,illustration3 ,,st4 ,,margaret',s1 ,,king',s ,,lynn4 ,from a photograph by ,mr4 ,cyril ,ellis1 ,victoria ,road1 ,n4 ,,church ,,needlework ,a ,,manual ,,of ,,practical ,,instruction ,,by ,,hinda ,m4 ,,hands ,illustration ,,london ,g4 ,j4 ,,palmer ,,sons1 #g ,,portugal ,,street1 ,w4,c4 #aijg ,,dedication ,,to ,,our ,,dear ,,mother1 ,,the ,,holy ,,church ,,this ,,little ,,work ,,is ,,dedicated ,,by ,,one ,,of ,,her ,,faithful ,,daughters ,,with ,,the ,,hope ,,that ,,her ,,humble ,,service ,,may ,,be ,,accepted #8,to the ,glory of ,god' ,,preface ,miss ,hands reminds me that it was at my suggestion1 as ,editor of #8,the ,treasury1' that she undertook the writing of the articles which form the basis of this volume4 ,my confidence in her fitness to write such papers was more than justified by the result4 ,a mere man1 indeed1 cannot presume to offer an opinion of a book on ,embroidery which will carry much weight2 yet the letters received by me during the serial appearance of these papers showed unmistakably that they were supplying a real want4 ,in their new and revised form they cannot fail to be yet more widely useful4 ,moreover1 the beautiful work executed by ,miss ,hands for my own and other churches is ample proof that she is as skilled in the practice as in the theory of her art4 ,so with much willingness ,i contribute these few words of introduction4 ,there must be many ladies to whom such a book as this--lucid1 compact1 and inexpensive--will be most welcome1 enabling them to use their needles for the highest of purposes--the service of the ,church and the beautifying of the ,sanctuary4 ,we all feel1 ,i think1 that such work1 when fashioned by the hands of worshippers1 has a worth and a significance1 apart from its intrinsic value1 which no ready-made article purchased from the #8,church ,furniture' shop can possess4 ,it is the concrete embodiment of love1 self-denial1 and reverence4 ,it brings before our eyes an example of human talent consecrated to the highest ends4 ,and it continues a tradition characteristic of the ,christian ,church throughout its history--one dating back1 indeed1 to those more ancient days when1 in the language of the ,book of ,exodus1 #8,all the women that were wise-hearted did spin with their hands1 and brought that which they had spun1 both of blue1 and of purple1 and of scarlet and of fine linen1' for use and adornment in the ,tabernacle of ,god4 ,,anthony ,,deane4 ,,contents ,,chapter ,,page ,,preface v ,i4 ,,introductory #a ,,ii4 ,,on ,,materials1 ,,etc4 #c ,,iii4 ,,on ,,mounting ,,frames ,,and ,,tracing ,,designs #f ,,iv4 ,,on ,,gold-,,work #i ,v4 ,,on ,,silk-,,work #ae ,,vi4 ,,on ,,outline ,,and ,,appliqu #ba ,,vii4 ,,on ,,figure-,,work #bi ,,viii4 ,,on ,,liturgical ,,colours1 ,,frontals1 ,,etc4 #ci ,,ix4 ,,on ,,the ,,cope ,,and ,,mitre #di ,x4 ,,on ,,eucharistic ,,vestments1 ,,chalice-,,veil ,,and ,,burse #ec ,,xi4 ,,on ,,banners1 ,,etc4 #fe ,,xii4 ,,on ,,the ,,principal ,,stitches ,,used ,,in ,,linen-,,work #gc ,,xiii4 ,,on ,,altar ,,linen #gi ,,xiv4 ,,on ,,the ,,albe1 ,,surplice1 ,,etc4 #he ,,conclusion #ia ,,appendices #ic ,,index #aja ,,church ,,needlework ,,chapter ,i ,,introductory ,this little book 7founded on a series of articles on ,church ,embroidery written for the #8,treasury'7 is intended for the use of those who are desirous of learning by practical experiment how to make the best use of such time and skill as they have at their command2 and who1 while they are unable to go through the long courses of instruction which are generally indispensable to the attainment of perfection1 are yet anxious to devote their #8labour of love' to the service of the ,church4 ,there are many ,guilds and ,associations of such workers rising up all over the country who are ready and willing to be taught1 and it is with the hope of assisting these efforts that ,i am offering the result of many years of study and practical experience4 ,it is quite beyond the scope of such a manual as this to go into the ,history of embroidery in general1 or even of this particular branch of it4 ,on this point therefore ,i will say no more than that it is an undoubted fact that from the thirteenth to the fifteenth century ,english embroidery took a leading place throughout the whole of ,christendom1 and that from the fifteenth century onward embroidery began to decline as an art till it might almost be reckoned as lost to ,england until the middle of the nineteenth4 ,with these few facts in view it is not difficult to determine where to look for the best examples of ,church embroidery4 ,it must be among ,museums1 ,picture galleries1 and ,collections of art treasures of the best periods that one must study to improve the taste and cultivate the intelligent perception of the best ways of doing things1 not so much by actual imitation 7although that might prove an education in itself67 as by absorbing the spirit of the work and seeing how and why it was done4 ,i cannot too strongly recommend this method of learning1 and it is to this end ,i have used1 wherever possible1 such examples as are to be found in our ,churches1 ,public ,museums1 and ,libraries rather than those in the possession of individual collectors4 ,embroidery may be defined in a general way as an ornamentation of textiles by means of the needle4 ,this being the case1 one ought to expect from it something different from what can be attained by weaving1 or something which cannot be done so well or so readily by that means4 ,some of the earliest forms of embroidery were1 it is evident1 direct copies of woven patterns1 but these were quite appropriately placed1 either on material which did not lend itself happily to being woven into patterns1 or where the surface so decorated was too small to be worth while weaving2 or again1 where the ornamental material 7such as gold and silk7 was too precious to be lost on the under-side of the work1 as would be the case in all woven work wherever the #8ground' shows between the patterns4 ,the superiority we expect to see in needlework as compared with woven decoration consists chiefly in three points3-- #a4 ,the more harmonious gradation of colour4 #b4 ,the absence of mechanical repetition of pattern4 #c4 ,freedom of line in the drawing4 ,it is this very freedom from mechanical restraint in all these three respects of colour1 design1 and treatment which has proved such a pit-fall to the unartistic ,english needlewoman4 ,much of the beauty of the foreign peasant work is due to the restrictions imposed by their traditional style and limited range of colour4 ,there is practically no limit to the number of shades available in the present day1 and without a cultivated #8colour-sense' an embroiderer can run riot among an embarras de richesse with most disastrous results6 ,a good colour-scheme is even more necessary in embroidery design than in any other 7except1 perhaps1 stained glass7 because of the brilliance of its possibilities--at once its highest merit and its greatest danger4 ,the colour-scheme1 then1 being an essential part of the design1 must be decided upon in accordance with it2 and the actual materials with which the work is to be carried out should be chosen all at the same time if possible4 ,it is necessary for the designer of ,church needlework to have a very clear idea of the capabilities and the limitations both of the methods and the materials by which the design is to be completed as a work of art1 and also a fair knowledge of the traditions of ecclesiastical art from early times up to the present day4 ,it is equally necessary for the embroiderer to be able to enter into the ideas and intentions of the designer4 ,it adds considerably to the interest of the work when it is carried out by the person who designed it1 but ,i must protest against the notion gaining ground largely in certain educational circles1 that the embroiderer ought to design her own work4 ,there are very many women capable of executing perfect stitchery and of entering into the highest ideals of beauty and devotion who are not fitted by nature or training to artistic design4 ,the designer for ecclesiastical art may be compared to the composer of sacred oratorios--he needs the co-operation of many minds1 hearts1 and hands to perfect the realisation of his idea1 and the many count it a joy to be led by him4 ,the more entire the sympathy throughout1 the more perfect will be the result4 ,and they will consider their time and labour well-spent in practising for this4 ,even so the embroiderer with patient stitches will endeavour to express the ideal set before her by a master of the craft and will meet with a like reward4 ,this is the utmost that the majority of us can hope to attain1 and ,i cannot insist too strongly upon the statement that it is better to work from the designs of good artists1 and to do again and again what has been proved excellent1 than to attempt an originality which may be attractive only by its novelty4 ,whether the worker be her own designer or not1 too much care and attention can hardly be bestowed on the choice and arrangement of the design4 ,the principal requirements to be fulfilled are ,beauty1 ,fitness1 and ,practicability4 ,,beauty comes first as it is simply the raison d'tre of embroidery4 ,if decoration does not really add to the artistic value of the thing it is applied to1 it is worse than useless as it destroys a certain real kind of beauty which exists in simplicity4 ,,fitness comes next1 as it almost amounts to an axiom that without fitness a thing which is beautiful in one place may be quite ridiculous or improper in another4 ,and ,,practicability is essential because it is in vain to draw a beautiful design which cannot be carried out by the needle and thread4 ,in embroidery the finished work ought always to be more1 not less1 beautiful than the coloured drawing4 ,then there is the position it is to occupy--the style of architecture1 method of lighting and amount of light1 size of the church1 c4 ,a large church and a dark chancel1 for instance1 require bolder design and brighter colour than would be suitable for a small church or one so lighted that every detail is evident at a glance4 ,,chapter ,,ii ,,on ,,materials1 ,,etc4 ,after the design1 or rather in conjunction with it1 comes the choice of the materials with which to carry it out4 ,the only point one can insist on is this--let them be the best we can offer4 ,the best does not necessarily mean the most expensive--but the most genuine and the most suitable4 ,whether of gold or silk or linen1 let there be no pretence about it4 ,if silk ,,damask is chosen for the ground of the work 7and there is nothing pleasanter to work on1 or more satisfactory as a background if the design of the damask be broad and flat-looking71 let it be a good rich damask without any suspicion of cotton about it4 ,,satin is too shiny and too difficult to keep from puckering to make a really artistic background for large pieces of embroidery1 although a great deal of the old work was done on it4 ,it also has this disadvantage for the beginner1 that it shows every mark of the needle if she is unfortunate enough to make a mistake which requires unpicking4 ,,plain ,,corded ,,silk is trying to the eyes to work upon1 and is rather hard-looking and unsympathetic1 but it makes a good appliqu on satin1 velvet1 or damask4 ,,velvet1 on account of its richness and the depth of colour attainable without giving the impression of #8blackness1' also from its strength of contrast with every other material1 has always been in great favour1 whether as a ground or as an onlay4 ,,brocade is too assertive to make a good background1 but brocade1 and even tapestry 7where the design is suitable7 may be outlined with gold or cord1 or further enriched with embroidery with a truly glorious effect1 when judiciously managed4 ,fine ,,woollen ,,cloth1 stout serge1 and diagonal cloth are respectable materials for inexpensive work4 ,yarn-dyed or other good ,,coloured ,,linen and ,,unbleached ,,twilled ,,linen are particularly suitable for use in the colonies and for poor churches at home4 ,both texture and colouring can be obtained in great perfection1 and when worked in pure flax threads1 which are also made in many degrees of thickness and almost as much variety of shade and colour as embroidery silks1 they will defy the ravages of white ants abroad and the poisonous air of slums at home4 ,,cloths ,,of ,,gold and of silver are truly splendid1 whether as a background for embroidery or to be used alone or for orphreys on a plainer material4 ,only the very best kinds should ever be employed for ,church work1 any thing else will look tawdry1 and even the best is apt to tarnish in the air of towns or near the sea4 ,needless to say1 it is always expensive4 ,in all the specimens of ancient church embroideries which have come down to us1 we find a free use of gold and silver