

executed by ,miss ,mabel ,keighley1     
illustrating a poem by ,william ,morris4
 7,the property of the artist47  #fb4   
,a4 ,,counter-,,change ,,pattern1       
,,inlay ,,or ,,applique4--,yellow satin 
and crimson velvet4 ,the outline1 which 
is in gold1 falls chiefly upon the      
yellow1 so as not to disturb the exact  
balance of light and dark1 which it is  
essential to preserve in counter-change4
 ,part of a stole4 ,spanish4 #afth      
century 7,v4  ,a4 ,m47      ,b4         
,,applique1 of deep crimson velvet upon 
white satin1 outlined with paler red    
cord4 ,the outlines1 meeting together1  
form a stem of double cord4 ,italian4   
#agth century4 7,v4  ,a4 ,m47  #fc4     
,,applique1 with couched outline1 and   
stitching upon the applique band or     
ribbon4 ,the dots in the centre of the  
grapes are ,french knots4 ,the pattern  
is in satin of various colours1 upon a  
figured green silk damask1 outlined with
 yellow silk sewn down with yellow4     
,italian4 7,v4  ,a4 ,m47  #fd4 ,,inlay  

,,in ,,coloured ,,cloths1 outlined with 
chain stitch4 ,magic stitch also occurs4
 ,a characteristic example of the kind  
of work done at ,retsht1 in ,persia4    
7,mrs4 ,l4 ,f4 ,d47  #fe4 ,,cut-,,work  
,,in ,,linen--,a fret of this kind was  
often outlined with coloured silk1 and  
the detail within the fretted outline   
further embroidered in coloured silk4   
7,coll4 of ,mrs4 ,drake47  #ff4         
,,sampler ,,of ,,raised ,,work1 showing 
underlays3 ,a1 of cloth2 ,b1 of twisted 
cords2 ,c1 of parchment2 ,d1 of cotton  
wool2 ,e1 first of cotton cord and then 
of cotton thread2 ,f1 of cord2 ,g1 of   
string2 ,h1 of sewing4  #fg4 ,,raised   
,,work1 showing underlay of linen1 and  
the way it is sewn down--,the work is in
 flax thread1 red1 yellow1 and white1   
upon a blue linen ground4 ,the stem is  
dotted with white beads1 the ground with
 gold spangles4 ,part of an altar       
frontal4 ,german4 #aeth century4 7,v4   
,a4 ,m47  #fh4 ,,raised ,,gold ,,basket 
,,patterns1 c41 upon white satin4 ,the  

stalk in flat wire4 ,spanish4 #agth     
century4 7,mrs4 ,l4 ,f4 ,d47  #fi4      
,,quilt1 ,,worked ,,in ,,chain-,,stitch 
from the back--which has precisely the  
effect of back-stitch4 ,yellow silk upon
 white linen4 ,old ,english4 7,v4  ,a4  
,m47  #gj4 ,,raised ,,quilting1 in black
 silk upon pale sea-green satin4 ,part  
of the border of a prayer cushion4 ,old 
,persian4 7,mrs4 ,l4 ,f4 ,d47  #ga4     
,,diaper ,,of ,,satin-,,stitch ,,in     
,,the ,,making--,something between      
canvas-stitch and satin-stitch4 ,the    
leafage is in tent-stitch4 ,compare with
 ,illustration #i4 7,v4  ,a4 ,m47  #gb4 
,,stitches ,,in ,,combination--,among   
them ,oriental1 ladder1 buttonhole1     
chain1 crewel1 satin1 and herringbone   
stitches1 worked in dark blue silk upon 
unbleached linen4 ,old ,cretan1 so      
called4 7,mrs4 ,l4 ,f4 ,d47  #gc4 ,,fine
 ,,needlework ,,upon ,,cambric--the     
substance of which is apparent upon the 
upper edge of the work4 ,in the         
ground-work of the pattern generally the

 threads are drawn together to form an  
open net4 ,the stitches occurring in the
 collar of which this is part are1      
buttonhole1 satin1 chain1 herringbone1  
cross1 and back stitches4 ,the outline  
is mostly in fine cross-stitch4 ,nothing
 could exceed the delicacy of the       
workmanship1 which is in its kind       
perfect4 ,old ,english4 7,coll4 of ,col4
 ,green1 ,r4,e47  #gd4 ,,part ,,of ,a   
,,design ,,by ,,walter ,,crane1         
cunningly adapted to execution in       
needlework4 ,shows the direction of the 
stitch1 and the part it can be made to  
play in expressing form4 ,worked in     
coloured silks upon linen by ,mrs4      
,walter ,crane1 whose property the work 
is4  #ge4 ,,shading ,,in                
,,chain-,,stitch in silk and chenille   
upon a satin ground4 ,the shading very  
deliberately schemed by the designer4   
,in natural colours upon white4 ,french4
 ,louis ,seize4 7,v4  ,a4 ,m47  #gf4    
,,shading ,,in ,,short ,,stitches2      
picturesque to the point of a touch of  

white in the glistening yellow of the   
dove's eye4 ,chenille1 in chain-stitch1 
is used for the wreath and in the leaves
 of the flower sprigs4 ,these are in    
colours1 the birds are in silvery greys1
 all on a white satin ground4 ,french4  
,louis ,seize4 7,v4  ,a4 ,m47  #gg4     
,,shading ,,in ,,long-,,and-,,short     
,,and ,,split ,,stitches1 with more     
regard to expression of form than to    
neatness of execution4 ,german4 #afth   
century4 7,v4  ,a4 ,m47  #gh4           
,,chain-,,stitch1 showing in the figures
 of the little men what a draughtsman   
can express in a few stitches4 ,full    
size4 ,chinese4 7,mrs4 ,l4 ,f4 ,d47     
#gi4 ,,figure ,,work--,the flesh in     
straight upright stitches1 the drapery  
laid and couched4 ,english4 #aeth       
century4 7,v4  ,a4 ,m47  #hj4           
,,consummate ,,figure                   
,,embroidery--,canvas ground entirely   
covered4 ,flesh in coloured silks1      
short-stitch2 drapery coloured silks    
over gold1 which only gleams through in 

the lighter parts4 ,architecture closely
 couched gold4 ,part of an orphrey4     
,florentine4 #afth century4 7,v4  ,a4   
,m47  #ha4 ,,chinese ,,figures--,the    
flesh in short satin-stitches1 the rest 
in chain-stitch2 chiefly in blue and    
white upon a figured white silk ground4 
,about actual size4 7,mrs4 ,l4 ,f4 ,d47 
#hb4 ,,satin-,,stitch1 showing the      
influence of its direction upon the tone
 of colour4 ,the pattern is all in one  
shade of yellow-brown floss upon white  
linen4 ,the outline steps with the      
weaving1 and so shows connection between
 satin and canvas stitches4 ,italian1   
#agth century4 7,v4  ,a4 ,m47  #hc4     
,,meaningless ,,direction ,,of          
,,stitch--,satin and herring-bone       
stitches4 ,from an altar-cloth4 ,german4
 #agth century4 7,v4  ,a4 ,m47  #hd4    
,,more ,,expressive ,,lines ,,of        
,,stitching--,to compare with           
,illustration #hc4  #he4 ,,satin ,,and  
,,plumage ,,stitches chiefly1 the bird's
 crest in ,french knots1 the clouds     

about him in knotted braid4 ,the        
direction of the stitch is most artfully
 chosen1 and the precision of the work  
is faultless4 ,the satin ground is of   
brilliant orange-red2 the crane1 white1 
with black tail feathers1 scarlet crest1
 and yellow beak and legs2 the clouds1  
black and white and blue4 ,japanese4    
7,mrs4 ,l4 ,f4 ,d47  #hf4 ,,renaissance 
,,church ,,work ,,in ,,gold ,,and       
,,silver1 partly flat1 partly in relief1
 upon pale blue satin1 with touches of  
pink and crimson silk to give emphasis4 
,spanish4 #ahth century4 ,compare the   
stem with ,illustration #ff1 ,b4 7,v4   
,a4 ,m47  #hg4 ,,gothic ,,church        
,,work--,the flesh1 c41 in split-stitch2
 the vine-leaves green1 getting yellower
 as it nears the crimson silk ground4   
,part of a cope embroidered with a      
representation of the ,tree of ,jesse4  
,english4 ,ca4 #acdj4 7,v4  ,a4 ,m47    
#hh4 ,,modern ,,church ,,work ,,on      
,,linen1 in long-and-short stitch4      
,veins padded with embroidery cotton and

 worked over with two threads of        
filo-floss1 a green and a blue2 the rest
 of the leaves worked in one shade of   
stout floss4 ,all this applied to velvet
 with a couching of brown filoselle1 and
 the tendrils added4 ,designed and      
executed by ,miss ,c4 ,p4 ,shrewsbury4  
7,the property of the artist47  #hi4    
,,simple ,,stitching ,,on ,,linen1 the  
broader bands in a canvas stitch in     
yellow1 the finer lines in back-stitch  
in pale grey silk4 ,italian4 7,mrs4 ,l4 
,f4 ,d47  #ij4 ,,simple ,,couched       
,,outline ,,work1 in purplish silk cord 
upon linen4 ,part of an altar-cloth4    
,italian4 #afth century4 7,v4  ,a4 ,m47 
#ia4 ,,renaissance ,,ornament--,most    
gracefully designed arabesque4 ,the     
raised outline 7couched7 has somewhat   
the effect of cloisons1 the satin-stitch
 7in colours7 of brilliant enamel4 ,it  
is upon a white satin ground4 ,the      
foreshortened face in the picture is    
painted upon satin4 ,italian4 ,ca4      
#agjj4 7,v4  ,a4 ,m47  #ib4 ,,applique  

,,design1 in yellow satin upon crimson  
velvet--,double outline2 next the red1  
white1 sewn with pale blue2 next the    
yellow1 gold4 ,midrib of the leaf       
couched silver4 ,spanish1 #afth century4
 7,v4  ,a4 ,m47  #ic4                   
,,satin-,,stitch--except that the       
heart-shaped features at the base and   
the lily-shaped flowers1 of which only  
the tips are shown1 are outlined with   
fine white cord4 ,part of a fan1 worked 
by ,miss ,buckle1 from a design by ,l4  
,f4 ,d4 7,the property of the worker47  
#id4 ,,leather ,,applique ,,upon        
,,velvet--,the stitching well within the
 edge of the leather4     ,,errata4     
,page #cj4 ,diagram belongs to ,g       
7,stem-,stitch7 described on page #cb1  
not ,c 7,thick ,crewel-,stitch74  ,page 
#abe1 #bnd line4 ,for lower read upper4 
,,art ,,in ,,needlework4                
,,embroidery ,,and ,,stitching4         
,embroidery begins with the needle1 and 
the needle 7thorn1 fish-bone1 or        
whatever it may have been7 came into use

 so soon as ever savages had the wit to 
sew skins and things together to keep   
themselves warm--modesty1 we may take   
it1 was an afterthought--and if the     
stitches made any sort of pattern1 as   
coarse stitching naturally would1 that  
was embroidery4  ,the term is often     
vaguely used to denote all kinds of     
ornamental needlework1 and some with    
which the needle has nothing to do4     
,that is misleading2 though it is true  
that embroidery does touch1 on the one  
side1 tapestry1 which may be described  
as a kind of embroidery with the        
shuttle1 and1 on the other1 lace1 which 
is needlework pure and simple1          
construction in the air as the ,italian 
name has it4  ,the term is used in      
common parlance to express any kind of  
superficial or superfluous              
ornamentation4 ,a poet is said to       
embroider the truth4 ,but such          
metaphorical use of the word hints at   
the real nature of the                  
work--embellishment1 enrichment1 added4 

,if added1 there must first of all be   
something it is added to--the material1 
that is to say1 on which the needlework 
is done4 ,in weaving 7even tapestry     
weaving7 the pattern is got by the      
inter-threading of warp and weft4 ,in   
lace1 too1 it is got out of the threads 
which make the stuff4 ,in embroidery it 
is got by threads worked on a fabric    
first of all woven on the loom1 or1 it  
might be1 netted4  ,there is inevitably 
a certain amount of overlapping of the  
crafts4 ,for instance1 take a form of   
embroidery common in all countries1     
,eastern1 ,hungarian1 or nearer home1 in
 which certain of the weft threads of   
the linen are drawn out1 and the        
needlework is executed upon the warp    
threads thus revealed4 ,this is1        
strictly speaking1 a sort of tapestry   
with the needle1 just as1 it was        
explained1 tapestry itself may be       
described as a sort of embroidery with  
the shuttle4 ,that will be clearly seen 
by reference to ,illustration #a1 which 

shows a fragment of ancient tapestry    
found in a ,coptic tomb in ,upper       
,egypt4 ,in the lower portion of it the 
pattern appears light on dark4 ,as a    
matter of fact1 it was wrought in white 
and red upon a linen warp2 but1 as it   
happened1 only the white threads were of
 linen1 like the warp1 the red were     
woollen1 and in the course of fifteen   
hundred years or so much of this red    
wool has perished1 leaving the white    
pattern intact on the warp1 the threads 
of which are laid bare in the upper part
 of the illustration4  ,illustration3   
#a4 ,,tapestry1 ,,showing ,,warp4  ,it  
is on just such upright lines of warp   
that all tapestry1 properly so called1  
is worked--whether with the shuttle or  
with the needle makes no matter--and    
there is good reason1 therefore1 for the
 name of tapestry stitch to describe    
needlework upon the warp threads only of
 a material 7usually linen7 from which  
some of the weft threads have been      
withdrawn4  ,the only difference between

 true tapestry and drawn work1 an       
example of which is here given1 is1 that
 the one is done on a warp that has not 
before been woven upon1 and the other on
 a warp from which the weft threads have
 been drawn4 ,the distinction1          
therefore1 between tapestry and         
embroidery is1 that1 worked on a warp1  
as in ,illustration #a1 it is tapestry2 
worked on a mesh1 as in ,illustration   
#c1 it is embroidery4  ,illustration3   
#b4 ,,drawn ,,work4  ,with regard1      
again1 to lace4 ,that is itself a web1  
independent of any groundwork or        
foundation to support it4 ,but it is    
possible to work it over a silken or    
other surface2 and there is a kind of   
embroidery which only floats on the     
surface of the material without         
penetrating it4 ,a fragment of last     
century silk given in ,illustration #ce 
shows plainly what is meant4            
,illustration3 #c4 ,,stitching ,,on ,a  
,,square ,,mesh4  ,embroidery is        
enrichment by means of the needle4 ,to  

embroider is to work on something3 a    
groundwork is presupposed4 ,and we      
usually understand by embroidery1       
needlework in thread 7it may be wool1   
cotton1 linen1 silk1 gold1 no matter    
what7 upon a textile material1 no matter
 what4 ,in short1 it is the decoration  
of a material woven in thread by means  
still of thread4 ,it is thus the        
consistent way of ornamenting           
stuff--most consistent of all when one  
kind of thread is employed throughout1  
as in the case of linen upon linen1 silk
 upon silk4 ,the enrichment may1        
however1 rightly be1 and oftenest is1   
perhaps1 in a material nobler than the  
stuff enriched1 in silk upon linen1 in  
wool upon cotton1 in gold upon velvet4  
,the advisability of working upon a     
precious stuff in thread less precious  
is open to question4 ,it does not seem  
to have been satisfactorily done2 but if
 it were only the background that was   
worked1 and the pattern were so schemed 
as almost to cover it1 so that1 in fact1

 very little of the more beautiful      
texture was sacrificed1 and you had     
still a sumptuous pattern on a less     
attractive background--why not8 ,but    
then it would be because you wanted that
 less precious texture there4 ,the      
excuse of economy would scarcely hold   
good4  ,in the case of a material in    
itself unsightly1 the one course is to  
cover it entirely with stitching1 as did
 the ,persian and other untireable      
people of the ,east4 ,but not they only4
 ,the famous ,syon cope is so covered4  
,much of the work so done1 all-over work
 that is to say1 competes in effect with
 tapestry or other weaving2 and its     
purpose was similar3 it is a sort of    
amateur way of working your own stuff4  
,but in character it is no more nearly  
related to the work of the loom than    
other needlework--it is still work on   
stuff4 ,for all-over embroidery one     
chooses1 naturally1 a coarse canvas     
ground to work on2 but it more often    
happens that one chooses canvas because 

one means to cover it1 than that one    
works all over a ground because it is   
unpresentable4  ,embroidery is merely an
 affair of stitching2 and the first     
thing needful alike to the worker in it 
and the designer for it is1 a thorough  
acquaintance with the stitches2 not1 of 
course1 with every modification of a    
modification of a stitch which          
individual ingenuity may have           
devised--it would need the space of an  
encyclopaedia to chronicle them all--but
 with the broadly marked varieties of   
stitch which have been employed to best 
purpose in ornament4  ,they are derived1
 naturally1 from the stitches first used
 for quite practical and prosaic        
purposes--buttonhole stitch1 for        
example1 to keep the edges of the stuff 
from fraying2 herring-bone1 to          
strengthen and disguise a seam2 darning1
 to make good a worn surface2 and so on4
  ,the difficulty of discussing them is 
greatly increased by the haphazard way  
in which they are commonly named4 ,a    

stitch is called ,greek1 ,spanish1      
,mexican1 or what not1 according to the 
country whence came the work in which   
some one first found it4 ,each names it 
after his or her individual discovery1  
or calls it1 perhaps1 vaguely ,oriental2
 and so we have any number of names for 
the same stitch1 names which to         
different people stand often for quite  
different stitches4  ,when this         
confusion is complicated by the         
invention of a new name for every       
conceivable combination of              
thread-strokes1 or for each slightest   
variation upon an old stitch1 and even  
for a stitch worked from left to right  
instead of from right to left1 or for a 
stitch worked rather longer than usual1 
the task of reducing them to order seems
 almost hopeless4  ,nor do the          
quasi-learned descriptions of old       
stitches help us much4 ,one reads about 
opus this and opus that1 until one      
begins to wonder where1 amidst all this 
parade of science1 art comes in4 ,but   

you have not far to go in the study of  
the authorities to discover that1 though
 they may concur in using certain       
high-sounding ,latin terms1 they are not
 of the same mind as to their meaning4  
,in one thing they all agree1 foreign   
writers as well as ,english1 and that   
is1 as to the difficulty of identifying 
the stitch referred to by ancient       
writers1 themselves probably not        
acquainted with the technique of        
stitching1 and as likely as not to call 
it by a wrong name4 ,it is easier1 for  
example1 to talk of ,opus ,anglicanum   
than to say precisely what it was1      
further than that it described work done
 in ,england2 and for that we have the  
simple word--,english4 ,there is nothing
 to show that mediaeval ,english work   
contained stitches not used elsewhere4  
,the stitches probably all come from the
 ,east4  ,nomenclature1 then1 is a      
snare4 ,why not drop titles1 and call   
stitches by the plainest and least      
mistakable names8 ,it will be seen1 if  

we reduce them to their native          
simplicity1 that they fall into         
fairly-marked groups1 or families1 which
 can be discussed each under its own    
head4  ,stitches may be grouped in all  
manner of arbitrary ways--according to  
their provenance1 according to their    
effect1 according to their use1 and so  
on4 ,the most natural way of grouping   
them is according to their structure2   
not with regard to whence they came1 or 
what they do1 but according to what they
 are1 the way they are worked4 ,this1 at
 all events1 is no arbitrary            
classification1 and this is the plan it 
is proposed here to adopt4  ,the use of 
such classification hardly needs        
pointing out4  ,a survey of the stitches
 is the necessary preliminary1 either to
 the design or to the execution of      
needlework4 ,how else suit the design to
 the stitch1 the stitch to the design8  
,in order to do the one the artist must 
be quite at home among the stitches2 in 
order to do the other the embroidress   

must have sympathy enough with a design 
to choose the stitch or stitches which  
will best render it4 ,an artist who     
thinks the working out of his sketch    
none of his business is no practical    
designer2 the worker who thinks design a
 thing apart from her is only a worker4 
,this is not the moment to urge upon the
 needlewoman the study of design1 but to
 urge upon the designer the study of    
stitches4 ,nothing is more impractical  
than to make a design without realising 
the labour involved in its execution4   
,any one not in sympathy with stitching 
may possibly design a beautiful piece of
 needlework1 but no one will get all    
that is to be got out of the needle     
without knowing all about it4 ,one must 
understand the ways in which work can be
 done in order to determine the way it  
shall in any particular case be done4   
,certain stitches answer certain        
purposes1 and strictly only those4 ,the 
designer must know which stitch answers 
which purpose1 or he will in the first  

place waste the labour of the           
embroidress1 and in the second miss his 
effect1 which is to waste his own pains 
too4 ,the effective worker 7designer or 
embroiderer7 is the one who works with  
judgment--and you cannot judge unless   
you know4 ,when it is remembered that   
the character of needlework1 and by     
rights also the character of its design1
 depends upon the stitch1 there will be 
no occasion to insist further upon the  
necessity of a comprehensive survey of  
the stitches4  ,a stitch may be defined 
as the thread left on the surface of the
 cloth or what not1 after each ply of   
the needle4  ,and the simple            
straightforward stitches of this kind   
are not so many as one might suppose4   
,they may be reduced indeed to a        
comparatively few types1 as will be seen
 in the following chapters4     ,,canvas
 ,,stitches4   ,the simplest1 as it is  
most likely the earliest used1          
stitch-group is what might best be      
called ,,canvas stitch--of which        

cross-stitch is perhaps the most        
familiar type1 the class of stitches    
which come of following1 as it is only  
natural to do1 the mesh of a coarse     
canvas1 net1 or open web upon which the 
work is done4  ,a stitch bears always1  
or should bear1 some relation to the    
material on which it is worked2 but     
canvas or very coarse linen almost      
compels a stitch based upon the cross   
lines of its woof1 and indeed suggests  
designs of equally rigid construction4  
,that is so in embroidery no matter     
where4 ,in ancient ,byzantine or ,coptic
 work1 in modern ,cretan work1 and in   
peasant embroidery all the world over1  
pattern work on coarse linen has run    
persistently into angular lines--in     
which1 because of that very angularity1 
the plain outcome of a way of working1  
we find artistic character4 ,artistic   
design is always expressive of its mode 
of workmanship4  ,work of this kind is  
not too lightly to be dismissed4 ,there 
is art in the rendering of form by means

 of angular outlines1 art in the choice 
of forms which can be expressed by such 
lines4 ,it is not uncharitable to       
surmise that one reason why such work   
7once so universal and now quite out of 
fashion7 is not popular with needlewomen
 may be1 the demand it makes upon the   
designer's draughtmanship3 it is much   
easier1 for example1 to draw a stag than
 to render the creature satisfactorily  
within jagged lines determined by a     
linen mesh4  ,illustration3 #d4         
,,cross-,,stitch4  ,the piquancy about  
natural or other forms thus reduced to  
angularity argues1 of course1 no        
affectation of quaintness on the part of
 the worker1 but was the unavoidable    
outcome of her way of work4 ,there is a 
pronounced and early limit to art of    
this rather naive kind1 but that there  
is art in some of the very simplest and 
most modest peasant work built up on    
those lines no artist will deny4 ,the   
art in it is usually in proportion to   
its modesty4 ,nothing is more futile    

than to put it to anything like         
pictorial purpose4 ,the wonderfully     
wrought pictures in tent-stitch1 for    
example1 bequeathed to us by the #agth  
century1 are painful object lessons in  
what not to do4  ,the origin of the term
 cross-stitch is not far to seek3 the   
stitches worked upon the square mesh do 
cross4 ,but1 falling naturally into the 
lines of the mesh which governs them1   
they present not so much the appearance 
of crosses as of squares1 reminding one 
of the tesserae employed in mosaic4     
,sidenote3 ,,to ,,work ,,cross ,,stitch4
  ,to explain the process of working    
cross-stitch would be teaching one's    
grandmother indeed4 ,it is simply1 as   
its name implies1 crossing one stitch by
 another1 following always the lines of 
the canvas4 ,but the important thing    
about it is that the stitches must cross
 always in the same way2 and1 more than 
that1 they must be worked in the same   
direction1 or the mere fact that the    
stitches at the back of the work do not 

run in the same way will disturb the    
evenness of the surface4 ,what looks    
like a seam on the sampler opposite is  
the result of filling up a gap in the   
ground with stitches necessarily worked 
in vertical1 whereas the ground         
generally is in horizontal1 lines4 ,on  
the face of the work the stitches cross 
all in the same way4  ,the common use of
 cross-stitch and the somewhat geometric
 kind of pattern to which it lends      
itself are shown in the sampler1        
,illustration #e4  ,the broad and simple
 leafage1 worked solid 7,a7 or left in  
the plain canvas upon a groundwork of   
solid stitching 7,b71 and the fretted   
diaper on vertical and horizontal lines 
7,c71 show the most straightforward ways
 of using it4  ,illustration3 #e4       
,,cross-,,stitch ,,sampler4  ,the       
criss-cross of alternating              
cross-stitches and open canvas framed by
 the key pattern 7,c7 shows a means of  
getting something like a tint halfway   
between solid work and plain ground4    

,the mere work line--or stroke-stitch1  
not crossed 7,d71 is a perfectly fair   
way of getting a delicate effect2 but   
the design has a way of working out     
rather less happily than it promised4   
,the addition of such stroke-stitches to
 solid cross-stitch 7,e7 is not at best 
a very happy device4 ,it strikes one    
always as a confession of               
dissatisfaction on the part of the      
worker with the simple means of her     
choice4 ,as a device for1 as it were1   
correcting the stepped outline it is at 
its worst4 ,timid workers are always    
afraid of the stepped outline which a   
coarse mesh gives4 ,in that they are    
wrong4 ,one should employ canvas stitch 
only where there is no objection to a   
line which keeps step with the canvas2  
then there is a positive charm 7for     
frank people at least7 in the frank     
confession of the way the work is done4 
,there are many degrees in the frankness
 with which this convention has been    
accepted1 according perhaps to the      

coarseness of the canvas ground1 perhaps
 to the personality of the worker4 ,the 
animal forms at the top of ,illustration
 #f are uncompromisingly square2 the    
floral devices on the same page1 though 
they fall1 as it were inevitably1 into  
square lines1 are less rigidly formal4  
,the inevitableness of the square line  
is apparent in the sprig below 7#g74 ,it
 was evidently meant to be freely drawn1
 but the influence of the mesh betrays  
itself2 and the design1 if it loses     
something in grace1 gains also thereby  
in character4  ,illustration3 #f4       
,,canvas-,,stitch4  ,illustration3 #g4  
,,canvas-,,stitch4  ,there is literally 
no end to the variety of stitches1 as   
they are called1 belonging to this      
group1 and their names are a babel of   
confusion4 ,florentine1 ,parisian1      
,hungarian1 ,spanish1 ,moorish1         
,cashmere1 ,milanese1 ,gobelin1 are only
 a few of them2 but they stand1 as a    
rule1 rather for stitch arrangements    
than for stitches4 ,a small selection of

 them is given in ,illustration #h4     
,sidenote3 ,,tent-,,stitch ,a4  ,what is
 known as tent-stitch 7,a in the sampler
 opposite7 is a sort of half            
cross-stitch2 its peculiarity is that it
 covers only one thread of the canvas at
 a stroke1 and is therefore on a more   
minute scale than stitches which are two
 or three threads wide1 as cross-stitch 
may1 and cushion-stitch must1 be4 ,it   
derives its name from the old word      
tenture1 or tenter 7tendere1 to         
stretch71 the frame on which the        
embroidress distended her canvas4 ,the  
word has gone out of use1 but we still  
speak of tenter-hooks4 ,the stitch is   
serviceable enough in its way1 but is   
discredited by the monstrous abuse of it
 referred to already4 ,a picture in     
tent-stitch is even more foolish than a 
picture in mosaic4 ,it cannot come      
anywhere near to pictorial effect2 the  
tesserae will pronounce themselves1 and 
spoil it4  ,illustration3 #h4           
,,canvas-,,stitch ,,sampler4            

,illustration3 #i4 ,,cushion ,,and      
,,satin ,,stitches4  ,sidenote3         
,,cross-,,stitch ,b4  ,this kind of half
 cross-stitch worked on the larger scale
 of ordinary cross-stitch would look    
meagre4 ,it is filled out1 therefore    
7,b71 by horizontal lines of the thread 
laid across the canvas1 and over these  
the stitch is worked4  ,sidenote3       
,,cushion-,,stitch ,c4  ,cushion-stitch 
consists of diagonal lines of upright   
stitches1 measuring in the sampler 7,c7 
six threads of the canvas1 so that after
 each stitch the needle may be brought  
out just three threads lower than where 
it was put in4 ,by working in zigzag    
instead of diagonal lines1 a familiar   
pattern is produced1 more often         
described as ,florentine2 but the stitch
 is in any case the same4  ,sidenote3   
,,canvas-,,stitch ,d4  ,the stitch at ,d
 7sometimes called ,moorish stitch7 is  
begun by working a row of short vertical
 stitches1 slightly apart1 and completed
 by diagonal stitches joining them4     

,unless the silk employed is full and   
soft1 this may not completely cover the 
canvas1 in which case the diagonal      
stitches must further be crossed as     
shown on ,illustration #hi4  ,if the    
linen is loosely woven and the thread is
 tightly drawn in the working1 the mesh 
is pulled apart1 giving the effect of an
 open lattice of the kind shown at ,b1  
on ,illustration #aj1 in which the      
threads of the linen are not drawn out  
but drawn together4  ,sidenote3         
,,canvas-,,stitch ,e4  ,the way of      
working the stitch at ,e is described on
 page #ea1 under the name of fish-bone4 
,worked on canvas it has somewhat the   
effect of plaiting1 and goes by the name
 of plait-stitch4 ,it is worked in      
horizontal rows alternately from left to
 right and from right to left4          
,sidenote3 ,,canvas-,,stitch ,f4  ,the  
stitch at ,f is a sort of couching 7see 
page #abd74 ,diagonal lines of thread   
are first laid from edge to edge of the 
ground space1 and these are sewn down by

 short overcasting stitches in the cross
 direction4  ,admirable canvas stitch   
work has been done upon linen in silk of
 one colour--red1 green1 or blue--and it
 was a common practice to work the      
background leaving the pattern in the   
bare stuff4 ,it prevailed in countries  
lying far apart1 though probably not    
without inter-communication4 ,in fact1  
the influence of ,oriental work upon    
,european has been so great that even   
experts hesitate sometimes to say       
whether a particular piece of work is   
,turkish or ,italian4 ,in ,italian work1
 at least1 it was usual to get over the 
angularity of silhouette inherent in    
canvas stitches by working an outline   
separately4 ,when that is thin1 the     
effect is proportionately feeble4 ,the  
broader outline 7shown at ,a1           
,illustration #aj7 justifies itself1 and
 in the case of a stitch which falls    
into horizontal lines1 it appears to be 
necessary4 ,this is plait stitch1 known 
also by the name of ,spanish stitch--not

 that it is in any way peculiar to      
,spain4 ,it is allied to                
herring-bone-stitch1 to which a special 
chapter is devoted4  ,illustration3 #aj4
 ,,plait ,,and ,,open ,,canvas          
,,stitches4  ,darning is also employed  
as a canvas stitch4 ,there is beautiful 
#afth century ,italian work 7in coloured
 silks on dark net of the very open     
square mesh of the period71 which is    
most effective1 and in which there is no
 pretence of disguising the stepped     
outline2 and in the very early days of  
,christian art in ,egypt and ,byzantium1
 linen was darned in little square tufts
 of wool upstanding on its surface1     
which look so much like the tesserae of 
mosaic that it seems as if they must    
have been worked in deliberate imitation
 of it4  ,again1 in the #aeth century   
satin-stitch was worked on fine linen   
with strict regard to the lines of its  
web2 and the ,persians1 ancient and     
modern1 embroider white silk upon linen1
 also in satin-stitch1 preserving       

piously the rectangular and diagonal    
lines given by the material4 ,they have 
their reward in producing most          
characteristic needlework4 ,the diapered
 ground in ,illustration #i 7page #bj7  
is satin-stitch upon coarse linen4  ,the
 filling-in patterns used to such       
delicate and dainty purpose in the      
marvellous work on fine cambric         
7,illustration #gc7 which competes in   
effect with lace1 though it is strictly 
embroidery1 all follow in their design  
the lines of the fabric1 and are worked 
thread by thread according to its woof3 
they afford again instances of perfect  
adaptation of stitch to material and of 
design to stitch4  ,satin and other     
stitches were worked by the old         
,italians 7,illustration #c7 on         
square-meshed canvas1 frankly on the    
square lines given by it1 for the       
filling in of ornamental details1 though
 the outline might be much less formal4 
,that is to say1 the surface of         
freely-drawn leaves1 c41 instead of     

being worked solid1 was diapered over   
with more or less open pattern work     
constructed on the lines of the weaving4
  ,a cunning use of the square mesh of  
canvas has sometimes been made to guide 
the worker upon other fabrics1 such as  
velvet4 ,this was first faced with net3 
the design was then worked1 over that1  
on to and into the velvet1 and the      
threads of the canvas were then drawn   
out4 ,that is a device which may serve  
on occasion4 ,the design may even be    
traced upon the net4                    
,,crewel-,,stitch4   ,for work in the   
hand1 ,,crewel-,,stitch is perhaps1 on  
the whole1 the easiest and most useful  
of stitches2 whence it comes that people
 sometimes vaguely call all embroidery  
crewel work2 though1 as a matter of     
fact1 the stitch properly so called was 
never very commonly employed1 even when 
the work was done in crewel1 the double 
thread of twisted wool from which it    
takes its name4  ,illustration3 ,,the   
,,working ,,of ,a ,,on ,,crewel-,,stitch