threads3 some are worked entirely in gold1 others with a preponderance of the precious metals used in conjunction with silk1 while a third use was to touch up salient points or as an outline to glorify the whole and bring it into unity4 ,the principal kinds of gold and silver thread now in use are3-- ,,passing1 which is made of flat strips of gold or silver twisted tightly over pure silk2 a firm1 hard thread is the result1 resembling wire1 which can be obtained in various thicknesses1 generally sold on reels4 ,this is sewn down1 almost always two threads at a time1 with fine1 strong sewing-silk4 ,,tambour1 much the same as ,passing1 only finer1 for sewing through the material4 ,,bullion1 of various sizes and patterns1 is made of fine wire1 evenly twisted in a spiral form without any silk core2 usually sold by weight4 ,it is sewn on by first cutting into the lengths required and then #8threading1' like the beads called #8bugles1' with a fine needle and silk well waxed4 ,,purl is somewhat similar1 but coarser1 and without a hollow centre4 ,it is sewn down by passing the sewing-silk over the ,purl and drawing it down between the twists of the wire4 ,it is used more for outlines of silk-work than for filling spaces4 ,,plate is a flat wire1 used chiefly in heraldic embroidery4 ,it is laid over raised thread or string1 with a stitch on each side of the thread1 over which it is turned backwards and forwards till the thread is covered4 ,in working ,bullion1 ,purl1 and ,plate1 the silk they are sewn with does not come into evidence at all4 ,strong fine thread is even better to sew them with than silk2 both should be waxed4 ,,japanese ,,gold is the one most commonly used at present4 ,it is made something like ,passing1 only a very thin paper is used instead of metal to carry the gold over the silk4 ,its chief virtue is that it does not tarnish like most of the ,passing4 ,it is also less expensive1 and made in a greater variety of sizes4 ,its chief drawback is that where there is much wear the gold rubs off in the course of time1 leaving only the red or yellow silk it was wound on as the evidence of there having once been gold there4 ,the ,passing1 on the other hand1 wears any length of time1 and1 if made of pure gold1 would be as untarnishable as the ,japanese1 the excessive costliness being the reason it is so seldom used4 ,most of the ,passing is made of silver or other metal1 gilded with pure gold4 ,,chinese ,,gold is very similar to ,japanese1 the chief difference being that the paper used is thinner and cut in narrower strips4 ,it is therefore softer1 and can be made in thinner threads than any other4 ,it is more easily damaged than the ,japanese4 ,passing1 ,japanese1 and ,chinese gold and silver are sewn down 7generally by two threads together7 with a fine twisted sewing-silk2 the colour of the silk used affects considerably the colour of the gold-work1 red producing a fine coppery glow2 green1 blue1 and violet #8cooling' the gold2 and yellow or gold-colour merely intensifying1 or hardly modifying it at all4 ,some of the old work was done in solid gold or silver wire4 ,strips of parchment were sometimes laid over with gold-leaf and twisted upon silk1 like the ,japanese and ,chinese do with their paper4 ,small metal plates1 spangles of various shapes and sizes1 were and are still used with good effect when in moderation4 ,the silks employed are chiefly ,,floss4 ,french floss or #8stout' floss1 being rather thick and very smooth and bright1 is useful for large1 bold work2 #8,bobbin1' #8,church1' or fine floss for finer work4 ,decca silk1 which has a loose twist1 may easily be split1 and is useful for the brilliance of some of the dyes1 different from any other to be met with in ,european makes4 ,,purse-,,silk is often used1 couched1 in place of gold or silver1 being easily managed and wearing well4 ,,filoselle is chiefly useful for edging appliqu and for outlines4 ,,filofloss answers the same purpose1 and is brighter in texture4 ,it can also be used for fine embroidery by taking the threads separately2 but the slight twist in each thread makes it less desirable for such work than the bobbin floss4 ,,scissors should be strong and sharp1 cutting accurately at the points4 ,,thimbles1 of gold1 silver1 or ivory1 are at their best when worn smooth4 ,they should be as plain as possible1 as decoration is apt to catch and roughen the delicate silks4 ,new thimbles may be improved by rubbing down with the finest glass-paper or a burnisher4 ,the indentations should be large4 ,in framework both hands are used and two thimbles required4 ,,needles should be procured from the best makers only1 as cheap ones are apt to cut and roughen the silk by friction through the eye in the course of the work4 ,if for any reason it may be worth while to improve a needle which has this defect1 it can be done by the simple process of threading the eye with strong cotton 7as coarse as it will conveniently carry71 dipping it into olive oil1 then into fine emery powder1 and working it backwards and forwards until it ceases to roughen4 ,round-eyed and #8egg-eyed' sewing-needles1 crewel and embroidery1 large-sized chenille1 and occasionally a curved 7so-called #8circular'7 needle1 are required4 ,,pins should be fine and as sharp as needles4 ,very nice little pins may be made from fine needles by warming the eye and sticking a little sealing-wax on it for a knob2 but beware of leaving steel pins in any part of the work1 as they rust very quickly and make an #8iron-mould' stain4 ,indeed1 it is safer to use pins for temporary fastenings only1 and to put in a few stitches wherever required for more than a day or two2 brass ones leave a green mark and silver-plated ones black1 while even gold-plating soon wears off4 ,a small instrument called a piercer is sometimes used to keep gold laid in its place1 but a rug-needle1 or the eye of the chenille needle1 will do as well4 ,a good stiletto1 a pair of compasses1 a ,t-square and a set-square1 a ruler1 measure1 and tracer conclude the list of implements necessary to the ,church embroiderer besides the frame4 ,there are several kinds of ,,embroidery-,,frame which have been invented from time to time to save trouble or to stretch more evenly than the ones in general use1 but the two still most commonly to be met with are the old flat-bar and screw-bar frames4 ,the former can be rested on trestles when large1 or supported on the edge of a table and kept in place with weights when small2 those with screw sides are generally mounted upon stands of their own4 ,for work not exceeding #cj inches square ,i find the screw-frame the most convenient2 it can be adjusted to any angle1 so that the worker has no need to bend over it1 being able to see her work without effort1 both as a whole and in detail4 ,to sit for many hours at a frame which lies horizontal is apt to injure the spine 7whenever there is the least feeling of over-strain the work should be discontinued74 ,it is1 moreover1 bad for the eyes1 forcing the vision into an unnatural focus4 ,the small screw-frame on a stand can be clamped to a table or held in the lap1 and is almost equally comfortable to work at4 ,,tambour-,,frames and rigid wire-frames may be used for very small pieces of work4 ,the light should always fall upon the work from behind1 over either shoulder of the person4 ,due attention to these points 7i4e4 a comfortable position and proper light7 would prevent much of the weariness and actual injury to the physique for which ,church embroidery is often considered responsible2 not always1 ,i regretfully admit1 without some foundation in fact4 ,still1 the majority of these cases have their own carelessness to accuse1 considering these restrictions to be mere details which may be safely ignored instead of taking the trouble to form a habit of doing everything in the best possible way4 ,,chapter ,,iii ,,on ,,mounting ,,frames ,,and ,,tracing ,,designs ,a great deal of ,church embroidery is done1 for convenience in working1 on linen1 in small frames1 and afterwards cut out and transferred to the richer material1 silk1 velvet1 cloth-of-gold1 or whatever it may be4 ,great care should be exercised in the choice of the linen1 which should be unbleached and closely and evenly woven1 coarse or fine1 according to the nature of the work to be done on it4 ,the inexperienced would do well to buy their linen not from drapers1 but from the best embroidery shops1 stating for what purpose they require it1 whether for heavy gold-work1 fine floss1 c4 ,illustration ,to stretch the linen on to the frame1 cut the linen1 #8by the thread1' rather wider than the webbing which is attached to two bars of the frame4 ,turn down the edges evenly4 ,run a piece of string into the two sides that are going to be laced upon the other two bars4 ,the linen should now be a little narrower than the length of the webbing1 to which length it is now stretched by a pin at each end and one in the middle4 ,over-sew the linen to the webbing firmly with strong linen thread2 remove the pins2 roll up till the linen is a little shorter than the side bars4 ,insert the ends of these into the holes provided1 and stretch evenly either by pegs1 or1 in the case of screw-frames1 by screwing up the wooden screw-nuts 7which ought to have been previously placed as near the central blocks as they would go74 ,lace up the sides of the linen tightly and evenly1 with good string1 fastening each end firmly4 ,the linen is now ready to receive the design1 or1 if the work is to be done upon silk or velvet1 that is put on now1 over the linen4 ,loosen the frame a little1 either by unscrewing a turn or two1 or by moving pegs4 ,pin each corner of the silk on to the linen1 stretching the silk a very little tighter than the linen2 sew all round with fine1 strong silk1 or thread1 and tighten up the frame again after it is on4 ,the design must be well within the size of the mounted linen4 ,two straight lines1 crossing each other at right angles in the centre1 should next be run into the linen with fine silk1 right across from end to end1 as a guide for tracing4 ,similar lines should be drawn lightly on the tracing2 both sets of lines and angles must be accurate2 they are easily done by means of a #8set-square4' ,transferring4 ,there are many ways of transferring a design to the material it is to be worked upon4 ,the easiest and least satisfactory is by means of #8ironing off' transfers4 ,this limits one to the stock patterns1 often of very inferior artistic value1 which can be bought at the shops4 ,the process gives a smooth even line1 rather thick1 which must be allowed for in choosing the design1 as it must be well covered in the working4 ,it is only suitable for fairly simple and bold designs4 ,the easiest method by which original designs can be transferred is by the use of carbon paper4 ,the blue is the most satisfactory1 the paper of which is thin and blue on both sides1 but of course it does not show up well on a dark ground4 ,before using1 when new1 it should be laid flat on a table1 and rubbed all over with a piece of coarse flannel4 ,there is also a fine green and a yellow1 either of which is better for very delicately coloured ground4 ,black should never be used1 and ,i have not hitherto met with a really satisfactory white carbon paper at all4 ,the design should be accurately traced on good tracing-cloth1 especial care being taken with all geometrical forms1 which should always be drawn with mathematical precision2 the slightest inaccuracy generally seems to reappear at #8compound interest4' ,it is a good plan when practicable to leave any large circles that may form part of the design untraced till after the greater part of the embroidery is done1 and in any case to test them with compasses4 ,having then a perfect drawing to start with1 see that the centre fits to centre and rectangular lines correspond with the same lines on the frame1 and pin it carefully in place with fine steel pins4 ,place a piece of carbon paper between the tracing and the material in the frame1 and then go over all the lines of the tracing firmly and clearly with a well sharpened ,h4,b4 pencil or an onyx tracer4 ,a porcupine quill or a good knitting-needle will make a very fair substitute for the onyx4 ,the worker must bear in mind that pressure upon any part of the surface which has carbon paper underneath will leave a mark upon the material1 and therefore should be careful not to rest the hand upon it or make false lines or pin-marks4 ,a hand-rest can easily be arranged1 if one be found necessary1 by placing a block of wood or a few books on the table on each side of the frame and laying a board on the top4 ,it is also important that the underneath part of the linen in the frame should be in immediate contact with some hard1 smooth surface1 such as plate-glass or a hard polished board1 before beginning to trace