 ,,sampler4  ,illustration3 #aa4        
,,crewel-,,stitch ,,sampler4            
,illustration3 #ab4 ,,crewel-,,stitch   
,,sampler 7,,back74  ,sidenote3 ,,to    
,,work ,a4  ,,crewel-,,stitch proper is 
shown at ,a on the sampler opposite1    
where it is used for line work4 ,it is  
worked as follows3--,having made a start
 in the usual way1 keep your thread     
downwards under your left thumb and     
below your needle--that is1 to the      
right2 then take up with the needle1 say
 #a_/hth of an inch of the stuff1 and   
bring it out through the hole made in   
starting the stitch1 taking care not to 
pierce the thread4 ,this gives the first
 half stitch4 ,if you proceed in the    
same way your next stitch will be full  
length4 ,the test of good workmanship is
 that at the back it should look like   
back-stitch 7,illustration #ab71        
described on page #cj4  ,illustration3  
,,the ,,working ,,of ,b ,,on            
,,crewel-,,stitch ,,sampler4  ,sidenote3
 ,,to ,,work ,b4  ,,outline-,,stitch 7,b

 on sampler7 differs from crewel-stitch 
only in that the thread is always kept  
upwards above the needle1 that is to the
 left4 ,in so doing the thread is apt to
 untwist itself1 and wants constantly   
re-twisting4 ,the stitch is useful for  
single lines and for outlining solid    
work4 ,the muddled effect of much crewel
 work is due to the confusion of this   
stitch with crewel-stitch proper4       
,sidenote3 ,,to ,,work ,c4  ,,thick     
,,crewel-,,stitch 7,c on sampler7 is    
only a little wider than ordinary       
crewel-stitch1 but gives a heavier line1
 in higher relief4 ,in effect it        
resembles rope-stitch1 but it is more   
simply worked4 ,you begin as in ordinary
 crewel-stitch1 but after the first     
half-stitch you take up #a_/hth of an   
inch of the material in advance of the  
last stitch1 and bring out your needle  
at the point where the first half-stitch
 began4 ,you proceed1 always putting    
your needle in #a_/hth of an inch in    
front of1 and bringing it out #a_/hth of

 an inch behind1 the last stitch1 so as 
to have always #a_/dth of an inch of the
 stuff on your needle4  ,illustration3  
,,the ,,working ,,of ,g ,,on            
,,crewel-,,stitch ,,sampler4  ,sidenote3
 ,,to ,,work ,d4  ,,thick               
,,outline-,,stitch 7,d on sampler7 is   
like thick crewel-stitch with the       
exception that1 as in ordinary          
outline-stitch 7,b71 you keep your      
thread always above the needle to the   
left4  ,sidenote3 ,,to ,,work ,e4  ,in  
,,back-,,stitch 7,e71 instead of first  
bringing the needle out at the point    
where the embroidery is to begin1 you   
bring it out #a_/hth of an inch in      
advance of it4 ,then1 putting your      
needle back1 you take up this #a_/hth   
together with another #a_/hth in        
advance4 ,for the next stitch you put   
your needle into the hole made by the   
last stitch1 and so on1 taking care not 
to split the last thread in so doing4   
,sidenote3 ,,to ,,work ,f4  ,to work the
 ,,spots 7,f7 on sampler--having made a 

back-stitch1 bring your needle out      
through the same hole as before1 and    
make another back-stitch above it1 so   
that you have1 in what appears to be one
 stitch1 two thicknesses of thread2 then
 bring your needle out some distance in 
advance of the last stitch1 and proceed 
as before4 ,the distance between the    
stitches is determined by the effect you
 desire to produce4 ,the thread should  
not be drawn too tight4  ,illustration3 
#ac4 ,,crewel ,,work ,,and              
,,crewel-,,stitch4  ,sidenote3 ,,to     
,,work ,g4  ,you begin ,,stem-,,stitch  
7,g7 with the usual half-stitch4 ,then1 
holding the thread downwards1 instead of
 proceeding as in crewel-stitch 7,a7 you
 slant your needle so as to bring it out
 a thread or two higher up than the     
half-stitch1 but precisely above it4    
,you next put the needle in #a_/hth of  
an inch in advance of the last stitch1  
and1 as before1 bring it out again in a 
slanting direction a thread or two      
higher4 ,at the back of the work        

7,illustration #ab7 the stitches lie in 
a slanting direction4  ,sidenote3 ,,to  
,,work ,h4  ,to work wider              
,,stem-,,stitch 7,h74 ,after the first  
two stitches1 bring your needle out     
precisely above and in a line with them1
 and put it in again #a_/hth of an inch 
in advance of the last stitch1 producing
 a longer stroke1 which gives the       
measure of those following4 ,the        
slanting stitches at the back           
7,illustration #ab7 are only two-thirds 
of the length of those on the face4     
,,crewel ,,and ,,outline ,,stitches     
worked 7,j7 side by side give somewhat  
the effect of a braid4 ,the importance  
of not confusing them1 already referred 
to1 is here apparent4  ,,crewel-,,stitch
 is worked ,,solid in the heart-shape in
 the centre of the sampler4 ,on the left
 side the rows of stitching follow the  
outline of the heart2 on the right they 
are more upright1 merely conforming a   
little to the shape to be filled4 ,this 
is the better method4  ,illustration3   

#ad4 ,,crewel ,,work ,,in ,,various     
,,stitches4  ,sidenote3 ,,to ,,work     
,,solid ,,crewel-,,stitch4  ,the way to 
work solid crewel-stitch will be best   
explained by an instance4 ,suppose a    
leaf to be worked4 ,you begin by        
outlining it2 if it is a wide leaf1 you 
further work a centre line where the    
main rib would be1 and then work row    
within row of stitches until the space  
is filled4 ,if on arriving at the point 
of your leaf1 instead of going round the
 edge1 you work back by the side of the 
first row of stitching1 there results a 
streakiness of texture1 apparent in the 
stem on ,illustration #ac4 ,what you get
 is1 in effect1 a combination of crewel 
and outline stitches1 as at ,j1 which in
 the other case only occurs in the      
centre of the shape where the files of  
stitches meet4  ,to represent shading in
 crewel-stitch1 to which it is admirably
 suited 7,a1 ,illustration #da71 it is  
well to work from the darkest shadows to
 the highest lights4 ,and it is         

expedient to map out on the stuff the   
outline of the space to be covered by   
each shade of thread4 ,there is no      
difficulty then in working round that   
shape1 as above explained4  ,in solid   
crewel the stitches should quite cover  
the ground without pressing too closely 
one against the other4  ,illustration3  
#ae4 ,,crewel-,,stitch ,,in ,,twisted   
,,silk4  ,it does not seem that         
,englishwomen of the #agth century were 
ever very faithful to the stitch we know
 by the name of crewel4 ,old examples of
 work done entirely in crewel-stitch1 as
 distinguished from what is called      
crewel work1 are seldom if ever to be   
met with4 ,the stitch occurs in most of 
the old ,english embroidery in wool2 but
 it is astonishing1 when one comes to   
examine the quilts and curtains of a    
couple of hundred years or so ago1 how  
very little of the woolwork on them is  
in crewel-stitch4 ,the detail on        
,illustration #ac was chosen because it 
contained more of it than any other     

equal portion of a handsome and typical 
,english hanging2 but it is only in the 
main stem1 and in some of the outlines1 
that the stitch is used4 ,and that      
appears to have been the prevailing     
practice--to use crewel-stitch for stems
 and outlines1 and for little else but  
the very simplest forms4 ,the filling in
 of the leafage1 the diapering within   
the leaf shapes1 and the smaller and    
more elaborate details generally were   
done in long-and-short-stitch1 or       
whatever came handiest4 ,in fact1 the   
thing to be represented1 fruit1 berry1  
flower1 or what not1 seems to have      
suggested the stitch1 which it must be  
confessed was sometimes only a sort of  
scramble to get an effect4  ,of course  
the artist always chooses her stitch1   
and she is free to alter it as occasion 
may demand2 but a good workwoman 7and   
the embroidress is a needlewoman first  
and an artist afterwards1 perhaps7      
adopts in every case a method1 and      
departs from it only for very good      

reason4 ,it looks as if our ancestors   
had set to work without system or       
guiding principle at all4 ,no doubt they
 got a bold and striking effect in their
 bed-hangings and the like2 but there is
 in their work a lack of that conscious 
aim which goes to make art4 ,theirs is  
art of the rather artless sort which is 
just now so popular4 ,happily it was    
kept in the way it should go by a strict
 adherence to traditional pattern1 which
 for the time being seems to have gone  
completely out of fashion4  ,quite in   
the traditional manner is ,illustration 
#ad4 ,one would fancy at first sight    
that the work was almost entirely in    
crewel-stitch4 ,as a matter of fact1    
there is little which answers to the    
name1 as an examination of the back of  
the work shows plainly enough4 ,what the
 stitches are it is not easy to say4    
,the mystery of many a stitch is to be  
unravelled only by literally picking out
 the threads1 which one is not always at
 liberty to do1 although1 in the ardour 

of research1 a keen embroidress will do 
it--not without remorse in the case of  
beautiful work1 but relentlessly all the
 same4  ,the only piece of embroidery   
entirely in crewel-stitch which ,i could
 find for illustration 7#ae7 is worked1 
as it happens1 in silk2 nor was the     
worker aware that in so working she was 
doing anything out of the common4       
,another instance of crewel-stitch is   
given in the divided skirt1 let us call 
it1 of the personage in ,illustration   
#gb4  ,beautiful back-stitching occurs  
in the ,italian work on ,illustration   
#hi1 and the stitch is used for sewing  
down the applique in ,illustration #id4 
,,chain-,,stitch4   ,illustration3 #af4 
,,chain-,,stitch ,,and ,,knots4  ,,chain
 and ,,tambour ,,stitch are in effect   
practically the same1 and present the   
same rather granular surface4 ,the      
difference between them is that         
chain-stitch is done in the hand with an
 ordinary needle1 and tambour-stitch in 
a frame with a hook sharper at the      

turning point than an ordinary crochet  
hook4 ,one takes it rather for granted  
that work which was presumably done in  
the hand 7a large quilt1 for example7 is
 chain-stitch1 and that what seems to   
have been done in a frame is tambour    
work1 though it is possible1 but not    
advisable of course1 to work            
chain-stitch in a frame4  ,chain-stitch 
is not to be confounded with            
split-stitch 7see page #aje71 which     
somewhat resembles it4  ,illustration3  
#ag4 ,,chain-,,stitch ,,sampler4        
,illustration3 #ah4 ,,chain-,,stitch    
,,sampler 7,,back74  ,sidenote3 ,,to    
,,work ,a4  ,to work chain-stitch 7,a on
 the sampler1 ,illustration #ag7 bring  
the needle out1 hold the thread down    
with the left thumb1 put the needle in  
again at the hole through which you     
brought it out1 take up #a_/d of an inch
 of stuff1 and draw the thread through3 
that gives you the first link of the    
chain4 ,the back of the work 7#ah7 looks
 like back-stitch4 ,in fact1 in the     

quilted coverlet1 ,illustration #fi 7as 
in much similar work of the period71 the
 outline pattern1 which you might take  
for back-stitching1 proves to have been 
worked from the back in chain-stitch4   
,the same thing occurs in the case of   
the ,persian quilt in ,illustration #gj4
  ,sidenote3 ,,to ,,work ,b4  ,a playful
 variation upon chain-stitch 7,b on the 
sampler1 ,illustration #ag7 is effected 
by the use of two threads of different  
colour4 ,take in your needle a dark and 
a light thread1 say the dark one to the 
left1 and bring them out at the point at
 which your work begins4 ,hold the dark 
thread under your thumb1 and1 keeping   
the light one to the right1 well out of 
the way1 draw both threads through2 this
 makes a dark link2 the light thread    
disappears1 and comes out again to the  
left of the dark one1 ready to be held  
under the thumb while you make a light  
link4 ,this magic stitch1 as it has been
 called1 is no new invention4 ,it is to 
be found in ,persian1 ,indian1 and      

,italian ,renaissance work4 ,an instance
 of it occurs in ,illustration #fd4     
,sidenote3 ,,to ,,work ,c4  ,a variety  
of chain-stitch 7,c on the sampler1     
,illustration #ag7 used often in church 
work1 more solid in appearance1 the     
links not being so open1 is rather      
differently done4 ,begin a little in    
advance of the starting point of your   
work1 hold the thread under your thumb1 
put the needle in again at the starting 
point slightly to the left1 bring your  
needle out about #a_/hth of an inch     
below where it first went in but        
precisely on the same line1 and you have
 the first link of your chain4          
,sidenote3 ,,to ,,work ,d4  ,to work    
what is known as cable-chain 7,d on the 
sampler1 ,illustration #ag7 keep your   
thread to the right1 put in your needle1
 pointing downwards1 a little below the 
starting point1 and bring it out about  
#a_/dth of an inch below where you put  
it in2 then put it through the little   
stitch just formed1 from right to left1 

hold your thread towards the left under 
your thumb1 put your needle through the 
stitch now in process of making from    
right to left1 draw up the thread1 and  
the first two links of your chain are   
made4  ,sidenote3 ,,to ,,work ,e4  ,a   
zigzag chain1 of a rather fancy         
description1 goes by the name of        
,vandyke chain 7,e on the sampler1      
,illustration #ag74 ,to make it1 bring  
your needle out at a point which is to  
be the left edge of your work1 and make 
a slanting chain-stitch from left to    
right2 then1 putting your needle into   
that1 make another slanting stitch1 this
 time from right to left--and so to and 
fro to the end4  ,sidenote3 ,,to ,,work 
,f4  ,the braid-stitch shown at ,f on   
the sampler 7,illustration #ag7 is      
worked as follows1 horizontally from    
right to left4 ,bring your needle out at
 a point which is to be the lower edge  
of your work1 throw your thread round to
 the left1 and1 keeping it all the time 
loosely under your thumb1 put your      

needle under the thread and twist it    
once round to the right4 ,then1 at the  
upper edge of your work1 put in the     
needle and slide the thread towards the 
right1 bring the needle out exactly     
below where you put it in1 carry your   
thread under the needle towards the     
left1 draw the thread tight1 and your   
first stitch is done4  ,illustration3   
,,the ,,working ,,of ,f ,,on            
,,chain-,,stitch ,,sampler4  ,sidenote3 
,,to ,,work ,g4  ,a yet more fanciful   
variety of braid-stitch 7,g on the      
sampler1 ,illustration #ag7 is worked   
vertically1 downwards4 ,having1 as      
before1 put your needle under the thread
 and twisted it once round1 put it in at
 a point which is to be the left edge of
 your work1 and1 instead of bringing it 
out immediately below that point1 slant 
it to the right1 bringing it out on that
 edge of the work1 and finish your      
stitch as in the case of ,f4  ,these    
braid-stitches look best worked in stout
 thread of close texture4  ,in covering 

a surface with chain-stitch 7needlework 
or tambour7 the usual plan is to follow 
the contour of the design1 working chain
 within chain until the leaf or whatever
 it may be is filled in4 ,this stitch is
 rarely worked in lines across the      
forms1 but it has been effectively used 
in that way1 following always the lines 
of the warp and weft of the stuff4 ,even
 in that case the successive lines of   
stitching should be all in one          
direction--not running backwards and    
forwards--or it will result in a sort of
 pattern of braided lines4 ,the reason  
for the more usual practice of following
 the outline of the design is obvious4  
,the stitch lends itself to sweeping1   
even to perfectly spiral1 lines--such as
 occur in ,greek wave patterns3 it was1 
in fact1 made use of in that way by the 
,greeks some four or five centuries     
,b4,c4  ,illustration3 ,,the ,,working  
,,of ,g ,,on ,,chain-,,stitch ,,sampler4
   ,illustration3 #ai4 ,,chain ,,and    
,,surface ,,stitches4  ,we owe the      

tambour frame1 they say1 to ,china2 but 
it has been largely used1 and abused    
indeed1 in ,england4 ,tambour work1 when
 once you have the trick of it1 is very 
quickly done--in about one-sixth of the 
time it would take to do it with the    
needle4 ,it has the further advantage   
that it serves equally well for         
embroidery on a light or on a heavy     
stuff1 and that it is most lasting4 ,the
 misfortune is that the sewing machine  
has learnt to do something at once so   
like it and so mechanically even1 as to 
discredit genuine hand-work1 whether    
tambour work or chain-stitch4 ,for all  
that1 neither is to be despised4 ,if    
they have often a mechanical appearance 
that is not all the fault of the stitch3
 the worker is to blame4 ,indian        
embroiderers depart sometimes so far    
from mechanical precision as to shock   
the admirers of monotonously even work4 
,artistic use of chain stitch is made in
 many of our illustrations3 for outlines
 in ,illustrations #bd and #gb2 for     

surface covering in ,mr4 ,crane's lion1 
,illustration #gd2 to represent         
landscape in ,illustration #gh1 where   
everything except the faces of the      
little men is in chain-stitch2 and again
 for figure work in ,illustration #ha4  
,in ,illustration #ai it occurs in      
association with a curious surface      
stitch2 in ,illustration #fd it is used 
to outline and otherwise supplement     
inlay4 ,the old ,italians did not       
disdain to use it4 ,in fact1 wherever   
artists have employed it1 they show that
 there is nothing inherently inartistic 
about the stitch4     ,,herring-,,bone  
,,stitch4   ,,herring-,,bone is the name
 by which it is customary to distinguish
 a variety of stitches somewhat         
resembling the spine of a fish such as  
the herring4 ,it would be simpler to    
describe them as fish-bone2 but that    
term has been appropriated to describe a
 particular variety of it4 ,one would   
have thought it more convenient to use  
fish for the generic term1 and a        

particular fish for the specific4       
,however1 it saves confusion to use     
names as far as possible in their       
accepted sense4  ,it will be seen from  
the sampler1 ,illustration #bj1 that    
this stitch may be worked open or       
tolerably close2 but in the latter case 
it loses something of its distinctive   
character4 ,fine lines may be worked in 
it1 but it appears most suited to the   
working of broadish bands and other more
 or less even-sided or1 it may be1      
tapering forms1 more feathery in effect 
than fish-bone-like1 such as are shown  
at ,e on sampler4  ,ordinary            
herring-bone is such a familiar stitch  
that the necessity of describing it is  
rather a matter of literary consistency 
than of practical importance4  ,the two 
simpler forms of herring-bone 7it is    
always worked from left to right1 and   
begun with a half-stitch7 marked ,a and 
,c on the sampler are strikingly        
different in appearance1 and are worked 
in different ways--as will be seen at   

once by reference to the back of the    
sampler 7,illustration #ba71 where the  
stitches take in the one case a         
horizontal and in the other a vertical  
direction4  ,sidenote3 ,,to ,,work ,a4  
,to work ,a1 bring your needle out about
 the centre of the line to be worked2   
put it into the lower edge of the line  
about #a_/hth of an inch further on2    
take up this much of the stuff1 and1    
keeping the thread to the right1 above  
the needle1 draw it through4 ,then1 with
 the thread below it1 to the right1 put 
your needle into the upper edge of the  
line #a_/dth of an inch further on1 and1
 turning it backwards1 take up again    
#a_/hth of an inch of stuff1 bringing it
 out immediately above where it went in 
on the lower edge4  ,sidenote3 ,,to     
,,work ,b4  ,what is called ,indian     
,herring-bone 7,b7 is merely stitch ,a  
worked in longer and more slanting      
stitches1 so that there is room between 
them for a second row in another colour1
 the two colours being1 of course1      

properly interlaced4  ,sidenote3 ,,to   
,,work ,c4  ,to work ,c1 bring your     
needle out as for ,a1 and1 putting it in
 at the upper edge of the line to be    
worked and pointing it downwards1 whilst
 your thread lies to the right1 take up 
ever so small a piece of the stuff4     
,then1 slightly in advance of the last  
stitch1 the thread still to the right1  
your needle now pointing upwards1 take  
another similar stitch from the lower   
edge4  ,illustration3 #bj4              
,,herring-,,bone ,,sampler4             
,illustration3 #ba4 ,,herring-,,bone    
,,sampler 7,,back74  ,sidenote3 ,,to    
,,work ,d4  ,the variety at ,d is merely
 a combination of ,a and ,c1 as may be  
seen by reference to the back of the    
sampler 7opposite72 though the short    
horizontal stitches there seen meet1    
instead of being wide apart as in the   
case of ,a4  ,illustration3 ,,the       
,,working ,,of ,e ,,on ,,herring-,,bone 
,,sampler4  ,sidenote3 ,,to ,,work ,e4  
,what is known as fish-bone is          

illustrated in the three feathery shapes
 on the sampler 7,e71 two of which are  
worked rather open4 ,it is              
characteristic of this stitch that it   
has a sort of spine up the centre where 
the threads cross4 ,suppose the stitch  
to be worked horizontally4 ,bring your  
needle out on the under edge of the     
spine about #a_/dth of an inch from the 
starting point of the work1 and put it  
in on the upper edge of the work at the 
starting point1 bringing it out         
immediately below that on the lower edge
 of the work4 ,put it in again on the   
upper edge of the spine1 rather in      
advance of where it came out on the     
lower edge of it before1 and bring it   
out on the lower edge of this spine     
immediately below where it entered4     
,illustration3 ,,the ,,working ,,of ,f  
,,on ,,herring-,,bone ,,sampler4        
,sidenote3 ,,to ,,work ,f4  ,in close   
herring-bone 7,f on the sampler1        
,illustration #bj7 you have always a    
long stitch from left to right1 crossed 

by a shorter stitch which goes from     
right to left4 ,having made a half      
stitch1 bring the needle out at the     
beginning of the line to be worked1 at  
the lower edge1 and put it in #a_/hth of
 an inch from the beginning of the upper
 edge4 ,bring it out again at the       
beginning of this edge and put it in at 
the lower edge #a_/dth of an inch from  
the beginning1 bringing it out on the   
same edge #a_/hth of an inch from the   
beginning4 ,put the needle in again on  
the upper edge #a_/hth of an inch in    
front of the last stitch on that edge1  
and bring it out again1 without         
splitting the thread1 on the same edge  
as the hole where the last stitch went  
in4  ,if you wish to cover a surface    
with herring-bone-stitch1 you work it1  
of course1 close1 so that each          
successive stitch touches its foregoer  
at the point where the needle enters the
 stuff 7,f on the sampler1 ,illustration
 #bj74 ,it will be seen that at the back
 7#ba7 this looks like a double row of  

back-stitching4 ,worked straight across 
a wide leaf1 as in the lower half of    
sampler1 it is naturally very loose4 ,a 
better method of working is shown in the
 side leaves1 which are worked in two   
halves1 beginning at the base of a leaf 
on one side and working down to it on   
the other4 ,there is here just the      
suggestion of a mid-rib between the two 
rows4  ,illustration3 ,,the ,,working   
,,of ,g ,,on ,,herring-,,bone ,,sampler4
  ,sidenote3 ,,to ,,work ,g4  ,the      
stitch at ,g on sampler1 having the     
effect of higher relief than ordinary   
close herring-bone 7,f71 is sometimes   
misleadingly described as tapestry      
stitch4 ,it is worked1 as the back of   
the sampler 7#ba7 clearly shows1 in     
quite a different way4 ,you get there   
parallel rows of double stitches4       
,having made a half-stitch entering the 
material at the upper edge of the work1 
bring the needle out on the lower edge  
of it immediately opposite4 ,then1 going
 back1 put it in at the beginning of the

 upper edge1 and bring it out at the    
beginning of the lower one4 ,thence take
 a long slanting stitch upwards from    
left to right1 bring the needle out on  
the lower edge immediately opposite1    
cross it by a rather shorter stitch from
 right to left1 entering the stuff at   
the point where the first half-stitch   
ended1 bring this out on the lower edge1
 opposite1 and the stitch is done4  ,the
 artistic use of herring-bone-stitch is 
shown in the leaves of the tulip 7#hd71 
and a closer variety of it in the pink1 
or whatever the flower may be1 in the   
hand of the little figure on            
,illustration #gb4                      
,,buttonhole-,,stitch4   ,,buttonhole is
 more useful in ornament than one might 
expect a stitch with such a very        
utilitarian name to be4 ,it is1 as its  
common use would lead one to suppose1   
pre-eminently a one-edged stitch1 a     
stitch with which to mark emphatically  
the outside edge of a form4 ,there is1  
however1 a two-edged variety known as   

ladder-stitch1 shown in the two horn    
shapes on the sampler1 ,illustration    
#bb4  ,by the use of two rows back to   
back1 leaf forms may be fairly          
expressed4 ,in the leaves on the        
sampler1 the edge of the stitch is used 
to emphasise the mid rib1 leaving a     
serrated edge to the leaves4 ,the       
character of the stitch would have been 
better preserved by working the other   
way about1 and marking the edge of the  
leaves by a clear-cut line1 as in the   
case of the solid leaves in             
,illustration #gc4  ,the stitch may be  
used for covering a ground or other     
broad surface1 as in the pot shape 7,j7 
on the sampler1 where the diaper pattern
 produced by its means explains itself  
the better for being worked in two      
shades of colour4  ,the simpler forms of
 the stitch are the more useful4 ,worked
 in the form of a wheel1 as in the      
rosettes at the side of the vase shape  
7,a71 the ornamental use of the stitch  
is obvious4  ,sidenote3 ,,to ,,work ,a4 

,one need hardly describe ,,buttonhole  
,,stitch4 ,the simple form of it 7,a7 is
 worked by 7when you have brought your  
needle out7 keeping the thread under    
your thumb to the right1 whilst you put 
the needle in again at a higher point   
slightly to the right1 and bring it out 
immediately below1 close to where it    
came out before4 ,this and other        
one-edged stitches of the kind are      
sometimes called blanket-stitch4  ,the  
only difference between versions such as
 ,b and ,c on the sampler1 and simple   
buttonhole1 is that the stitches vary in
 length according to the worker's fancy4
  ,sidenote3 ,,to ,,work ,e4  ,the      
,,crossed ,,buttonhole ,,stitch at ,e is
 worked by first making a stitch sloping
 to the right1 and then a smaller       
buttonhole-stitch across this from the  
left4  ,the border marked ,d in sampler 
consists merely of two rows of slanting 
buttonhole-stitch worked one into the   
other4 ,needlewomen have wilful ways of 
making what should be upright stitches  

slant awkwardly in all manner of ways1  
with the result that they look as if    
they had been pulled out of the         
straight4  ,illustration3 #bb4          
,,buttonhole ,,sampler4  ,illustration3 
#bc4 ,,buttonhole ,,sampler 7,,back74   
,sidenote3 ,,to ,,work ,f4  ,the border 
at ,f1 known as ,,tailor',s             
,,buttonhole1 is worked with the firm   
edge from you1 instead of towards you1  
as you work ordinary buttonhole4        
,bringing the thread out at the upper   
edge of the work to the left1 and       
letting it lie on that side1 you put    
your needle in again still on the same  
edge1 and bring it out1 immediately     
below1 on the lower one4 ,you then1     
before drawing the thread quite through1
 put your needle into the loop from     
behind1 and tighten it upwards4         
,illustration3 ,,the ,,working ,,of ,h  
,,on ,,buttonhole ,,sampler4  ,sidenote3
 ,,to ,,work ,g4  ,in order to make your
 ladder-stitch 7,g7 square at the end1  
you begin by making a bar of the width  

the stitch is to be4 ,then1 holding the 
thread under your thumb to the right1   
you put the needle in at the top of the 
bar and1 slanting it towards the right1 
bring it out on a level with the other  
end of the bar somewhat to the right4   
,this makes a triangle4 ,with the point 
of your needle1 pull the slanting thread
 out at the top1 to form a square2      
insert the needle2 slant it again to the
 right2 draw it out as before1 and you  
have your second triangle4  ,sidenote3  
,,to ,,work ,h4  ,the difference between
 the working of the lattice-like band at
 ,h1 and ladder-stitch ,g1 is that1     
having completed your first triangle1   
you make1 by buttonholing a stitch1 a   
second triangle pointing the other way1 
which completes a rectangular shape4    
,illustration3 #bd4 ,,buttonhole1       
,,chain1 ,,and ,,knot ,,stitches4  ,in  
the solid work shown at ,j1 you make    
five buttonhole-stitches1 gathering them
 to a point at the base1 then another   
five1 and so on4 ,repeat the process1   

this time point upwards1 and you have   
the first band of the pot shape4        
,characteristic and most beautiful use  
is made of buttonhole stitch in the     
piece of ,indian work in ,illustration  
#bd1 where it is outlined with chain    
stitch1 which goes most perfectly with  
it4  ,cut work1 such as that on         
,illustration #fe1 is strengthened by   
outlining it in buttonhole-stitch4      
,ladder-stitch occurs in the cusped     
shapes framing certain flowers in       
,illustration #gb1 embroidered all in   
blue silk on linen4 ,it is not          
infrequent in ,oriental work1 and1 in   
fact1 goes sometimes by the name of     
,cretan-stitch on that account4         
,,feather ,,and ,,oriental ,,stitches4  
,,feather-,,stitch is simply            
buttonholing in a slanting direction1   
first to the right side and then to the 
left1 keeping the needle strokes in the 
centre closer together or farther apart 
according to the effect to be produced4 
,it owes its name1 of course1 to the    

more or less feathery effect resulting  
from its rather open character4 ,like   
buttonhole1 it may be worked solid1 as  
in the leaf and petal forms on the      
sampler1 ,illustration #be1 but it is   
better suited to cover narrow than broad
 surfaces4 ,the jagged outline which it 
gives makes it useful in embroidering   
plumage1 but it is not to be confounded 
with what is called plumage-stitch1     
which is not feather-stitch at all1 but 
a version of satin-stitch4  ,the        
feathery stem 7,a7 on the sampler is    
simply a buttonholing worked alternately
 from right to left and left to right4  
,sidenote3 ,,to ,,work ,b4  ,the border 
line at ,b requires rather more         
explanation4 ,presume it to be worked   
vertically4 ,bring your needle out at   
the left edge of the band2 put it in at 
the right edge immediately opposite1    
keeping your thread under the needle to 
the right2 bring it out again still on  
the right edge a little lower down1 and 
then1 keeping your thread to the left1  

put the needle in on the left edge1     
opposite to where you last brought it   
out1 and bring it out again on the same 
edge a little lower down4               
,illustration3 #be4 ,,feather-,,stitch  
,,sampler4  ,illustration3 #bf4         
,,feather-,,stitch ,,sampler 7,,back74  
,the border at ,c is merely an          
elaboration of the above1 with three    
slanting stitches on each edge instead  
of a single one in the direction of the 
band4  ,illustration3 ,,the ,,working   
,,of ,g ,g ,,on ,,feather-,,stitch      
,,sampler4  ,bands ,d1 ,e1 ,f1 ,g1 are  
variations of ordinary feather-stitch1  
requiring no further explanation than   
the back view of the work 7#bf7 affords4
 ,on the face of the sampler it will be 
noticed that lines have been drawn for  
the guidance of the worker4 ,these are  
always four in number1 indicating at    
once1 that the stitch is made with four 
strokes of the needle1 and the points at
 which it is put in and out of the      
stuff4  ,sidenote3 ,,to ,,work ,g ,g4   

,in working ,g ,g1 suppose four guiding 
lines to have been drawn as             
above--numbered1 #a1 #b1 #c1 #d1 from   
left to right4 ,bring your needle out at
 the top of line #a4 ,make a            
chain-stitch slanting downwards from    
line #a to line #b4 ,put your needle    
into line #c about #a_/hth of an inch   
lower down1 and1 slanting it upwards1   
bring it out on line #d level with the  
point where you last brought it out4    
,make a chain-stitch slanting downwards 
this time from right to left1 and bring 
your needle out on line #c4 ,lastly1 put
 your needle into line #b1 #a_/hth of an
 inch below the last stitch1 and1       
slanting it upwards1 bring it out on    
line #a4  ,feather-stitch is not adapted
 to covering broad surfaces solidly1 but
 may be used for narrow ones4           
,,oriental-,,stitch is the name given to
 a close kind of feather-stitch much    
used in ,eastern work4 ,the difference  
at once apparent to the eye between the 
two is that1 whereas for the mid-rib of 

a band or leaf of feather-stitching     
7#be7 you have cross lines1 in          
,oriental-stitch 7#bg7 you have a       
straight line--longer or shorter as the 
case may be4  ,oriental-stitch1         
sometimes called ,antique-stitch1 is a  
stitch in three strokes1 just as        
feather-stitch is a stitch in four4 ,it 
is usually worked horizontally1 though  
shown upright on the sampler1           
,illustration #bg4 ,like feather-stitch 
7see diagram71 it is worked on four     
guiding lines1 faintly visible on the   
sampler4  ,sidenote3 ,,to ,,work ,a1 ,b1
 ,c4  ,stitches ,a1 ,b1 and ,c are      
worked in precisely the same way4 ,bring
 your needle out at the top of line #a4 
,keep the thread under your thumb to the
 right and put your needle in at the top
 of line #d1 bringing it out into line  
#c on the same level4 ,then put it in   
again at line #b1 just on the other side
 of the thread1 and bring it out on line
 #a ready to begin the next stitch4     
,illustration3 #bg4 ,,oriental-,,stitch 

,,sampler4  ,illustration3 #bh4         
,,oriental-,,stitch ,,sampler 7,,back74 
,it will be seen that the length of the 
central part 7or mid-rib1 as it was     
called above7 makes the whole difference
 between the three varieties of stitch4 
,in ,a the three parts are equal3 in ,b 
the mid-rib is narrow3 in ,c it is      
broad1 as is most plainly seen on the   
back of the sampler 7#bh74 ,the         
difference is only a difference of      
proportion4  ,illustration3 ,,the       
,,working ,,of ,a1 ,b1 ,c ,,on          
,,oriental-,,stitch ,,sampler4          
,sidenote3 ,,to ,,work ,d4  ,the sloping
 stitch at ,d is worked in the same way 
as ,a1 ,b1 ,c1 except that instead of   
straight strokes with the needle you    
make slanting ones4  ,sidenote3 ,,to    
,,work ,e4  ,stitch ,e differs from ,d  
in that the side strokes slant both in  
the same direction4 ,it is worked from  
right to left instead of from left to   
right4  ,sidenote3 ,,to ,,work ,f4      
,stitch ,f is a combination of          

buttonhole and ,oriental stitches4      
,between two rows of buttonholing 7dark 
on sampler7 a single row of             
,oriental-stitch is worked4  ,the stitch
 employed for the central stalk1 ,g1 has
 really no business on this sampler1    
except that it has something of the     
appearance of a continuous              
,oriental-stitch4  ,oriental-stitch is  
one of the stitches used in             
,illustration #gb4     ,,rope ,,and     
,,knot ,,stitches4   ,a single sampler  
is devoted to ,,rope and ,,knotted      
,,stitches1 more nearly akin than they  
look1 for rope-stitch is all but knotted
 as it is worked4  ,,rope-,,stitch is so
 called because of its appearance4 ,it  
takes a large amount of silk or wool to 
work it1 but the effect is              
correspondingly rich4 ,it is worked from
 right to left1 and is easier to work in
 curved lines than in straight4         
,sidenote3 ,,to ,,work ,a1 ,b4  ,lines  
,a on the sampler1 ,illustration #bi1   
represent the ordinary appearance of the

 stitch2 its construction is more       
apparent in the central stalk ,b1 which 
is a less usual form of the same stitch1
 worked wider apart4  ,illustration3    
,,the ,,working ,,of ,a1 ,b1 ,,on       
,,rope-,,stitch ,,sampler4  ,having     
brought out your needle at the right end
 of the work1 hold part of the thread   
towards the left1 under the thumb1 the  
rest of it falling to the right2 put    
your needle in above where it came out1 
slant it towards you1 and bring it out  
again a little in advance of where it   
came out before1 and just below the     
thread held under your thumb4 ,draw the 
thread through1 and there results a     
stitch which looks rather like a        
distorted chain stitch 7,b74 ,the next  
step is to make another similar stitch  
so close to the foregoing one that it   
overlaps it partly4 ,it is this         
overlapping which gives the stitch the  
raised and rope-like appearance seen at 
,a4  ,illustration3 ,,the ,,working ,,of
 ,c ,,on ,,rope-,,stitch ,,sampler4     

,sidenote3 ,,to ,,work ,c4  ,a knotted  
line 7,c in the sampler1 ,illustration  
#bi7 is produced by what is known as    
,,german ,,knot-,,stitch1 effective only
 in thick soft silk or wool4 ,begin as  
in rope stitch1 keeping your thread in  
the same position4 ,then put your needle
 into the stuff just above the thread   
stretched under your thumb1 and bring it
 out just below and in a line with where
 it went in2 lastly1 keep the needle    
above the loose end of the thread1 draw 
it through1 tightening the thread       
upwards1 and you have the first of your 
knots3 the rest follow at intervals     
determined by your wants4  ,sidenote3   
,,to ,,work ,d4  ,the more open stitch  
at ,d is practically the same thing1    
except that in crossing the running     
thread you take up more of the stuff on 
each side of it4  ,illustration3 #bi4   
,,rope-,,stitch ,,and ,,knot-,,stitch   
,,sampler4  ,illustration3 #cj4         
,,rope-,,stitch ,,and ,,knot-,,stitch   
,,sampler 7,,back74  ,sidenote3 ,,to    

,,work ,e4  ,what is known by the name  
of ,,old ,,english ,,knot-,,stitch 7,e7 
is a much more complicated stitch4      
,keeping your thread well out of the way
 to the right1 put your needle in to the
 left1 and take up vertically a piece of
 the stuff the width of the line to be  
worked at its widest1 and draw the      
thread through4 ,then1 keeping it under 
the thumb to the left1 put your needle1 
eye first1 downwards1 through the       
slanting stitch just made2 draw the     
thread not too tight1 and1 keeping it as
 before under the thumb1 put your       
needle1 eye first1 this time through the
 upper half only of the slanting stitch1
 making a kind of buttonhole-stitch     
round the last1 and draw out your       
thread4  ,these knotted rope stitches1  
call them what you will1 are rather     
ragged and fussy--not much more than    
fancy stitches--of no great importance4 
,,knots used separately are of much more
 artistic account4  ,sidenote3 ,,to     
,,work ,f4  ,,bullion or ,,roll-,,stitch

 is shown in its simplest form in the   
petals of the flowers ,f on the sampler1
 ,illustration #bi4 ,to work one such   
petal1 begin by attaching the thread    
very firmly2 bring your needle out at   
the base of the petal1 put it in at the 
tip1 and bring it out once more at the  
base1 only drawing it partly through4   
,with your right hand wind the thread1  
say seven times1 round the projecting   
point of the needle from left to right4 
,then1 holding the coils under your left
 thumb1 your thread to the right1 draw  
your needle and thread through2 and1    
dropping the needle1 and catching the   
thread round your little finger1 take   
hold of the thread with your thumb and  
first finger and draw the coiled stitch 
to the right1 tightening it gently until
 quite firm4 ,lastly1 put the needle    
through at the tip of the petal1 and the
 stitch is complete and ready to be     
fastened off4  ,illustration3 ,,the     
,,working ,,of ,f ,,on ,,knot-,,stitch  
,,sampler4  ,the leaves of these flowers

 consist simply of two bullion stitches4
 ,the bullion knots at the side of the  
central stalk are curled by taking up in
 the first instance only the smallest   
piece of the stuff4  ,sidenote3 ,,to    
,,work ,g4  ,to work ,,french ,,knots   
7,g71 having brought out your needle at 
the point where the knot is to be1 hold 
the thread under your thumb1 and1       
letting it lie to the right1 put your   
needle under the stretched part of it4  
,turn the needle so as to twist the     
thread once round it4 ,that done1 put   
the needle in again about where it came 
out1 draw it through from the back1 and 
bring it out where the next knot is to  
be4  ,for large knots use two or more   
threads of silk1 and do not twist them  
more than once4 ,with a single thread   
you may twist twice1 but the result of  
twisting three or four times is never   
happy4  ,illustration3 ,,the ,,working  
,,of ,g ,,on ,,knot-,,stitch ,,sampler4 
,the use of knots is shown to perfection
 in ,illustration #bd4 ,worked there in 

white silk floss upon a dark purple     
ground1 they are quite pearly in        
appearance1 whether in rows between the 
border lines1 or scattered over the     
ground4 ,they are most useful in holding
 the design together1 giving it mass1   
and go admirably with chain-stitching1  
to which1 when close together1 they have
 at first sight some likeness4 ,a single
 line of knots may almost be mistaken   
for chain-stitch2 but of themselves they
 do not make a good outline1 lacking    
firmness4 ,a happier use of them is to  
fringe an outline1 as for example in the
 peacock's tail on page #ch2 but this   
kind of thing must be used with         
reticence1 or it results in a rather    
rococo effect4 ,good use is sometimes   
made of knots to pearl the inner edge of
 a pattern worked in outline1 or to     
pattern the ornament 7instead of the    
ground7 all over4 ,differencing of this 
kind may be an afterthought--and a happy
 one--affording as it does a ready means
 of qualifying the colour or texture of 

ground1 or pattern1 or part of either1  
which may not have worked out quite to  
the embroiderer's liking4  ,the obvious 
fitness of knots to represent the       
stamens of flowers is exemplified in    
,illustration #ic4 ,worked close        
together1 they represent admirably the  
eyes of composite flowers1 as on the    
sampler2 they give1 again1 valuable     
variety of texture to the crest of the  
stork in ,illustration #he4  ,the effect
 of knotting in the mass is shown in    
,illustration #ca1 embroidered entirely 
in knots1 contradicting1 it might seem1 
what was said above about its unfitness 
for outline work4 ,the lines1 even the  
voided ones1 are here as sharp as could 
be2 but then1 it is not many of us who  
work1 knot by knot1 with the marvellous 
precision of a ,chinaman4 ,his knotted  
texture is not1 however1 always what it 
seems4 ,he has a way of producing a     
knotted line by first knotting his      
thread 7it may be done with a netting   
needle71 and then stitching it down on  

to the surface of the material1 which   
gives a pearled or beaded line not      
readily distinguishable from knot       
stitch4  ,illustration3 #ca4 ,a ,,tour  
,,de ,,force ,,in ,,knots4  ,the        
,japanese embroiderer1 instead of       
knotting his own thread1 employed very  
often a crinkled braid4 ,this is shown  
in the cloud work in ,illustration #he4 
,the only true knotting there is in the 
top-knot of the bird4  ,illustration3   
#cb4 ,,interlacing-,,stitch ,,sampler4  
,illustration3 #cc4                     
,,interlacing-,,stitch ,,sampler        
7,,back74     ,,interlacings1 ,,surface 
,,stitches1 ,,and ,,diapers4   ,the     
samplers so far discussed bring us1 with
 the exception of ,darning1             
,satin-stitch1 and some stitches        
presently to be mentioned1 practically  
to the end of the stitches1 deserving to
 be so called1 generally in use4  ,by   
combining two or more stitches endless  
complications may be made2 and there may
 be occasions when1 for one purpose or  

another1 it may be necessary1 as well as
 amusing1 to invent them4 ,in this way  
stitches are also sometimes worked upon 
stitches1 as shown on the sampler1      
,illustration #cb4 ,you will see1 on    
referring to the back of it 7#cc71 that 
only the white silk is worked into the  
stuff3 the dark is surface work only4   
,there is no end to such possible       
,,interlacings4 ,those on the sampler do
 not need much explanation2 but it may  
be as well to say that ,a starts with   
crewel-stitching2 ,b and ,c with        
back-stitching2 ,d with chain-stitching2
 ,e with darning or running2 ,f1 ,g1 and
 ,h with varieties of                   
herring-bone-stitch2 ,j with            
,oriental-stitch2 and ,k with           
feather-stitch4 ,the interlacing on the 
surface of these is shown in darker     
silk4 ,c and ,g undergo a second course 
of interlacing4  ,the danger of         
splitting the first stitches in working 
the interlacing ones1 is avoided by     
passing the needle eye-first through    

them4  ,other surface work1 sometimes   
called ,,lace-,,stitch1 is illustrated  
in the sampler1 ,illustration #cd4      
,there is really no limit to patterns of
 this kind4 ,some are better worked in a
 frame1 but that is very much a matter  
of personal practice4  ,illustration3   
,,the ,,working ,,of ,f ,,on            
,,interlacing-,,stitch ,,sampler4       
,sidenote3 ,,to ,,work ,h1 #cd4  ,in the
 ,surface ,darning at ,h 7#cd7 long     
threads are first carried from edge to  
edge of the square1 there only piercing 
the stuff1 and then darned across by    
other stitches1 again only piercing it  
at the edges4  ,an oblique version of   
this is given at ,c 7#cd74  ,sidenote3  
,,to ,,work ,b1 #cd4  ,the ,lace        
,buttonholing at ,b 7#cd7 is worked as  
follows3--,buttonhole three stitches    
into the stuff from left to right1 not  
quite close together1 and further on    
three more2 then1 working from right to 
left1 make three buttonhole stitches    
into the thread connecting the stitch   

groups2 but do not stitch into the stuff
 except at the ends of the rows4 ,the   
last row must1 of course1 be worked into
 the stuff again4  ,illustration3 #cd4  
,,surface-,,stitch ,,sampler4           
,sidenote3 ,,to ,,work ,f1 #cd4  ,net   
,passing1 as at ,f 7#cd71 is not very   
differently worked from ,a or ,b4 ,it is
 much more open1 and the first row of   
horizontal stitches is crossed by two   
opposite rows of oblique stitches1 which
 are made to interlace4  ,sidenote3 ,,to
 ,,work ,g1 #cd4  ,the square at ,g is  
worked by first making rows of short    
upright stitches worked into the stuff1 
and then threading loose stitches       
through them4  ,sidenote3 ,,to ,,work   
,d1 #cd4  ,the square at ,d is worked on
 the open lattice shown2 the solid parts
 are produced by interlacing stitches   
from side to side1 starting at the      
angle4  ,in the square at ,e 7,japanese 
,darning7 horizontal lines are first    
darned1 and then zigzag lines are worked
 between them1 much as in ,g2 but1 as   

they penetrate the material1 this is    
scarcely a surface stitch4  ,sidenote3  
,,to ,,work ,a1 #cd4  ,the horizontal   
lines at top and bottom of the square at
 ,a are back-stitching1 the intermediate
 ones simply long threads carried from  
one side to the other2 they are laced   
together by lines looped round them4    
,sidenote3 ,,to ,,work ,l1 #cd4  ,the   
band at ,l is begun by making horizontal
 bar stitches4 ,a row of crewel-stitch  
and one of outline-stitch1 worked on to 
the bars1 and not into the stuff1 makes 
the central chain4  ,sidenote3 ,,to     
,,work ,k1 #cd4  ,the band at ,k is     
merely surface buttonholing over a      
series of slanting stitches4  ,sidenote3
 ,,to ,,work ,j1 #cd4  ,the band at ,j  
is buttonhole stitching wide apart1 the 
bars filled in with surface             
crewel-stitch4  ,illustration3 #ce4     
,,lace ,,or ,,surface ,,stitch4  ,most  
delicate surface stitching occurs in    
,illustration #ce1 the fine net being   
worked only from edge to edge of the    

spaces it fills1 and not elsewhere      
entering the stuff2 which accounts for  
most of it being worn away4 ,the flower 
or scroll-work is bona fide embroidery1 
worked through the stuff4 ,the delicate 
network of fine stitching1 which once   
covered the whole of the background1 is 
for the most part neither more nor less 
than a floating gossamer of lacework4   
,one cannot deny that that is           
embroidery1 though it has to be said    
that lace-stitches are employed in it4  
,stern embroiderers would like to deny  
it4 ,of course it is frivolous1 and in a
 sense flimsy1 but it is also delicate  
and dainty to a degree4 ,it is suited   
only to dress1 and that of the most     
exquisite kind4 ,a ,french marquise of  
the ,regency might have worn it1 and    
possibly did wear it1 with entire       
propriety--if the word is not out of    
keeping with the period4  ,the frailty  
of this kind of thing is too obvious to 
need mention1 and that1 of course1 is a 
strong argument against it4  ,all       

attempt to give separate names to       
diapers of this kind1 whether worked    
upon the surface or into the stuff1 is  
futile4 ,they ought not even to be      
called stitches1 being1 in fact1 neither
 more nor less than stitch patterns1 to 
which there is no possible limit1 unless
 it be the limit of human invention4    
,every ingenious workwoman will find out
 patterns of her own more or less4 ,they
 are very useful for filling in surfaces
 7pattern or background7 which it may be
 inexpedient to work more solidly4  ,the
 greater part of such patterns are      
geometric 7,illustrations #ce and #gc71 
following1 that is to say1 the mesh of  
the material1 and making no secret of   
it4 ,on ,illustration #c you see very   
plainly how the rectangular diaperings  
are built up geometrically on the square
 lines of the mesh1 as was practically  
inevitable working on such a ground4    
,the relation of stitch to stuff is here
 obvious4  ,the choice of stitch        
patterns of this kind is invariably left

 to the needlewoman4 ,the utmost a      
designer need do is to indicate on his  
drawing that a full1 open1 or           
intermediate diaper is to be used4 ,and 
the alternation of lighter and heavier  
diapers should be planned1 and not left 
altogether to impulse1 though the       
pattern may be4 ,moreover1 there is room
 for the exercise of considerable taste 
in the choice of simpler or more        
elaborate patterns1 freer or more       
geometric4 ,many a time the shape of the
 space to be filled1 as well as its     
extent1 will suggest the appropriate    
ornament4 ,the diaper design is not1 of 
course1 drawn on the stuff1 but points  
of guidance may be indicated through a  
kind of fine stencil plate4  ,the       
patterns used for background diapering  
need not1 as a rule1 be intrinsically so
 interesting as those which diaper the  
design itself1 nor are they usually so  
full4 ,they take more often the form of 
spot or sprig patterns1 not continuous1 
in which the geometric construction is  

not so obvious1 nor even necessary4 ,in 
either case the prime object of the     
stitching is not so much to make        
ornamental patterns as to give a tint to
 the stuff without entirely hiding it   
with work2 and the worker chooses a     
lighter or heavier diaper according to  
the tint required4 ,if the work is all  
in white it is texture1 instead of tint1
 that is aimed at4  ,for a background1  
simple darning more or less open1 in    
stitches not too regular1 is often the  
best solution of the difficulty4 ,the   
effect of the ground grinning through is
 delightful4     ,,satin-,,stitch ,,and 
,,its ,,offshoots4   ,,satin-,,stitch is
 par excellence the stitch for fine     
silkwork4 ,i do not know if the name of 
satin-stitch comes from its being so    
largely employed upon satin1 or from the
 effect of the work itself1 which would 
certainly justify the title1 so smooth  
and satin-like is its surface4 ,given a 
material of which the texture is quite  
smooth and even1 showing no mesh1       

satin-stitch seems the most natural and 
obvious way of working upon it4 ,in it  
the embroidress works with short1       
straight strokes of the needle1 just as 
a pen draughtsman lays side by side the 
strokes of his pen2 but1 as she cannot1 
of course1 leave off her stroke as the  
penman does1 she has perforce to bring  
back the thread on the under side of the
 stuff1 so that1 if very carefully done1
 the work is the same on both sides4    
,satin-stitch1 however1 need not be1 and
 never was1 confined to work upon silk  
or satin4 ,in fact1 it was not only     
worked upon fine linen1 but often       
followed the lines of its mesh1         
stepping1 as in ,illustration #i1 to the
 tune of the stuff4 ,this may be        
described as satin-stitch in the        
making--at any rate1 it is the          
elementary form of it1 its relation to  
canvas-stitch being apparent on the face
 of it4 ,still1 beautiful and most      
accomplished work has been done in it   
alike by ,mediaeval1 ,renaissance1 and  

,oriental needleworkers4  ,sidenote3    
,,to ,,work ,a1 #cf4  ,to cover a space 
with regular vertical satin stitches 7,a
 on the sampler1 ,illustration #cf71 the
 best way of proceeding is to begin in  
the centre of the space and work from   
left to right4 ,that half done1 begin   
again in the centre and work from right 
to left4  ,in order to make sure of a   
crisp and even edge to your forms1      
always let the needle enter the stuff   
there1 as it is not easy to find the    
point you want from the back4  ,in      
working a second row of stitches1       
proceed as before1 only planting your   
needle between the stitches already     
done4 ,fasten off with a few tiny       
surface stitches and cut off the silk on
 the right side of the stuff3 it will be
 worked over4  ,sidenote3 ,,to ,,work   
,b1 #cf4  ,to cover a space with        
horizontal satin stitches 7,b on        
sampler71 begin at the top1 and work    
from left to right4 ,the longer         
stretches there are not1 of course1     

crossed at one stitch2 they take several
 stitches1 dovetailed1 as it were1 so as
 not to give lines4  ,the easiest1 most 
satisfactory1 and generally most        
effective way of working flat satin     
stitch is in oblique or radiating lines 
7,c1 ,d1 ,e71 working in those          
instances1 as in the case of ,a1 from   
the centre1 first from left to right and
 then from right to left4               
,illustration3 #cf4 ,,satin-,,stitch    
,,sampler4  ,illustration3 #cg4         
,,satin-,,stitch ,,sampler 7,,back74    
,stems1 narrow leaflets1 and the like1  
are best worked always in stitches which
 run diagonally and not straight across 
the form4  ,in the case of stems or     
other lines curved and worked obliquely1
 the stitches must be very much closer  
on the inner side of the curve than on  
the outside3 occasionally a half-stitch 
may be necessary to keep the direction  
of the lines right1 in which case the   
inside end of the half-stitch must be   
quite covered by the stitch next        

following4  ,illustration3 #ch4         
,,satin-,,stitch ,,in ,,coarse ,,twisted
 ,,silk4  ,satin-stitch is seen at its  
best when worked in floss4 ,coarse or   
twisted silk looks coarse in this       
stitch1 as may be seen by comparing the 
petal ,d in the sampler1 ,illustration  
#cf1 with the petal in twisted silk here
 given 7#ch74 ,marvellously skilful as  
are the needle-workers of ,india        
7,illustration #ci71 they get rather    
broken lines when they work in thick    
twisted silk4 ,the precision of line a  
skilled worker can get in floss is      
wonderful4 ,an ,oriental will get       
sweeping lines as clean and firm as if  
they had been drawn with a pen1 and this
 not merely in the case of an outline1  
but in voided lines of which each side  
has to be drawn with the needle4 ,the   
voided outline1 by the way1 as on       
,illustrations #ci1 #dj1 is not only the
 frankest way of defining form1 but     
seems peculiarly proper to satin-stitch2
 and it is a test of skill in           

workmanship3 it is so easy to disguise  
uneven stitching by an outline in some  
other stitch4 ,the voiding in the wings 
of the birds in ,illustration #dj is    
perfect2 and the softening of the voided
 line1 at the start of the wing in one  
case and the tail in the other1 by cross
 stitching in threads comparatively wide
 apart1 is quite the right thing to do4 
,it would have been more in keeping to  
void the veins of the lotus leaves than 
to plant them on in cord4  ,satin-stitch
 must not be too long1 and it is often a
 serious consideration with the designer
 how to break up the surfaces to be     
covered so that only shortish stitches  
need be used4 ,you might follow the     
veining of a leaf1 for example1 and work
 from vein to vein4 ,but all leaves are 
not naturally veined in the most        
accommodating manner4 ,treatment is     
accordingly necessary1 and so we arrive 
at a convention appropriate to          
embroidery of this kind4 ,it takes a    
draughtsman properly to express form by 

stitch distribution4 ,the ,chinese      
convention in the lotus flowers         
7,illustration #dj7 is admirable4       
,illustration3 #ci4 ,,satin-,,stitch    
,,in ,,fine ,,twisted ,,silk4  ,it is   
the rule of the game to lay satin-stitch
 very evenly4 ,worked in floss1 the mere
 surface of satin-stitch is beautiful4  
,a further charm lies in the way it     
lends itself to gradation of colour4    
,beautiful results may be obtained by   
the use of perfectly flat tints of      
colour1 as in ,illustration #dj2 but the
 subtlest as well as the most deliberate
 gradation of tint may be most perfectly
 rendered in satin-stitch4  ,sidenote3  
,,to ,,work ,,surface ,,satin-,,stitch4 
,,surface ,,satin-,,stitch 7not the same
 on both sides71 though it looks very   
much like ordinary satin-stitch1 is     
worked in another way4 ,the needle1 that
 is to say1 after each stitch is brought
 immediately up again1 and the silk is  
carried back on the upper instead of the
 under side of the stuff4 ,considerable 

economy of silk is effected by thus     
keeping the thread as much as possible  
on the surface1 but the effect is apt to
 be proportionately poorer4 ,moreover1  
the work is not so lasting as when it is
 solid4 ,the satin-stitch on            
,illustration #eh is all surface work4  
,it looks loose1 which it is always apt 
to do1 unless it is kept stretched on   
the frame1 on which1 of course1         
satin-stitch is for the most part       
worked4 ,very effective ,indian work is 
done of this kind--loose and flimsy1 but
 serving a distinct artistic purpose4   
,it is to embroidery of more serious    
kind what scene painting is to mural    
decoration4  ,illustration3 #dj4        
,,chinese ,,satin-,,stitch4  ,embroidery
 is often described as being in         
long-and-short-stitch1 a term properly  
descriptive not of a stitch1 but of its 
dimensions4 ,whether you use stitches of
 equal or of unequal length is a        
question merely of the adaptation of the
 stitch to its use in any given         

instance2 there is nothing gained by    
calling an arrangement of alternating   
stitches1 long and short1 or by calling 
them plumage-stitch1 or1 which is more  
misleading1 feather-stitch1 when they   
radiate so as to follow the form1 say1  
of a bird's breast4 ,the bodies of the  
birds in ,illustrations #dj and #he are 
in plumage-stitch so called4 ,this      
adaptation of stitch to bird or other   
forms gives the effect of fine          
feathering perfectly4 ,but why apply the
 term satin-stitch exclusively to       
parallel lines of stitches all of a     
length8  ,long-and-short-stitch1 then1  
is a sort of satin-stitch2 only1 instead
 of the stitches being all of equal     
length1 they are worked one into the    
others or between them1 as in the faces 
in ,illustrations #gi and #hj4  ,a      
little further removed from satin-stitch
 is what is known as split-stitch1 in   
which the needle is brought up through  
the foregoing stitch1 and splits it4    
,the way of working this stitch is more 

fully given on page #aje4  ,the worker  
adapts1 as a matter of course1 the      
length of the stitch to the work to be  
done1 directing it also according to the
 form to be expressed1 and so arrives1  
almost before he is aware of it1 by way 
of satin-stitch1 at what is called      
plumage-stitch4  ,illustration3 #da4    
,,offshoots ,,from ,,satin ,,and        
,,crewel ,,stitches4  ,illustration3    
#db4 ,,offshoots ,,from ,,satin ,,and   
,,crewel ,,stitches 7,,back74  ,the     
distinction between the stitches so far 
described is plain enough1 and an       
all-round embroidress learns to work    
them2 but workers end in working their  
own way1 modifying the stitch according 
to the work it is put to do1 and produce
 results which it would be difficult to 
describe and pedantic to find fault     
with4 ,even short1 however1 of such     
individual treatment1 the mere          
adaptation of the stitch to the lines of
 the design removes it from the normal4 
,it makes a difference1 too1 whether it 

is worked in a frame or in the hand3 in 
the one case you see more likeness to   
one stitch1 in the other to another4    
,the flower at ,b1 for example1 and the 
leaf at ,d1 on the sampler1             
,illustration #da1 are both worked in   
what is commonly called plumage1 or     
embroidery stitch1 though the term      
dovetail1 sometimes used1 seems to      
describe it better4 ,instance ,b1       
however1 is worked in the hand1 and ,d  
in a frame--from which very fact it     
follows that the worker is naturally    
disposed to regard ,b as akin to        
crewel-stitch and ,d to satin-stitch1   
between which two stitches dovetail may 
be regarded as the connecting link4     
,illustration3 ,,the ,,working ,,of ,b  
,,on ,,sampler #da4  ,sidenote3 ,,to    
,,work ,b1 #da4  ,the petals at ,b are  
worked in the method illustrated in the 
diagram overleaf4 ,the first step is to 
edge the shape with satin-stitches in   
threes1 successively long1 shorter1 and 
quite short4 ,this done1 starting at the

 base again1 you put your needle in on  
the upper or right side of the first    
short stitch1 and bring it out through  
the long stitch 7as shown in the        
diagram74 ,you then make a short stitch 
by putting your needle downwards through
 the material1 and taking up a small    
piece of it4 ,you have finally only to  
draw the needle through1 and it is in   
position to make another long stitch4   
,as the concentric rings of stitching   
become smaller1 you make1 of course1    
shorter stitches1 and you need no longer
 pierce the thread of the long stitch4  
,sidenote3 ,,to ,,work ,d1 #da4  ,the   
working of the scroll at ,d on the      
sampler1 ,illustration #da1 needs no    
detailed explanation4 ,anyone who is    
acquainted with the way satin-stitch is 
worked 7it has already been sufficiently
 explained71 and has read the above     
account of the working of ,b1 will      
understand at once how that is worked in
 the frame4  ,it will be seen that there
 is a slight difference in effect       

between the two1 arising from the fact  
that work done in the hand is           
necessarily more loosely and not quite  
so evenly done as that on a frame4      
,sidenote3 ,,to ,,work ,,split-,,stitch 
,c1 #da4  ,split-stitch 7,c on the      
sampler71 again1 resembles either       
crewel-stitch or satin-stitch1 according
 as it is worked in the hand or on a    
frame4 ,in working in the hand1 you take
 a rather shorter stitch back than in   
crewel-stitch1 piercing with the needle 
the thread which is to form the next    
stitch4 ,in working on a frame1 you     
bring your needle always up through the 
last-made satin-stitch in order to start
 the next4 ,whichever way it is done1   
split-stitch is often difficult to      
distinguish without minute examination  
from chain-stitch4 ,further reference to
 its use is made in the chapter on      
shading4 ,it may be interesting to      
compare it with crewel-stitch 7,a on the
 sampler71 which is also a favourite    
stitch for shading4     ,,darning4   ,it

 is the peculiarity of ,,darning and    
,,running that you make several stitches
 at one passing of the needle4  ,darning
 and running amount practically to the  
same thing4 ,darning might be described 
as consecutive lines of running4 ,the   
difference is1 in the main1 a matter of 
multiplication2 but the distinction is  
sometimes made that in running the      
stitches may be the same length on the  
face as on the reverse of the stuff1    
whereas in darning the thread is mainly 
on the surface1 only dipping for the    
space of a single thread or so below it4
  ,it results from the way of working   
that you get in darning an interrupted  
line characteristic of the stitch4 ,what
 is called double darning1 by which the 
breaks in the single darning are made   
good1 has in effect no character of     
darning whatever4  ,darning has a homely
 sound1 but it is useful for more than  
mending4 ,in embroidery you no longer   
use it to replace threads worn away1 but
 build up upon the scaffolding of a     

merely serviceable material what may be 
a gorgeous design in silk4              
,illustration3 #dc4 ,,darning ,,sampler4
  ,darning is worked1 of course1 in rows
 backwards and forwards2 but if the     
stitches are long and in the direction  
of the weft1 it is as well not to run   
the returning row next to the one just  
done1 but to leave space for a second   
course of darning afterwards between the
 open rows4  ,the darning of the        
sampler1 ,illustration #dc1 is very     
simple4 ,the flower is darned in        
stitches of fairly equal length1 taking 
up one thread of the material1 and      
covering a space of almost a quarter of 
an inch before taking up the next       
thread4 ,the outline of a petal is first
 worked1 and successive rows of darning 
follow the lines of the flower1         
expressing to some extent its form4     
,much depends upon the direction of the 
stitch4  ,the texture of the work       
depends upon the length of the stitches1
 and on the amount of the stuff showing 

through4  ,darning is usually           
supplemented by outlining4 ,the sampler 
is designed to show how far one can     
dispense with it4 ,the flower stalk is  
defined by darning the first row in a   
darker colour2 for the rest1 voiding is 
employed1 but it is not easy to void in 
darning4  ,the background is darned     
diaper fashion4 ,it gives1 that is to   
say1 deliberately diagonal lines4 ,a    
background irregularly darned should be 
irregular enough never to run into lines
 not contemplated by the worker4        
,illustration3 #dd4 ,,darning ,,designed
 ,,by ,,william ,,morris4  ,in the case 
of large leaves1 veined1 the veining    
should be worked first1 the stitches    
between them radiating outwards to the  
edge of the leaf4  ,more accomplished   
work in darning is shown in the border  
by ,william ,morris in ,illustration    
#dd1 where it appears1 however1 much    
flatter than in the coloured silk4 ,it  
is worked solid1 the radiating stitches 
accommodating themselves to the forms of

 the leaves and petals1 which1 in fact1 
are designed with a view to their       
execution in this way4 ,they are defined
 by outline-stitching--light or dark as 
occasion seemed to require4  ,mention   
has already been made of darning a      
propos of canvas-stitch2 and there is a 
sort of natural correspondence between  
the mecanique of darning in its simplest
 form and the network of open threads   
which gives to rectangular darning1 like
 the ,german work in ,illustration #de1 
character which more than compensates   
for its angularity in outline4 ,the     
darning is there quite even in          
workmanship1 but it is1 as will be seen1
 of different degrees of                
strength--lighter for the surface of the
 pattern1 heavier for the outline4  ,you
 may qualify the colour of a stuff by   
lightly darning it with silk of another 
shade1 and very subtle tints may be got 
by thus1 as it were1 veiling a coloured 
ground with silks of various hues4      
,illustration3 #de4 ,,flat ,,darning    

,,upon ,a ,,square ,,mesh4              
,,laid-,,work4   ,the necessity for     
something like what is called           
,,laid-,,work is best shown by reference
 to satin-stitch4 ,it was said in       
reference to it that satin-stitches     
should not be too long4 ,there is a     
great deal of ,eastern work in which    
surface satin-stitch1 or its equivalent1
 floats so loosely upon the face of the 
stuff that it can only be described as  
flimsy4 ,nothing could be more beautiful
 in its way than certain ,soudanese     
embroidery1 in which coloured floss in  
stitches an inch or more long lies      
glistening on the stuff without any     
interruption of threads to fasten it    
down4  ,embroidery of this kind1        
however1 hardly comes within the scope  
of practical work4 ,long1 loose stitches
 want sewing down4 ,some compromise has 
to be made between art and beauty4 ,the 
problem is to make the work strong      
enough without seriously disturbing its 
lustrous surface1 and the solution of it

 is laid-work1 at which we arrive thus  
almost by necessity4  ,illustration3    
#df4 ,,laid-,,work ,,sampler4  ,it      
involves no new stitch1 but is only     
another way of using stitches already   
described4 ,in laid-work1 long tresses  
of silk1 as ,william ,morris called     
them1 floss by preference1 are thrown   
backwards and forwards across the face  
of the stuff1 only just piercing it at  
the edges of the forms1 and back again4 
,these silken tresses are then caught   
down and kept1 ,i will not say close to 
the ground1 but in their place upon it1 
by lines of stitching in the cross      
direction4  ,laid-work is not1 at the   
best1 a very strong or lasting kind of  
embroidery 7it needs to be carefully    
covered up even as it is worked71 but by
 no other means is the silky beauty of  
coloured floss so perfectly set forth4  
,it is hardly worth doing in anything   
but floss4  ,laid-work lends itself also
 to gradation of colour within certain  
limits--the limits1 that is to say1 of  

the straight parallel lines in which the
 silk is laid3 the direction of these is
 determined often by the lines of sewing
 which are to cross them4 ,in any case  
the direction of the threads is here    
more than ever important4 ,the sewing   
down must take lines and may form       
patterns4  ,the sampler1 ,illustration  
#df1 wants little or no explanation4 ,it
 illustrates the various ways of laying4
 ,in the leaf the floss is sewn down    
with split-stitch1 which forms the      
veining4 ,elsewhere it is kept in place 
by couching1 a process presently to be  
described4 ,for the outlines1           
split-stitch and couching are employed4 
,the last row of laid work in the       
grounding is purposely pulled out of the
 straight by the couching in order to   
give a waved edge4 ,the diaper which    
represents the seeding of the flower is 
not1 properly speaking1 laid-work3      
single threads of white purse silk are  
there couched down with dark4           
,illustration3 #dg4 ,,japanese          