the design4 ,another method of transferring designs is the time-honoured one of pouncing4 ,the drawing should be on tough paper or parchment4 ,pin-holes are pricked all along the lines of the drawing at pretty close intervals2 a thin sheet of cork or hard felt laid under the parchment prevents creasing or cracking4 ,the principal lines may be pricked with a larger pin than the small details4 ,when the pattern is sufficiently pricked out it is pinned to the material1 and coloured chalk in fine powder dabbed through the pinholes4 ,the drawing must then be very carefully removed1 and the dotted lines which result from the pouncing gone over with a fine sable brush with ,chinese white1 or any good water-colour1 mixed with a little pure gum-arabic and a trace of ox-gall4 ,another way is to trace the design in ink upon leno or tarlatan1 and1 after pinning it in place as before1 go over the lines with a strong quill or ruling pen1 using ,chinese white or water-colours as before2 this also gives only a dotted line1 but is quite sufficient for coarse work1 and is the best method ,i am acquainted with for tracing on thick woollen material4 ,yet another method suitable for delicate material and not too complicated design is to take an extra tracing of the pattern on thin paper1 and after tacking the edges of the paper down to the silk on the frame1 stitch round the outline of the design with fine sewing silk of any colour that will show up on the ground4 ,when all is thus marked out1 tear away the paper1 leaving the stitches upon the silk4 ,,chapter ,,iv ,,on ,,gold-,,work ,we will now proceed to describe some of the most useful stitches and how to do them4 ,illustration3 ,the ,sampler ,perhaps it will be best to begin with a ,gold ,sampler4 ,some of the richest and most beautiful examples1 both ancient and modern1 have been worked entirely in gold2 and it is encouraging to the beginner not to have the complications of colours and various silks1 c41 to contend with at the same time1 as it leaves the mind free to concentrate itself on the attainment of a good technique1 which in embroidery1 like everything else worthy to be called art1 cannot be accomplished without a good deal of practice4 ,a brilliant effect with bad workmanship is not a thing impossible1 but in work intended for the decoration of the ,sanctuary it is even more to be deplored than in more mundane things2 though embroidery of all sorts not being a necessary work1 there is no excuse for doing badly in any circumstances4 ,it is a mistake to think that time and material spent on practice are wasted4 ,if our first attempts were looked upon as scales and exercises1 as a means to an end1 they would not be so grudgingly performed as they too often are4 ,the ,,sampler ,i have prepared is intended to illustrate both the stitches themselves and also the method of applying them to the forms they are to fill4 ,it is best to practise them first on simpler forms1 and then1 when more expert1 to fit them into the various curves and spaces4 ,the sampler should be drawn much larger than it is here represented--say about #aj #g inches--and might be placed on the linen in the frame as sketched1 leaving a good space below and at the side for practice4 ,if the frame is #bj inches long1 or larger still1 it will hold this sampler and the next one4 ,it is a good thing to have a nice set of samplers to keep1 as one often finds it necessary to be reminded of suitable stitches1 which will not always come to mind when wanted4 ,they can be made up into a blotter1 book-cover1 or work-bag1 c41 when finished4 ,illustration3 ,the ,frame1 with ,sampler1 c4 ,simple ,,couching 7,a in the illustration7 is worked thus3 ,loosen a yard or two of gold thread out of the skein and bend it in the middle4 ,have ready an ordinary needle1 threaded with gold sewing-silk 7the kind sold in large skeins by weight is the best71 and with it sew the doubled end firmly down2 draw the needle down to the under side1 and bring it up again about a quarter of an inch from the beginning2 lay the two threads of gold evenly along1 and put a stitch at right angles with the gold over both the threads together4 ,this is repeated to the end of the row4 ,at the end each thread is sewn separately in place and turned sharply back1 then stitched at regular intervals as before1 only each stitch must be placed between the ones formerly done4 ,if the space to be filled is not very long1 it is usual to take only one thread to start with1 instead of doubling it into two1 and1 after drawing the end of the gold through to the #8wrong' side of the work1 fasten it firmly1 and begin at the other end of the row each time4 ,this method has the advantage of making a less clumsy turning1 and therefore a better edge to the work1 as there is only one thread to double back every time instead of two4 ,also1 the gold is more easily made to lie smoothly1 as the stitches cross it constantly from the same side and in the direction in which the gold is twisted--from left to right when beginning from the right at the bottom1 as in a a2 from right to left when begun at the top left as in ,a4 ,gold and silver are nearly always sewn down two threads at a time 7the beginning and end only being drawn through the material and sewn down at the back of the work71 and unless otherwise directed it will be so understood throughout4 ,in a great deal of modern gold work the gold thread is cut off close at the end of each row1 and the cut edge afterwards covered by two threads being sewn all round it4 ,i do not recommend this plan myself1 as ,i have too often seen it in after-years with the ends visible in a very undesirable manner4 ,it is true it makes a more even outline1 but1 if done well1 the turned edges can be covered evenly and without difficulty when required2 and often the slightly serrated edge itself is beautiful and characteristic1 as for instance in o o and i1 illustrated below4 ,when very fine gold thread is used it may be drawn through to the back at each end of a row 7without being cut off7 and the turning done there4 ,the way this is accomplished is by bringing the needle up from the back1 crossing the gold thread over with the sewing-silk and sending the needle down again through the exact spot it came out at4 ,the gold being held rather loose and the silk pulled tight1 it will carry it down through the stuff just below the surface--the needle employed should be rather thicker than for sewing4 ,in the sampler all the edges are covered with two or three threads sewn down closely over them1 but in the detailed examples ,i have left them bare to show the working better4 ,the gold thread must not be allowed to get untwisted so as to show the inner core of silk2 and it should lie quite smoothly1 having almost the appearance of wire1 the silk stitches being drawn tightly enough to keep it steady1 but not so as to make indentations and destroy the smooth evenness of the surface4 ,if it wants stroking into position1 a little instrument called a piercer is used1 but the large chenille needle used for drawing the ends of the gold through the linen will answer very well1 or a good stiletto4 ,it will be seen1 as soon as a few rows are done1 that the silk stitches make a sort of little brick pattern on the gold4 ,this effect is made use of by the ingenious embroidress to produce many a beautiful and fanciful diaper4 ,the patterns may be varied to almost any extent by means of different intervals regularly left between the stitches4 ,here are a few examples3 ,b1 ,c1 and ,d on the sampler4 ,the middle of the pine is filled with a diaper like b1 and the two upper halves of the leaves marked ,d can be filled with c or d4 ,it is desirable to work them with different coloured silks1 such as red1 green1 yellow1 c41 in rather strong shades1 that the full effect of the diaper may appear1 thus also will be demonstrated the very remarkable effect of the different sewing silks upon the metal already alluded to above4 ,no4 #ih 7and others on the same screen7 in the ,v4 and ,a4 ,museum1 ,south ,kensington1 may be referred to as specimens of the amount of colour that may be obtained in this manner4 ,some of the metallic threads are also twisted over with fine coloured silks to intensify this effect4 ,e1 ,f1 ,g1 and ,o on the sampler are to show the effect of direction in the lines of the gold--an important principle1 which will be further illustrated1 in the case of silk work1 by the direction of the stitches4 ,difference of tone is got by the colour of silk with which the gold is sewn down2 an apparent difference of relief by the direction in which it lies4 ,in ,e a single thread is drawn through the linen 7about half an inch is enough to take through and fasten at the back7 in the centre of each petal 7see e71 and turned round to make as nearly a circle as possible1 the gold thread laid round this centre twice and sewn down1 two threads at a time1 till the outline is reached4 ,it will be evident1 after a few rounds are done1 that if the stitches are placed in exact alternation they will be getting so far apart as to fail in keeping the gold in place4 ,to obviate this1 as soon as they are nearly twice as far apart as the average distance1 two stitches must be put between each1 instead of one4 ,illustration ,f f is just taken backwards and forwards as at ,a a4 ,the effect of ,g g is obtained by placing the stitches at every round a little to one side of the previous ones1 instead of exactly between them4 ,h on the sampler is shown at h above4 ,the gold thread is begun at the base of one of the petals1 and from thence taken straight up to the top and worked over1 putting one stitch in the centre of each row and taking the thread backwards and forwards till the bottom of the petal is reached1 when it is taken up to the top of the next petal and left to lie under the work as before4 ,it is best to keep it to the same side of each petal1 or to place the central stitch between the two threads of gold1 as it raises the gold slightly1 and when done with method it looks intentional4 ,it is convenient because there is less cutting off and beginning again4 ,at the edges of the petal the gold may be turned at the back of the work in the manner described on p4 #aj above4 ,this slight raising of the gold1 as it were by accident or for convenience1 brings us to the consideration of raised work1 and the question of how far high relief in embroidery is desirable4 ,this being essentially a practical treatise1 ,i cannot now enter into the arguments for and against its use1 but may just remark that relief1 however slight1 accentuates the #8value' of the gold1 as it draws extra light upon its already brilliant surface1 causing at the same time extra shadows1 and thus adds to the richness of the general effect1 while it takes away something of its delicacy4 ,the designer must decide how and when it is required4 ,the slightly raised foliation in the sampler1 marked ,i1 is done by tacking down parchment or yellow cloth1 cut carefully about the sixteenth of an inch within the lines of the tracing1 and then working the gold thread over it 7in the same manner as at ,h7 with one row of stitching only1 to catch it down in the middle4 ,see i4 ,n is raised to the highest degree permissible by sewing down bits of string 7cut well within the size71 first with fine silk1 and then working over them1 to get a smooth surface1 with stuffing cotton1 and lastly1 covering all with yellow cloth before couching the gold4 n shows the process for working the raised round2 other shapes are done the same way4 ,there are various methods of padding for high relief4 ,cotton-wool is used by some1 and cork1 c41 by others4 ,i find the one ,i have described the most satisfactory1 as it can be made quite firm and in high relief without being so hard and #8unsympathetic' as the more mechanical methods4 ,the padding should always be smaller than the finished work is intended to be4 ,it should be done as nicely and smoothly as though it were not going to be covered over afterwards4 ,the last layer of stitches worked in the #8stuffing cotton' should be done in the opposite direction to that in which the gold is to be laid 7see n#b1 where the cotton is shown nearly half done1 n#a being the finished gold work74 ,j is one of the most popular of gold stitches4 ,it is shown at j in straight lines1 and should be well practised thus before attempting to apply it to curved ones4 ,rows of string are sewn down at regular intervals till the space is covered which is to be filled with basket-work4 ,note that in a curved figure the strings must be placed nearer together on the inner line than on the outer4 ,the gold is then couched down over the string1 being sewn with strong silk1 which will keep it down1 between every two bars of string4 ,the next row is done the same4 ,the two rows following have their silk