,,laid-,,work4  ,for the transverse     
stitching1 for which also it is best to 
use floss1 either split-stitch may be   
used1 as in the leaf in the sampler1    
,illustration #df1 or a thread may be   
laid across and sewn down--couched1 as  
it is called--as in the flower4 ,the    
closer the cross lines the stronger the 
work1 but the less lustrous the effect4 
,laid floss may be employed to glorify  
the entire surface of a linen material1 
as in the sampler or for the pattern    
only upon a ground worth showing1 as in 
,illustrations #dg1 #dh1 #di4           
,laid-work will not give anything like  
modelling1 and it is not best suited to 
figure design except where it is quite  
flatly treated4 ,an instance of its use 
in figure work occurs on ,illustration  
#gi4 ,it is effective when quite naively
 and simply used in cross lines which do
 not appear to take any account of the  
forms crossed--as1 for example1 in      
,illustration #dg1 where the stitching  
does not pretend to express more than a 

flat surface4 ,the floss1 however1 is   
there carefully laid at a different     
angle of inclination in each petal1 so  
as to give variety of colour4 ,the lines
 of sewing vary according to the lines  
of the laid floss1 but do not cross them
 at right angles4 ,the important thing  
is1 of course1 that they should catch   
the laid tresses at intervals not too   
far apart4 ,if the lines which sew down 
the floss have also to express drawing1 
as in the case of the bird's wings in   
,illustration #dh1 the underlying floss 
must be laid in lines which they will   
cross4 ,in the case of the leaves in the
 same piece of work1 the floss is laid  
in the direction in which the leaf      
grows1 and the stitching across1 which  
sews it down1 is slightly curved so as  
to suggest roundness in them4           
,illustration3 #dh4 ,,indo-,,portuguese 
,,laid-,,work4  ,a more finished piece  
of work is shown in ,illustration #di1  
where the laid floss crosses the forms1 
and the sewing down takes very much the 

place of veining in the flower1 and of  
ribs in the scroll1 expressing about as 
much modelling as can be expressed this 
way1 and more1 perhaps1 than it is      
advisable often to attempt4  ,the sewing
 down asserts itself most1 of course1   
when it is in a colour contrasting with 
the laid floss1 as it does in the leaves
 in the smaller sampler overleaf4  ,the 
stitching down makes usually a pattern  
more or less conspicuous4 ,on this same 
sampler it does so very deliberately in 
the case of the broad stalk4 ,the rather
 sudden variation of the colour shown   
there in the leaves is harmless enough  
in bold work1 to which the process is   
best suited4 ,one may be too careful in 
gradating the tints3 timidity in this   
respect prevails too much among modern  
needlewomen3 an artist in floss should  
not want her work to look like a        
gradated wash of colour4 ,the ,italians 
of the #afth and #agth centuries 7see   
,illustration #di7 were not afraid of   
rather abrupt transition in the shades  

of colour they used for laid-work4      
,illustration3 #di4 ,,italian           
,,laid-,,work4  ,illustration3 #ej4     
,,laid ,,sampler4  ,when laid floss is  
kept in place by threads themselves sewn
 down across it1 such threads are called
 couched1 and the work itself may be    
described as laid and couched4 ,hence   
arises some confusion between the two   
methods of work--laying and couching4   
,it saves confusion to make a sharp     
distinction between the two--using the  
term laid only for stitches 7floss7     
first loosely laid upon the surface of  
the stuff and then sewn down by cross   
lines of stitching of whatever kind1 and
 couched for the sewing down of cords1  
c4 7silk or gold71 thread by thread or  
in pairs4 ,laid floss is sewn down en   
masse1 couched silk in single or double 
threads2 and accordingly laid answers   
best for surface covering1 couched for  
outlining1 except in the case of gold1  
which even for surface covering is      
always couched4     ,,couching          

,,couching is the sewing down of one    
thread by another--as in the outline of 
the flower on the laid sampler1         
,illustration #df4 ,the stitches with   
which it is sewn down1 thread by thread1
 or1 in the case of gold1 two threads at
 a time1 are best worked from right to  
left2 or1 in outlining1 from outside the
 forms inwards1 and a waxed thread is   
often used for the purpose4 ,naturally  
the cord to be sewn down should be held 
fairly tightly in place to keep the line
 even4  ,it is usual in couching to sew 
down the silk or cord with stitches     
crossing it at right angles1 except in  
the case of a twisted cord1 which should
 be sewn down with stitches in the      
direction of the twist4  ,couching is   
best done in a frame2 but it may be done
 in the hand by means of                
buttonhole-stitch4  ,illustration3 #ea4 
,a4 ,,bullion4 ,b4 ,,couched ,,cord4    
,when a surface is covered with         
couching1 as in the seeding of the      
flower in the sampler1 ,illustration    

#df1 the sewing down stitches make a    
pattern--all the plainer there1 because 
the stitching is in a contrasting shade 
of colour4 ,it is quite permissible to  
call attention to the stitching if it   
suits your artistic purpose4 ,to        
disguise it by sewing through the cord  
is not a workmanlike practice4 ,a worker
 should frankly accept a method of work 
and get character out of it4            
,embroidresses have a clever way of     
untwisting a cord before each stitch and
 twisting it again after stitching      
through it--between the strands1 that is
 to say1 in which the stitching is lost4
 ,the device is rather too clever4 ,it  
shows a cord with no visible means of   
attachment to the ground1 which is not  
desirable1 however much desired4 ,there 
is no advantage in attaching cords to   
the surface of silk so that they look as
 if they had been glued on to it4       
,conjuring tricks are highly amusing1   
but one does not think very highly of   
conjurers4 ,personally1 ,i would much   

rather have seen more plainly the way   
the cord is sewn down in the graceful   
cross in ,illustration #ea1 a design    
perfectly adapted to couching1 and yet  
unlike the usual thing4  ,where it is   
softish silk which is stitched down1 it 
makes a great difference whether it is  
loosely held and tightly sewn1 or the   
contrary4 ,contrast the short puffy     
lines nearest the corners in the        
sampler1 ,illustration #eb1 with the    
longer ones between the broad and narrow
 bands4 ,the broad band is worked in    
rows of double filoselle1 of various    
shades1 sewn down with single filoselle4
 ,in the narrower bands twisted silk is 
sewn down with stitches in the direction
 of its twist4 ,this is more plainly    
seen in the upper of the two bands1     
where the sloping stitches are lighter  
in colour than the cord sewn down4      
,illustration3 #eb4 ,,couching          
,,sampler4  ,characteristic use is made 
of rather puffy couching in the ornament
 of the lady's dress in ,miss           

,keighley's panel1 ,illustration #fa1   
where it has very much the richness of  
embroidery in seed pearls4  ,it was a   
common practice in ,germany in the #afth
 century to work in solid couching upon 
cloth1 employing a twisted thread and   
sewing it with stitches in the direction
 of the twist1 so that at first sight   
one does not recognise it as couching4  
,it looks like rather coarse stitching  
in the direction of the forms1 and      
expresses shading very well4 ,the cloth 
ground accounts1 perhaps1 for the choice
 of method3 the material is not         
otherwise a pleasant one to embroider   
upon4  ,a rather earlier ,german method 
was to couch in parallel lines of white 
upon white linen1 and so get relief and 
texture but no modelling1 though the    
drawing was helped by varying the       
direction of the parallel lines4  ,the  
entire surface of a linen ground was    
sometimes covered with couched threads  
of silk or fine wool--some of it in     
vertical and horizontal lines1 some of  

it in the direction of the pattern4     
,this1 again1 was a ,german practice1 as
 may be seen in the ,hildesheim ,cope at
 ,south ,kensington4  ,all-over couching
 may be used with advantage to renew the
 ground of embroidery so worn as to be  
unsightly2 and is more lasting than     
laid-work for the purpose4 ,it is       
laborious to do1 but more satisfactory  
when done than remounting2 and one or   
the other is a necessity sometimes4 ,the
 effect of age is1 up to a certain      
point1 pleasing3 rags are not4          
,illustration3 #ec4 ,,couching ,,in     
,,looped ,,threads4  ,couching1 however 
7except with gold71 was more commonly   
used for outlining1 and is quite        
peculiarly suited to give a firm line4  
,a beautiful example of outline work in 
coloured silk upon white linen is       
pictured in ,illustration #ij1 in which 
the lines of delicate ,renaissance      
arabesque are perfectly preserved4 ,the 
rare practice of such work as this1     
notwithstanding its distinction1 is     

perhaps sufficiently accounted for by   
its modesty4 ,it is true1 it wants      
well-considered and definitely drawn    
design1 and there is no possible fudging
 with it4  ,illustration3 #ed4 ,,reverse
 ,,couching4  ,the value of a couched   
cord as an outline to stitching         
7satin-stitch in this instance7 is shown
 in ,illustration #ia1 in which the     
singularly well-schemed and well-drawn  
lines of the ornament are given with    
faultless precision4 ,this is a portion 
of an altogether admirable frame to an  
altogether foolish picture in           
needlework1 of which a fragment only is 
shown4  ,the appropriateness of couched 
cord to the outlining of inlay or of    
applique is seen in the two examples    
which form ,illustration #fb4 ,in the   
one 7,a7 it defines the clear-cut       
counterchange pattern2 in the other     
7,b71 being of a tint intermediate      
between the ground and the ornament1 it 
softens the contrast between them4 ,an  
interesting technical point in the      

design of this last is the way the cord 
outlining the leaves makes a            
sufficiently thick stalk1 coming        
together1 as it naturally does1 double  
at the ends of the leaves4              
,illustration3 #ee4 ,,reverse ,,couching
 7,,back74  ,this occurs again in       
,illustration #fc1 where the double     
threads which form the stalks1 though   
separately stitched down1 are couched   
again at intervals by bands crossing the
 two--at the springing of the stalks and
 tendrils1 for example1 where joins     
inevitably occur4 ,the cords forming the
 central stalk are in one case looped4  
,fantastic use has often been made of   
the looping of couched cord4 ,the       
,spanish embroiderers made most         
ornamental use of a wee loop at the     
points of the leaves where the cord must
 turn2 but the device of looping may    
easily be used to frivolous purpose4 ,a 
regularly looped line at once suggests  
lace4 ,a perplexing ,chinese practice is
 to couch fine cord in little loops so  

close together that they touch4 ,a      
surface filled in after this manner1 as 
in the butterflies on ,illustration #ec1
 might pass at first sight for ,french  
knots or chain-stitch3 it is really     
another method of all-over couching4  ,a
 double course of couching forms the    
outline in ,illustration #ib1 one of    
filoselle and one of cord1 separately   
sewn2 but the tendrils1 which are of    
silver thread1 are sewn down both       
threads at a time with double stitches1 
very obvious in the illustration4 ,over 
the couched silver threads which form   
the main rib of the leaf a pattern is   
stitched in silk4  ,a propos of         
couching1 mention must be made of a way 
of working used in the famous ,syon     
,cope by way of background1 and figured 
overleaf 7,illustration #ed74 ,the      
ground stuff is linen1 twofold1 and it  
is worked in silk1 which lies nearly all
 upon the surface4 ,the stitch runs from
 point to point of the zigzag pattern2  
there it penetrates the stuff1 is       

carried round a thread of flax laid at  
the back of the material1 and is brought
 to the surface again through the hole  
made by the needle in passing down4     
,that is to say1 the silken thread only 
dips through the linen at the points in 
the pattern1 and is there caught down by
 a thread of flax on the under-surface  
of the linen4 ,the reverse of the work  
7,illustration #ee7 shows a surface of  
flax threads couched with silk1 for     
which reason the method may be described
 as reverse couching4 ,on the face it   
gives an admirable surface diaper1 flat 
without being mechanical4 ,it is easily 
worked with a blunt needle2 with a sharp
 one there would be a danger of         
splitting the stitch4 ,it is a kind of  
work on which two persons might be      
employed1 one on either side of the     
stuff4     ,,couched ,,gold4   ,in olden
 days silk does not appear to have been 
couched in the ,east4 ,on the other     
hand1 it was the custom to couch gold   
thread in ,europe at least as early as  

the twelfth century2 so that the method 
was probably first used for gold1 which1
 except in the form of thin wire or     
extraordinarily fine thread1 is not     
quite the thing to stitch with4         
,besides1 it was natural to wish to keep
 the precious metal on the surface1 and 
not waste it at the back of the stuff4  
,a distinguishing feature about gold is 
that by common consent it is used double
 and sewn down two threads at a time4   
,this is not merely an economy of work2 
but1 except in the case of thick cords  
or strips of gold1 it has a more        
satisfactory effect--why it is not easy 
to say4 ,panels ,a1 ,b1 ,c1 in the      
sampler1 ,illustration #ef1 are couched 
in double threads1 ,d in single cords4  
,gold couching is there used1 as it     
mostly is1 to cover a surface4 ,in doing
 that1 it is usual to sew the threads   
firmly down at the edges of the forms   
and cut them very sharply off2 but they 
may equally well be carried backwards   
and forwards across the face of the     

stuff4 ,the slight swelling of the gold 
thread where it turns gives emphasis to 
the outline2 but the turning wants      
carefully doing1 and the gold thread    
must not be too thick4 ,if you use a    
large needle 7to clear the way for the  
thread71 the turning of the gold may    
take place on the back instead of on the
 face of the material1 but only in the  
case of very fine thread4  ,gold threads
 often want stroking into position4     
,this may be done with what is called a 
pierce2 but a good stiletto1 or even a  
very large needle1 will answer the      
purpose4 ,sharply pointed scissors are  
indispensable4  ,in solid couching the  
stitches run almost inevitably into     
pattern2 and it is customary1 therefore1
 to start with the assumption that they 
will1 and deliberately to make them into
 pattern--to work them1 that is to say1 
in vertical1 diagonal1 or cross lines as
 at ,a1 in zigzags as at ,b1 or in some 
more complicated diaper pattern as at   
,c1 where the stitching is purposely in 

pronounced colour1 that the pattern may 
be quite clearly seen2 at ,d it has more
 its proper value1 that the effect of it
 may be better appreciated4 ,the pattern
 may1 of course1 be helped by the colour
 of the stitching1 and there is some art
 in making the necessary stitches into  
appropriate pattern4  ,illustration3    
#ef4 ,,couched ,,gold ,,sampler4  ,in   
fact the ornamentist1 being an          
ornamentist1 naturally takes advantage  
of the necessity of stitching1 to       
pattern his metallic surfaces with      
diaper1 using often1 as in the scroll in
 ,illustration #eg1 a diversity of      
patterns1 which gives at once varied    
texture and fanciful interest to the    
surface4 ,there is quite an epitome of  
little diapers in that fragment of      
needlework2 and one can hardly doubt    
that the embroiderer found it great fun 
to contrive them4 ,the flat strips of   
metal emphasising the backs of the      
curves are sometimes twisted as they are
 sewn4  ,the other diapers on the       

sampler1 ,f1 ,g1 ,h1 ,j1 #ef1 are       
emphasised by the relief given to them  
by underlying cords1 purposely left bare
 in parts to show the structure4 ,these 
underlying cords must be firmly sewn on 
to the linen ground1 and if the         
stitching follows the direction of the  
twist in them1 the round surface is not 
so likely to be roughened by it4 ,by    
rights1 the cords should be laid farther
 apart than in the sampler1 where the   
attempt to force the effect 7for        
purposes of explanation7 has not proved 
very successful4 ,an infinity of basket 
patterns1 as these may be called 7basket
 stitches they are not71 may be devised 
by varying the intervals at which the   
gold threads are sewn down1 and the     
number of cords they cross at a time4   
,illustration3 #eg4 ,,couched ,,silver4 
,the central panel of the sampler 7,e7  
shows a combination of flat and raised  
gold4 ,the outline of the heart is      
corded2 the centre of it is raised by   
stitching1 first with crewel wool and   

then with gold-coloured floss across    
that 7it is difficult to prevent white  
stuffing from showing through gold74    
,this gives only a hint of what may be  
done in the way of raised ornament upon 
a flat gold ground1 and was done in     
mediaeval work4 ,a single cord may be   
sewn down to make a pattern in relief1  
leafage1 scrollwork1 or what not1 which1
 when the surface is all worked over    
with gold1 has very much the effect of  
gilt gesso4 ,if1 for any reason1 heavy  
work of this kind is to be done on silk 
or satin1 that must first be backed with
 strong linen4  ,in mediaeval and church
 work generally the double threads are  
usually laid close together1 forming1 as
 in the diapers on sampler1 a solid     
surface of gold2 and that was largely   
done in ,oriental embroidery too--in    
,chinese1 for example1 where1 however1  
the threads1 instead of being couched in
 straight lines1 follow the outlines of 
the design1 and are worked ring within  
ring until the space is filled1 as in   

the dragon's face1 ,a1 ,illustration    
#eh4 ,there is here1 as in the working  
of his body1 a certain economy of gold2 
a small amount of the ground is allowed 
to show between the lines of double gold
 thread--not enough to tell as ground1  
but enough to give a tint of the ground 
colour to the metal4 ,further1 in this  
more open couching the direction of the 
lines of couching goes for more than in 
solid work4 ,the pattern made by the    
gold thread is here not only ornamental 
but suggestive of the scaly body of the 
creature4 ,it will be seen1 too1 how1 in
 the working of the legs1 the relatively
 compact gold threads are kept well     
within the outline1 by which means      
anything like harshness of silhouette is
 avoided4  ,illustration3 #eh4 ,,couched
 ,,gold ,,not ,,quite ,,solid4  ,that   
this less solid manner was not confined 
to the far ,east is shown by the        
,venetian valance1 ,b1 on the lower part
 of the page1 which has very much the   
appearance of gold lace4  ,a good       

example of outline 7single thread7 in   
gold is given in ,illustration #ei1 part
 of an ,italian housing1 which reminds  
one both in effect and in design of     
damascening1 to which it is in some     
respects equivalent2 only1 instead of   
gold and silver wire beaten into black  
iron or steel1 we have gold and silver  
thread sewn on to dark velvet4 ,the     
design recalls also the ,french         
bookbindings of the period of ,henri    
,,ii41 in which the tooled ornament was 
precisely of this character4 ,the       
resemblance is none the less that an    
occasional detail is worked more        
solidly2 but1 in the main1 this is      
outline work1 and a beautiful example of
 it4 ,the art in work of that kind is1  
of course1 largely in the design4 ,gold 
thread work in spiral forms has very    
much the effect of filagree in gold     
wire4  ,the next step is where the cords
 of gold enclose little touches of      
embroidery in coloured floss1 as in     
,illustration #ia4 ,these have the value

 of so many jewels or bits of bright    
enamel4 ,in fact1 just as outline work  
in simple gold thread resembles         
damascening or filagree1 so this        
outlining of little spaces of coloured  
silk suggests enamel4 ,the cord of the  
embroiderer answers to the cloisons of  
the enameller1 the surfaces of shining  
floss to the films of vitreous enamel4  
,illustration3 #ei4 ,,couched ,,outline 
,,work4  ,applique embroidery is        
constantly edged with gold or silver    
thread4 ,an effective1 if rather rude1  
example of this1 the thread here again  
double1 is given in ,illustration #fj4  
,in couching more than one thread at a  
time there is a difficulty in turning   
the angles4 ,the threads give1 of       
necessity1 only gently rounded forms4   
,to get anything like a sharp point1 you
 must stop short with the inner thread  
before reaching the extreme turning     
point1 and take it up again on your way 
back4 ,what applies to two threads1     
applies of course still more forcibly to

 three4  ,the colour with which gold    
thread is sewn is a question of         
considerable importance4 ,if the        
stitches are close enough together to   
make solid work1 they give a flush of   
colour to the gold4 ,advantage is       
commonly taken of this both in mediaeval
 and ,oriental work to warm the tint by 
sewing it down with red4 ,the ,chinese  
will even work with a deeper and a paler
 red to get two coppery shades4 ,white  
stitching pales the gold1 yellow        
modifies it least1 green cools it1 and  
blue makes it greener4 ,the closer the  
stitches1 the deeper the tint1 of       
course4  ,illustration3 #fj4            
,,applique--,,satin ,,on ,,velvet4  ,you
 can get thus various shades of gold out
 of the same thread1 and even gradation 
from one to another1 as may be seen in a
 great deal of ,spanish work of the     
#afth century1 in which the gold        
ornament is often quite delicately      
shaded from yellowish gold to ruddy     
copper on the one hand1 and to bronzy   

green on the other4 ,similar use may be 
made of vari-coloured silks in couching 
white or other cord2 but gold reflects  
the colour much better than silk1 and   
gives much more subtle effects4  ,the   
,flemings and ,italians of the early    
,renaissance went further4 ,they had a  
way of laying threads of gold and sewing
 them so closely over with coloured silk
 that in many parts it quite hid the    
gold4 ,only in proportion as they wanted
 to lighten the colour of the draperies 
in their pictorial embroideries did they
 space the stitches farther and farther 
apart1 and let the gold gleam through4  
,except in the high lights it did not   
pronounce itself positively4 ,the effect
 is not unlike what is seen in paintings
 of the primitive school1 where the high
 lights of the red and blue draperies   
are hatched with gold4 ,the practice of 
the embroiderer may be reminiscent of   
that1 or that may be the origin of the  
primitive painters' convention4 ,it is  
more as if the embroiderer wanted to    

represent a precious tissue1 a stuff    
shot with gold4  ,illustration #hj gives
 part of a figure worked in this way1   
relieved against a more golden          
architectural background rendered by the
 very same double threads of gold which 
run through the figures4 ,in the        
architecture1 however1 they are couched 
in stitches which are never so near as  
to take away from the effect of the     
gold4 ,the two degrees of obscuring or  
clouding gold by oversewing are here    
shown in most instructive contrast4 ,the
 cords1 as usual1 are laid in horizontal
 courses4 ,that was the convenient way  
of working2 but it resulted in a corded 
look1 which has very much the appearance
 of tapestry2 and there is no doubt that
 resemblance to tapestry was in the end 
consciously sought4 ,that the method    
here employed was laborious needs no    
saying2 but it gave most beautiful1 if  
pictorial1 results4     ,,applique4     
,embroidery1 it has been shown1 is much 
of it on the surface of the stuff1 not  

just needle stitches1 but the           
stitching-on of something--cord1 gold   
thread1 or whatever it may be4 ,and     
instances have been given where the     
design of such work was not merely in   
outline1 but where certain details were 
filled in with stitching4 ,yet another  
practice1 and one more strictly in      
keeping with the onlaying of cord1 was  
to onlay the solid also1 applying1 that 
is to say1 the surface colour also in   
the form of pieces of silk cut to shape4
  ,patterns of this kind may be         
conceived as line work developing into  
leafy terminations1 the ,,applique only 
an adjunct to couching 7,illustration   
#fc72 or they may be thought of as      
massive work eked out with line3 the    
applique1 that is to say1 the main      
thing1 the couching only supplementary  
7,illustration #ib74 ,an intermediate   
kind is where outline and mass--couching
 and applique--play parts of equal      
importance in the scheme of design      
7,illustration #fj74  ,couched cord or  

filoselle is useful in covering the raw 
edge of the onlay1 not so much masking  
the joints as making them sightly4      
,applique must be carefully and exactly 
done1 and is best worked in a frame4 ,it
 is almost as much a man's work as a    
woman's4 ,embroidery proper is properly 
woman's work2 but here1 as in the case  
of tailoring1 the man comes in4 ,the    
getting ready for applique is not the   
kind of thing a woman can do best4  ,the
 finishing may sometimes be done in the 
hand1 and very bold1 coarse work may    
possibly be worked throughout in the    
hand1 and outlined with                 
buttonhole-stitch 7chain-stitch is not  
so appropriate72 but when a couched     
outline is employed it must be done in a
 frame1 and1 indeed1 work with any      
pretensions to finish is invariably     
begun and finished in the frame4        
,sidenote3 ,,to ,,work ,,applique  ,to  
work applique you want1 in fact1 two    
frames--one on which to mount the       
material to be embroidered1 and another 

on which to mount the material to be    
applied4 ,the backing in each case      
should be of smooth holland4 ,this is   
stretched on to the frame1 and then     
pasted with stiff starch or what not2   
the silk or velvet is laid on to it and 
stroked with a soft rag until it        
adheres1 and is left to dry gently4     
,when dry1 the outlines of the complete 
design are traced upon the one1 and     
those of the details to be applied upon 
the other4 7,you may paste1 of course1  
silks of two or three colours upon one  
backing for this47 ,the stuff to be     
applied is then loosened from its frame1
 the details are cleanly cut out with   
scissors1 or1 better still1 a knife 7in 
either case sharp71 and transferred to  
their place in the design on the other  
frame4 ,there they are kept in position 
by short steel pins planted upright into
 the stuff until you are sure they fit1 
and then tacked firmly down1 with care  
that the stitches are such as will be   
quite covered by the final couching1    

chain stitch1 or whatever is to be your 
outline4  ,in the case of silk or other 
delicate material1 peculiar care must be
 taken that the paste is not moist      
enough to penetrate the stuff2 but an   
experienced worker has no fear of that4 
,a firm outline is a condition of       
applique1 and couched cord fulfils it   
most perfectly4 ,much depends upon a    
tasteful and tactful choice of colour   
for it4 ,you fatten your pattern by     
outlining it with a colour which goes   
with it 7,illustration #fb1 ,b74 ,you   
thin it by one which goes into the      
ground4 ,very subtle use may be made of 
a double outline or of a corded line    
upon couched floss4 ,there is a double  
outline to the ornament in ,illustration
 #ib3 the inner one next to the yellow  
satin applique is of gold1 the outer one
 next the crimson velvet ground is of   
white sewn with pale blue4 ,this gives  
emphasis to the bold forms of the       
leafage4 ,the mid-rib there is of silver
 couching2 the minor veinings are       

stitched in silk1 and are rather        
insignificant4  ,illustration3 #fa4     
,,applique ,,panel ,,by ,,miss          
,,keighley4  ,the less there is of extra
 stitching on applique the better as a  
rule4 ,it disturbs the breadth1 which is
 so valuable a characteristic of onlay4 
,in no case is much mixing of methods to
 be desired2 but if applique is to be   
supplemented1 it had best be with       
couching1 which is not so much stitching
 as stitched down1 itself another form  
of applied work4  ,applique of itself is
 not1 of course1 adapted to pictorial   
work1 but that in association with      
judicious stitching and couching it may 
be used to admirable decorative purpose 
in figure design is shown by ,miss      
,mabel ,keighley's panel1 ,illustration 
#fa4 ,what an artist may do depends upon
 the artist4 ,miss ,keighley's panel    
indicates the use that may be made of   
texture in the stuff onlaid4  ,applique 
is especially appropriate to bold church
 work1 fulfilling perfectly that        

condition of legibility so desirable in 
work necessarily seen oftenest from     
afar4 ,broadly designed1 it may be as   
fine in its way as a piece of mediaeval 
stained glass1 and it gives to silk and 
velvet their true worth4 ,the pattern   
may be readable as far off as you can   
distinguish colour4  ,illustration3 #fb4
 ,a4 ,,counterchange4 ,b4 ,,applique4   
,applique work is thought by some to be 
an inferior kind of embroidery1 which it
 is not4 ,it is not a lower but another 
kind of needlework1 in which more is    
made of the stuff than of the stitching4
 ,in it the craft of the needleworker is
 not carried to its limit2 but1 on the  
other hand1 it makes great demands upon 
design4 ,you cannot begin by just       
throwing about sprays of natural        
flowers4 ,it calls peremptorily for     
treatment--by which test the decorative 
artist stands or falls4 ,effective it   
must be2 coarse it may be2 vulgar it    
should not be2 trivial it can hardly be2
 mere prettiness is beyond its scope2   

but it lends itself to dignity of design
 and nobility of treatment4 ,of course1 
it is not popular4  ,a usual form of    
applique is in satin upon velvet4       
,velvet on satin 7,b1 ,illustration #fb7
 is comparatively rare2 but it may be   
very beautiful1 though there is a danger
 that it may look like weaving4  ,silk  
upon silk 7figured damask7 is shown in  
,illustration #fc1 designed to be seen  
from a nearer point of view1 and less   
pronounced in pattern accordingly4 ,the 
strap work1 applied in ribbon1 is broken
 by cross stitches in couples1 which    
take away from the severity of the      
lines4 ,the grape bunches are onlaid1   
each in one piece of silk1 the forms of 
the separate grapes expressed by        
couching4 ,the ,french knots in the     
centre of the grapes add greatly to the 
richness of the surface4 ,the leaves are
 in one piece4 ,it would have been      
possible to use two or three1 joining   
them at the veins4  ,illustration3 #fc4 
,,applique--,,silk ,,on ,,silk ,,damask4

  ,the application of leather to velvet1
 as in ,illustration #id1 allows        
modification in the way of execution1   
and of design adapted to it4 ,leather   
does not fray1 and needs1 therefore1 no 
sewing over at the edge1 but only sewing
 down1 which may be done1 as in this    
case1 well within the edge of the       
material1 giving the effect of a double 
outline4 ,the ,chinese do small work in 
linen1 making similar use of the        
stitching within the outline1 but       
turning the cut edge of the stuff under2
 it would not do to leave it raw4 ,on a 
bolder scale1 but in precisely the same 
manner1 is embroidered the wonderful    
tent of ,francois ,ier41 taken at the   
battle of ,pavia1 and now in the        
,armoury at ,madrid--obviously ,arab    
work4 ,something of the kind was done   
also in ,morocco1 which points to       
leather work as the possible origin of  
this method4  ,another ingenious        
,chinese notion is to sew down little   
five-petalled flowers 7turned under at  

the edges7 with long stamen stitches    
radiating from a central eye of knots4  
,,inlay1 ,,mosaic1 ,,cut-,,work4   ,a   
step beyond the process of onlaying is  
,,inlay1 where one material is not laid 
on to the other1 but into it1 both being
 perhaps backed by a common material4   
,the process is1 in fact1 precisely     
analogous to that inlay of brass and    
tortoiseshell which goes by the name of 
its inventor1 ,boule4 ,the work is      
difficult1 but thorough4 ,it does not   
recommend itself to those who want to   
get effect cheaply4 ,the process is     
suited only to close-textured stuffs1   
such as cloth1 which do not fray4       
,sidenote3 ,,to ,,work ,,inlay4  ,the   
materials are not pasted on to linen1 as
 in the case of applique4 ,the cloth to 
be inlaid is placed upon the other1 and 
both are cut through with one action of 
the knife1 so that the parts cannot but 
fit4 ,the coherent piece of material    
7the ground1 say1 of the pattern7 is    
then laid upon a piece of strong linen  

already in a frame2 the vacant spaces in
 it are filled up by pieces of the other
 stuff1 and all is tacked down in place4
 ,that done1 the work is taken out of   
the frame1 and the edges sewn together4 
,the backing can then1 if necessary1 be 
removed2 and in ,oriental work it       
generally was4  ,inlay lends itself most
 invitingly to ,,counterchange in       
design1 as seen in the stole at ,a1     
,illustration #fb4 ,light and dark1     
ground and pattern1 are there identical4
 ,you cannot say either is ground2 each 
forms the ground to the other4 ,and from
 the mere fact of the counterchanging   
you gather that it is inlaid1 and not   
onlaid4  ,sidenote3 ,,to ,,work         
,,counterchange4  ,prior to inlaying in 
materials which are at all likely to    
fray1 you first back them with paper1   
thin but tough1 firmly pasted2 then1    
having tacked the two together1 and     
pinned them with drawing-pins on to a   
board1 you slip between it and the stuff
 a sheet of glass1 and with a very sharp

 knife 7kept sharp by an oilstone at    
hand7 cut out the pattern4 ,what was cut
 out of one material has only to be     
fitted into the other1 and sewn together
 as before1 and you have two pieces of  
inlaid work--what is the ground in one  
forming the pattern in the other1 and   
vice versa4 ,by this ingenious means    
there is absolutely no waste of stuff4  
,you get1 moreover1 almost invariably a 
broad and dignified effect3 the process 
does not lend itself to triviality4 ,it 
was used by the ,italians1 and more     
especially by the ,spaniards of the     
,renaissance1 who borrowed the idea1 of 
course1 from the ,arabs4  ,illustration3
 #fd4 ,,inlay ,,in ,,coloured ,,cloths4 
,in ,india they still inlay in cloth    
most marvellously1 not only             
counterchanging the pattern1 but        
inlaying the inlays with smaller        
patternwork1 thus combining great       
simplicity of effect with wonderful     
minuteness of detail4 ,they mask the    
joins with chain-stitch1 the colour of  

it artfully chosen with regard to the   
two colours of the cloth it divides or  
joins4 ,further1 they often patch       
together pieces of this kind of inlay4  
,inlay itself is a sort of ,,patchwork4 
,you cut pieces out of your cloth1 and  
patch it with pieces of another colour1 
covering the joins perhaps1 as on       
,illustration #fd1 with chain stitch1   
which gives it some resemblance to      
cloisonne enamel1 the cloisons being of 
chain-stitch4  ,where there is no one   
ground stuff to be patched1 but a number
 of vari-coloured pieces of stuff are   
sewn together1 they form a veritable    
,mosaic1 reminding one1 in coloured     
stuffs1 of what the mediaeval glaziers  
did in coloured glass4 ,admirable       
heraldic work was done in ,germany by   
this method2 and it is still employed   
for flag making4 ,the stuffs used should
 be as nearly as possible of one        
substance4 ,in patchwork of             
loosely-textured material each separate 
piece of stuff may be cut large1 turned 

in at the edge1 and oversewn on the     
wrong side4  ,illustration3 #fe4        
,,cut-,,work ,,in ,,linen4  ,the        
relation of ,,cut-,,work to inlay is    
clear--in fact1 the one is the first    
step towards the other4 ,you have only  
to stop short of the actual inlaying1   
and you have cut-work4 ,fill up the     
parts cut out in ,illustration #fe with 
coloured stuff1 and it would be inlay4  
,the needlewoman has preferred to sew   
over the raw edges of the stuff1 and    
give us a perfect piece of ,,fretwork in
 linen4 ,it is part of the game in      
cut-work to make the fret coherent1     
whole in itself4 ,the design should tell
 its own tale4 ,ties of                 
buttonhole-stitch1 or what not1 are not 
necessary1 provided the designer knows  
how to plan a fret pattern4 ,their      
introduction brings the work nearer to  
lace than embroidery4 ,the sewing-over  
may be in chain-stitch1 satin-stitch 7as
 in ,illustration #fe71 or in           
buttonhole-stitch--which last is        

strongest4  ,as1 in the case of         
applique1 inlay1 and mosaic1 an         
embroidered outline is usually necessary
 to cover the join1 so in the case of   
cut-work sewing-over is necessary to    
keep the edges from fraying4 ,it may    
sometimes be advisable to supplement    
this outlining by further stitching to  
express veining1 or give other minute   
details--just as the glassworker1 when  
he could not get detail small enough by 
means of glazing1 had recourse to       
painting to help him out4 ,but there is 
danger in calling in auxiliaries4 ,it is
 best to design with a view to the      
method of work to be employed1 and to   
keep within its limits4 ,to worry the   
surface of applied1 inlaid1 or cut stuff
 with finnikin stitchery1 is practically
 to confess either the inadequacy of the
 design or the fidgetiness of the       
worker4 ,it should need1 as a rule1 no  
such enrichment4     ,,embroidery ,,in  
,,relief4   ,embroidery being work upon 
a stuff1 it is inevitably raised1       

however imperceptibly1 above the surface
 of it4 ,but there is a charm in the    
unevenness of surface and texture thus  
produced2 and the aim has consequently  
often been to make the difference of    
level between ground-stuff and          
embroidery more appreciable by          
,,underlay or padding of some kind4 ,the
 abuse of this kind of thing need not   
blind us to the advantages it offers4   
,there are various ways of raising      
embroidery1 the principal of which are  
illustrated on the sampler overleaf4    
,sidenote3 ,,to ,,work ,a 7#ff74  ,in   
sprig ,a the underlay is of             
closely-woven cloth1 darker in colour   
than would be advisable except for the  
purpose of showing what it is3 it is as 
well in the ordinary way to choose a    
cloth more or less of the colour the    
embroidery is to be4 ,the cloth is cut  
with sharp scissors carefully to shape1 
but a little within the outline1 and    
pasted on to the linen4 ,when perfectly 
dry1 it is worked over with thick corded

 silk couched in the ordinary way4      
,sidenote3 ,,to ,,work ,b4  ,the raised 
line at ,b reveals the way the stem in  
,illustration #hf was worked4 ,two cords
 of smooth string 7macrame1 for example7
 are twisted and tacked in place4 ,over 
this floss is worked in close           
satin-stitch4  ,sidenote3 ,,to ,,work   
,c4  ,in sprig ,c the underlay is of    
parchment1 lightly stitched in place4   
,the use of a double underlay in parts  
gives additional relief4 ,the embroidery
 upon this 7in slightly twisted silk7 is
 in satin-stitch4  ,sidenote3 ,,to      
,,work ,d4  ,the leaf shapes at ,d are  
padded with cotton wool1 cut out as     
nearly as possible to the shape         
required1 and tacked down with fine     
cotton4 ,they are then worked over with 
floss in satin-stitch4 ,the stalks are  
not padded with cotton wool1 but first  
worked with crewel wool1 which1 being   
soft and elastic1 forms an excellent    
ground for working over in floss silk4  
,sidenote3 ,,to ,,work ,e4  ,in working 

a stalk like that at ,e1 you first lay  
down a double layer of soft1 thick      
cotton1 and then work over it with      
flatter cotton 7made expressly for      
padding7 in slanting satin-stitch4      
,three threads of smooth round silk are 
then attached to one side of the padding
 and carried diagonally across to the   
other side1 where they are sewn down    
with strong thread of the same colour   
close to the underlay1 so that the      
stitches may not show4 ,they are then   
brought back to the side from which they
 started1 sewn down1 and returned again1
 and so backwards and forwards to the   
end4 ,the crossing threads make a sort  
of pattern1 and it is a point of good   
workmanship that they should cross      
regularly4 ,such pattern is more obvious
 when threads of three different shades 
of colour are employed4 ,threads of     
twisted silk may1 of course1 be equally 
well used this way without padding      
underneath4  ,illustration3 #ff4        
,,raised ,,work ,,sampler4  ,sidenote3  

,,to ,,work ,f4  ,in sprig ,f the       
underlay is of cardboard1 pasted on to  
the linen4 ,it is worked over with purse
 silk1 to and fro across the forms1 and 
sewn down at the margin with finer silk4
 ,this is a method of work often        
employed when gold thread is used4      
,sidenote3 ,,to ,,work ,g4  ,in sprig ,g
 the underlay or stuffing is of string1 
sewn down with stitches always in the   
direction of the twist4 ,it is worked   
over with floss in satin-stitch4        
,sidenote3 ,,to ,,work ,h4  ,in sprig ,h
 the underwork consists of stitching in 
soft cotton1 over which thick silk is   
embroidered in bullion-stitch4 ,the rule
 is to work the first stitching in such 
a direction that the surface work       
crosses it at right angles4 ,the small  
leaf is worked over with fine purse silk
 in satin-stitch1 which is used also for
 the stalk4  ,in the smaller sampler of 
laid-work1 ,illustration #ej1 the broad 
stem is twice underlaid with crewel1    
excellent for this soft sort of padding1

 on account of its elasticity4 ,the     
leaves have there only one layer of     
understitching4  ,raised work in white  
upon white is often used for purposes   
which make it inevitable that sooner or 
later the work will be washed4 ,that is 
a consideration which the embroidress   
must not leave out of account4 ,in any  
case1 work over stitchery is more       
durable than over loose padding such as 
cotton wool4  ,illustration3 #fg4       
,,raised ,,work ,,showing ,,underlay4   
,the #aeth century work reproduced in   
,illustration #fg is in flax thread on  
linen1 and the underlay 7laid bare in   
the topmost flower7 is of stiff linen1  
sewn down1 not at the margins as in the 
case of the parchment on the sampler    
7,illustration #ff71 but by a row of    
stitching up the centre of each petal4  
,the veins of the leaves in             
,illustration #hh are padded with       
embroidery cotton and worked over with  
filo-floss4 ,the leaves themselves are  
not padded1 though the sewing down of   

the veins upon them1 as well as the fact
 that they are applied on to the velvet 
ground1 gives some appearance of relief4
     ,,raised ,,gold4   ,our sampler of 
raised work is done in silk4            
,underlaying is more often used to raise
 work in gold1 to which in most respects
 it is best suited4 ,the methods shown  
in the sampler would answer almost      
equally well for gold1 except that      
working in gold one would not at ,h     
7#ff7 use bullion-stitch1 but bullion1  
first covering the underlay of stitching
 with smoothly-laid yellow floss4       
,,bullion consists of closely coiled    
wire4 ,it is made by winding fine wire  
tightly and closely round a core of     
stouter wire4 ,when this central core of
 wire is withdrawn1 you have a long     
hollow tube of spirally twisted wire4   
,this the embroidress cuts into short   
lengths as required1 and sews on to the 
silk--as she would a long bead or bugle4
 ,its use is illustrated at ,a in       
,illustration #ea1 where the stems of   

triple gold cord are tied down at       
intervals by clasps of bullion1 and the 
leaves1 again1 are filled in with the   
same4  ,it was the mediaeval fashion to 
encrust the robes of kings and pontiffs 
with pearls and precious stones mounted 
in gold3 the early ,byzantine form of   
crown was practically a velvet cap1 on  
to which were sewn plaques of gorgeous  
enamel and mounted stones4 ,when to such
 work embroidery was added1 it was not  
unnatural that it should vie with the   
gold setting4 ,as a matter of fact1 its 
design was often only a translation into
 needlework of the forms proper to the  
goldsmith4  ,yet more openly in rivalry 
with goldsmiths' work was some of the   
embroidery of the ,renaissance1 in which
 the idea--a most mistaken one1 of      
course--seems to have been to imitate   
beaten metal4 ,this led inevitably to   
excessively high relief in gold         
embroidery4 ,you may see in #agth       
century church work the height to which 
relief can be carried1 and the depth to 

which ecclesiastical taste can sink4    
,the ,spaniards were1 perhaps1 the      
greatest sinners in this respect1       
seeking1 as they did1 richness at all   
cost2 but it must be confessed that1 in 
the #afth century at least1 they        
produced most gorgeous results3 there is
 in the treasury of the cathedral at    
,toledo an altar frontal in gold1       
silver1 and coral1 and a yet more       
beautiful mantle of the ,virgin in      
silver and pearls upon a gold ground1   
which make one loth to dogmatise4       
,illustration3 #fh4 ,,raised ,,gold4    
,the preciousness of gold and silver1   
points1 in the nature of things1 to     
their use for church vestments and the  
like2 and high relief gives1 no doubt1  
value to the metal2 but the             
consideration of its intrinsic value    
leads quickly to display4 ,the artistic 
value of gold is not so much that it    
looks gorgeous as that it glorifies the 
colour caught1 so to speak1 in its      
meshes4  ,admitting that there is reason

 for relief in gold embroidery--it      
catches the light as flat gold does     
not--one feels that the very slightest  
modelling is usually enough4 ,reference 
was made 7page #acf7 to the effect of   
gilt gesso obtained in raised gold      
thread3 that really is about the degree 
of relief it is safe to adopt in gold   
embroidery1 the relief that is readily  
got by laying on gesso with a brush1 not
 carving or modelling it2 and the       
characteristically blunt forms got by   
that means repeat themselves when you   
work with the needle4  ,there is ample  
relief in the gold embroidery on        
,illustrations #fh and #hf4 ,the first  
of these shows both flat and raised     
work3 the latter illustrates not only   
various degrees of relief1 but several  
ways of underlaying4 ,it scarcely needs 
pointing out that the flatter serrated  
leaves are worked over parchment or     
paper1 and the puffy parts of the       
flowers over softer padding4 ,allusion  
has already been made 7page #aei7 to the

 way the stalk is worked over twisted   
cords1 as on the sampler1 ,illustration 
#ff4 ,the patterns in which the gold is 
worked do not tell quite so plainly here
 as on ,illustration #fh1 where the     
basket pattern is more pronounced4 ,in  
the stalk there flat gold wire is used1 
and again in the broken surface towards 
the top of the plate4  ,,spangles of    
gold may be used with admirable effect1 
at the risk1 perhaps1 of a rather       
tinselly look2 but that has been often  
most skilfully avoided both in mediaeval
 work and in ,oriental4 ,in ,india great
 and very cunning use is made of        
spangles1 by the ,parsees in particular1
 who1 by the way1 embroider with gold   
wire4  ,gold foil may be cut to any     
shape and sewn on to embroidery1 but    
spangles take mainly one of two shapes1 
best distinguished as disc-like and     
ring-like4 ,the discs are flat1 pierced 
in the centre1 and sewn down usually    
with two or three radiating stitches    
7,a1 ,illustration #ea1 and             

,illustration #fg74 ,the rings may be   
attached by a single thread4 ,they can  
easily be made to overlap like fish     
scales1 and most elaborately embossed   
pictures have been worked in this way4  
,there is a vestment in the cathedral at
 ,granada which is a marvel to see2 but 
not the thing to do1 surely4  ,relief is
 easily overdone1 in figure work so     
easily that one may say safety is to be 
found only in the most delicate relief4 
,to make figures look round is to make  
them look stuffed4 ,that stuffy images  
are to be found in mediaeval church work
 is only too true4 ,in ,gothic art one  
finds this quaint1 perhaps1 but it is   
perilously near the laughable4 ,the     
point of the ridiculous is plainly      
overpassed in ,english work of the #agth
 century1 which degenerates at last into
 mere doll work--the dolls duly stuffed 
and dressed in most childish fashion1   
their drapery1 in actual folds1         
projecting4 ,some really admirable      
needlework was wasted upon this kind of 

thing1 which has absolutely no value1   
except as an object-lesson in the       
frivolity of the ,stuarts and their     
on-hangers4     ,,quilting4   ,a most   
legitimate use of padding is in the form
 of ,,quilting1 where it serves a useful
 as well as an ornamental purpose4 ,to  
quilt is to stitch one cloth upon       
another with something soft between 7or 
without anything between74 ,our word    
counterpane is derived from             
contre-poinct1 a corruption of the      
,french word for back-stitch1 or        
quilting stitch1 as it was called4  ,if 
you merely stitch two thicknesses of    
stuff together in a pattern1 such as    
that on ,illustration #fi1 the stuff    
between the stitches has a tendency to  
rise3 the two layers of stuff do not lie
 close except where they are held       
together by the stitching1 and a very   
pleasantly uneven surface results4 ,this
 effect is enhanced if between the two  
stuffs there is a layer of something    
soft4 ,if1 now1 you keep down the       

groundwork of your design by            
comparatively frequent stitches         
diapering it1 you get a pattern in      
relief1 more or less1 according to the  
substance of your padding4  ,another way
 is to pad the pattern only1 as in      
,illustration #gj1 where the padding is 
of soft cord4  ,illustration3 #fi4      
,,quilting1 ,,done ,,in ,,chain-,,stitch
 ,,from ,,the ,,back4  ,a cunning way of
 padding is first to stitch the outline 
of the design1 and then from the back to
 insert the stuffing4 ,you first pierce 
the stuff with a stiletto1 and1 having  
pushed in the cord1 cotton1 or what not1
 efface as far as possible the piercing3
 the stuffing has then not much         
temptation to escape from its           
confinement4  ,the ,persians do most    
elaborate quilting on fine white linen1 
which they sew with yellow silk2 but the
 pattern is stuffed with cords of blue  
cotton1 the colour of which just grins  
through the white sufficiently to cool  
it1 and to distinguish it from the      

creamy white ground made warmer by the  
yellow stitching4  ,quilting is most    
often done in white upon colour1 or in  
one colour upon white4 ,yellow silk on  
white linen 7as in the case of          
,illustration #fi7 was a favourite      
combination1 and is always a delicate   
one4 ,but there is no reason why a      
variety of colours should not be used in
 a counterpane4 ,when you stitch down   
the ground with coloured silk you give  
it1 of course1 colour as well as        
flatness4  ,illustration3 #gj4 ,,raised 
,,quilting4     ,,stitch ,,groups4      
,there are all sorts of ways in which   
stitches might be grouped3--according to
 the order of time in which historically
 they came into use2 according as they  
are worked through and through the stuff
 or lie mostly on its surface2 according
 as they are conveniently worked in the 
hand or necessitate the use of a frame2 
and in other ways too many to mention4  
,it is not difficult1 for example1 to   
imagine a classification according to   

which the satin-stitch in ,illustration 
#ga would figure as a canvas stitch4    
,in the ,samplers they are grouped      
according to their construction1 that   
seeming to us the most practical for    
purposes of description4 ,they might for
 other purposes more conveniently be    
classed some other way4 ,at all events1 
it is helpful to group them4 ,designer  
and worker alike will go straighter to  
the point if once they get clearly into 
their minds the stitches and their use1 
and the range of each--what it can do1  
what it can best do1 what it can ill do1
 what it cannot do at all4  ,anyone1    
having mastered the stitches and grasped
 their scope1 can group them for        
herself1 say1 into stitches suited 7#a7 
to line work1 7#b7 to all-over work1    
7#c7 to shading1 and so on4  ,these she 
might again subdivide4 ,of line         
stitches1 for example1 some are best    
suited for straight lines1 others for   
curved2 some for broad lines1 others for
 narrow2 some for even lines1 others for

 unequal2 some for outlining1 others for
 veining4  ,and1 further1 of all-over   
stitches some give a plain surface1     
others a patterned one2 some do best for
 flat surfaces1 others for modelled2    
some look best in big patches1 some     
answer only for small spaces4  ,with    
regard to shading stitches1 there are   
various ways 7see the chapter on        
shading7 of giving gradation of colour  
and of indicating relief or modelling4  
,some stitches1 of course1 are adapted  
to various uses1 as crewel1 chain1 and  
satin stitches--naturally the most in   
use4 ,workers generally end in adopting 
certain stitches as their own4 ,that is 
all right1 so long as they do not forget
 that there are other stitches which    
might on occasion serve their purpose4  
,anyway1 they should begin by knowing   
what stitches there are4 ,until they    
know1 and know too what each can do1    
they are hardly in a position to        
determine which of them will best do    
what they want4  ,our ,samplers show the

 use to which the stitches on them may  
be put4  ,illustration3 #ga4            
,,satin-,,stitch ,,in ,,the ,,making4   
,by way of resume1 it may be added that 
for line work1 more or less fine1       
crewel1 chain1 back and rope stitches1  
and couched cord are most suitable2     
crewel for long lines especially1 and   
rope stitch for both curved and straight
 lines2 for a boundary line1 buttonhole 
is most emphatic2 for broader lines1    
herring-bone1 feather1 and ,oriental    
stitches answer better2 ladder-stitch   
has the advantage of a firm edge on both
 sides of it4 ,satin and chain stitches1
 couching and laying1 and basket work   
make good bands1 but are not peculiarly 
adapted to that purpose4  ,for covering 
broad surfaces1 crewel1 chain1 and satin
 stitches 7including1 of course1 what   
are called long-and-short and plumage   
stitches7 serve admirably1 as does also 
darning and laid-work2 and for gold     
thread1 couching4 ,french knots do best 
for small surfaces only4 ,the stitches  

most useful for purposes of shading are 
mentioned later on4  ,no sort of        
classification is possible until the    
number of stitches has been reduced to  
the necessary few1 and all fancy        
stitches struck out of the list4        
,enquiry should also be made into the   
title of each stitch to the name by     
which it is known2 and the names        
themselves should be brought down to a  
minimum4  ,reduce them to the fewest any
 needlewoman will allow1 and they are   
still1 if not too many1 more than are   
logically required4 ,some of them1 too1 
describe not stitches1 but ways of using
 a stitch4 ,the term long-and-short1 it 
has already been explained 7page #ajj71 
has less to do with a particular stitch 
than its proportion1 and the term       
plumage-stitch refers more to the       
direction of the stitch than to the     
stitch itself4 ,and so with other       
stitches4 ,it is its oblique direction  
only which distinguishes stem-stitch    
from other short stitches of the kind4  

,running1 again1 amounts to no more than
 proportioning stitches to the mesh of  
the stuff1 and taking several of them at
 one passing of the needle2 and darning 
is but rows of running side by side4    
,the term split-stitch describes no new 
stitch1 but a particular treatment to   
which a crewel or a satin stitch is     
submitted4  ,the foregoing summaries of 
stitches are only by way of suggestion1 
something to set the embroidress        
thinking for herself4 ,she must choose  
her own method2 but it would help her1  
,i think1 to schedule the stitches for  
herself according to her own ways and   
wants4 ,the most suitable stitch may not
 suit every one4 ,individual preference 
and individual aptitude count for       
something4 ,it is not a question of what
 is demonstrably best1 but of what best 
suits you4     ,,one ,,stitch1 ,,or     
,,many8   ,the first thing to be settled
 with regard to the choice of stitch is 
whether to employ one stitch throughout1
 or a variety of stitches4 ,much will   

depend upon the effect desired4 ,good   
work has been done in either way2 but   
one may safely say1 in the first place1 
that it is as well not to introduce     
variety of stitch without good          
cause--there is safety in               
simplicity--and in the second1 that     
stitches should be chosen to go         
together1 in order that the work may    
look all of a piece4 ,when the various  
stitches are well chosen1 it is         
difficult at a glance to distinguish one
 from another4  ,a great variety of     
stitches in one piece of work is        
worrying1 if not bewildering4 ,it is as 
well not to use too many1 to keep in the
 main to one or two1 but not to be      
afraid of using a third1 or a fourth1 to
 do what the stitch or stitches mainly  
relied upon cannot do4  ,illustration3  
#gb4 ,,stitches ,,in ,,combination4  ,it
 tends also towards simplicity of effect
 if you use your stitches with some     
system1 not haphazard1 and in           
subordination one to the other2 there   

must be no quarrelling among them for   
superiority4 ,you should determine1 that
 is to say1 at the outset1 which stitch 
shall be employed for filling1 which for
 outline2 or which for stalks1 which for
 leaves1 and which for flowers4 ,or1    
supposing you adopt one general stitch  
throughout1 and introduce others1 you   
should know why1 and make up your mind  
to employ your second for emphasis of   
form1 your third for contrast of        
texture1 or for some other quite        
definite purpose4  ,it is not possible  
here to point out in detail the system  
on which the various examples           
illustrated have been worked2 the reader
 must worry that out for herself4 ,but  
one may just point out in passing how   
well the various stitches go together in
 some few instances4  ,nothing could be 
more harmonious1 for example1 than the  
combination of knot1 chain1 and         
buttonhole stitches in ,illustration    
#bd2 or of ladder1 ,oriental1           
herring-bone1 and other stitches in     

,illustration #gb4 ,again1 in           
,illustration #he the contrast between  
satin-stitch in the bird and couched    
cord for the clouding is most judicious1
 as is the knotting of the bird's crest4
 ,laid floss contrasts1 again1 admirably
 with couched gold in ,illustrations    
#dg1 #dh1 #di1 and satin-stitch with    
couching in ,illustration #ia1 where the
 gold is reserved mainly for outline1   
but on occasion serves to emphasise a   
detail4  ,illustration3 #gc4 ,,fine     
,,needlework ,,upon ,,linen4  ,couched  
gold and surface satin-stitch are used  
together again in ,illustration #eh1    
each for its specific purpose4 ,the     
harmony between applique work and       
couching or chain-stitch outline has    
been alluded to already4  ,a danger to  
be kept in view when working in one     
stitch only is1 lest it should look like
 a woven textile1 as it might if very   
evenly worked4 ,some kinds of embroidery
 seem hardly worth doing nowadays1      
because they suggest the loom4 ,that may

 be a reason for some complexity of     
stitch1 in which lurks that other danger
 of losing simplicity and breadth4 ,the 
lace-like appearance of the needlework  
upon fine linen in ,illustration #gc1   
results chiefly from the extraordinary  
delicacy with which it is done1 but it  
owes something also to the variety of   
stitch and of stitch-pattern employed in
 it4     ,,outline4   ,the use of       
outline in embroidery hardly needs      
pointing out4 ,it is often the obvious  
way of defining a pattern1 as1 for      
example1 where there is only a faint    
difference in depth of tint between the 
pattern and its background2 in applique 
work it is necessary to mask the joins2 
and it is by itself a delightful means  
of diapering a surface with not too     
obtrusive pattern4  ,allusion to the    
stitches suitable to outline has been   
made already 7see stitch-groups71 as    
well as to the colour of outlining1 a   
propos of applique4 ,it is difficult to 
overrate the importance of this question

 of colour in the case of outline2 but  
there are no rules to be laid down1     
except that a coloured outline is nearly
 always preferable to a black one4 ,the 
,germans of the #afth century were given
 to indulging in black outlines1 and you
 may see in their work how it hardened  
the effect1 whereas a coloured outline  
may define without harshness4 ,the      
,spaniards1 on the other hand1 realised 
the value of colour1 and would1 for     
example1 outline gold and silver upon a 
dark green ground in red1 with admirable
 effect4 ,a double outline1 for which   
there is often opportunity in bold work1
 may be turned to good account4 ,among  
the successful combinations which come  
to mind is an applique pattern in yellow
 and white upon dark green1 outlined    
first with gold cord1 and then1 next the
 green1 with a paler and brighter green4
 ,another is a pattern chiefly in yellow
 upon purple1 outlined first with yellow
 couched with gold1 and next the ground 
with silver4 ,in the case of couched    

cord or gold1 the colour of the         
stitching counts also4  ,stitches from  
the edge of a leaf or what not1 inwards1
 alternately long and short1 though they
 form an edge to the leaf1 are not      
properly outlining4 ,this is rather a   
stopping short of solid work than       
outlining1 though it often goes by that 
name4  ,the first condition of a good   
outline stitch is that it should be1 as 
it were1 supple1 so as to follow the    
flow of the form4 ,at the same time it  
should be firm4 ,fancy stitches look    
fussy2 and a spikey outline is worse    
than none at all4  ,there is absolutely 
no substantial ground for the theory    
that outlines should be worked in a     
stitch not used elsewhere in the work4  
,on the contrary1 it is a good rule not 
to introduce extra stitches into the    
work unless they give something which   
the stitches already employed will not  
give4 ,the simplest way is always       
safest4  ,an outline affords a ready    
means of clearing up edges2 but it      

should not be looked upon merely as a   
device for the disguise of slovenliness4
 ,unless the colour scheme should       
necessitate an outline1 an embroidress1 
sure of her skill1 will often prefer not
 to outline her work1 and to get even   
the drawing lines within the pattern1 by
 ,,voiding4 ,she will leave1 that is to 
say1 a line of ground-stuff clear       
between the petals of her flowers1 or   
what not2 which line1 by the way1 should
 be narrower than it is meant to appear1
 as it looks always broader than it is4 
,it is more difficult1 it must be owned1
 thus to work along two sides of a line 
of ground-stuff than to work a single   
line of stitching1 but it is within the 
compass of any skilled worker2 and      
skilled workers have delighted in       
voiding even when their work was on a   
small scale necessitating fine lines of 
voiding 7,illustrations #ci and #dj74   
,in work on a bold scale there is no    
difficulty about it2 and it would be    
remarkable that it is so seldom used1   

were it not that the uncertain worker   
likes to have a chance of clearing up   
ragged edges1 and that voiding implies a
 broader and more dignified treatment of
 design than it is the fashion to       
affect4     ,,shading4   ,one arrives   
inevitably at gradation of colour in    
embroidery2 the question is how best to 
get it4 ,but1 before mentioning the ways
 in which it may be got1 it seems       
necessary to protest that shading is not
 a matter of course4 ,perfectly         
beautiful work may be done1 and ought   
more often to be done1 in merely flat   
needlework2 the gloss of the silk and   
its varying colour as it catches the    
light according to the direction of the 
stitching1 are quite enough to prevent a
 monotonously flat effect4  ,still1     
embroidery affords such scope for       
gradation of colour1 not1 practically1  
to be got by any process of weaving1    
that a colourist may well revel in the  
delights of colour which silks of       
various dyes allow4 ,and so long as     

colour is the end in view there is not  
much danger that a colourist will go    
wrong4  ,illustration3 #gd4 ,,part ,,of 
,a ,,design ,,by ,,walter ,,crane4  ,the
 use of shading in embroidery is rather 
to get gradation of colour than relief  
of form4 ,as to the stitch to be        
employed1 that is partly a personal     
matter1 partly a question of what is to 
be done4 ,the stitch must be adapted to 
the kind of shading1 or the shading must
 be designed to suit the stitch4 ,it    
makes all the difference in the world1  
whether your shading is deliberately    
done1 or whether one shade is meant to  
merge into another4 ,in the best work it
 is always done with decision4 ,there is
 nothing vague or casual1 for example1  
about the shading of ,mr4 ,crane's      
animals on ,illustration #gd4           
,everywhere the shading is drawn1 either
 in lines or as a sharply defined mass4 
,given a drawing in which the shadows   
are properly planned and crisply drawn  
like that1 and you may use what stitch  

you please4  ,illustration3 #ge4        
,,shading ,,in ,,chain-,,stitch4  ,the  
more natural way of shading is to let   
the stitches follow the lines of the    
drawing1 and so make use of them to     
express form1 as with the strokes of the
 pen or pencil upon paper4 ,thus1 in    
mediaeval figurework prior to the #aeth 
century1 the faces were usually done in 
split stitch1 worked concentrically from
 the middle of the cheek outward1 and so
 suggesting the roundness of the face   
7,illustration #hg74 ,but just as there 
is a system of shading according to     
which the draughtsman makes all his     
strokes in one direction 7slanting      
usually71 so the embroidress may1 if she
 prefer1 take her stitches all one way2 
and in the #aeth and #afth centuries the
 fashion was to work flesh in           
short-satin stitches always in the      
vertical direction 7,illustration #gi74 
,the term long-and-short-stitch is      
frequently used by way of describing the
 stitch4 ,it does not1 as ,i have said1 

help us much4 ,the stitches are in the  
first place only satin-stitches worked  
not in even rows1 as in ,illustration   
#dj1 but so that there is no line of    
demarcation between one row and another4
 ,and this1 in the case of gradated     
colour1 makes the shading softer4 ,the  
words long-and-short apply strictly only
 to the outer row of stitches4 ,you     
begin1 that is to say1 with alternately 
long and short stitches4 ,if you work   
after that with stitches of equal       
length1 they necessarily alternate or   
dovetail4 ,if the form to be worked     
necessitates radiation in the stitching1
 there results a texture something like 
the feathering of a bird's breast       
7,illustration #he71 whence the name    
plumage-stitch1 another term describing 
not so much a stitch as the use of a    
stitch4  ,no matter what the stitch1 one
 must be able to draw in order to       
express form3 it is rather more         
difficult to draw with a needle than    
with a pen1 that is all4 ,true1 the     

designer may do that for you1 and make  
such a workmanlike drawing that there is
 no mistaking it2 but it takes a skilled
 draughtsman to do it4  ,illustration3  
#gf4 ,,shading ,,in ,,short ,,stitches4 
,in flattish decorative work1 where the 
drawing is in firm lines1 as in         
,illustration #hg1 the task of the      
embroidress is relatively easy--there is
 not much shading1 for example1 in the  
drapery of ,king ,abias1 and the vine   
leaves are merely worked with yellower  
green towards the edges4 ,even where    
there is strong shading1 a draughtsman  
who knows his business may make shading 
easy by drawing his shadows with firm   
outlines4 ,the taste of the artist who  
designed the roses in ,illustration #ge 
is too pictorial to win the heart of any
 one with a leaning towards severity of 
design2 too much relief is sought2 but  
the way he has got it shows the master  
workman2 he has deliberately laid in    
flat washes of colour1 each with its    
precise outline1 which the worker had   

only to follow faithfully with flat     
tambour work4 ,a design like that1 given
 the working drawing1 asks little of the
 worker beyond patient care3 of the     
designer it asks considerable knowledge4
  ,a yet more pictorial effect is       
produced in much the same way1 this time
 in satin stitch1 in ,illustration #gf4 
,the artist has for the most part drawn 
his shadows with crisp brush strokes1   
which the worker had no difficulty in   
following2 but there is some rounding of
 the birds' bodies which a merely       
mechanical worker could not have got4   
,in fact1 there are indications that    
this is the work more of a painter than 
of an embroidress1 who would have       
acknowledged by her stitches the        
feathering of the birds' necks as well  
as their roundness4  ,illustration3 #gg4
 ,,shading ,,in ,,long-,,and-,,short    
,,and ,,split ,,stitches4  ,you can     
embroider1 of course1 without knowing   
much about drawing2 but you cannot go   
far in the direction of shading 7not    

drawn for you1 or only vaguely drawn7   
without the appreciation of form which  
comes only of knowing and understanding4
 ,there is evidence of such knowledge   
and understanding in the working of the 
lion in ,illustration #gg4 ,that is not 
a triumph of even stitching2 but it is a
 triumph of drawing with the needle4    
,the short satin and split stitches are 
not placed with the regularity so dear  
to the human machine1 but they express  
the design perfectly4 ,the embroiderer  
of that lion was an artist1 perhaps the 
artist who designed it4 ,it might be a  
man's work1 was the verdict of an       
embroidress4 ,at all events it is the   
work of some one who could draw1 and    
only a draughtsman or draughtswoman     
could have worked it4  ,this is not said
 wholly in praise of shading4           
,embroidery ought1 for the most part1 to
 do very well without it4 ,the point to 
insist upon is that1 if shading is      
employed at all1 it should mean         
something1 and not be mere fumbling     

after form4  ,the charm of shading in   
embroidery is not the roundness of form 
which you get1 but the gradation of     
colour which it gives4 ,this may be very
 delicately and subtly got by           
split-stitch1 which renders that stitch 
so valuable in the rendering of flesh   
tints4 ,but the blending of colour into 
colour which is universally admired is  
not quite so admirable as people think4 
,one may easily employ too many shades  
of colour1 easily merge them too        
imperceptibly one into the other1       
getting only unmeaning softness4 ,an    
artist prefers to see few shades        
employed1 and those chosen with judgment
 and placed with deliberate intention4  
,if they mean something1 there is no    
harm in letting it be seen where they   
meet3 broad masses give breadth3        
vagueness generally means ignorance4    
,that is1 perhaps1 why one dislikes it1 
and why it is so common4     ,,figure   
,,embroidery4   ,to an accomplished     
needlewoman embroidery offers every     

scope for art1 short of the pictorial2  
and the artist is not only justified in 
lavishing work upon it1 but often bound 
to do so1 more especially when it comes 
to working with materials in themselves 
rich and costly4 ,a beautiful material1 
if you are to better it 7and if not why 
work upon it at all871 must be          
beautifully worked4 ,costly material is 
worth precious work2 and there should be
 by rights a preciousness about the     
needlework employed upon it1            
preciousness of design and of execution4
 ,to put the value into the material is 
mere vulgarity4  ,it seems to an artist 
almost to go without saying1 that the   
labour on work claiming to be art should
 be in excess of the value of the stuff 
which goes to make it4 ,what we really  
prize is the hand work and the brain    
work of the artist2 and the more        
precious the stuff he employs1 the more 
strictly he is bound to make artistic   
use of it4 ,i do not mean by that       
pictorial use4 ,you can get1 no doubt1  

with the needle effects more or less    
pictorial--most often less2 but1 when   
got1 they are usually at the best rather
 inferior to the picture of which they  
are a copy4  ,work done should be better
 always than the design for it1 which   
was a project only1 a promise4 ,the     
fulfilment should be something more4 ,a 
design of which the promise is not      
likely to be fulfilled in the           
working-out is1 for its purpose1        
ill-designed4 ,to say that you would    
rather have the drawing from which it   
was done 7and that is what you feel     
about needle pictures7 is most severely 
to condemn either the designer or the   
worker1 or perhaps both4 ,only a        
competent figure painter1 for example1  
can be trusted to render flesh with the 
needle2 her success is in proportion to 
her skill with the implement1 but in any
 case less than what might be achieved  
in painting3 then why choose the needle8
  ,admitting that a painter who by      
choice or chance takes to the needle may