stitches placed between the former ones4 ,the next two are like the first1 and so on till the space is filled4 ,k is a little more complicated4 ,the first two rows have three bars of string covered at a time2 then two and one alternately for one row2 then three again4 ,a great many variations of this can be made simply by covering more or fewer bars at a time1 or1 again1 by sewing down more or fewer rows of gold at the same intervals4 ,the principle of the basket-work is the same in all4 ,the stem in the sampler1 marked ,l1 and the ornament at the bottom are worked over string sewn diagonally over the space to be covered1 as may be seen at l4 ,the stitches made in sewing down the gold go in steps1 not diagonally1 but at right angles1 as in all the others1 one stitch on each side of the bar4 ,the gold may be laid in single threads4 ,q is prepared by sewing small square pieces of yellow cloth or parchment in chequers over the ground1 and then covering with the gold1 sewing down the latter rather closely with silk stitches in the spaces left1 and putting no stitches on the raised part4 ,any shape may be placed under gold in this way4 ,in much of the medieval work architectural surroundings and backgrounds to figures were very elaborately executed1 with the same gold threads used in the drapery of the figures themselves1 being carried straight across in horizontal lines over string1 c41 and sewn down very closely with different colours4 ,the raised veins in the leaves 7,p in the sampler7 are done with #8plate4' ,string is laid down first1 cut to a sharp point1 and sewn over with stuffing cotton1 worked diagonally or with several strands of it laid smoothly over the string and kept in place with a few stitches of fine silk4 ,the plate is begun at the top1 with a stitch to keep it firm1 and then with one at each side it is turned backwards and forwards till it is finished4 ,the little bars across the stems are of bullion1 sewn on with strong waxed silk or thread4 ,,chapter ,v ,,on ,,silk-,,work ,illustration3 ,sampler ,although the foregoing chapter was devoted exclusively to the description and illustration of the stitches most generally used in gold-work1 most of them can with equal propriety be worked in silk4 ,but the reverse does not hold good3 there are many stitches useful for silk and thread1 c41 which cannot well be worked with gold1 because the needle and thread are taken right through the material1 from the upper to the under side and up again1 in and out1 all the time2 whereas nearly all gold-work is done on the surface1 the beginning and end only of the gold being taken through the material4 ,it is true that in some of the old embroidery1 flat strips of metal were sometimes worked through the stuff1 also thin solid wire1 and the fine tambour is still used in the same way2 but it is not practicable to any extent with ,japanese gold1 or passing2 while purl and bullion1 being in the form of a hollow coil1 are obviously unsuitable for being drawn through the surface as thread4 ,it would also involve an unnecessary waste of gold to take it through the stuff and leave it behind each stitch4 ,the accompanying sampler does not include any of the stitches shown in the former one1 except couching4 ,although1 in principle and in method of working1 couching is the same1 whether it be carried out in silk or in gold1 yet1 the effect being very different1 it seems desirable to repeat it here4 ,it is introduced also for the purpose of pointing out clearly the difference between it and another stitch which in some circumstances looks very similar1 but is worked in quite another way and is called #8,laid-work4' ,in both couching and laid-work the principal threads lie on the surface and are sewn down with auxiliary stitches by means of a separate needle and thread4 ,in couching1 these stitches are planted at short intervals1 all along the line1 on each row of threads1 while they are being placed2 but in laid-work the whole surface is covered first1 and the few stitches required to keep the mass of silk in place are added afterwards4 ,couching is generally worked in solid heavy threads1 such as gold and silver1 purse-silk1 cord and filoselle1 while laid-work is only suitable for floss1 its chief merit being the perfection with which it shows the bright sheen of that beautiful silk4 ,it is light and soft in effect and a very expeditious means of covering a large surface4 ,it does not wear very well unless caught down at frequent intervals with the couching or other over-stitching1 as in the example 7p4 #fc7 of a chalice-veil at ,south ,kensington1 where all the foliage is done in laid-work1 the #8laid' stitches going across the leaves and the couching following the curves1 indicating simple veining4 ,both laid and couched work1 when used as a filling1 are best adapted to decidedly conventional designs1 laid-work especially to broad and flat effects1 and couching to outlines4 ,although shading and even an appearance of modelling to a slight degree may be legitimately obtained by the placing of different shades of silk side by side and by the direction of the underlying and over-stitching silks1 still it is not well to attempt too much in this direction1 as there are many other stitches more suitable2 and stitches1 like other things1 are much more beautiful when in their natural and proper place than when forced into a position for which they are unfit4 ,this sampler is intended to be worked in coloured silks4 ,i will mention them by their numbers on ,pearsall's colour-card ,no4 ,,ii41 as it can be bought or referred to at any ordinary needlework shop1 and therefore seems the most practicable means of explaining about shades1 c41 to those who have never used floss silk before4 ,while to others ,i would say it is certainly not necessary to use these particular colours1 or this particular make of floss1 so long as the silk is good1 the colours harmonising with each other1 and being sufficiently distinct in shade to avoid confusion4 ,three shades of blue1 ,nos4 #da1 #db1 and #dc2 four shades of a bronze-green1 ,nos4 #aab1 #aac1 #aac;,a1 #aac;,b2 three shades of a greyer green1 ,nos4 #aac;,a1 #acd1 #ace2 a soft reddish-brown1 ,no4 #aje1 and one of gold-colour1 ,no4 #ib1 are suggested for this sampler4 ,linen thread may be used instead of silk1 on a coloured or a white linen ground1 for practice1 but it is necessary for the embroidress to get used to working in floss#a from the first1 because it is always needed for the best and richest work1 and it requires a great deal of practice before it can be dexterously handled4 ,ornamental rings1 bracelets1 c41 should not be worn when working with floss silk1 particular attention must be given to keep the hands in good condition1 clean and smooth2 it is a good plan1 if they are apt to get rough1 to rub in one or two drops of pure glycerine after washing in hot water before drying them4 ,the hands should then be rubbed perfectly dry with a linen towel4 ,if1 on the other hand1 they are at all inclined to be moist1 they should be frequently washed in water as hot as it can be borne1 then dipped into cold water1 rubbed dry1 and lastly dusted over with boracic powder4 ,carbolic1 sulphur1 arsenical or other #8complexion' soaps should never be used before working with either gold or silver or very delicate silks2 indeed1 it is safest to use none but pure vegetable soaps as free from chemicals as possible4 ,a fine white-linen apron with a bib and sleeves1 or an #8overall1' should always be worn1 and the work kept covered with a soft silk or linen handkerchief4 ,too much care cannot be taken with floss silk1 as it is apt to catch in everything it comes near and is very easily damaged4 ,for the same reason the needlefuls should not be long1 and if the silk be bought in skeins it should be carefully wound at once1 on smooth reels or cards1 keeping a separate one for each shade1 which should be duly named and numbered4 ,of all the stitches which are worked with silk1 ,i think ,,satin-,,stitch1 with its many offshoots and variations1 is the foremost both for usefulness and beauty4 ,the smooth brightness of the surface2 the clean-cut outline it makes of itself1 when nicely done1 requiring nothing further to finish it off2 the ease with which shades and colours melt and blend in soft gradations or bold effects1 make it the stitch par excellence for floss-silk work1 whether coarse or fine4 ,illustration ,the ,flower marked ,a on the sampler is worked thus3-- ,take a needleful of the palest of the three shades of blue floss and run round the traced outline of the upper portion of one of the petals4 ,never begin with a knot1 but run a few stitches into a part that will be covered afterwards2 to fasten it firmly just take a back-stitch and do not cut off the end till you have worked a few more stitches2 always begin and end a needleful on the #8right side' of the work so as to have no loose ends at the back4 ,then bring the needle up from behind to the surface near the centre of the petal2 set it in just over the outline at the top2 draw it down with one hand and set it in with the other4 7,it ought to become1 by practice1 a matter of indifference which hand is at any time above and which below47 ,the next stitch must be shorter1 the next longer1 and so on till the edge of the petal is reached4 ,the other half of the petal is filled in the same way1 beginning from the middle1 and keeping the ends of the stitches even along the top and quite irregular along the bottom of the row4 ,the stitches should be just so close together as to make a firm clear edge without either overcrowding or thin weak places4 ,the next row is done with the middle shade of blue2 after fastening the end of the thread1 take the needle through to the back1 then bring it up between the two long middle stitches and about halfway from the top1 set it in again to make a stitch about the same length as the others were1 and continue working in the same way2 the only difference between the first row and the second being that the second is worked from the upper part downwards and that both ends of the stitches are irregular in length instead of only the lower ends4 ,also there will be fewer stitches in each row as they get nearer the bottom4 ,the number of rows required will depend on the size of the petal1 so will the actual length of the stitches4 ,to give some idea of the proportion1 ,i will suppose this petal to be an inch and a half in length and an inch and a half in width at the widest part2 the stitches would then be from a half to three-quarters of an inch long at the longest2 it would take four rows of stitches1 and there would be about thirty of them in the top row of the petal when using the full thickness of ,pearsall's #8,stout ,floss4' ,the central stitches should all be vertical1 and all the others radiating--that is1 slanting outwards1 towards the edge of the petal2 this direction of the stitches must be very carefully managed1 not to be too sudden in change1 and the rows of stitches should #8dovetail1' as it were1 into each other4 ,in this example two rows of the middle shade are used1 and only one each of the lightest and darkest4 ,this application of satin-stitch is known by a number of other names1 such as #8,long-and-short' stitch1 #8,plumage' or #8,feather' stitch2 the latter name is rather misleading1 as there is a well-known stitch of that name1 quite different in appearance and method of working1 in common use in linen embroidery4 ,in reading descriptions of silk embroidery one should bear in mind that when ,feather-stitch is mentioned it may mean the one described above4 ,illustration ,b is worked in the three lightest shades of the bronze-green--,nos4 #aab1 #aac1 and #aac;,a4 ,the method is precisely the same as in ,a above1 only the radiation is different and requires even more care in the arrangement of the stitches4 ,radiation of lines from a centre follows a principle of natural growth1 as anyone may observe by taking the separate petals of any similar flower2 all the lines and veinings1 however much branched or netted1 will be seen to converge towards the point where it is inserted into the calyx4 ,in the leaf the place where they converge is the midrib--an extended centre1 so to speak--and in #8,b' the stitches are aimed in the same direction4 ,imagination has to be called upon to suggest where the lines should run in the part of the leaf which turns over1 but it should always be done intelligently4 ,illustration ,c is more conventional1 by which ,i mean less regard is paid to natural growth4 ,it is a favourite method with the ,chinese and ,japanese1 who work this form of satin-stitch to such perfection1 that the #8right side' and #8wrong side' are almost exactly alike4 ,this may be considered a test of good workmanship4 ,it is best to begin with the part nearest the centre1 with