 paint with it satisfactorily enough1   
that does not go to prove the needle a  
likely tool to paint with4 ,it is       
anything but that4 ,there was never a   
greater mistake than to suppose1 as some
 do who should know better1 that1 to    
raise embroidery to the rank of art1    
figure work is necessary4 ,the truth is 
that only by rare exception does        
embroidered figure work rise to the rank
 of art3 the rule is that it is         
degraded1 the more surely as it aims at 
picture4 ,and that is why1 for all that 
has been done in the way of wonderful   
picture work1 say by the ,italians and  
the ,flemings of the ,early             
,renaissance1 the pictorial is not the  
form of design best suited to           
embroidery4  ,needlework1 like any other
 decorative craft1 demands treatment in 
the design1 and the human figure submits
 less humbly to the necessary           
modification than other forms of life4  
,animals1 for instance1 lend themselves 
more readily to it1 and so do birds2 fur

 and feathers are obviously translatable
 into stitches4 ,leaves and flowers     
accommodate themselves perhaps better   
still2 but each is best when it is only 
the motive1 not the model1 of design4   
,if only1 then1 on account of the       
greater difficulty in treating it1 the  
figure is not the form of design most   
likely to do credit to the needle1 and  
it is absurd to argue that1 figure work 
being the noblest form of design1       
therefore the noblest form of embroidery
 must include it4  ,the embroidress     
entirely in sympathy with her materials 
will not want telling that the needle   
lends itself better to forms less fixed 
in their proportions than the human     
figure2 the decorator will feel that    
there is about fine ornament a nobility 
of its own which stands in need of no   
pictorial support2 the unbiassed critic 
will admit that figure design of any but
 the most severely decorative kind is   
really outside the scope of needle and  
thread2 and that the desire to introduce

 it arises1 not out of                  
craftsmanlikeness1 but out of an        
ambition which does not pay much regard 
to the conditions proper to needlework4 
,those conditions should be a law to the
 needlewoman4 ,what though she be a     
painter too8 ,she is painting now with a
 needle4 ,it is futile to attempt what  
could be better done with a brush4 ,she 
should be content to work the way of the
 needle4 ,common sense asks that much at
 least of loyalty to the art she has    
chosen to adopt4  ,wonderful and almost 
incredibly pictorial effects have been  
obtained with the needle2 but that does 
not mean to say it was a wise thing to  
attempt them4 ,the result may be        
astonishing and yet not worth the pains4
 ,the pains of flesh-painting with the  
needle 7if not the impossibility of it  
for all practical purposes7 is confessed
 by the habit which arose of actually   
painting the flesh in water colour upon 
satin4 ,paint on satin1 if you like4    
,there may be occasions when there is no

 time to stitch1 and it is necessary for
 some ceremonial and more or less       
theatric purpose to paint what had      
better have been worked4 ,the more      
frankly such work acknowledges its      
temporary and makeshift character the   
better4 ,scene painting is art1 until   
you are asked to take it for landscape  
painting4 ,anyway1 the mixture of       
painting and embroidery is not to be    
endured2 and it is a poor-spirited      
embroidress who will thus confess her   
weakness and call on painting to help   
her out4 ,it does not even do that1 it  
fails absolutely to produce the desired 
effect4 ,the painting quarrels with the 
stitching1 and there is after all no    
semblance of that unity which is the    
very essence of picture4  ,illustration3
 #gh4 ,,chinese ,,chain-,,stitching4    
,an instance of painted flesh occurs    
upon ,illustration #ia4 ,can any one1 in
 view of the bordering to the picture1  
doubt that the worker had much better   
have kept to what she could do1 and do  

perfectly1 ornament8 ,an example1 on the
 other hand1 of what may be done in the 
way of expressing action in the fewest  
and simplest chain stitches 7if only you
 know the form you want to represent and
 can manage your needle7 is given in the
 wee figures in the landscape above     
7#gh74  ,illustration3 #gi4 ,,fifteenth 
,,century ,,figure ,,work4  ,in speaking
 of the necessary treatment of the human
 figure 7as of other natural form7 in   
needlework1 it is not meant to contend  
that there is one only way of treating  
it consistently1 or that there are no   
more than two or three ways4 ,there are 
various ways1 some no doubt yet to be   
devised1 but they must be the ways of   
the needle4 ,the flesh1 of course1 is   
the main difficulty4 ,a ,gothic         
practice1 and not the least happy one1  
was to show the flesh in the naked linen
 of the ground1 only just working the   
outlines of the features in black or    
brown4 ,another way was to work the face
 in split stitch1 as already explained1 

and over that the markings of the       
features1 the fine lines in short       
satin-stitches1 the broader in          
split-stitch1 as shown in the figure of 
,king ,abias in ,illustration #hg4  ,the
 general treatment of the figure there  
is of course in the manner of the #adth 
century1 better suited1 from its severe 
simplicity1 for rendering in needlework 
than later and more pictorial forms of  
composition4 ,that needlework can1      
however1 in capable hands1 go farther   
than that is shown in ,illustration #gi1
 a rather threadbare specimen of #aeth  
century work1 in which the character of 
the man's face is admirably expressed4  
,it is first worked in short1 straight  
stitches1 all of white1 and over that   
the drawing lines are worked in brown4  
,the artist gets her effect in the      
simplest possible way1 and apparently   
with the greatest ease4  ,illustration3 
#hj4 ,,sixteenth ,,century ,,italian    
,,figure ,,work4  ,more like painting is
 the head in ,illustration #hj1 worked  

in short stitches of various shades1    
which give something of the colour as   
well as the modelling of flesh4 ,this is
 a triumph in its way4 ,it goes about as
 far as the needle can go1 and further  
than1 except under rare conditions1 it  
ought to go4 ,but it may do that and yet
 be needlework4  ,equally wonderful in  
their miniature way are the faces of the
 little people on ,illustration #ha1    
about the size of your finger nail4     
,they are worked in solid satin-stitch1 
and the two layers of silk 7back and    
front7 give a substance fairly thick but
 at the same time yielding1 so that when
 the stitches for the mouth and eyes are
 sewn tightly over it they sink in1 and1
 as it were1 push up the floss between  
and give relief4 ,the nose is worked in 
extra satin-stitch over the other1 and  
the slight depression at the end of the 
stitch gives lines of drawing4 ,this    
trenches upon modelling1 but1 on such a 
minute scale1 does not amount to very   
pronounced departure from the flat4 ,the

 method employed does not lend itself to
 larger work4  ,the last word on the    
question as to what one may do with the 
needle is1 that you may do what you can2
 but it is best to seek by means of it  
what it can best do1 and always to make 
much of the texture of silk1 and of the 
quality of pure and lustrous colour     
which it gives--in short1 to work with  
your materials4  ,illustration3 #ha4    
,,chinese ,,figures4     ,,the          
,,direction ,,of ,,the ,,stitch4   ,the 
effect of any stitch is vastly varied1  
according to the use made of it4        
,satin-stitch1 it was shown 7#ch71      
worked in twisted silk1 ceases to have  
any appearance of satin2 and it makes   
all the difference whether the stitches 
are long or short1 close together or    
wide apart4 ,more important than all is 
the direction of the stitch4 ,by that   
alone you can recognise the artist in   
needlework4  ,the ,,direction of the    
stitch deserves consideration from two  
points of view--that of colour and that 

of form4 ,first as to colour4 ,it is not
 sufficiently realised that every       
alteration in the direction of the      
stitch means variety of tone1 if not of 
tint4 ,take a feather in your hand1 and 
turn it about1 so that now one side of  
the quill now the other catches the     
light2 or notice the alternate stripes  
of brighter and greyer green on a       
fresh-trimmed lawn1 where the roller has
 bent the blades of grass first this way
 and then that4 ,so it is with the      
colour of silken stitches4 ,the pattern 
opposite 7#hb7 looks as if it had been  
embroidered in two shades of silk2 in   
the work itself it has still more that  
appearance2 but it is all in one shade  
of brownish gold3 the difference which  
you see is merely the effect of light   
upon it4 ,the horizontal stitches1 as it
 happens1 catch the light2 the vertical 
ones do not4 ,had the light come from a 
different point1 the effect might have  
been reversed4 ,if there had been       
diagonal stitches from right to left1   

they would have given a third tint2 and1
 if there had been others from left to  
right1 they would have given a fourth4  
,illustration3 #hb4 ,,influence ,,of    
,,stitch-,,direction ,,upon ,,colour4   
,suppose a pattern in which the leaves  
were worked horizontally1 the flowers   
vertically1 and the stalks in the       
direction of their growth1 all in one   
stitch and in one colour1 there would be
 a very appreciable difference in tone  
between leaves1 flowers1 and stalks4 ,in
 gold1 the difference would be yet more 
striking4 ,and that is one reason why   
gold backgrounds are worked in diapers2 
not so much for the sake of pattern as  
to get variety of broken tint4  ,in the 
famous ,syon ,cope the direction of the 
stitching is frankly independent of the 
design4 ,that is to say1 that1 while the
 pattern radiates naturally from the    
neck1 the stitches do not follow suit1  
but go all one way--the way of the      
stuff4 ,this1 though rather a brutal    
solution of the difficulty1 saves all   

afterthought as to what direction the   
stitches shall take2 but it has very    
much the effect of weaving4 ,the        
embroiderer of the #acth century was not
 afraid of that 7aimed at it1 perhaps871
 and was1 apparently1 afraid of letting 
go the leading strings of warp and weft4
  ,when stitches follow the direction of
 the form embroidered1 accommodating    
themselves to it1 all manner of subtle  
change of tone results4 ,you get1 not   
only variety of colour1 but more than a 
suggestion of form4  ,that is the second
 point to be considered4  ,illustration3
 #hc4 ,,meaningless ,,direction ,,of    
,,stitch4  ,the direction taken by the  
stitch always helps to explain the      
drawing2 or1 if the needlewoman cannot  
draw1 to show that she cannot--as1 for  
example1 in the tulip herewith 7#hc74 ,a
 less intelligent management of the     
stitch it would be hard to find4 ,the   
needlestrokes1 far from helping in the  
very slightest degree to explain the    
folding over of the petals1 directly    

contradict the drawing4 ,the flower     
might almost have been designed to show 
how not to do it2 but it is a piece of  
old work1 quite seriously done1 only    
without knowing4 ,the embroidress is    
free1 of course1 to work her stitches in
 a direction which does not express form
 at all1 so as to give a flat tint1 in  
which is no hint of modelling2 but the  
intention is here quite obviously       
naturalistic4 ,the rendering below 7#hd7
 shows the direction the stitches should
 have taken4 ,the turn-over of the      
petals is even there not very clearly   
expressed1 but that is the fault of the 
drawing 7very much on a par with the    
workmanship71 from which it would not   
have been fair to depart4               
,illustration3 #hd4 ,,more ,,expressive 
,,lines ,,of ,,stitching4  ,a more      
clever fulfilment of the naturalistic   
intention is to be seen in ,illustration
 #gf4 ,the drawing of the doves is in   
the rather loose manner of the period of
 ,marie ,antoinette2 but the treatment  

of the stitch is clever in its way--the 
way1 as ,i have said1 rather of painting
 than of embroidery1 giving as it does  
the roundness of the birds' bodies but  
no hint of actual feathering1 such as   
you find in the bird in ,illustration   
#he4 ,there1 every stitch helps to      
explain the feathering4 ,by a discreet  
use of what ,i must persist in calling  
the same stitch 7that is1 satin-stitch  
and the variety of it called            
plumage-stitch7 the embroiderer has     
rendered with equal perfection the sweep
 of the broad wing feathers and the     
fluffy feathering of the breast4 ,it is 
by means of the direction of the stitch1
 too1 that the drawing of the neck is so
 perfectly rendered4  ,illustration3    
#he4 ,,satin ,,and ,,plumage ,,stitches4
  ,the direction of the stitch is varied
 to some purpose in the head in         
,illustration #hj1 where the flesh is   
all in straight upright stitches1 whilst
 the hair is stitched in the direction  
of its growth4  ,the five petals on the 

satin-stitch sampler 7,illustration     
#cf7--to descend from the masterly to   
the elementary--show something of the   
difference it makes in what direction   
the stitch is worked4 ,it matters more1 
of course1 in some stitches than in     
others2 but in most cases the direction 
of the stitch suggests form1 and needs  
accordingly to be considered4  ,it      
scarcely needs further pointing out how 
the direction of the stitch may help to 
explain the construction of the form1 as
 in the case of leaves1 for example1    
where the veining may be suggested2 or  
of stalks1 where the fibre may be       
indicated4 ,there is no law as to the   
direction of stitch1 except that it     
should be considered4 ,you may follow   
the direction of the forms1 you may     
cross them1 you may deliberately lay    
your stitches in the most arbitrary     
manner2 but1 whatever you do1 you must  
do it with intelligent purpose4 ,an     
artist or a workwoman can tell at once  
whether your stitch was laid just so    

because you meant it or because you knew
 no better4  ,having laid your stitches 
deliberately1 it is best to leave them1 
and not to work over them with other    
stitching4 ,stitching over stitching was
 resorted to whenever elaboration was   
the fashion2 but the simpler and more   
direct method is the best4 ,the way the 
veins are laid in cord over the         
satin-stitch in the lotus leaves in     
,illustration #dj is the one fault to be
 found with an all but perfect piece of 
work4  ,the stitching over the laid     
silver mid-rib in ,illustration #ib is  
better judged4 ,it may be said1         
generally speaking1 that except where1  
as in the case of laid-work1 the first  
stitching was done in anticipation of a 
second1 and the work would be incomplete
 without it1 stitching over stitches    
should be indulged in only with         
moderation4  ,stitching is sometimes    
done not merely over stitches1 but upon 
the surface of them1 not penetrating the
 ground-stuff4 ,unless1 in such a case1 

the first stitching is of such compact  
character as to want no strengthening1  
it amounts almost to a sin against      
practicality not to take advantage of   
the second stitching to make it firmer4 
,,church ,,work4   ,it is customary to  
draw a distinction between church1 or   
ecclesiastical as it is called1 and     
other embroidery2 but it is a           
distinction without much difference4    
,certain kinds of work are doubtless    
best suited to the dignity of church    
ceremonial1 and to the breadth of       
architectural decoration2 accordingly1  
certain processes of work have been     
adopted for church purposes1 and are    
taken as a matter of course--too much as
 a matter of course4 ,the fact is1 work 
precisely like that employed on         
vestments and the like 7,illustration   
#hf7 was used also for the caparison of 
horses and other equally profane        
purposes4  ,illustration3 #hf4          
,,renaissance ,,church ,,work4          
,practical considerations1 alike of     

ceremonial and decoration1 make it      
imperative that church work should be   
effective3 religious sentiment insists  
that it should be of the best and       
richest1 unsparingly1 and even lavishly 
given2 common sense dictates that the   
loving labour spent upon it should not  
be lost4 ,and these and other such      
considerations involve methods of work  
which1 by constant use for church       
purposes1 have come to be classed as    
ecclesiastical embroidery4 ,but there is
 no consecrated stitch1 no stitch       
exclusively belonging to the church1    
none probably invented by it4 ,for      
embroidery is a primitive art--clothes  
were stitched before ever churches were 
furnished2 and ,european methods of     
embroidery are all derived from         
,oriental work1 which found its way     
westwards at a very early date4 ,phrygia
 7sometimes credited with the invention 
of embroidery7 passed it on to ,greece1 
and ,greece to ,italy1 the gate of      
,european art4  ,christianity produced  

new forms of design1 but not new ways of
 work4 ,the methods adopted in the      
nunneries of the ,west were those which 
had already been perfected in the harems
 of the ,east4  ,embroidery for the     
church must naturally take count of the 
church1 both as a building and as a     
place of worship2 but1 as apart from all
 other needlework1 there is no such     
thing as church embroidery2 and the     
branding of one very dull kind of thing 
with that name is in the interest       
neither of art nor of the church1 but   
only of business4 ,ecclesiastical art is
 just a trade-term1 covering a vast     
amount of soulless work4 ,there is in   
the nature of things no reason why art  
should be reserved for secular purposes1
 and only manufacture be encouraged by  
the clergy4 ,the test of fitness for    
religious service is religious feeling2 
but that is hardly more likely to be    
found in the output of the church       
furnisher 7trade patterns overladen with
 stock symbols71 than in the stitching  

of the devout needlewoman1 working for  
the glory of ,god1 in whose service of  
old the best work was done4  ,many of   
the examples of old work given on these 
pages are from church vestments1 altar  
furniture1 and the like2 information on 
that point will be found in the         
descriptive index of illustrations at   
the beginning of the book2 but they are 
here discussed from the point of view of
 workmanship1 with as little reference  
as possible to religious or other use3  
that is a question apart from art4  ,the
 distinguishing features of church work 
should be1 in the first place1 its      
devotional spirit1 and1 in the second1  
its consummate workmanship4 ,in it1     
indeed1 we might expect to find work    
beyond the rivalry of trade controlled  
by conditions of time and money4 ,even  
then it would be but the more perfect   
expression of the same art which in its 
degree ennobled things of civic and     
domestic use4  ,church embroidery1 as   
usually practised in these days1 is not 

only the most frigid and rigid in       
design1 but the hardest and most        
mechanical in execution--which last     
arises in great part from the way it is 
done4 ,it is not embroidered straight   
upon the silk or velvet which forms the 
groundwork of the design1 but separately
 on linen4 ,the pattern thus worked is  
cut out1 and either pasted straight on  
to the ground-stuff1 or1 if the linen is
 at all loose1 first mounted on thin    
paper and then cut out and pasted on to 
the velvet1 where it is kept under      
pressure until it is dry4 ,in either    
case the edges have eventually to be    
worked over4  ,this habit of working on 
linen or canvas and applying the        
embroidery ready worked on to the richer
 stuff1 though early used on occasion1  
does not seem to have been common until 
a period when manufacture generally     
usurped the place of art4 ,the work in  
,illustration #hg was done directly on  
to the silk4 ,in the latter half of the 
#ahth century there was a regular trade 

in embroidery ready to sew on1 by which 
means purveyors could turn out in a day 
or two what would have taken months to  
embroider4  ,even if it had been the    
invariable mediaeval practice to work   
sprays or what not upon canvas and apply
 them bodily to the velvet1 that would  
not make it the more workmanlike or     
straightforward way of working4 ,if     
needle stitches are the ostensible means
 of getting an effect upon a stuff1 it  
seems only right they should be stitched
 upon that stuff4 ,to work the details  
apart and then clap them on to it1      
stands to embroidery very much in the   
relation of hedge-carpentering to       
joinery4 ,nor is it usually happy in    
result4 ,occasionally1 as in the case of
 ,miss ,c4 ,p4 ,shrewsbury's vine-leaf  
pattern 7,illustration #hh71 it disarms 
criticism4 ,more often it looks         
stuck-on4 ,a way of avoiding that look  
is to add judicious after-stitching on  
the stuff itself2 and this must not be  
confined to the sewing on or outlining  

merely1 but allowed to wander playfully 
over the field1 so as to draw your eye  
away from the margin of the applied     
patch1 and lead you to infer that1 some 
of the needlework being obviously done  
on the velvet1 all of it is4 ,but to    
disguise in this way the line of        
demarcation1 even if you succeed in     
doing it1 is at best the art of         
prevarication4  ,illustration3 #hg4     
,,gothic ,,church ,,work4  ,no doubt it 
is difficult to work upon velvet4 ,the  
stuff is not very sympathetic1 and the  
stitching has a way of sinking into the 
pile1 and being1 as it were1 drowned in 
it4 ,but the trailing spirals of        
split-stitch which play about the       
applied spots in many a mediaeval altar 
cloth hold their own quite well enough  
to show that silk can be worked straight
 on to the velvet4  ,that gold may be   
equally well worked straight on to      
velvet may be seen in any ,indian saddle
 cloth4 ,heavy work of this kind may be 
rather man's work than woman's2 but that

 is not the point4 ,the question is1 how
 to get the best results2 and the answer
 is1 by working on the stuff4  ,it may  
be argued that in this way you cannot   
get very high relief2 but the occasions 
for high relief are1 at the best1 rare4 
,if you want actual modelling1 as in the
 ,spanish work referred to in a previous
 chapter1 that must1 of course1 be      
worked separately1 built up1 as it were1
 upon the canvas and worked over4 ,and  
there is no reason why it should not1   
for in no case does it appear to be     
stitching4 ,in fact1 it aims            
deliberately at the effect of chased and
 beaten metal4  ,illustration3 #hh4     
,,modern ,,church ,,work ,,by ,,miss    
,,shrewsbury4  ,heavy applique of any   
kind affects1 of course1 not only the   
thickness but the flexibility of the    
material thus enriched--an important    
consideration if it is meant to hang in 
folds4     ,a ,,plea ,,for ,,simplicity4
   ,the simplest patterns are by no     
means the least beautiful4 ,it is too   

much the fashion to underrate the       
artistic value of the less pretentious  
forms of needlework1 and especially of  
flat ornament1 which has1 nevertheless1 
its own very important place in         
decoration4 ,as for geometric pattern1  
that is quite beneath consideration--it 
is so mechanical6 ,mechanical is a word 
as easily spoken as another2 but if     
needlework is mechanical1 that is more  
often the fault of the needlewoman than 
of the mechanism she employs4 ,the      
,orientals1 who indulged so freely in   
geometric device1 were the least        
mechanical of workers4 ,it is our rigid 
way of working it which robs geometric  
ornament of its charm4 ,the needleworker
 has less than ever occasion to be      
afraid of geometric pattern2 for it is  
peculiarly difficult to get in it that  
appearance of rule-and-compass-work     
which makes ornament so dull4  ,the one 
real objection to geometric pattern is  
that it is nowadays so cheaply and so   
mechanically got by weaving that1       

however freely it may be rendered1 there
 is a danger of its suggesting          
mechanical production1 which embroidery 
emphatically ought not to do4 ,there is 
a similar objection nowadays to some    
stitches1 such1 for example1 as         
chain-stitch and back-stitch1 which     
suggest the sewing-machine4  ,embroidery
 does not to-day take quite the place it
 once did4 ,it was used1 for example1 by
 the early ,coptic ,christians to       
supplement tapestry4 ,that is to say1   
what they could not weave they stitched2
 it was only to get more delicate detail
 than their tapestry loom would allow1  
that they had recourse to the needle4   
,needlework was1 in fact1 an adjunct to 
weaving4 ,later1 in mediaeval times1 the
 ,germans of ,cologne1 for their church 
vestments and the like1 wove what they  
could1 and enriched their woven figures 
with embroidery4  ,again1 a great deal  
of ,oriental embroidery1 and of peasant 
work everywhere1 is merely the result of
 circumstances4 ,where money is scarce  

and time is of no account1 it answers a 
woman's purpose to do for herself with  
her needle what might in some respects  
be even better done on the loom4 ,her   
preference for handwork is not that it  
has artistic possibilities1 but that it 
costs her less4 ,she would in many cases
 prefer the more mechanically produced  
fabric1 if she could get it at the same 
price4 ,we do not find that ,orientals  
reject the productions of the           
power-loom--which they would do if they 
had the artistic instincts with which we
 credit them4  ,illustration3 #hi4      
,,simple ,,stitching ,,on ,,linen4  ,it 
results from our conditions of to-day   
that there are some kinds of needlework 
we admire1 which yet are not worth our  
doing1 such1 for example1 as the        
all-over work1 which does not amount to 
more than simple diaper1 and which      
really is not so much embroidering on a 
textile as converting it into one of    
another kind4 ,glorified instances of   
this kind of work occur in the shawl    

work of ,cashmere1 and in those         
beautiful bits of ,persian stitching    
which remind one of carpet-work in      
miniature1 if they are not in fact      
related to carpet-weaving4  ,embroidery 
was at one time the readiest1 and       
practically the only1 means of getting  
enrichment of certain kinds4 ,to-day we 
get machine embroidery4 ,as machinery is
 perfected1 and learns to do what       
formerly could be done only by the      
needle1 hand-workers get pushed aside   
and fall out of work4 ,their chance is1 
in keeping always in advance of the     
machine4 ,there is this hope for them1  
that the monotony of machine-made things
 produces in the end a reaction in      
favour of handwork--provided always it  
gives us something which manufacture    
cannot4 ,possibly also there is scope   
for amateurs and home-artists in that   
combination of embroidery and           
hand-weaving with which the power-loom1 
though it has superseded it1 does not   
enter into competition4  ,illustration3 

#ij4 ,,simple ,,couching ,,on ,,linen4  
,it is not so much for geometric        
ornament as for simple pattern that ,i  
here make my plea1 for that reticent    
work of which so much was at one time   
done in this country--mere              
back-stitching1 for example1 or what    
looks like it1 in yellow silk upon white
 linen2 or the modest diaper1 archaic1  
if you like1 but inevitably             
characteristic1 in which the naivete of 
the sampler seems always to linger2 or  
again1 the admirably simple work in     
,illustration #hi4 ,this last does not  
show so delicately in the photographic  
reproduction as it should1 because1     
being in grey and yellow on white linen1
 the relative value of the two shades of
 colour is lost in the process4 ,in the 
original the broader yellow bands are   
much more in tone with the ground1 and  
do not assert themselves so much4 ,such 
as it is1 only an artist could have     
designed that border-work1 and any      
neat-handed woman could have embroidered

 it4  ,think again of the delicate work 
in white on white1 too familiar to need 
illustration1 which makes no loud claim 
to be art1 but is content to be         
beautiful6 ,is that to be a thing       
altogether of the past now that we have 
,art ,needlework8 ,art needlework6 ,it  
has helped put an end to the patience of
 the modern worker1 and to inspire her  
too often with ambitions quite beyond   
her powers of fulfilment4  ,what one    
misses in the work of the present day is
 that reticent and unpretending         
stitchery1 which1 thinking to be no more
 than a labour of loving patience1 is   
really a work of art1 better deserving  
the title than a flaunting floral quilt 
which goes by the name of art           
needlework--designed apparently to worry
 the eye by day and to give bad dreams  
by night to whoever may have the        
misfortune to sleep under it4 ,is anyone
 nowadays modest enough to do work such 
as the couching in outline in           
,illustration #ij8 ,yet what distinction

 there is about it6     ,,embroidery    
,,design4   ,perfect art results only   
when designer and worker are entirely in
 sympathy1 when the designer knows quite
 what the worker can do with her        
materials1 and when the worker not only 
understands what the designer meant1 but
 feels with him4 ,and it is the test of 
a practical designer that he not only   
knows the conditions under which his    
design is to be carried out1 but is     
ready to submit to them4  ,the          
distinction here made between designer  
and embroiderer is not casual1 but      
afore-thought1 notwithstanding the      
division of labour it implies4          
,enthusiasm has a habit of outrunning   
reason4 ,because in some branches of    
industry subdivision of labour has been 
carried to absurd excess1 it is the     
fashion to demand in all branches of it 
the autograph work of one person1 which 
is no less absurd4 ,to try and link     
together faculties which ,nature has for
 the most part put asunder1 is futile4  

,that designer and worker should be one 
and the same person is an ideal1 but one
 only very occasionally fulfilled4 ,when
 that happens 7,illustrations #fa and   
#hh7 it is well4 ,but the attempt to    
realise it commonly works out in one of 
two ways3 either a good design is spoilt
 in the working for want of executive   
skill on the part of the designer1 or   
good workmanship is spent on poor       
design1 as good1 perhaps1 as one has any
 right to expect of a skilled           
needleworker4  ,the fact is1 you can    
only make out all the world to be       
designers by reducing design to what all
 the world can do4 ,and that is not     
much4 ,there is a point of view from    
which it does not amount to design at   
all4  ,the study of design forms part of
 the education of an embroidress1 not so
 much that she may design what she      
works1 but that she may know in the     
first place what good design is1 and1 in
 the second1 be equal to the            
ever-recurring occasion when a design   

has to be modified or adapted4 ,if1 in  
thus manipulating design not hers1 she  
should discover a faculty of invention1 
she will want no telling to exercise it4
 ,a designer wants no encouragement to  
design--she designs4  ,there would be no
 occasion to insist upon this1 were it  
not for the prevalence at the present   
moment of the idea that a worker1 in    
whatever art or handicraft1 is in       
artistic duty bound to design whatever  
she puts hand to do4 ,that is a theory  
as false as it is unkind2 let no        
embroidress be discouraged by it4 ,let  
her1 unless she is inwardly impelled to 
invent1 remain content to do good       
needlework4 ,that is her art4 ,her      
business as an artist is to make        
beautiful things4 ,co-operation in the  
making of them is no crime4  ,and what1 
then1 about originality8 ,originality is
 a gift beyond price4 ,but it is not a  
thing which even the designer should    
struggle after4 ,it comes1 if it is     
there4 ,there is a revengeful           

consolation for the pain we suffer from 
design about us writhing to be          
up-to-date1 in the thought that its     
contortions tell what pain it cost to   
do4 ,the birth of beauty is a less      
agonising travail2 and the thing to seek
 is beauty1 not novelty4 ,whoever       
planned the lines of the border in      
,illustration #ia1 or treated the       
leafage in ,illustration #ib1 was not   
trying to be original1 but determined to
 do his best4 ,artists and workers of   
individuality and character are         
themselves1 without being so much as    
aware that originality has gone out of  
them4  ,illustration3 #ia4 ,,renaissance
 ,,ornament4  ,to assume1 then1 that    
every needlewoman is1 or can ever be1   
competent to design what she embroiders1
 is to make very small account of       
design4 ,how is it possible to take     
design seriously and yet think it is to 
be mastered without years of patient    
study1 which few workwomen can or will  
devote to it8 ,any cultivated woman may 

for herself invent 7if it is to be      
called invention7 something better worth
 working than is to be bought ready to  
work4 ,and that may do for many         
purposes1 so long as it does not claim  
to be more than it is2 but in the case  
of really important work1 to be executed
 at considerable cost not only of       
material1 but of patient labour1 surely 
it is worth giving serious thought to   
its design4 ,the scant consideration    
commonly given to it shows how little   
the worker is in earnest4 ,or has she   
thought8 ,and is she persuaded that her 
artless spray of flowers1 or the        
ironed-off pattern she has bought1 is   
all that art could be8 ,it would be rude
 to tell her she was wasting silk6 ,how 
should she know8  ,the only way of      
knowing is to study1 to look at good    
work1 old work by preference2 it is     
worth no one's while to praise that     
unduly4 ,and if in all that is now so   
readily accessible she finds nothing to 
admire1 nothing which appeals to her1   

nothing which inspires her1 then her    
case is hopeless4 ,if1 on the other     
hand1 she finds only so much as one     
style of work sympathetic to her1       
studies that1 lets its spirit sink into 
her1 tries to do something worthy of it1
 then she is on the right road4 ,measure
 yourself with the best1 not with the   
common run of work2 and if that should  
put you out of conceit with your own    
work1 no great harm is done2 sooner or  
later you have got to come to a modest  
opinion of yourself1 if ever you are to 
do even moderate things4  ,illustration3
 #ib4 ,,leaf ,,treatment ,,in           
,,applique4  ,but the best above        
referred to does not necessarily mean   
the most masterly4 ,the best of a simple
 kind is not calculated to discourage   
anyone--rather1 it looks as if it must  
be easy to do that2 and in trying to do 
it you learn how much goes to the doing 
it4 ,good design need not be of any     
great importance or pretensions4 ,it may
 be quite simple1 if only it is right2  

if the lines are true1 the colour       
harmonious2 if it is adapted to its     
place1 to its use and purpose1 to       
execution not only with the needle but  
in the particular kind of needlework to 
be employed4  ,there has of late years  
been something of a revival of          
needlework design in schools of art1 and
 some very promising and even most      
accomplished work has been done2 but in 
many instances1 as it seems to me1 it is
 rather design which has been translated
 into needlework1 than design clearly   
made for execution with the needle4 ,a  
really appropriate and practical design 
for embroidery should be schemed not    
merely with a view to its execution with
 the needle1 but with a view to its     
execution in a particular stitch or     
stitches--and possibly by a particular  
embroidress4 ,to be safe in designing   
work so minute as that on ,illustration 
#ic1 one must be sure of the needlewoman
 who is to execute it4  ,illustration3  
#ic4 ,,delicate                         

,,satin-,,stitch--,,worked ,,by ,,miss  
,,buckle4  ,my reference to old work    
must not be taken to imply that design  
should be in imitation of what has been 
done1 or that it should follow on those 
lines4 ,design was once upon a time     
traditional2 but the chain of tradition 
has snapped1 and now conscious design   
must be eclectic--that is to say1 one   
must study old work to see what has been
 done1 and how it has been done1 and    
then do one's own in one's own way4 ,it 
is at least as foolish to break quite   
away from what has been done as to      
tether yourself to it4 ,and in what has 
been done you will see1 not only what is
 worth doing1 but what is not4 ,that1   
each must judge for herself4 ,for my    
part1 it seems to me the thing best     
worth doing is ornament4 ,any way1 this 
much is certain 7and you have only to go
 to a museum to prove it71 that there is
 no need for needleworkers1 unless their
 instinct draws them that way1 to take  
to needle painting1 to pictures in silk1

 or even to flower stitching4  ,the     
limitations of embroidery are not so    
rigidly marked as the boundaries of many
 another craft4 ,there is little        
technical difficulty in representing    
flowers1 for example1 very              
naturally--too naturally for any        
dignified decorative purpose4           
,embroiderer or embroidery designer     
will1 as a matter of fact1 be constantly
 inspired by flower forms1 and silk     
gives the pure colour of their petals as
 nearly as may be4 ,but1 though the     
pattern be a veritable flower garden1   
the embroidress will not forget1 to use 
the happy phrase of ,william ,morris1   
that she is gardening with silks and    
gold threads4  ,let the needleworker    
study the work of the needle in         
preference to that of the brush2 let her
 aim at what stuff and threads will give
 her1 and give more readily than would  
something else4 ,let her work according 
to the needle3 take that for her guide1 
not be misled by what some other tool   

can do better2 do what the needle can do
 best1 and be content with that4 ,that  
is the way to ,art in ,needlework1 and  
the surest way4     ,,embroidery        
,,materials4   ,embroidery is not among 
the things which have to be done1 and   
must be done1 therefore1 as best one can
 do them4 ,it is in the nature of a     
superfluity3 the excuse for it is that  
it is beautiful4 ,it is not worth doing 
unless it is done well1 and in material 
worth the work done on it4 ,if you are  
going to spend the time you must spend  
to do good work1 it is worth while using
 good stuff1 foolish to use anything    
else4 ,the stuff need not be costly1 but
 it should be the best of its kind2 and 
it should be chosen with reference to   
the work to be done on it1 and vice     
versa4 ,a mean ground-stuff suggests1 if
 it does not necessitate1 its being     
embroidered all over1 ground-work as    
well as pattern2 a worthier one1 that it
 should not be hidden altogether from   
view2 a really beautiful one1 that      

enough of it should be left bare of     
ornament that its quality may be        
appreciated4  ,sidenote3 ,,stuffs4  ,it 
goes without saying1 that for big1 bold 
stitching a proportionately coarse      
ground-stuff should be used1 and for    
delicate work1 one of finer texture2    
whether it be linen1 woollen cloth1 or  
silk1 your purpose will determine4      
,linen is a worthy ground-stuff1 which  
may be worked on with flax thread1      
crewel1 or silk1 but they should not be 
mixed4 ,cotton is hardly worth          
embroidering4 ,of woollen stuffs1 good  
plain cloth is an excellent ground for  
work in wool or silk1 but it is not     
pleasant to the touch in working4       
,serge1 if not too loose1 may serve for 
curtains and the like1 but it is not so 
well worth working upon4 ,felt is       
beneath contempt4  ,the nobler the      
material1 the more essential it is that 
it should be of the best4 ,poor satin is
 not good enough to work on2 it looks   
poorer than ever when it is embroidered4

  ,satin should be stretched upon the   
frame the way of the stuff1 and it      
should not be forgotten that it has a   
right and a wrong way up4 ,if it is     
backed1 the linen should be fine and    
smooth3 on a coarse backing1 the satin  
gets quickly worn away1 as you may see  
in many a piece of old work that has    
gone ragged4  ,roman satin and what is  
called satin de luxe 7perhaps because it
 is not so luxurious as it pretends to  
be7 are effective ground-stuffs easy to 
work upon2 but there is an odour of     
pretence about satin-faced cotton4  ,a  
corded silk is not good to embroider2   
the work on it looks hard2 but a close  
twill answers very well4 ,silk damask   
makes an admirable ground beautifully   
broken in colour1 if only it is simple  
and broad enough in pattern4 ,generally 
speaking1 you can hardly choose a design
 too big and flat2 but something depends
 upon the work to be done on it4 ,in any
 case1 the pattern of the damask ought  
not to assert itself1 and if you can't  

make out its details1 so much the       
better4  ,brocade asserts itself too    
much to form a good background4 ,there  
is a practice of embroidering the       
outlines1 or certain details only1 of   
damask and brocade patterns4 ,that is a 
fair way of further enriching a rich    
stuff2 but it is embroidery merely in   
the sense that it is literally          
embroidered3 the needlework is only     
supplementary to weaving4  ,tussah silk 
of the finer sort is easy to work in the
 hand4 ,the thinner and looser quality  
needs to be worked in a frame1 and with 
smooth silk not tightly twisted4        
,sidenote3 ,,thread4  ,with regard to   
the thread to work with3 ,the coarser   
kinds of flax are best waxed before     
using4 ,the crewel to be preferred is   
that not too tightly twisted4 ,filoselle
 is well adapted to couching1 and may be
 laid double 7#bd threads74 ,french     
floss is smooth1 and does well for laid 
work2 for fine work bobbin floss1 or    
what is called church floss1 is better2 

the slight twist in filo-floss is       
against it2 very thick floss may be used
 for ,french knots4  ,for couching gold1
 a very fine twisted silk does well4    
,purse silk1 thick and twisted1 lends   
itself perfectly to basket work4        
,working in coloured silks1 one should  
take advantage of the quality of pure   
transparent colour which silk takes in  
the dyeing4 ,the palette of the         
embroiderer in silk is superlatively    
rich4  ,sidenote3 ,,gold4  ,the purest  
gold is generally made on a foundation  
of red silk4 ,japanese gold does not    
tarnish so readily as passing1 which is 
in some respects superior to it4 ,for   
stitching through1 there is a finer     
thread1 called tambour4 ,flat gold wire 
is known by the name of plate1 and      
various twisted threads by the name of  
purl4  ,sidenote3 ,,chenille4  ,a not   
very promising substance to embroider   
with is chenille4 ,it came into use in  
the latter half of the #agth century1   
and was still in fashion in the time of 

,marie ,antoinette4 ,the use of it is   
shown in ,illustration #ge1 where the   
darker touches of the roses are worked  
in it4 ,chenille seems to have been used
 instead of smooth silk1 much as in     
certain old-fashioned water-colour      
paintings gum was used with the paint1  
or over it1 to deepen the shadows4 ,the 
material is used again in the wreath on 
,illustration #gf4 ,it is worked there  
in chain-stitch with the tambour needle3
 it may also be worked in satin-stitch2 
but the more obvious way of using it is 
to couch it1 cord by cord1 with fine    
silk thread4 ,there is this against     
chenille1 that its texture is not       
sympathetic to the touch1 and that there
 is a stuffy look about it always4 ,nor 
does it seem ever quite to belong to the
 smooth satin ground on which it is     
worked4  ,sidenote3 ,,ribbon4           
,sidenote3 ,,shaded ,,silk4  ,there is  
less objection to embroidery in ribbon1 
which also had its day in the #ahth     
century4 ,it was very much the fashion  

for court dresses under ,louis          
,seize--,broderie de faveur1 as it was  
called1 whence our lady's favour--faveur
 being a narrow ribbon4 ,some beautiful 
work of its kind was done in ribbon1    
sometimes shaded4 ,shaded silk1 by the  
way1 may be used to artistic purpose4   
,there is1 for example1 in the treasury 
of ,seville ,cathedral a piece of work  
on velvet1 #acth century1 it is said1   
rather ,persian in character1 in which  
the forms of certain nondescript animals
 are at first sight puzzlingly prismatic
 in colour4 ,they turn out to be roughly
 worked in short stitches of            
parti-coloured silk thread4 ,the result 
is not altogether beautiful1 but it is  
extremely suggestive4  ,sidenote3       
,,ribbon4  ,the effect of ribbon work is
 happiest when it is not sewn through   
the stuff after the manner of satin     
stitch1 but lies on the surface of the  
satin ground1 and is only just caught   
down at the ends of the loops which go  
to make leaves and petals4 ,the twist of

 the ribbon where it turns gives        
interest to the surface of the          
embroidery1 which is always more or less
 in relief upon the stuff1 easy to      
crush1 and of limited use therefore4    
,illustration3 #id4 ,,leather ,,applique
 ,,upon ,,velvet4  ,an effect of ribbon 
work1 but of a harder kind1 was produced
 by onlaying narrow strips of card or   
parchment upon a silken ground1 twisted 
about after the fashion of ribbon4      
,these1 having been stitched in place1  
were worked over in satin-stitch4 ,the  
work has the merit of looking just like 
what it is4 ,but neither it nor ribbon  
embroidery is of any very serious       
account4  ,passing reference has been   
made to other materials to embroider    
with than thread4 ,gold wire1 for       
example1 and spangles1 coral and pearls1
 which have been used with admirable    
discretion1 as well as to vulgar        
purpose4 ,jewels also were lavished upon
 the embroidery of bishops' mitres1     
gloves and other significant apparel1   

and in default of real stones1          
imitations in glass1 and eventually     
beads 7or pearls7 of glass1 in which we 
have possibly the origin of knots4 ,bead
 embroidery is at least as old as       
ancient ,egypt4 ,even atoms of          
looking-glass1 sewn round with silk1    
have been used to really beautiful      
effect 7barbaric though it may be7 in   
,indian work4 ,the question almost      
occurs3 with what can one not embroider8
 ,in ,madras they produce most brilliant
 embroidery upon muslin with the cases  
of beetles' wings4 ,in the ,mauritius   
they use fish-scales2 in ,north         
,america1 porcupine quills2 and         
everywhere savage tribes use seeds1     
shells1 feathers1 and the teeth and     
claws of animals4  ,to return to more   
civilised work1 there is embroidery in  
gold and silver wire1 allied to the art 
of the goldsmith1 and on leather        
7,illustration #id71 allied to the art  
of the saddler4 ,it would be difficult  
to set any limit to the directions in   

which embroidery may branch out1        
impossible to describe them all4        
,happily1 it is not necessary4 ,a       
skilled worker adapts herself to new    
conditions1 and the conditions          
themselves dictate the necessary        
modification of the familiar way4     ,a
 ,,word ,,to ,,the ,,worker4   ,a good  
workwoman will not encumber herself with
 too many tools2 but she will not shirk 
the expense of necessary implements1 the
 simplest by preference1 and the best   
that are made4  ,sidenote3 ,,needles4   
,embroidery needles should have large   
eyes2 the silk is not rubbed in         
threading them1 and they make way for   
the thread to pass smoothly through the 
stuff4 ,for working in twisted silk1 the
 eye should be roundish2 for flat silk1 
long2 for surface stitching or          
interlacing1 a blunt tapestry needle is 
best2 for carrying cord or gold thread  
through the stuff1 a rug needle4        
,sidenote3 ,,thimble4  ,for a thimble1  
choose an old one that has been worn    

quite smooth4  ,sidenote3 ,,scissors4   
,for scissors1 be sure and have a       
strong1 short1 sharp and pointed        
pair--the surgical instrument1 not the  
fancy article4 ,nail scissors would not 
be amiss but for the roughness of the   
file on the blades4  ,sidenote3 ,,pins4 
,for pins1 use always steel ones2 and   
for tacks1 those which have been tinned2
 or they will leave their mark behind   
them4  ,sidenote3 ,,frames4  ,for a     
frame1 get the best you can afford2 a   
cheap one is no economy2 but a stand for
 it is not always necessary4 ,it should 
be rather wider than might seem         
necessary1 as the work should never     
extend to the full width of the webbing4
 ,a tambour frame is also useful1 though
 you have no intention of doing tambour 
work4  ,sidenote3 ,,to ,,stretch ,,silk4
  ,in stretching silk 7not backed with  
linen7 upon a frame1 some preliminary   
care is necessary4 ,the stuff should    
first be bordered with strips of linen  
or strong tape1 and into the two sides  

of this border which are to be laced up 
a stout string should be tacked1 to     
prevent it from giving when the work is 
drawn tight4  ,sidenote3 ,,framing4     
,the way to put embroidery material     
7thus bordered or not7 into a frame is3 
first to sew it to the webbing 7top and 
bottom71 then to put the laths or screws
 into the bars1 tightening them evenly1 
and lastly to lace it to the sides with 
fine string and a packing needle4       
,sidenote3 ,,transferring4  ,the        
ordinary ways of transferring a design  
to embroidery material are well known3  
the outline may be traced down with a   
point over transfer paper2 it may be    
pricked upon paper and pounced upon the 
stuff in chalk or charcoal1 and then    
traced in with a brush or pen2 or it    
7still the outline only7 may be         
stencilled4 ,in any case1 the outline   
marked upon the stuff should be well    
within what is to be the actual outline 
of the embroidery when worked4 ,another 
way1 more peculiarly adapted to         

needlework1 is to trace the outline in  
ink upon fine tarlatan 7leno muslin will
 do for very coarse work71 and1 having  
laid this down upon the stuff1 to go    
over the lines again with a ruling pen  
and ,indian ink or colour4 ,on a light  
stuff it is possible to use1 instead of 
a pen1 a hard pencil4 ,on a dark        
material one must use ,chinese white1 to
 which it is well to add1 not only a    
little gum 7arabic71 but a trace of     
ox-gall1 to make it work easily4 ,one   
gets by this method naturally rather a  
rotten line upon the ground-stuff1 but  
it is enough for all practical purposes4
  ,sidenote3 ,,keeping ,,clean4         
,delicate work is easily rubbed and     
soiled in the working4 ,it is only      
reasonable precaution to protect it by a
 veil or covering of thin1 soft1 white  
glazed lining1 tacked round the edges on
 to the stuff4 ,on this you mark the    
four lines inclosing the actual         
embroidery1 and1 cutting through three  
of them1 you have a flap of lining1     

which you raise and turn back when you  
are at work4 ,if the work is very       
delicate1 you may make instead of one   
flap a succession of little ones2 but   
you see then only a portion of your work
 at a time1 and cannot so well judge its
 effect4  ,sidenote3 ,,starting ,,and   
,,finishing4  ,in starting work1 do not 
begin by making a knot in your thread2  
run a few stitches 7presently to be     
worked over7 on the right side of the   
stuff4 ,in finishing1 you run them at   
the back of the stuff2 for greater      
security still1 one may end with a      
buttonhole-stitch4  ,sidenote3          
,,puckering4  ,there is less danger of  
puckering the stuff if you hold it over 
two fingers 7at least71 keeping it taut 
and the thread loose4  ,working without 
a frame1 it often comes handiest to hold
 the stuff askew1 and there is a natural
 inclination to pull it in that         
direction4 ,this temptation must be     
resisted1 or puckering is sure to       
result4  ,sidenote3 ,,double ,,thread4  

,in working with double silk or wool1 it
 is better not to double back a single  
thread1 but to pass two separate threads
 through the eye of the needle4 ,the    
four threads 7where these are turned    
back near the eye7 make way through the 
stuff for the double thread1 which      
passes easily2 moreover1 the thread by  
this means is not pulled too tight1 and 
the effect is richer4  ,the stitch wants
 always adaptation to the work it has to
 do4 ,in working a curved line1 for     
example1 say in herring-bone-stitch1 one
 is bound always to take up a larger    
piece of stuff on its outside than on   
its inner edge4  ,when a thread runs    
short1 it is better not to go on working
 with it1 but to take another2 and in   
finishing off1 remember to run the      
thread in the direction opposite to that
 from which you are going to run the new
 one4 ,in starting the new stitch1 you  
naturally bring your needle out as if it
 were a continuation of that last made4 
,sidenote3 ,,undoing4  ,if your work is 

faulty1 cut it out and do it again4     
,unpicking is not so satisfactory3 it   
loosens the stuff to drag the thread    
back through it1 and the thread saved is
 of no further use4 ,beginners find it  
hard to undo work once done2 but a      
really good needlewoman never hesitates 
about it--her one thought is to get the 
thing right4 ,don't break your thread   
ever3 that pulls it out of condition3   
cut it always4  ,in working1 it is well 
to keep strictly to the stitch you have 
chosen1 but not to the point of bigotry4
 ,one may finish off darning1 for       
example1 at the edges with a satin      
stitch4 ,the thing to avoid is fudging4 
,moreover1 stitches should be laid right
 at once2 there should be no boggling   
and botching1 no working-over with      
stitches to make good--that is not      
playing fair4  ,sidenote3 ,,smoothing4  
,when the needlework is done1 do not    
finish it with a flat iron4 ,that       
finishes it in more senses than one4    
,but suppose it is puckered8 ,in that   

case1 stretch it and damp it4 ,to do    
this1 first tack on to it 7as explained 
on page #bea7 a frame of strong tape4   
,then1 on a drawing-board or other even 
wooden surface1 lay a piece of clean    
calico1 and on that1 face downwards1 the
 embroidery1 and1 slightly stretching   
it1 nail it down by the tape with       
tin-tacks rather close together4 ,if now
 you lay upon it a damp cloth1 the      
embroidery will absorb the moisture from
 it1 and when that is removed1 should   
dry as flat as it is possible to get it4
  ,a rather more daring plan is to damp 
the back of the stuff with a wet sponge4
 ,the work1 instead of being nailed on  
to a board1 may just as well be laced to
 a frame by the tape4 ,in the case of   
raised embroidery there must be between 
it and the wood1 not a cloth merely1 but
 a layer of wadding4  ,the damping above
 described may take the form of a thin  
paste or stiffening1 but upon silk or   
other such material this wants tenderly 
doing4  ,one last word as to            

thoroughness in needlework4 ,those who  
have really not time to do much1 should 
be satisfied with simple work4 ,the     
desire to make a great show with little 
work is a snare4 ,ladies make protest   
always1 ,there is too much work in that4
 ,well1 if they are not prepared to     
work1 they may as well give themselves  
up to their play4 ,there was no labour  
shirked in the old work illustrated in  
these pages2 and nothing much worth     
doing was ever done without work1 hard  
work1 and plenty of it4 ,should that    
thought frighten folk away1 they may as 
well be scared off at once4 ,art can do 
very well without them4         ,,index4
       ,,adaptation of stitch1 #ajc1    
#ahh1 #bec      ,,antique stitch1 #ff   
7,see also ,oriental-stitch7            
,,applique1 #adj1 #add et seq41 #bbj1   
#bbb1 #bbd      ,,arab work1 #aeb       
,,artless art1 #cg1 #bcf                
,,attachment of cord1 #abd              
,,backstitch1 #cj1 #cg1 #da1 #ec1 #hc1  
#hf1 #agb1 #bbf1 #bcj      ,,basket     

patterns1 #acd      ,,beads1 #bdh       
,,beginning  ,,finishing1 #beb          
,,blanket-,,stitch1 #ef                 
,,braid-,,stitch1 #db1 #dc      ,,broad 
surfaces 7covering71 #agh               
,,brocade1 #bdd      ,,bullion1 #afe    
,,bullion-,,stitch1 #ge1 #gf1 #afb1 #afe
      ,,buttonhole-,,stitch1 #h1 #ee et 
seq41 #fi1 #abb1 #ade1 #aeh1 #agh1 #ahb 
,,buttonholing 7lace71 #hd1 #hf         
,,byzantine embroidery1 #ab1 #bd        
,,cable-,,chain1 #db      ,,canvas1 #g1 
#be      ,,canvas stitches1 #ab et seq4 
,,canvas-,,stitch embroidery1 #bb       
,,card underlay1 #afb1 #bdf             
,,cashmere embroidery1 #bbh             
,,cashmere-,,stitch1 #ah                
,,chain-,,stitch1 #ch et seq41 #fa1 #hc1
 #abi1 #ade1 #aef1 #aeh1 #agh1 #ahb1    
#bjb1 #bbf1 #bde      ,,chenille1 #bde  
,,chinese embroidery1 #gh1 #if1 #abi1   
#acf1 #adj1 #aeb      ,,church work1    
#da1 #acf1 #adh1 #aff1 #baf et seq4     
,,classification of stitches1 #i1 #age  
et seq4      ,,cloth1 #abe1 #abf1 #aei1 

#bdc      ,,colour1 #aaj1 #bjh          
,,colour gradation1 #ih1 #aad1 #aah     
,,colour and outline1 #adf1 #ahe        
,,combination of stitches1 #ahb         
,,coptic embroidery1 #ab1 #bbf          
tapestry1 #b      ,,coral1 #aff1 #bdh   
,,cord1 #abb           7couched71 #abh1 
#add1 #agh1 #ahb           7attachment  
of71 #abd      ,,cotton1 #bdc           
,,couched cord1 #abh1 #add1 #agh1 #ahb  
gold1 #aca et seq41 #ahb                
outline1 #adf      ,,couching1 #bb1     
#aad1 #abj1 #aba1 #abb et seq41 #bdd    
7reverse71 #acj      ,,counterchange1   
#aed      ,,cretan embroidery1 #ab      
,,cretan-,,stitch1 #fa       7,see also 
,ladder-stitch7      ,,crewel1 #bdd     
,,crewel-,,stitch1 #bf et seq41 #hc1    
#hf1 #ajc1 #aje1 #agh                   
7surface71 #hf      ,,crewel work1 #bf1 
#cf1 #cg      ,,cross-,,stitch1 #ab1    
#ad1 #af      ,,crossed                 
buttonhole-stitch1 #ef                  
,,cushion-,,stitch1 #bj1 #ba            
,,cut-,,work1 #aef       ,,damask1 #bdc1

 #bdd      ,,damping1 #bed1 #bee        
,,darning1 #h1 #bb1 #hc1 #ij1 #ajf et   
seq41 #agh1 #agi                        
7,japanese71 #hf              7surface71
 #hd      ,,design1 #aej1 #bai1 #bcc et 
seq4             traditional1 #bch1 #bdj
      ,,design and stitch1 #aj1 #bch    
,,designer and embroiderer1 #bcb1 #bcc  
,,diapers1 #hg1 #hh1 #ajh1 #acb1 #acd1  
#baj      ,,direction of stitch1 #ib1   
#ie1 #ajh1 #aad1 #acf1 #aij1 #bjh et    
seq4      ,,double darning1 #ajf        
thread1 #bec      ,,dovetail-,,stitch1  
#ajc1 #ajd       7,see also ,embroidery 
and ,plumage ,stitches7      ,,drawing  
with the needle1 #aib1 #aid1 #aif1 #aii1
 #baa      ,,drawn work1 #b1 #d         
,,eastern embroidery4       7,see       
,oriental7      ,,effect and stitch1    
#cf1 #gh      ,,eighteenth century      
embroidery1 #bbj1 #bdf      ,,embroidery
 and painting1 #bja1 #bjb               
,,embroidery-,,stitch1 #ajc       7,see 
also ,plumage-stitch7      ,,english    
embroidery1 #cd1 #cf1 #afi              

,,feather-,,stitch1 #fb et seq41 #hc1   
#ajj1 #agh      ,,felt1 #bdc            
,,fifteenth century embroidery1 #bd1    
#afd      ,,figure work1 #aaf1 #afi1    
#aij1 #aih et seq4      ,,filling-,,in  
patterns1 #bd      ,,filo-,,floss1 #afd1
 #bdd      ,,filoselle1 #abd1 #add1 #bdd
      ,,fishbone1 #ba1 #dg1 #ea         
,,flax thread1 #afd1 #bdd      ,,flemish
 embroidery1 #adb1 #bjj      ,,flesh1   
#bjd1 #bjf      ,,florentine-,,stitch1  
#ah1 #ba       7,see also ,cushion      
stitch7      ,,floss1 #ie1 #aad1 #aaf1  
#aah1 #abj1 #bdd      ,,form and stitch1
 #dd1 #dg1 #ajj1 #aah1 #agf1 #baa1 #bec 
,,framing work1 #bea      ,,french      
embroidery1 #hh1 #bde            floss1 
#bdd            knots1 #gg1 #abi1 #aej1 
#agh1 #bdd       ,,geometric pattern1   
#bbe      ,,german embroidery1 #aaj1    
#abe1 #abf1 #aef1 #ahe1 #bbf            
,,german knot-stitch1 #gb               
,,gobelin-,,stitch1 #ah      ,,gold1    
#baj1 #bbb1 #bde           7couched71   
#aca et seq41 #ahb           7raised71  

#acd1 #acf1 #afe      ,,gold thread1    
#aca1 #bde          tinted by couching  
stitches1 #adb          wire1 #afi1 #bdh
       ,,half-,,cross-,,stitch1 #bj     
,,heraldic embroidery1 #aef             
,,herringbone-,,stitch1 #h1 #bb1 #dg et 
seq41 #hc1 #agh1 #ahb      ,,hildesheim 
cope 7the71 #abf      ,,hungarian       
embroidery1 #b               stitch1 #ah
       ,,indian embroidery1 #da1 #df1   
#fa1 #ie1 #ih1 #aed1 #afi1 #bbb1 #bdh   
,,indian herring-bone1 #dh      ,,inlay1
 #aec      ,,interlacing stitches1 #hc  
,,italian embroidery1 #bb1 #bd1 #cg1    
#df1 #ach      ,,italian embroidery     
7,renaissance71 #bb1 #da1 #abj1 #adb1   
#aed1 #aii       ,,japanese darning1    
#hf1 #hg              embroidery1 #hj   
gold1 #bde      ,,jewels1 #afe1 #bdh    
,,knot stitches1 #gb et seq41 #ahb      
,,lace1 #a1 #b      ,,lace stitches1 #hd
 et seq4      ,,ladder-,,stitch1 #ei1   
#fa1 #ahb      ,,laid-,,work1 #aab et   
seq41 #afb1 #agh      ,,leather1 #bdh   
,,leather on velvet1 #aej      ,,length 

of stitch1 #if1 #ajj      ,,limitations 
of embroidery1 #bdj      ,,line work1   
#agf1 #agh      ,,linen1 #afd1 #bdc     
7embroidery on71 #bd                    
,,long-,,and-,,short-,,stitch1 #cf1 #ih1
 #ajj1 #agh1 #aij1 #aib                 
,,magic-,,stitch1 #da      ,,material   
7influence of on stitch71 #ab1 #ac1 #af1
 #ah1 #bd1 #hh1 #ia      ,,materials1   
#bdb et seq4      ,,mechanical          
embroidery1 #bbe      ,,mediaeval work1 
#ib1 #acf1 #adj1 #aij                   
,,milanese-,,stitch1 #ah                
,,modelling1 #bbb      ,,modest work1   
#bcj1 #bca      ,,moorish-,,stitch1 #ah1
 #ba      ,,morocco embroidery1 #aeb    
,,needle 7tambour71 #ch1 #bde           
,,needle pictures1 #bja      ,,needles1 
#bej      ,,net passing1 #hf       ,,old
 ,,english ,,knot-,,stitch1 #ge         
,,opus ,anglicanum1 #i      ,,oriental  
embroidery1 #b1 #bb1 #fa1 #ib1 #aab1    
#acf1 #adj1 #aec1 #bbf                  
stitch1 #ff et seq41 #hc1 #agh1 #ahb    
,,originality1 #bcd      ,,outline1 #bb1

 #gg1 #ajh1 #adf1 #aeh1 #agh1 #ahd1 #ahe
 et seq4              7couched71 #abf1  
#abh1 #adf              7double71 #adf1 
#ahe1 #ahf              7stepped71 #af1 
#bd              7voided71 #if1 #ahg    
,,outline embroidery1 #ach              
stitch1 #bi1 #cj1 #cb1 #hf              
,,padding1 #aei1 #agb      ,,painting1  
#bja1 #bjb      ,,parchment1 #afj1 #afh1
 #bdf      ,,parisian-,,stitch1 #ah     
,,patchwork1 #aef      ,,pearls1 #afe1  
#aff1 #bdh      ,,peasant work1 #ab1    
#ac1 #bbf      ,,persian embroidery1 #g1
 #bd1 #da1 #agd1 #bbh      ,,pictorial  
effect1 #aih1 #aii1 #bja      ,,pictures
 7tent-stitch71 #ad1 #bj      ,,pierce1 
#acb      ,,pins1 #adf1 #bej            
,,plait-,,stitch1 #ba      ,,plate1 #bde
      ,,plumage-,,stitch1 #fb1 #ajj1    
#ajc1 #agh1 #agi1 #aib1 #bab            
,,preciousness1 #aih      ,,purl1 #bde  
,,purse silk1 #aaf1 #afb                
,,quilting1 #agb et seq4       ,,raised 
gold1 #acd1 #acf1 #afe et seq4          
work1 #acd1 #acf1 #aei et seq4          

,,relief1 #aei et seq41 #aff1 #afh1     
#afi1 #agb1 #bbb      ,,renaissance     
embroidery1 #da1 #ib1 #adb1 #aed1 #aff  
,,renewing ground1 #abf                 
,,reverse-couching1 #acj      ,,ribbon1 
#aej1 #bdf      ,,ribbon work1 #bdf     
,,roll-,,stitch1 #ge       7,see also   
,bullion-stitch7      ,,roman satin1    
#bdc      ,,rope-,,stitch1 #ga et seq41 
#agh      ,,running1 #hc1 #ajf1 #agi    
,,satin1 #bdc           de luxe1 #bdc   
on velvet1 #aej      ,,satin-,,stitch1  
#bd1 #ia et seq41 #ajc1 #aab1 #abh1     
#aeh1 #afj1         #afb1 #age1 #agh1   
#ahb1 #aib1 #bjf1 #bab1 #bde            
,,satin-,,stitch 7surface71 #ih1 #bhb   
,,satin-,,stitch in the making1 #ia     
,,scissors1 #bej      ,,serge1 #bdc     
,,seventeenth century embroidery1 #ad1  
#aff      ,,shaded silk1 #bdf           
,,shading1 #cd1 #agf1 #ahh et seq4      
,,silk1 #adf1 #bdc           7tussah71  
#bdd           7twisted71 #ie1 #abd1    
#abe           on silk1 #aej            
,,silks1 #bdd      ,,silver1 #ace1 #ach1

 #aff      ,,simplicity1 #ahj1 #bcf1    
#bch                 7a plea for71 #bbe 
et seq4      ,,sixteenth century        
embroidery1 #bb1 #abj1 #abe1 #adb1 #ahe1
 #aii      ,,solid chain-stitch1 #dc1   
#dd           crewel-stitch1 #cb1 #cd   
,,soudanese embroidery1 #aab            
,,spangles1 #afi1 #bdh      ,,spanish   
embroidery1 #abi1 #adb1 #aed1 #aff1 #ahe
      ,,spanish-,,stitch1 #ah1 #bb 7,see
 also ,plait-stitch7                    
,,split-,,stitch1 #ch1 #ajj1 #aje1 #aad1
 #agi1 #aij1 #aif1 #bbb                 
,,spot-,,stitch1 #cj                    
,,stem-,,stitch1 #cb      ,,stems1 #ie  
,,stepped outline1 #af1 #bd             
,,stiletto1 #agd      ,,stitch          
7definition of71 #aa                    
adaptation1 #ajc1 #ahh1 #bec            
and effect1 #cf1 #gh            and     
form1 #dd1 #dg1 #ajj1 #aah1 #agf1 #baa1 
#bec            and stuff1 #ab1 #ac1    
#af1 #ah1 #bd1 #hh1 #ia                 
groups1 #i1 #age et seq4                
names1 #h1 #i            patterns1 #hg1 

#hh            and design1 #aj1 #bch    
,,stitches1 #g      ,,stitching over    
stitching1 #bae      ,,stretching work1 
#bea1 #bed      ,,string1 #aei1 #afj1   
#afb      ,,stroke-,,stitch1 #af        
,,stuffs1 #bdb      ,,surface           
crewel-stitch1 #hf             darning1 
#hd             satin-stitch1 #ih1 #ahb 
stitches1 #hd      ,,syon ,,cope 7the71 
#g1 #acj1 #baj       ,,tailors'         
buttonhole1 #ef      ,,tambour1 #bde    
frame1 #dd              needle1 #ch1    
#bde              stitch1 #ch           
work1 #dd1 #aid      ,,tapestry1 #a1 #b1
 #d1 #adc1 #bbj                         
,,tapestry-,,stitch1 #ec                
,,tendrils1 #acj      ,,tent-,,stitch1  
#ad1 #ah      ,,thimble1 #bej           
,,thread1 #bdd      ,,traditional       
design1 #bch1 #bdj      ,,transferring  
design1 #bea      ,,turkish embroidery1 
#bb      ,,tussah silk1 #bdd            
,,twisted silk1 #ie1 #abd1 #abe         
,,underlay1 #aei1 #afj1 #afe            
,,unpicking1 #bec       ,,vandyke chain1

 #db      ,,variety of method1 #adh1    
#aeh             of stitch1 #ahj et seq4
      ,,velvet1 #aej1 #bbb              
,,venetian embroidery1 #ach             
,,voiding1 #if1 #ahg       ,,weaving1 #b
      ,,white on white1 #afb1 #bcj      
,,wool4 7,see ,crewel7      ,,woollen   
stuffs1 #bdc      ,,the ,,end4          
,,bradbury1 ,,agnew1  ,,co4 ,,ld41      
,,printers1 ,,london ,,and ,,tonbridge4 
,a ,,list ,,of ,,standard ,,books       
,,on     ,,ornament  ,,decoration1      
,,including     ,,furniture1            
,,wood-,,carving1 ,,metal ,,work1 c41   
,,published ,,by     ,b4 ,t4 ,,batsford1
     #id1 ,,high ,,holborn1 ,,london1   
,w4,c4   ,,windows4--,a ,,book ,,about  
,,stained ,,and ,,painted ,,glass4 ,by  
,,lewis ,f4 ,,day4 ,containing #daj     
pages1 including #ej full-page ,plates1 
and upwards of #bjj ,illustrations in   
the text1 all of ,old ,examples4 ,large 
#hvo1 cloth gilt4 ,price #bas4 net4     
,contains a more complete popular       
account--technical and                  

historical--of stained and painted glass
 than has previously     appeared in    
this country4--,the ,times4      ,the   
book is a masterpiece in its way 444    
amply illustrated and     carefully     
printed2 it will long remain an         
authority on its     subject4--,the ,art
 ,journal4      ,all for whom the       
subject of stained glass possesses an   
interest and     a charm1 will peruse   
these pages with pleasure and           
profit4--,the     ,morning ,post4       
,mr4 ,day has done a worthy piece of    
work in more than his usual             
admirable manner 444 the illustrations  
are all good and some the     best      
black-and-white drawings of stained     
glass yet produced4--,the     ,studio4  
,now ,published1 the most handy1 useful1
 and comprehensive work on the subject4 
,,alphabets1 ,,old ,,and ,,new4         
,containing #aej complete ,alphabets1   
#cj ,series of ,numerals1 ,numerous     
,facsimiles of ,ancient ,dates4         
,selected and arranged by ,,lewis ,f4   