the darkest shade of blue4 ,each stitch of one petal is parallel with the others and in a vertical direction2 there is no radiation in the working of individual petals1 only in the arrangement of the petals themselves in the whole flower2 and the edge of each shade is sharply defined by a voided line instead of melting or #8shading' into the next4 ,a voided line is a narrow space of the ground left bare between the rows of stitches2 it should be so narrow and so even as to look like a fine line or indentation in the silk4 ,this kind of satin-stitch is equally suited to work done all in one shade or in white on white ground4 ,d is also worked in parallel lines1 but the direction is horizontal1 the shades lying side by side close together4 ,in quite small flowers the stitches would go straight across each petal1 but in larger ones1 like these1 half is worked at a time1 a voided line being left down the middle of each4 ,in the sampler it is also left to define each shade1 but ,d is a simpler form for practice4 ,e is worked somewhat like ,a1 only the stitches follow all along the curve equally as the veins do in lily-leaves1 c41 instead of radiating4 ,this should be begun with the darkest of the bronze-greens1 ,no4 #aac;,b4 ,two rows may be worked with this1 then one of the next shade1 #aac;,a1 then three of the next1 #aac1 then one of #aac;,a to finish with4 ,illustration ,the three berries marked ,f on the sampler are slightly raised4 ,the preparation may be the same as that described in the chapter on gold-work2 padding thread sewn across and across in several directions1 or by layers of parchment cut to the shape4 ,in any case the padding must be covered with stitches of silk1 worked straight across1 in the opposite direction to that with which it is covered eventually4 ,the same shade1 ,no4 #aje1 may be used for all berries1 but each should be worked in a different direction1 to show the effect that such a change has on the tone of the colour4 ,the centres of the flowers1 marked ,g1 are begun with the brown silk1 with surface satin-stitch1 in which1 as its name implies1 nearly all the silk is on the surface of the material4 ,it is just taken through and brought up again close to1 but not exactly in1 the point where it went down1 leaving a very small stitch at the back1 then taken across the space to be covered1 and through again on the opposite side in the same manner4 ,the stitches may lie either horizontally or vertically4 ,over this work a single thread of ,no4 #ib is drawn diagonally1 at regular intervals1 to form a lattice4 ,these overlying stitches1 again1 are sewn down by a small cross-stitch at each intersection4 ,this lattice-work may be used independently1 without any under-stitching1 showing the ground instead2 it has a very pretty light effect among more solid work4 ,another pattern is shown at ,g#b4 ,,split-,,stitch4--,this is a stitch found much in use in the earliest specimens of ecclesiastical needlework4 ,i believe that the faces and heads of nearly all the figure work done before the fifteenth century were in split-stitch4 ,the effect is something like several others4 ,when very fine and rather tightly worked it looks like satin-stitch2 when looser1 like fine chain-stitch2 when coarse and rather loose1 like crewel-stitch worked backwards and forwards4 ,each stitch is worked by making a small satin-stitch and bringing the needle up from the back through the middle of it1 or by threading the needle with two strands of silk and bringing the point up between them4 ,see illustrations of ancient ,coptic work1 where the frayed ends of silk show plainly that it was done in this way4 ,the silk is thus pierced through or #8split'--hence its name4 ,illustration ,h on the sampler is worked thus3-- ,with a needleful of ,no4 #ace begin at the lower end of the inside half of the leaf and follow the inner curve as far as the point of the first lobe4 ,almost every alternate row of stitches is carried only halfway down1 or less1 to keep the radiation right4 ,when the first lobe is filled1 take the next shade 7#acd7 and work in the same manner up to the top point of the leaf4 ,the other half of the top point and the upper part of the next lobe is worked with the lightest shade1 #acc;,a1 and the last with #acd2 h shows the upper part of the leaf in course of being worked4 ,we now come to laid-work1 the general character of which ,i have already described above4 ,the first process is to cover the surface with the silken threads1 lying all in one direction--vertical at ,i1 horizontal at ,j1 on the sampler4 ,illustration ,they can be laid at any angle1 provided that the stitches are kept parallel with each other1 and that due consideration is given to the direction the over-stitching will take4 ,it ought to cross the laid stitches as nearly as possible at right angles to keep it nicely in place4 ,of course1 it is impossible to keep strictly to this1 but if the principal veinings are placed thus the others will naturally approximate sufficiently4 ,the silk may either be carried through the material and the needle brought up a very little way further on along the outline1 as in surface-satin2 or the silk may be turned back on the surface1 as in couching1 with a stitch at each end4 ,the middle and darkest shades of grey-green 7#acd1 #ace7 are used for the leaf1 and the middle and darkest blues for the vase4 ,the over-stitching of the leaf is in the lightest grey-green1 done with split-stitch2 the vase with the darkest blue in couching4 ,the band ,k at the bottom of the sampler may be worked in the same way1 using back-stitching to keep it down4 ,with back-stitching a pattern can be formed which is something like that made by couching1 only it is softer-looking and more quickly done4 ,if it is a border of any considerable length a number of skeins may be all begun together2 then1 pinning them all down with a long fine pin1 the stitches are set in at regular intervals to make the pattern4 ,the floss-silk in this case requires no needle1 but1 when once begun1 is #8paid off' the reel or card by degrees as required4 ,laid-work makes a beautiful background2 the over-stitching may be either of split-stitch1 couching1 or back-stitch1 and may be done either in a pattern or by simple lines1 diagonal1 vandyked1 or at right angles with the silk laid down4 ,compare k1 which is laid1 with q1 which is couched4 ,both may be worked with the middle shade of blue sewn down with gold-colour1 ,no4 #ib4 ,illustration ,m is worked in the same manner as ,b1 but with the two shades of bronze-green1 ,nos4 #aac and #aac;,a4 ,n is filled with darning-stitch1 the lines following the direction of the curve4 ,darning cannot be done in a frame in the same manner as when held loose in the hand4 ,the needle must go in with one hand and be drawn down with the other1 the same as with all work done in a frame4 ,the stitches are about a quarter of an inch long and a very little of the ground is left between each4 ,the rows of stitches also lie close together4 ,the shading and proportion should be done to match ,e1 and the different shades should #8dovetail' into each other as in the satin-stitch4 ,the parts of the leaves marked ,o are worked with the grey-green1 ,no4 #ace1 in radiating lines1 not quite close together1 showing about an equal quantity of the ground between4 ,this partial filling1 both in couching and in darning1 is very effective for light work1 but an outline is absolutely necessary1 and is really the principal part of the work4 ,the outline may be either couched or worked in crewel-stitch1 like p4 ,crewel-stitch1 like darning1 is not worked in the frame in the same way as in the hand4 ,after fastening on the thread1 bring it out at the bottom of the work and set the needle in about an eighth of an inch higher up on the traced line4 ,draw it down and bring it up again close to the place where it was brought out at first4 ,set it in again an eighth of an inch higher than the first stitch1 that will make a stitch a quarter of an inch long3 keep them about this length all the time4 7,in turning a sharp curve they should be shorter1 and in a long straight line they may be a very little longer1 worked in coarse silk47 ,care must be taken not to pierce the stitch when bringing the needle through from the back2 the method of working is the same as in split-stitch1 with this exception1 which makes all the difference6 ,it may be necessary to hold back the stitch to avoid piercing it1 especially on the inner side of a curved line1 for the needle must always be kept on the same side of the stitch as it is begun1 otherwise it will make a break in the curve4 ,it has1 moreover1 a different name when worked on one side from that which it has when worked on the other--crewel when the needle comes out on the ,left1 outline when it comes out on the ,right4 ,there are other names given to this stitch1 according to the many slight variations in the way of working it4 ,when1 for instance1 instead of bringing the needle out on the line1 it is taken a little way off it1 so as to make a more slanting stitch1 it is called stem-stitch 7see stems marked ,r on sampler71 but as this is in reality a narrow strip of satin-stitch1 worked diagonally1 it does not seem to require a name of its own4 ,u is couched with the dark grey-green silks1 the shades being placed side by side4 ,s and ,t are narrow strips of slanting satin-stitch4 ,all straight-lined ,lettering looks well worked thus1 outlined with an edge of couched gold or silver4 ,,chapter ,,vi ,,on ,,outline ,,and ,,appliqu ,hitherto we have considered outline merely as it is traced upon the material to be enriched by embroidery--as a boundary for the needle to work to2 or when an outline has been placed round the edges of the stitching1 simply to make it neat4 ,in this chapter ,i propose to deal with ,,outline as a distinct method of ornamentation1 used independently of any #8filling'2 as an adjunct to appliqu2 and as enclosing portions of the background to be further enriched1 but not entirely covered4 ,,outline ,,work is often looked down upon by the expert embroidress as a kind of needlework quite unworthy of her serious attention1 because it requires very little technical skill2 while1 as to ,,appliqu1 it is not to be mentioned1 being almost beneath contempt6 ,this attitude towards the simpler kinds of decoration merely shows a want of artistic perception4 ,walter ,crane gives outline in general its true position when he says it may be called the #8,alpha and ,omega of art1' being the earliest mode of expression among primitive peoples and children1 and also cultivated for its power of expression1 character1 and as an #8ultimate test of draughtsmanship by the most accomplished artists of all time4'#b ,outline and appliqu go naturally together because they are very often mutually dependent upon each other1 appliqu nearly always requiring an outline1 and outline frequently being partially filled with appliqu4 ,outline may really be considered more purely artistic work than elaborate embroidery1 because it depends more entirely upon the merit of the design for its beauty1 being unable to hide its defects under a maze of intricate stitchery or to carry away the mind of the beholder by the glory of various colours4 ,in early and medieval times needlework as an adjunct to weaving and outline work by itself was used with a most perfect artistic effect1 done in couched metals or silken cord1 or in simple chain-stitch or back-stitch1 c42 while1 as for appliqu1 many gorgeous vestments may still be seen retaining much of their original beauty1 worked in satin on velvet1 silk upon damask1 c41 ,botticelli and other great masters not disdaining to draw designs for such work with their own hands4 ,there are several reasons for the employment of special outline in embroidery besides the elementary one of marking out the shape4 ,in a picture such lines are not only unnecessary1 but objectionable in the finished work2 why1 then1 are they admirable here8 ,the object of art needlework is not to make pictures 7however beautiful they might be71 but so to decorate certain textile articles--of furniture1 clothing1 c4--that they do not lose their natural characteristics1 but become themselves more truly beautiful4 ,figures1 foliage1 inflorescence1 c41 should not stand out from their background like real things1 but become actually part of the textile itself4 ,this being the case1 we are debarred from the employment of naturalistic half-tones1 shadows and reflected lights by which a painter makes the different objects in his picture at the same time harmonious in colour1 distinct from each other1 and altogether life-like in appearance4 ,in decorative art the use of a good1 bold outline separates the colours1 defines the form1 harmonises the general effect1 and increases the appearance of flatness4 ,the isolation of various colours by means of an outline is especially desirable in work which is to be seen from a distance1 because masses of colour when placed in direct contact with each other become blurred and lose their true relation and value4 ,in the same circumstances the form is also apt to lose its proportions to some extent on account of the propensity of white and all light colours to spread themselves and increase their apparent size4 ,illustration3 ,fig4 ,i4--,appliqu ,italian1 ,seventeenth ,century4 ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #bdc--ahie74 ,illustration3 ,fig4 ,,ii4--,outline alone ,a very happy use of outline is sometimes made as a softener of general effect both for appliqu and many kinds of embroidery by the addition of a secondary outline beyond the boundary of the ornament1 sometimes of the same colour1 but frequently of a paler shade1 or altogether different4 ,or again1 in conjunction with appliqu1 the outline frequently breaks out into more or less fanciful and luxurious scroll-work1 which entirely does away with the hardness which is the besetting fault of this kind of work4 ,illustration3 ,fig4 ,,iii4--,outline with a little ,appliqu ,illustration3 ,fig4 ,,iv4--,appliqu enriched with ,scroll-work ,apparel of ,dalmatic1 ,spanish1 ,sixteenth ,century4 ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #hhh--ahig74 ,illustration ,,iv4 shows a good example of this1 one half of which ,i have drawn without scroll-work to show what a difference it makes4 ,it is outlined throughout with four threads of fine gold1 sewn down all together very closely with green silk round the leaves2 the double set of four threads1 meeting at the base of the leaves1 form the stem1 and are also sewn closely with green4 ,on the white ornament the gold is sewn with yellow1 and there is an inner line of blue all round2 also stitches of blue silk are placed in pairs across the white satin all the way down4 ,all the scroll-work is done in gold twist1 the same thickness as the outline of four gold threads sewn together4 ,it is generally desirable thus to work all small detail occurring in appliqu designs2 they should be done on the ground itself after the pattern has been transferred to it4 ,the design used for this kind of work should always be bold and broad1 unmistakable in its language and graceful in its expression1 and so arranged as to make the best account of the materials to be employed4 ,several different textures may be used to enhance the richness and interest of the composition1 but it can be made very beautiful with only two--one for the ground and one for the onlay4 ,the same may be said with regard to the colours4 ,any two of sufficient harmony or contrast between the ground and the pattern are sufficient1 and perhaps more certain of good result in the hands of the inexperienced than a variety of colours might be4 ,appliqu is particularly suitable for altar-frontals and sanctuary hangings2 the finer work and smaller patterns such as ,figs4 ,,iii4 and ,,iv41 make very effective and handsome apparels for dalmatics and albes1 and orphreys for chasubles4 ,appliqu can also be used for banners1 where effect is really more desirable than over-much work4 ,quite beautiful is such a banner showing figures of saints or angels in bright raiment1 well drawn1 expressive1 and with few details 7something in the style of good stained-glass71 where the full value of pure colour is obtainable and the changing light in a procession modifies or accentuates the tones alternately in a most delightful manner4 ,needless to say such designs must be fully coloured before the materials are chosen1 and the greatest care must be exercised to see that they harmonise2 nothing short of seeing the actual pieces of silk together will accomplish this2 small snippings or threads of silk are useless for the purpose4 ,and the outlines must be sufficiently thick and well marked to keep the colours distinct4 ,a #8cool' dark brown or a #8warm' dark grey is preferable to black for this purpose4 ,the various fabrics used for appliqu may be prepared in the following manner4 ,in the first place embroidery paste has to be made1 although many substitutes have been tried with more or less success4 ,if there is a large quantity to prepare1 it is better to make the paste than to try #8cobbler's paste' or photograph mountant1 though either will do very well for small pieces of work or to paste the back of embroidery which has been done in a frame to be mounted afterwards4 ,in this latter case a small quantity of the paste is carefully rubbed on the back of the work with the tips of the fingers1 and then thin tough paper stuck to it before cutting it out of the frame3 the paper should be crumpled up and then slightly smoothed out before applying it to the work1 or it is apt to contract in the course of drying1 with disastrous results4 ,,embroidery ,,paste is made thus3 mix #c oz4 fine wheaten flour 7not #8self-raising1' #8whole meal1' or any fancy kind71 #b dr4 finely powdered resin1 pint distilled water 7cold74 ,it must be perfectly smooth before putting on the stove to boil2 it can be strained through a sieve if necessary4 ,it must be kept well stirred1 especially as it approaches boiling point1 when it thickens and requires vigorous action to prevent it from burning or getting lumpy4 ,when once the whole mass boils1 it becomes thinner and clearer1 and must be kept boiling for at least five minutes4#c ,a piece of ,bishop's lawn 7mounted in a frame7 is next covered with as thin a layer of the paste as can be spread smoothly all over it2 a large strong brush is used for this1 a hog's-hair tool such as house-painters use1 round or flat4 ,then lay the material to be mounted upon the pasted surface1 pat and stroke it down gently with a soft silk or linen rag to make sure that it is in contact with the paste evenly throughout1 then pin or tack it firmly all round1 and screw or peg the frame up taut4 ,air bubbles and creases would spoil it altogether4 ,it is then left twenty-four hours to dry4 ,if required sooner1 it may be placed in a warm dry room1 not too near the fire1 but near enough to hasten the drying1 or a warm flat-iron may be passed over the back2 but the face of the silk or velvet must not be touched with anything2 the iron must not be nearly so hot as a laundress would use2 it is better1 if possible1 to let it dry naturally2 there is less risk of damaging the material2 and as it is rather a delicate process from first to last1 it is advisable to experiment with something of little value to begin with4 ,small pieces of stuff are much easier to mount than large ones4 ,the whole of the pasted surface in the frame may be covered with different pieces1 but they must all be put on while the paste is wet1 and of course it is not necessary to paste the whole of the #8backing' if it will not be used1 though it will dry more evenly if it is at least wiped over with a damp cloth where there is no paste4 ,when the mounted material is thoroughly dry1 it may be cut out of the frame and laid1 face downwards1 on a board1 when the shapes required should be marked out on the linen1 and cut with a sharp knife or scissors4 ,the appliqu should be accurately traced from the same drawing as that used for the whole of the work2 but it must be remembered that whatever is drawn on the linen backing will be reversed when seen on the #8right' side4 ,the shapes should always be cut out a trifle larger than the drawing1 rather than smaller4 ,the ground for the appliqu being mounted in a frame1 and the design traced1 nothing remains to be done but to tack each detail firmly down in its place and couch round the edges with filoselle or gold1 c4 ,the tacking stitches may be of fine white cotton taken right across and withdrawn after the work is finished2 but in any case a small stitch of the same colour as the onlay should be placed through any sharp point there may be1 to prevent it catching in the silk1 or getting curled out of shape while being worked round4 ,these stitches will not be taken out afterwards4 ,a few stitches are also desirable down the centres of leaves1 flowers1 c41 so that they may keep flat as well as in place4 ,some method should be kept to in cutting the appliqu a certain way in the stuff2 there is a distinct difference in colour when it is cut with the warp or across it1 or again1 diagonally4 ,take satin for example3 cut a leaf or the petal of a flower with the #8smooth' of the satin going in one direction1 and then cut another exactly similar1 with the satin in a different direction1 and place them side by side2 it will be evident at once that this quality of textile fabrics 7i4e4 the change of colour according to direction of warp and weft7 must be reckoned with and used intelligently4 ,it is common to all in a more or less marked degree1 and follows the same principle which ,i have pointed out when speaking of the direction of stitches4 ,flowers 7if more than an inch in diameter7 look best with the petals cut separately1 all one way of the stuff1 and arranged so as to radiate from the centre4 ,leaves can be cut with each half starting towards the midrib2 but too much cutting about is not desirable4 ,appliqu is intended to have a somewhat flat effect4 ,quite sufficient variety can generally be obtained by varying the direction of the whole leaf1 and by adding veins in couched1 or crewel1 or split stitch4 ,a mass of ,french knots or a diaper over a different-coloured silk for the centres of flowers may combine very well with appliqu1 but any other additional stitches should be resorted to but rarely4 ,it should not look like an imitation of work done entirely by the needle1 and much stitchery mixed with it or worked upon it is apt to give a false impression1 besides weakening the character of the work1 which should be simple and dignified1 with no fussiness about it4 ,if much variety is desired1 it can always be produced by the judicious selection of different materials4 ,there is great diversity of surface effect in satin1 diaper1 damask and corded silks1 while velvet is indeed more different than any added stitch would be4 ,illustration3 ,fig4 ,v4--,counter-change ,inlay ,,inlay is something like appliqu in appearance4 ,it is1 however1 worked differently1 the decoration being set into the fabric to be ornamented instead of being laid upon it4 ,it ought to be worked in cloth or some substantial kind of material not liable to fray at the edges when cut4 ,it is eminently suitable for church hangings1 dorsals or wings1 c41 having a certain nobility and sincerity about it1 while all it asks of the worker is accuracy in the cutting and neatness in the sewing4 ,the hand and eye of women are so much more trained nowadays than they used to be1 by means of various arts and crafts1 that it ought to be a matter of course to follow a line perfectly with a sharp knife on cloth1 c4 ,the method of work is as follows3 ,two pieces of cloth of different colours and about equal thickness are tacked together and pinned down to a board with drawing-pins4 ,the pattern is traced on the top one1 and the two are then cut together with a very sharp knife 7a leather-cutter's knife is good for this purpose74 ,the blade of the knife must be kept vertical1 that ground and inlet may be of the same size4 ,they are then taken off the board and tacked down to linen already mounted in a frame1 carefully fitting the two colours into each other4 ,if the pattern be a counter-change design1 there will be absolutely no waste of the stuff1 as the piece which is cut out of the one material is set into the other4 ,when the edges have been sewn together 7which is done with plain over-sewing not going through the linen--and is best worked out of the frame7 the linen is removed and the outline added if required4 ,this may be of cord or gold or narrow braid1 or chain-stitching answers this purpose very well1 especially as it is done loose in the hand4 ,if a thinner material1 or one more liable to fray is used1 it is better to keep it in the frame throughout1 and work through the linen2 but it is not such a perfect method1 as there is a #8wrong side' to it1 which there should not be in the other4 ,neither will it hang in such soft folds1 especially if it is pasted on to the linen1 as some recommend4 ,illustration3 ,chain-stitch4 ,fig4 ,,vi ,,chain-,,stitch1 which ,i have mentioned as a suitable stitch to cover the join when working in inlay1 may be described here1 as it is very useful for any work that is not done in a frame4 ,it has been so much imitated by means of the sewing-machine in modern times as to be somewhat out of favour1 but it need not look mechanical if used with discretion4 ,it makes a beautiful even line1 following any curve with great precision and ease1 and will always find its place at the hands of the competent worker1 either as an