,,day4 ,preceded by a short account of  
the ,development of the ,alphabet4 ,with
 ,modern ,examples specially ,designed  
by ,walter ,crane1 ,patten ,wilson1 ,a4 
,beresford ,pite1 the ,author1 and      
others4 ,crown #hvo1 art linen4 ,price  
#cs4 #f;d4 net4      ,mr4 ,day's        
explanation of the growth of form in    
letters is     particularly valuable4444
 ,many excellent alphabets are given in 
illustration of his remarks4--,the      
,studio4      ,everyone who employs     
practical lettering will be grateful for
     ',alphabets1 ,old and ,new4' ,mr4  
,day has written a scholarly and pithy  
introduction1 and contributes some      
beautiful alphabets of his own          
design4--,the ,art ,journal4      ,a    
practical resume of all that is to be   
known on the subject1     concisely and 
clearly stated4--,st4 ,james' ,gazette4 
,it goes without saying that whatever   
,mr4 ,batsford publishes and ,mr4       
,day has to do with is presented in a   
good artistic form1 complete1     and   

wherever that is possible1              
graceful4--,the ,athenaeum4             
,,architecture ,,among ,,the ,,poets4   
,by ,h4 ,,heathcote ,,statham4 ,with #ac
 ,illustrations4 ,square #hvo1          
artistically bound4 ,price #cs4 #f;d4   
net4      ,this little work does for    
architecture in relation to ,english    
poetry what ,mr4 ,phil ,robinson has    
done for the birds and beasts4 ,the     
poet's appreciation of architecture is a
 delightful subject with     which ,mr4 
,statham has become infected1 not only  
illustrating his     points with        
quotations and his judgments with his   
reasons1 but the     whole with a series
 of fanciful or suggestive sketches     
which add     considerably to the       
attractiveness of the book4--,the       
,magazine of     ,art4   ,,the          
,,decoration ,,of ,,houses4 ,by ,,edith 
,,wharton and ,,ogden ,,codman1         
,architect4 #bjd pages of text1 with #ef
 full-page ,photographic ,plates of     
,views of ,rooms1 ,doors1 ,ceilings1    

,fireplaces1 various pieces of          
,furniture1 c41 from the ,renaissance   
period4 ,large square #hvo1 cloth gilt1 
price #abs4 #f;d4 net4  ,this volume1   
written by an ,american ,lady ,artist1  
and an ,architect1 describes and        
illustrates in a very interesting way   
the ,decorative treatment of ,rooms     
during the ,renaissance period1 and     
deduces principles for the decoration1  
furnishing1 and arrangements of ,modern 
,houses4      444 has illustrations     
which are beautiful 444 because they    
illustrate the sound and simple         
principle of decoration which the       
authors put forward4444 ,the book is one
 which should be in the     library of  
every man and woman of means1 for its   
advice is     characterised by so much  
common sense as well as by the best of  
taste4--,the ,queen4   ,,the ,,historic 
,,styles ,,of ,,ornament4 ,containing   
#a1ejj examples from all countries and  
all periods1 exhibited on #ajj ,plates1 
mostly printed in gold and colours4     

,with historical and descriptive text   
translated from the ,german of ,h4      
,,dolmetsch4 ,folio1 handsomely bound in
 cloth1 gilt1 price ,l#a #es4 net4      
,this work has been designed to serve as
 a practical guide for the purpose of   
showing the development of ,ornament1   
and the application of colour to it in  
various countries through the epochs of 
history4 ,the work illustrates not only 
,flat ,ornament1 but also many          
,decorative ,objects1 such as           
,,metal-,,work1 ,,pottery ,,and         
,,porcelain1 ,,lace1 ,,enamel1 ,,mosaic1
 ,,illumination1 ,,stained ,,glass1     
,,jewellery1 ,,bookbinding1 c41 showing 
the application of ,ornament to         
,industrial ,art4   ,just ,published4   
,a ,,manual ,,of ,,historic ,,ornament1 
being an ,account of the ,development of
 ,architecture and the ,historic ,arts1 
for the use of ,students and ,craftsmen4
 ,by ,,richard ,,glazier1               
,a4,r4,i4,b4,a41 ,headmaster of the     
,manchester ,school of ,art4 ,containing

 #db ,plates and #ajj ,illustrations in 
the text4 ,demy #hvo1 cloth4 ,price #es4
  ,the object of this book is to furnish
 students with a concise account of     
,historic ,ornament1 in which the rise  
of each style is noted1 and its         
characteristic features illustrated4 ,it
 contains upwards of #djj subjects drawn
 by the author1 and includes examples of
 ,architectural ,detail and ,plastic    
,ornament1 ,pottery1 ,textile ,fabrics1 
,glass1 ,metal-work1 ,mosaic1 ,painted  
,faience1 c41 c4 of various countries4  
,a ,,manual ,,of ,,practical            
,,instruction ,,in ,,the ,,art ,,of     
,,brass ,,repousse ,,for ,,amateurs4 ,by
 ,,gawthorp 7,art ,metal ,worker to     
,h4,r4,h4 the ,prince of ,wales74       
,second and enlarged ,edition4 ,with #cb
 ,illustrations1 many from photographs  
of executed designs4 ,crown #hvo1 in    
wrapper4 ,price #as4 net4   ,,old       
,,clocks ,,and ,,watches ,,and ,,their  
,,makers4 ,by ,f4 ,j4 ,,britten1        
,secretary of the ,horological          

,institute4 ,being an ,account of the   
,history of ,clocks and ,watches1 their 
,mechanism and ,ornamentation1 to which 
is appended a ,list of #h1jjj ,old      
,makers1 with descriptive ,notes4       
,containing over #djj ,illustrations1   
many reproduced from photographs1 of    
choice and curious examples1 of ,clocks 
and ,watches of the past in ,england and
 abroad1 including the finely-ornamented
 ,bracket ,clocks of the ,x,v,i,ith     
,century1 with their ingenious          
mechanism1 and the tall and elegant     
cases of the ,x,v,i,i,ith ,century1 also
 a selection of ,portraits of the most  
renowned ,masters of the ,clockmaker's  
,art4 #eab pages4 ,demy #hvo1 cloth1    
gilt4 ,price #ajs4 net4   ,,king        
,,rene',s ,,honeymoon ,,cabinet4 ,a     
,monograph4 ,by ,john ,p4 ,seddon1      
,architect4 ,illustrated by #aj         
photographic reproductions of the       
,cabinet1 and the ,panels1 painted by   
the late ,,sir ,e4 ,,burne ,,jones1     
,dante ,gabriel ,rossetti1 and ,ford    

,madox ,brown4 ,with a chapter on the   
,hereditary ,earls of ,anjou1 by ,g4 ,h4
 ,,birch1 ,f4,s4,a4 ,large #hvo1 cloth1 
price #es4 net4  ,this interesting      
little work has been issued by the      
author to make known and commemorate    
some early designs by the celebrated    
artists4 ,very few copies are printed   
for sale4   ,a small remainder1 just    
reduced in price4  ,,animals ,,in       
,,ornament4 ,by ,professor ,g4 ,,sturm4 
,containing #cj large collotype plates1 
printed in tint1 of designs suitable for
 ,friezes1 ,panels1 ,borders1           
,wall-papers1 ,carving1 and all kinds of
 ,surface ,decoration1 c4 ,large folio  
in portfolio1 price #ahs4 net 7published
 ,l#a #ajs474  ,a new and useful series 
of clever designs1 showing how animal   
forms may be adapted to decorative      
purposes with good effect4   ,a         
,,history ,,of ,,design ,,in ,,painted  
,,glass4--,from the ,earliest ,times to 
the end of the ,seventeenth ,century4   
,by ,n4 ,h4 ,j4 ,,westlake1 ,f4,s4,a4   

,containing #dfg illustrations with     
historical text4 ,four volumes1 small   
folio1 cloth1 price ,l#e #ajs41 net ,l#d
 #hs4      ,very few copies remain for  
sale of this valuable work4   ,,mr4     
,,lewis ,f4 ,,day',s ,,text ,,books ,,of
 ,,ornamental ,,design4  ,,some         
,,principles ,,of ,,every-,,day         
,,art4--,,introductory ,,chapters ,,on  
,,the ,,arts ,,not ,,fine4 ,forming a   
,prefatory ,volume to the ,series of    
,text ,books4 ,second ,edition1 revised1
 containing #gj ,illustrations 7,third  
,thousand74 ,crown #hvo1 art linen1     
price #cs4 #f;d41 net #cs4              
,authoritative as coming from a writer  
whose mastery of the subjects     is not
 to be disputed1 and who is generous in 
imparting the     knowledge he acquired 
with difficulty4 ,mr4 ,day has taken    
much     trouble with the new           
edition4--,architect4      ,a good      
artist1 and a sound thinker1 ,mr4 ,day  
has produced a book of     sterling     
value4--,magazine of ,art4   ,,the      

,,anatomy ,,of ,,pattern4--,containing3 
,i4 ,introductory4 ,,ii4 ,pattern       
,dissections4 ,,iii4 ,practical ,pattern
 ,planning4 ,,iv4 ,the ,drop ,pattern4  
,v4 ,skeleton ,plans4 ,,vi4 ,appropriate
 ,pattern4 ,fourth ,edition 7,ninth     
,thousand71 revised1 with #da full-page 
,illustrations4 ,crown #hvo1 art linen1 
price #cs4 #f;d41 net #cs4      444     
,there are few men who know the science 
of their profession     better or can   
teach it as well as ,mr4 ,lewis ,day2   
few also who are     more gifted as     
practical decorators2 and in anatomising
 pattern in     the way he has done in  
this manual--a way beautiful as well as 
useful--he has performed a service not  
only to the students of his             
profession1 but also to the             
public4--,academy4   ,,the ,,planning   
,,of ,,ornament4--,containing3 ,i4      
,introductory4 ,,ii4 ,the ,use of the   
,border4 ,,iii4 ,within the ,border4    
,,iv4 ,some ,alternatives in ,design4   
,v4 ,on the ,filling of the ,circle and 

other ,shapes4 ,,vi4 ,order and         
,accident4 ,third ,edition 7,fifth      
,thousand71 further revised1 with #da   
full-page ,illustrations1 many of which 
have been re-drawn4 ,crown #hvo1 art    
linen1 price #cs4 #f;d41 net #cs4       
,contains many apt and well-drawn       
illustrations2 it is a highly           
comprehensive1 compact1 and intelligent 
treatise on a subject which     is more 
difficult to treat than outsiders are   
likely to think4 ,it is     a capital   
little book1 from which no tyro 7it is  
addressed to     improvable minds7 can  
avoid gaining a good deal4--,athenaeum4 
,,the ,,application ,,of                
,,ornament4--,containing3 ,i4 ,the      
,rationale of the ,conventional4 ,,ii4  
,what is ,implied by ,repetition4 ,,iii4
 ,where to ,stop in ,ornament4 ,,iv4    
,style and ,handicraft4 ,v4 ,the        
,teaching of the ,tool4 ,,vi4 ,some     
,superstitions4 ,third ,edition 7,sixth 
,thousand71 further revised1 with #dh   
full-page ,illustrations and #g         

,woodcuts in the text4 ,crown #hvo1 art 
linen1 price #cs4 #f;d41 net #cs4       
,a most worthy supplement to the former 
work1 and a distinct gain to     the art
 student who has already applied his art
 knowledge in a     practical manner1 or
 who hopes yet to do so4--,science and  
,art4   ,,ornamental                    
,,design4--,comprising the above ,three 
,books1 ,,anatomy ,,of ,,pattern1       
,,planning ,,of ,,ornament1 and         
,,application ,,of ,,ornament1          
handsomely bound in one volume1 cloth   
gilt1 price #ajs4 #f;d41 net #hs4 #f;d4 
,,nature ,,in ,,ornament4--,with #abc   
full-page ,plates and #aib              
,illustrations in the text4 ,third      
,edition 7,fifth ,thousand74 ,thick     
crown #hvo1 in handsome cloth binding1  
richly gilt1 price #abs4 #f;d41 net     
#ajs4  ,,contents3 ,i4 ,introductory4   
,,ii4 ,ornament in ,nature4 ,,iii4      
,nature in ,ornament4 ,,iv4 ,the        
,simplification of ,natural ,forms4 ,v4 
,the ,elaboration of ,natural ,forms4   

,,vi4 ,consistency in the ,modification 
of ,nature4 ,,vii4 ,parallel            
,renderings4 ,,viii4 ,more ,parallels4  
,,ix4 ,tradition in ,design4 ,x4        
,treatment4 ,,xi4 ,animals in ,ornament4
 ,,xii4 ,the ,element of the ,grotesque4
 ,,xiii4 ,still ,life in ,ornament4     
,,xiv4 ,symbolic ,ornament4             
,amongst the best of our few good       
ornamental designers is ,mr4 ,lewis     
,f4 ,day1 who is the author of several  
books on ornamental art4     ',nature in
 ,ornament' is the latest of these1 and 
is probably the     best4 ,the treatise 
should be in the hands of every student 
of     ornamental design4 ,it is        
profusely and admirably illustrated1 and
     well printed4--,magazine of ,art4  
,a book more beautiful for its          
illustrations1 or one more helpful to   
,students of ,art1 can hardly be        
imagined4--,queen4   ,a ,,handbook ,,of 
,,ornament4--,with #cjj ,plates1        
containing about #c1jjj ,illustrations  
of the ,elements and ,application of    

,decoration to ,objects4 ,by ,f4 ,s4    
,,meyer1 ,professor at the ,school of   
,applied ,art1 ,karlsruhe4 ,third       
,english ,edition1 revised by ,,hugh    
,,stannus1 ,lecturer on ,applied ,art at
 the ,royal ,college of ,art1 ,south    
,kensington4 ,thick #hvo1 cloth gilt1   
gilt top1 price #abs4 #f;d41 net #ajs4  
,a ,library1 a ,museum1 an              
,encyclopaedia and an ,art ,school in   
one4 ,to     rival it as a book of      
reference1 one must fill a bookcase4    
,the     quality of the drawings is     
unusually high1 the choice of examples  
is     singularly good4444 ,the work is 
practically an epitome of a hundred     
,works on ,design4--,studio4      ,the  
author's acquaintance with ornament     
amazes1 and his three     thousand      
subjects are gleaned from the finest    
which the world     affords4 ,as a      
treasury of ornament drawn to scale in  
all styles1 and     derived from genuine
 concrete objects1 we have nothing in   
,england     which will not appear as   

poverty-stricken as compared with       
,professor     ,meyer's                 
book4--,architect4      ,the book is a  
mine of wealth even to an ordinary      
reader1 while to     the ,student of    
,art and ,archaeology it is simply      
indispensable as a     reference book4  
,we know of no one work of its kind that
 approaches     it for comprehensiveness
 and historical accuracy4--,science and 
,art4   ,a ,,handbook ,,of ,,art        
,,smithing4--,for the use of ,practical 
,smiths1 ,designers and others1 and in  
,art and ,technical ,schools4 ,by ,f4   
,s4 ,,meyer1 ,author of ,a ,handbook of 
,ornament4 ,translated from the ,second 
,german ,edition4 ,with an ,introduction
 by ,j4 ,,starkie ,,gardner4 ,containing
 #bad ,illustrations4 ,demy #hvo1 cloth1
 price #fs41 net #es4  ,both the        
,artistic and ,practical ,branches of   
the subject are dealt with1 and the     
,illustrations give selected ,examples  
of ,ancient and ,modern ,ironwork4 ,the 
,volume thus fills the long-existing    

want of a ,manual on ,ornamental        
,ironwork1 and it is hoped will prove of
 value to all interested in the subject4
      ,charmingly produced4444 ,it is   
really a most excellent manual1         
crowded with examples of ancient work1  
for the most part extremely     well    
selected4--,the ,studio4      ,professor
 ,meyer's work is a useful historical   
manual on art     smithing1 based on a  
scientific classification of the        
subject1 that     will be of service to 
all smiths1 designers1 and students of  
technical and art schools4 ,the         
illustrations are well drawn and        
numerous4--,building ,news4   ,published
 with the ,sanction of the ,science and 
,art ,department4   ,,french ,,wood     
,,carvings ,,from ,,the ,,national      
,,museums4--,a ,series of ,examples     
printed in ,collotype from ,photographs 
specially taken from the ,carvings      
direct4 ,edited by ,,eleanor ,,rowe4    
,part ,i43 ,late #aeth and ,early #afth 
,century ,examples2 ,part ,,ii43 #afth  

,century ,work2 ,part ,,iii43 #agth and 
#ahth ,centuries4 ,the ,three ,series   
,complete1 each containing #ah large    
folio ,plates1 with descriptive         
letterpress4 ,folio1 in portfolios1     
price #abs4 each net2 or handsomely     
bound in one volume1 ,l#b #es4 net4     
,students of the ,art of ,wood ,carving 
will find a mine of     inexhaustible   
treasures in this series of             
illustrations of ,french     ,wood      
,carvings4444 ,each plate is a work of  
art in itself2 the     distribution of  
light and shade is admirably managed1   
and the     differences in relief are   
faithfully indicated1 while every detail
     is reproduced with a clearness that
 will prove invaluable to the           
student4 ,sections are given with       
several of the plates4--,the     ,queen4
      ,needs only to be seen to be      
purchased by all interested in the      
craft1 whether archaeologically or      
practically4--,the ,studio4   ,,hints   
,,on ,,wood ,,carving ,,for             

,,beginners4--,by ,,eleanor ,,rowe4     
,fourth ,edition1 revised and enlarged1 
,illustrated4 #hvo1 sewed1 price #as4 in
 paper covers1 or bound in cloth1 price 
#as4 #f;d4      ,the most useful and    
practical small book on wood-carving we 
know     of4--,builder4      444 ,is a  
useful little book1 full of sound       
directions and good                     
suggestions4--,magazine of ,art4        
,,hints ,,on ,,chip ,,carving4--7,class 
,teaching and other ,northern ,styles47 
,by ,,eleanor ,,rowe4 #dj               
,illustrations4 #hvo1 sewed1 price #as4 
in paper covers1 or in cloth1 price #as4
 #f;d4      ,a capital manual of        
instruction in a craft that ought to be 
most     popular4--,saturday ,review4   
,,details ,,of ,,gothic ,,wood          
,,carving4--,being a ,series of         
,drawings from original work of the     
,fourteenth and ,fifteenth ,centuries4  
,by ,,franklyn ,a4 ,,crallan4           
,containing #cd large                   
,photo-lithographic ,plates1 with       

introductory and descriptive text4      
,large #dto1 in handsome cloth          
portfolio1 or bound in cloth gilt1 price
 #bhs41 net #bbs4      ,the examples are
 carefully drawn to a large size 444    
well selected     and very well         
executed4--,the ,builder4               
,,progressive ,,studies ,,and ,,designs 
,,for ,,wood-,,carvers4 ,by ,miss ,e4   
,r4 ,,plowden4 ,with a ,preface by ,miss
 ,,rowe4 ,consisting of five large      
folding sheets of ,illustrations 7drawn 
full size71 of a variety of objects     
suitable for ,wood ,carving4 ,with      
descriptive text4 ,second ,edition1     
enlarged4 #dto1 in portfolio4 ,price    
#es4 net4   ,,ancient ,,wood ,,and      
,,ironwork ,,in ,,cambridge4--,by ,w4   
,b4 ,,redfarn1 the ,letterpress by      
,,john ,,willis ,,clark4 #bi folio      
,lithographed ,plates drawn to a good   
scale4 ,cloth gilt1 a handsome volume1  
price #ajs4 #f;d41 net #hs4 #f;d4  ,this
 ,work1 giving an interesting and useful
 series of ,examples1 is but little     

known4 ,very few copies remain4         
,,hepplewhite',s ,,cabinet-,,maker ,,and
 ,,upholsterer',s ,,guide2 or           
,repository of ,designs for every       
article of ,household ,furniture in the 
newest and most approved taste4 ,a      
complete facsimile reproduction of this 
rare work1 containing nearly #cjj       
charming ,designs on #abh ,plates4      
,small folio1 bound in speckled cloth1  
gilt1 old style1 price ,l#b #ajs4 net4  
7#agid47 ,original copies when met with 
fetch from ,l#ag to ,l#ah4      ,a      
beautiful replica1 which every admirer  
of the author and period     should     
possess4--,building ,news4              
,,chippendale',s ,,the ,,gentleman ,,and
 ,,cabinet-,,maker',s ,,director4--,a   
complete facsimile of the #crd and      
rarest ,edition1 containing #bjj ,plates
 of ,designs of ,chairs1 ,sofas1 ,beds  
and ,couches1 ,tables1 ,library ,book   
,cases1 ,clock ,cases1 ,stove ,grates1  
c41 c4 ,folio1 strongly bound in        
half-cloth1 price ,l#c #aes4 net4       

7#agfb47   ,,sheraton',s                
,,cabinet-,,maker ,,and ,,upholsterer',s
 ,,drawing-,,book4--,a complete         
,facsimile ,reproduction of the scarce  
,third ,edition4 ,with the rare         
,appendix and ,accompaniment complete4  
,containing in all #dcd pages and #abb  
,plates4 #dto1 cloth1 price ,l#b #ajs4  
net4   ,,examples ,,of ,,old            
,,furniture1 ,,english ,,and ,,foreign4 
,drawn and described by ,,alfred        
,,ernest ,,chancellor4 ,containing #dj  
,photo-lithographic ,plates exhibiting  
some #ajj examples of ,elizabethan1     
,stuart1 ,queen ,anne1 ,georgian and    
,chippendale furniture2 and an          
interesting variety of ,continental     
work4 ,with historical and descriptive  
notes4 ,large #dto1 gilt1 price ,l#a    
#es41 net ,l#a #as4      ,in publishing 
his admirable collection of drawings of 
old     furniture1 ,mr4 ,chancellor     
secures the gratitude of all admirers of
     the consummate craftsmanship of the
 past4 ,his examples are selected       

from a variety of sources with fine     
discrimination1 all having an           
expression and individuality of their   
own--qualities that are so              
conspicuously lacking in the furniture  
of our own day4 ,it forms a     very    
acceptable work4--,the ,morning ,post4  
,,furniture ,,and ,,decoration ,,in     
,,england ,,during ,,the ,,xviiith      
,,century4--,by ,j4 ,,aldam ,,heaton4   
,two volumes1 each of two parts1 bound  
in four1 large folio1 cloth1 price ,l#g 
net4 ,containing upwards of #aej plates 
of photographic reproductions from the  
published designs of ,r4  ,j4 ,adam1    
,chippendale1 ,hepplewhite1 ,sheraton1  
,shearer1 ,pergolesi1 ,cipriani1 ,darly1
 ,johnson1 ,richardson1 and all great   
,english designers and cabinet-makers of
 the period4  ,this work forms an       
encyclopaedic and almost inexhaustible  
treasury of reference for all ,furniture
 ,designers1 ,painters1 ,interior       
,decorators1 ,cabinet-makers1 c41 since 
no artist of importance is              

unrepresented1 and a fair selection is  
in every case given of his work4        
,,remains ,,of ,,ecclesiastical         
,,wood-,,work4--,a ,series of ,examples 
of ,stalls1 ,screens1 ,book-,boards1    
,roofs1 ,pulpits1 c41 containing #ba    
,plates beautifully engraved on ,copper1
 from drawings by ,t4 ,,talbot ,,bury1  
,archt4 #dto1 half-bound1 price #ajs4   
#f;d41 net #hs4 #f;d4   ,,flat          
,,ornament3 ,a ,,pattern ,,book ,,for   
,,designers ,,of ,,textiles1            
,,embroideries1 ,,wall ,,papers1        
,,inlays1 ,c41 ,c4--#aej ,plates1 some  
printed in ,colours1 exhibiting upwards 
of #ejj ,historical ,examples of        
,textiles1 ,embroideries1 ,paper        
,hangings1 ,tile ,pavements1 ,intarsia  
,work1 c4 ,with some ,designs by ,dr4   
,,fischbach4 ,imperial #dto boards1     
cloth back1 price ,l#a #es41 net #bjs4  
,,examples ,,of ,,english ,,mediaeval   
,,foliage ,,and ,,coloured              
,,decoration4--,by ,,jas4 ,k4 ,,colling1
 ,architect1 ,f4,r4,i4,b4,a4 ,taken from

 ,buildings of the ,x,i,ith to the      
,x,vth ,century4 ,containing #gf        
,lithographic ,plates1 and #gi ,woodcut 
,illustrations1 with ,text4 ,royal #dto1
 cloth1 gilt top1 price #ahs41 net #aes4
 7published at ,l#b #bs47               
,,plastering--,,plain ,,and             
,,decorative4 ,a ,practical ,treatise on
 the ,art and ,craft of ,plastering and 
,modelling4 ,including full descriptions
 of the various ,tools1 ,materials1     
,processes and ,appliances employed4    
,with over #ej full-page ,plates1 and   
about #ejj smaller ,illustrations in the
 ,text4 ,by ,,william ,,millar4 ,with an
 ,introduction1 treating of the ,history
 of the ,art1 by ,g4 ,t4 ,,robinson1    
,f4,s4,a4 ,thick #dto1 cloth1 containing
 #fjj pages of text1 price #ahs4 net4   
,this new and in many senses remarkable 
treatise 444 unquestionably     contains
 an immense amount of valuable          
first-hand information4444     ',millar 
on ,plastering' may be expected to be   
the standard authority     on the       

subject for many years to come4444 ,a   
truly monumental     work4--,the        
,builder4   ,a ,,grammar ,,of ,,japanese
 ,,ornament ,,and                       
,,design4--,illustrated by #fe ,plates1 
many in ,gold and ,colours1 representing
 all ,classes of ,natural and           
,conventional ,forms1 drawn from the    
,originals1 with introductory1          
descriptive1 and analytical text4 ,by   
,t4 ,w4 ,,cutler1 ,f4,r4,i4,b4,a4       
,imperial #dto1 in elegant cloth        
binding1 price ,l#b #fs41 ,l#a #ahs4    
net4   ,,decorative ,,wrought ,,ironwork
 ,,of ,,the #ag,,th ,,and #ah,,th       
,,centuries4--,by ,d4 ,j4 ,,ebbetts4    
,containing #af large ,lithographic     
,plates1 illustrating #gj ,english      
examples of ,screens1 ,grilles1 ,panels1
 ,balustrades1 c4 ,folio1 boards1 cloth 
back1 price #abs4 #f;d41 net #ajs4   ,a 
,facsimile reproduction of one of the   
rarest and most remarkable ,books of    
,designs ever published in ,england4    
,a ,,new ,,booke ,,of ,,drawings ,,of   

,,ironworke4--,invented and ,desined by 
,,john ,,tijou4 ,containing severall    
sortes of ,iron ,worke1 as ,gates1      
,frontispieces1 ,balconies1 ,staircases1
 ,pannells1 c41 of which the most part  
hath been wrought at the ,royall        
,building of ,hampton ,court1 c4 ,,all  
,,for ,,the ,,use ,,of ,,them ,,that    
,,worke ,,iron ,,in ,,perfection ,,and  
,,with ,,art4 7,sold by the author in   
,london1 #afic47 ,containing #bj folio  
,plates4 ,with ,introductory ,note and  
,descriptions of the ,plates by ,j4     
,,starkie ,,gardner4 ,folio1 bound in   
boards1 old style1 price #bes4 net4     
,only #aej copies were printed for      
,england1 and very few now remain4 ,an  
original copy is priced at ,l#dh by ,mr4
 ,quaritch1 the renowned bookseller4    
,,japanese ,,encyclopaedia ,,of         
,,design4  ,,book ,i4--,containing over 
#a1ejj engraved curios1 and most        
ingenious ,geometric ,patterns of       
,circles1 ,medallions1 c41 comprising   
,conventional ,details of ,plants1      

,flowers1 ,leaves1 ,petals1 also ,birds1
 ,fans1 ,animals1 ,key ,patterns1 c41 c4
 ,oblong #abmo1 fancy covers1 price #bs4
 net4  ,,book ,,ii4--,containing over   
#fjj most original and effective        
,designs for ,diaper ,ornament1 giving  
the base lines to the design1 also      
artistic ,miniature ,picturesque        
,sketches4 ,oblong #abmo1 price #bs4    
net4  ,these books exhibit the varied   
charm and originality of conception of  
,japanese ,ornament1 and form an        
inexhaustible field of design4   ,a     
,,delightful ,,series ,,of ,,studies    
,,of ,,birds1 ,,in ,,most               
,,characteristic ,,and ,,life-,,like    
,,attitudes1 ,,surrounded ,,with        
,,appropriate ,,foliage ,,and           
,,flowers4--,by the celebrated ,japanese
 ,artist1 ,,bairei ,,kono4 ,in three    
,books1 #hvo1 each containing #cf pages 
of highly artistic and decorative       
,illustrations1 printed in tints4 ,bound
 in fancy paper covers1 price #ajs4 net4
      ,in attitude and gesture and      

expression1 these ,birds1 whether       
perching or soaring1 swooping or        
brooding1 are     admirable4--,magazine 
of ,art4   ,a ,,new ,,series ,,of ,,bird
 ,,and ,,flower ,,studies4 ,,by         
,,watanabe ,,sietei1 the acknowledged   
leading living ,artist in ,japan4 ,in #c
 ,books1 containing numerous exceedingly
 ,artistic ,sketches in various tints1  
#hvo1 fancy covers4 ,price #ajs4 net4   
,,artists' ,,sketch ,,books4--,a        
,,series ,,of ,,five ,,volumes4--,vol4  
,i43 ,birds1 ,flowers1 and ,plants1     
drawn in a ,decorative ,spirit4 ,vol4   
,,ii43 ,sketches of ,insects1 ,plants1  
c41 drawn for ,designers4 ,vol4 ,,iii43 
,drawings of ,fishes and ,marine        
,animals4 ,vol4 ,,iv43 ,natural         
,scenery1 ,landscapes1 c4 ,vol4 ,v43    
,scenes from ,japanese ,life1 c4 #hvo1  
fancy covers4 #gs4 #f;d4 net4   ,,the   
,,architecture ,,of ,,the ,,renaissance 
,,in ,,italy4--,a ,general ,view for the
 ,use of ,students and ,others4 ,by ,w4 
,j4 ,,anderson1 ,a4,r4,i4,b4,a41        

,director of ,architecture1 ,glasgow    
,school of ,art4 ,second ,edition1      
revised and enlarged4 ,containing #fd   
full-page ,plates1 mostly reproduced    
from ,photographs1 and #ajj             
,illustrations in text4 ,large #hvo1    
cloth gilt1 price #abs4 #f;d4 net4      
,a delightful and scholarly work 444    
very fully     illustrated4--,journal   
,r4,i4,b4,a4      ,it is the work of a  
scholar taking a large view of his      
subject4444     ,the book affords easy  
and intelligible reading1 and the       
arrangement     of the subject is       
excellent1 though this was a matter of  
no small     difficulty4--,the ,times4  
,should rank amongst the best           
architectural writings of the           
day4--,the ,edinburgh ,review4      ,we 
know of no book which furnishes such    
information and such     illustrations  
in so compact and attractive a form4    
,for greater     excellence with the    
object in hand there is not one more    
perspicuous4--,the ,building ,news4   ,a

 ,,history ,,of ,,architecture ,,for    
,,the ,,student1 ,,craftsman ,,and      
,,amateur4--,being a ,comparative ,view 
of the ,historical ,styles from the     
,earliest ,period4 ,by ,,banister       
,,fletcher1 ,f4,r4,i4,b4,a41 ,professor 
of ,architecture in ,king's ,college1   
,london1 and ,b4 ,f4 ,,fletcher1        
,a4,r4,i4,b4,a4 ,containing #cjj pages1 
with #aae ,collotype ,plates1 mostly    
from large ,photographs1 and other      
,illustrations in the text4 ,third      
,edition1 revised4 ,cr4 #hvo1 cloth     
gilt1 price #abs4 #f;d41 net #ajs4      
,we shall be amazed if it is not        
immediately recognised and adopted      
as par excellence the student's manual  
of the history of                       
architecture4--,the ,architect4         
,the general reader will read the book  
with not less profit than the           
student1 and will find in it quite as   
much as he is likely to retain     in   
his memory1 and the architectural       
student in search of any     particular 

fact will readily find it in this most  
methodical     work4444 ,as complete as 
it well can be4--,the ,times4      ,as a
 synopsis of architectural dates and    
styles1 ,professor ,banister            
,fletcher's work will fill a void in our
 literature1 and become a     most      
useful manual4--,the ,building ,news4   
,,the ,,orders ,,of ,,architecture3     
,,greek1 ,,roman ,,and                  
,,italian4--,edited with ,notes by ,r4  
,,phene ,,spiers1 ,f4,s4,a41            
,f4,r4,i4,b4,a4 ,third ,edition1 revised
 and enlarged1 containing #bf ,plates4  
#dto1 cloth1 price #ajs4 #f;d41 net #hs4
 #f;d4      ,a most useful work for     
architectural students4444 ,mr4 ,spiers 
has     done excellent service in       
editing this work1 and his notes on the 
plates are very appropriate and         
useful4--,british ,architect4           
,,renaissance ,,architecture ,,and      
,,ornament ,,in ,,spain4--,a ,series of 
,examples selected from the purest      
executed between the years #aejj-aefj4  

,by ,,andrew ,n4 ,,prentice1            
,a4,r4,i4,b4,a4 ,containing #fj         
beautiful ,plates1 reproduced by        
,photo-lithography and ,photo ,process  
from the author's drawings1 of          
,perspective ,views and ,geometrical    
,drawings1 and details1 in ,stone1      
,wood1 and ,metal4 ,with short          
descriptive text4 ,folio1 handsomely    
bound in cloth gilt1 price ,l#b #ajs41  
net ,l#b #bs4      ,for the drawing and 
production of this book one can have no 
words     but praise4444 ,it is a       
pleasure to have so good a record of    
such     admirable ,architectural       
,drawing1 free1 firm and                
delicate4--,british     ,architect4     
,b4 ,t4 ,,batsford1 #id1 ,,high         
,,holborn1 ,,london4         99       99
       99       99       99             
,transcriber's ,note3  ,the following   
printer's errors have been corrected in 
the text3    page xxi3   ,part of a fan 
f of fan not printed in original    page
 #fb3   ,the feathery stem 7,a7 on the  

sampler       the missing in original   
page #gj3   except that it has something
 of the appearance       of missing in  
original    page #bbc3   in no case does
 it appear to be stitching       t of it
 not printed in original    page #bbe3  
forms of needlework       froms printed 
for forms in original