outline stitch or a filling4 ,it is done by setting the needle into the stuff at the same place it came out1 the thread lying under the thumb of the left hand4 ,a small piece of the stuff is taken up by the needle in the right hand1 and the thread drawn not too tightly 7beginners always make their chain-stitch too tight72 the needle is then set in as before1 exactly in the same place where it came out4 ,the #8wrong side' of the work should look like back-stitching4 ,illustration3 ,french ,knots4 ,fig4 ,,vii ,,french ,,knots1 which are placed in the middle of each of the grapes in ,illustration ,i41 are extremely useful1 whether in masses1 singly1 or in lines following an outline2 they may be used as a filling1 or scattered over the ground1 where they will break the colour in a very pleasing manner and add to the richness of general effect4 ,purse-silk1 or some other kind of thick1 firm variety of silk1 is best for knots4 ,floss used double and twisted together is very satisfactory2 in pale shades or white it has the effect of pearls4 ,after fastening the end firmly to begin with1 bring the needle to the surface1 take the thread up on it from right to left1 holding the thread with the left hand1 give the needle one turn and set it vertically into the stuff near the point it came out1 but not exactly on it4 ,the thread should still be held in the left hand till it has all gone through1 leaving the knot on the surface4 ,it should not be twisted more than once round the needle4 ,if a larger knot is wanted1 thicker silk should be used2 knots made with two or three twists on the needle do not lie well in their place4 ,,chapter ,,vii ,,on ,,figure-,,work ,illustration3 ,fig4 ,i4--,christian ,coptic ,embroidery ,a4,d4 #ejj or #fjj ,part of a ,medallion of a ,tunic4 ,from ,ancient ,tombs in ,upper ,egypt4 ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #abd--ahia74 ,in the last chapter1 when speaking of appliqu1 ,i had occasion to mention how well it lends itself to representation of the human form1 to be worked on a fairly large scale4 ,i consider it eminently suitable for this because of the slight amount of stitchery required to produce the desired effect1 the features being merely outlined1 with the exception perhaps of the eyes and lips1 which might be worked solid4 ,large masses of drapery1 c41 are tedious to work and may very well be represented by a piece of beautiful woven material2 while the features and limbs1 if well-drawn to start with1 may be outlined accurately by skilful fingers without calling for a greater knowledge of anatomy or artistic expression than the average embroidress may be expected to possess4 ,but now we have come to figure-work as a special branch of ,church embroidery4 ,my own opinion may be briefly stated that only those who can draw correctly ought to attempt it1 because1 of all methods of representation1 needlework is one of the least direct1 and therefore one of the most difficult4 ,it is possible1 perhaps1 to get a fairly satisfactory figure worked by a person who cannot draw1 if the principal lines and shading are distinctly marked out on the material to be worked1 as well as a fully coloured drawing provided by the designer4 ,but stitching is not1 so to speak1 a natural medium for expressing ideas1 and the slightest deviation from what is intended by the artist may result in something entirely different in character--approaching1 possibly1 very near the grotesque on the one hand1 or frivolity on the other4 ,and as we seem in these days of general but superficial education of the masses1 to have almost lost the feeling of reverence for religious effigies1 looked upon as symbols only1 irrespective of any sthetic properties they may or may not possess1 it is more than ever necessary to do the best things in the best way we know of4 ,this is why ,i would strongly urge all who wish to enrich their embroideries with the human figure to practise drawing first4 ,i would further suggest that the drawing should be chiefly from the antique1 and the study altogether more with regard to typical than individual forms1 as this training is not for the painting of #8pictures1' but for the sake of knowing what are the elements of human beauty and how they ought to be applied or modified4 ,neither am ,i including the study of design1 which1 as ,i have before remarked1 is a study in itself4 ,i am suggesting only such a practice of drawing as shall enable the needlewoman to know what is required of her in following out the idea and intention of her design1 and to be able to carry out the same intelligently2 she will not then place an eye on the cheek-bone or an ear on the jaw1 or allow the fold of a garment to suggest a dislocated limb4 ,it is taken for granted that the embroidress is already quite dexterous and proficient in the use of the finest floss-silks and has had a good deal of practice in the usual stitches4 ,her mind should be unencumbered with any thought of technique1 and the hand should respond without effort4 ,there is no new stitch to learn for this work1 but there are several ways of employing the old ones4 ,each method being usually associated with some distinct style or date1 it is well to be conversant with the various standards1 and then the worker is able to choose that which appeals to her most1 or which seems the right one for any special requirement4 ,the decoration and vestments of a church may very well be of a later date than the building1 but it seems a sort of anachronism to have it distinctively earlier1 unless it actually is a treasure handed down from past generations4 ,among the earliest examples to which we have access are the remains of ,christian ,coptic embroidery1 done1 it is believed1 in the fifth or sixth century 7see ,illustration ,i47 ,it is all worked in coarse split-stitch or 7which has much the same effect7 by threading the needle with two strands of silk at once and bringing it up from the back between the two threads4 ,the features are marked out with dark brown silk1 and are formed in a somewhat rough-and-ready way by making almost every stitch express a feature by its direction and colour1 the rest of the face being filled up as best it can4 ,the hands in the same way2 each finger is simply and crudely expressed by a single or double row of split-stitch4 ,the garments are shaded1 the rows of stitching following the direction of the folds4 ,illustration3 ,fragment of de ,cantelupe ,vestment in ,worcester ,cathedral ,a4,d4 #abcf-ff ,the earliest ,english figure work was usually done also in split-stitch1 but much finer4 ,the faces1 hands1 and feet were worked with the stitch all in one direction1 either vertical or horizontal1 and the details marked out with very fine black silk or dark brown4 ,sometimes the lips were put in with red4 ,there was no shading of the flesh-tints1 but they were1 so far as one can tell1 quite white4 ,the ,worcester fragments and the ,durham stole and maniple are examples of this work2 the latter1 being in such good preservation1 is the easiest to study4 ,the garments and sometimes the whole figure were worked in gold or silver thread all laid one way2 or again1 with the face-lines vertical and the rest horizontal4 ,the fragments from the vestment of ,walter de ,cantelupe 7#abcf-abfe or #f7 show a particularly beautiful scroll-work in a flowing pattern all over it4 ,there are many small figures seated and crowned and holding a sceptre4 ,the whole of the work is done entirely in fine gold-thread laid in one direction1 and outlined with dark brown or black on what seems to have been crimson or rose-coloured ,oriental silk4 ,there is a small piece of it in the ,v4 and ,a4 ,museum ,south ,kensington1 and some more in ,worcester ,cathedral ,church1 from which my drawing is taken4 ,illustration3 ,fig4 ,,ii4--,early ,thirteenth ,century 7,from the ,syon ,cope7 ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #hc--ahfd74 ,but the most celebrated work1 which began about this time and flourished for about a century1 making ,england famous for its embroidery1 was the world-renowned #8,opus ,anglicanum1' of which we have one of the most perfect specimens in the well-known #8,syon ,cope' at ,south ,kensington4 ,one of the characteristics of this work is the way the faces are treated4 ,split-stitch in one shade of fine floss is still used1 but1 instead of lying in straight lines1 it is begun in the centre of the cheek and worked round and round1 in more or less circular lines1 till they merge into the semicircular ones of the neck1 or radiate towards the eye-socket and the straight line of the nose4 ,the direction of the stitch gives an appearance of shading1 although it is all done in one shade of very fine silk4 ,the effect of relief is also attained by the same means1 slightly accentuated by mechanical assistance--possibly the round head of a metal pin heated and pressed wherever such an effect is desired4 ,the figure of ,st4 ,paul 7,fig4 ,,ii47 shows the general effect and the accompanying diagram 7p4 #cd7 the method of work4 ,it will be observed by anyone who will make the experiment1 that fine split-stitch1 crewel1 or chain-stitch worked solid in a circular direction in this way1 if done out of a frame1 will naturally cause such depressions as are to be seen in the early specimens of #8,opus ,anglicanum4' ,it needed very little mechanical appliance to make these indentations regular and more effective2 but by degrees this desire for effect grew beyond bounds1 and the modelling became frightfully exaggerated at the same time that the natural and moderate relief of eyelids1 nose1 and lips1 caused by a few extra stitches1 developed into an actual stuffing1 till figure embroidery was a thing of the past1 and a debased condition of taste delighted itself with dolls dressed in silks and laces attached to needleworked #8pictures1' which had to be framed and glazed to keep them free from dust6 ,the arrangement of stitches1 as in the #8,opus ,anglicanum1' has been revived in modern times by some of the ,sisterhoods1 where they make a point of being #8,early ,english'2 but it is a style apt to become too quaint to suit modern ideas of reverence1 and it is certainly much more difficult to manage successfully than the vertical or horizontal arrangement 7see #8a' p4 #cd74 #8b' shows a combination of both1 and #8c' of the vertical method4 ,fig4 ,,iii4 is a drawing from a figure of the ,blessed ,virgin in a group representing the #8,annunciation' on an altar-frontal at ,st4 ,thomas's1 ,salisbury4 ,the whole of the frontal is closely #8parsem1' with the typical ,cherubim1 ,angels1 flowers1 c41 of the period 7thirteenth to sixteenth centuries7 and very much ornamented with free and graceful scroll-work4 ,there is a return to the simpler method for working the face2 or perhaps ,i should say a continuation of this method1 which has never been entirely given up1 in spite of prevailing fashion2 probably the embroiderer instinctively feels it to be the most manageable4 ,i mean the evenly worked surface 7be it split-stitch or satin-stitch7 on which the features are worked in outline4 ,these stitches lie in the vertical direction1 and there is little1 if any1 shading4 ,the dress is worked in several shades of blue 7also vertical split-stitch or fine satin-stitch71 and there is very little attempt to give the appearance of relief in the folds4 ,the cloak is worked entirely in gold thread1 laid horizontally1 with the folds marked on afterwards in rather scratchy lines of green silk4 ,the lining of the cloak is in silver thread1 flecked with black to indicate vair4 ,the hair is pale golden-brown1 in split-stitch1 following the natural curves1 and is very delicately drawn and worked4 ,the whole of the group is characterised by great simplicity and sweetness4 ,the vase containing the lilies1 which stands in the centre between the ,angel and the ,blessed ,virgin1 is of richly raised gold-work2 a scroll behind her shoulders with the words #8,ecce ,ancilla ,dni' balances the wings of the ,angel in the composition of the design4 ,during the fourteenth and fifteenth centuries there was a spontaneous growth of feeling for truth and beauty in all the arts2 more correct drawing and richer colouring combined with strong and graceful design to produce perfection in needlework4 ,in the most beautiful examples of this period 7with few exceptions7 the faces are worked in natural shades of flesh-tints1 with fine floss-silks in satin-stitch1 either #8short' or #8long and short1' in the vertical direction1 with a fair amount of shading1 but no cast shadows4 ,the garments fall in noble lines and give the opportunity for a fine variety of colour4 ,precious stones1 metals1 and pearls were used with moderation1 not that lavish profusion which afterwards degenerated into vulgar display4 ,illustration3 ,fig4 ,,iii ,from an altar frontal in the ,church of ,st4 ,thomas ,becket in ,salisbury ,illustration ,,iv4 is taken from part of an orphrey in the ,victoria and ,albert ,museum1 designed by ,rafaelino del ,garbo1 and represents1 ,i think1 the highest point to which #8effect' should go in the matter of shading and appearance of relief1 perspective1 c4 ,it is a piece of ,florentine work1 and shows distinctly the influence of the place and the age4 ,this reproduction of course does not do it justice2 it is a perfect marvel of colour1 while the drawing shows a master's hand4 ,the whole of the architectural background is worked in gold thread laid horizontally1 the effect both of colour and shading being entirely produced by means of the silk it is couched with4 ,in places the gold is completely veiled by the stitches1 in others it gleams through1 and again it is left quite bare and shining with its own lustre alone4 ,every line of the architecture is accentuated with gold twist of different degrees of thickness1 and sometimes varied again by being twisted in the opposite direction4 ,illustration3 7a7 ,english ,thirteenth ,century ,illustration3 7b7 ,westphalian ,early ,fifteenth ,century ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #dei--aije74 ,illustration3 7c7 ,modern1 ,stitches ,vertical ,the garments consist of the same gold thread which forms the background2 it is simply carried through the whole of the work1#d with the exception of the head and nimbus1 which are worked separately and appliqu to it afterwards4 ,the hands1 even1 are done over the gold in short satin-stitch4 ,the flesh-tints are coloured strongly but finely1 and the shading is put in boldly4 ,the sympathy between design and work is so marked as almost to indicate the same hand2 but we have other examples1 which are known to have been designed by one person and worked by another1 which show the same rapport1 such as the designs by ,pollaiuolo embroidered by ,paolo da ,verona 7in the church of ,s4 ,giovanni at ,florence74#e ,illustration3 ,fig4 ,,iv4--,st4 ,andrew--,florentine work1 ,fifteenth or ,early ,sixteenth ,century ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #eghg--ahei74 ,the garments of the figures in the older embroidery were usually worked in split-stitch in much the same manner as the faces2 that is to say1 the stitching is done in rows1 following the lines of the drawing4 ,in the ,syon cope1 for instance1 the tunic of the figure illustrated in ,fig4 ,,ii4 is worked in three shades of blue floss2 the palest has faded so much as to be out of range altogether 7a habit unfortunately common to pale shades of blue72 the two darker ones seem to have remained almost entirely unaffected by age1 light1 and wear4 ,the upper garment is worked in gold thread1 with a border of green and a lining of soft yellowish-brown floss silk4 ,the gold-work is done in the same way as the background of the cope4 ,the threads lie in the same direction throughout--not merely in the case of the figure ,i am describing1 but wherever gold is introduced at all--in large masses1 as in the vesture1 or in quite small quantities1 such as the narrow border of the tunic4 ,it is stitched so as to form the same zigzag pattern4 ,the lining of the upper robe is worked in a very fine split-stitch1 with either very little shading or none besides that which is caused by the different directions of the stitch4 ,the folds in the gold-worked part are indicated by means of voided lines1 which are afterwards filled up with stitches of black silk4 ,the voiding at the folds gives a low relief1 as the gold goes down and comes up again instead of all lying flat on the surface4 ,the hair is in fine lines of alternate blue-grey and white floss1 done in split-stitch4 ,in some of the other figures it is gold and black1 or gold and white1 or black and white1 but always in alternate lines in the same style4 ,in early ,english work the bearded faces have the upper lip shaven4 ,three shades of each colour are commonly employed1 not often following each other very closely1 especially in the case of the green1 of which the lighter shades incline towards yellow and the darker towards blue4 ,there were very few different colours in general use for embroidery till towards the end of the fourteenth century1 after which they became much more varied1 but still more harmonious1 till crude and violent colours came in with the nineteenth century4 ,the dyes formerly were mostly from ,eastern sources1 whence the silks also came1 and where1 until quite lately1 very stringent rules were in force concerning the colours and dyes permitted to be used4 ,d'or nu seems to have been the favourite method of doing the garments about the sixteenth century4 ,laid-work1 kept down with either self-coloured silk or gold thread1 lightly couched1 is also to be seen2 and later1 a pretty use of short-stitch in floss1 worked vertically over gold threads laid horizontally--something like d'or nu1 but very much coarser and more practical for the larger figures1 which were then becoming more frequently worked 7see diagram74 ,illustration3 ,diagram showing method of working ,short-stitch over horizontal lines of ,gold-thread ,another way of treating drapery is to work it solidly in long-and-short-stitch 7vertical71 boldly shaded1 and afterwards enriching it with fine gold threads laid horizontally over the whole garment a little distance apart1 and sewn down singly with fine sewing silks or split floss of the same shades as those it passes over2 or sprays or diapers may be effective worked over the plain shaded silks4 ,the background of figure-work is not very often composed entirely of stitching in these days1 when so many beautiful woven fabrics are so easily procured and time seems shorter than it used to be4 ,but still1 where there is not a very large expanse to fill1 a worked background is not a luxury unattainable2 a very satisfactory and glorious one is gold thread laid in diaper-patterns4 ,laid-work and darning are quicker--the latter makes a beautifully broken colour for showing up large outline figure-work done on unbleached linen or worsted material for hangings4 ,i do not fancy any of my readers would undertake such a piece of work as the background of the ,syon cope2 but the way it was probably done has been suggested by ,mr4 ,lewis ,day thus3-- #8,the stitch runs from point to point of the zigzag pattern1 then 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 then caught down by a thread of flax on the under-surface of the linen ''' it is a kind of work on which two persons might be employed1 one on either side of the stuff4'#f ,i venture to differ from his opinion on one point only1 and that is that probably the silken or gold thread was not the one worked backwards and forwards through the stuff1 since the flax thread from behind would do the work just as well4 ,the gold or silk would thus be saved from friction1 and would not need to be cut into needlefuls and threaded in a needle1 but could be used from continuously1 as ,i have before suggested for long lines of couching2 it is1 in fact1 precisely the same thing1 with the exception of taking the #8working' needle back through the hole it made1 instead of at a little distance from it4 ,this method is so often used in fine gold-work for turning at the end of a row when one does not want it to appear on the surface that ,i fancy it would be suggested by this4 ,,chapter ,,viii ,,on ,,liturgical ,,colours1 ,,frontals1 ,,etc4 ,illustration3 ,italian ,early ,sixteenth ,century ,v4 ,a4 ,museum1 ,south ,kensington 7,no4 #hchh--ahfc74 7,suggested as ,centre for ,frontal1 ,fig4 ,i47 ,the question of liturgical colours need not be very fully discussed here1 as this is pre-eminently a practical manual and not a treatise on ritual4 ,although the embroidress naturally studies the reason and uses of the things she makes1 it does not properly rest with her whether the #8,use of ,sarum' or that of any other special diocese be followed4 ,there certainly seems to have been no very hard and fast rule observed in this matter in the early ages of the ,church or even in medieval times4 ,from the old inventories we gather that altar-frontals and vestments existed of almost every known colour and shade 7and some indeed unknown ones1 to us at least674 ,this of course may be to some extent accounted for by the votive offerings so frequently made by kings and nobles of their own magnificent vestments and of spoils taken in war4#g ,these would be accepted and used in the ,church quite irrespective of colour and design4 ,we might conclude from the old ,english illuminations that red1 blue1 purple1 white1 and gold were the colours most generally used1 or considered most ideally correct2 but on more careful investigation ,i think we should be driven to the conclusion that while the careful miniaturist drew the forms of what he was accustomed to see in the ordinary services of the ,church1 he coloured them according to his own ideas of beauty or according to the limitations of his palette4 ,a row of clergy in one illumination1 for instance1 would have their albes alternately blue and red2 and ,i remember another of an outdoor procession in which the same arrangement prevailed1 with the priests' stoles coloured blue over the red albes and red over the blue ones4 ,the four colours above-named being the ,levitical ones1 it is probable that a particular significance was attached to them2 but green and black were common before the end of the fifteenth century2 and the ,english use1 which was supposed to be definitely settled by the #8second year of ,edward the ,sixth1' certainly includes them4 ,this gives us an authorised sequence of at least five colours--viz4 white1 red1 violet1 green1 and black4 ,cloth of gold may be considered as glorified white4 ,blue1 violet1 indigo1 and purple may be all separate colours1 or they may be included in the one term #8violet1' as popularly understood4 #8,purple' indeed is such a wide-embracing word that it may1 in ancient documents1 signify a material 7velvet71 while as a colour it may range anywhere between crimson and blue1 but it always means something rich and gorgeous4 ,the altar-frontal1 giving the keynote for the colour1 should be arranged for first2 then the vestments worn by the ministers2 and1 lastly1 all the other textile decorations1 which must harmonise with the whole4 ,it should not be necessary to change these latter whenever the altar-frontal is changed1 except for ,lent4 ,it becomes all the more desirable therefore to choose such hangings as will look equally well with white1 green1 or red4 ,for ,lent they will all be mostly violet--violet and red--7red decoration on violet should be edged with black7--violet and white--by which ,i do not mean a bleached1 cold1 dead white1 but a warm1 brownish cream1 or silver4 ,the violet also must not be crude2 blue is preferable generally1 and it need not be as dark as it too often is1 tending to blackness1 especially in velvet4 ,indigo seems to me the ideal colour for ,lent4 ,when one speaks of blue for ,lent1 of course one does not mean bright or cerulean blue1 or azure4 ,these are the blues of our ,lord's garments1 of the ,blessed ,virgin1 and of the ,seraphim1 and have nothing to do with penitence4 ,the green should not be too blue in tone1 and the red is best kept to tawny shades1 or real1 true red4 ,however beautiful any one colour may be alone1 its behaviour in company with others must be tested if it is to be used with them4 ,i must plead for forgiveness if ,i seem to press this point unduly1 on the ground that ,i am constantly made to suffer from a disregard to this principle when ,i am asked to devise new decorations to #8go with' impossible crudities4 ,wherever possible1 it is best to arrange all the textile hangings1 vestments1 c41 to be used in a church at the same time1 and to have a definite scheme of design and colour to work upon4 ,even when the funds necessary to carry it out are not available all at once1 the general idea could be fixed upon and the accomplishment of it could follow by degrees4 ,too often there appears to be a sort of haphazard effect in the decoration of churches--a want of unity1 as though each separate thing were an after-thought1 bearing no relation to what had been done before4 ,if there are valuable embroideries1 c41 already in use1 which only require to be supplemented by others1 it is merely reasonable to insist upon1 and not difficult to arrange1 that the new ones do not clash with the old4 ,i do not myself think it necessary to keep rigidly to one date or style so long as the work harmonises as a whole1 neither is it necessary for all the shades of every colour used to be identical2 but it is quite essential that they should be harmonious4 ,the principal hangings in use in our time are the ,altar-frontal1 ,super-frontal1 ,dorsal and ,wings4 ,curtains are also sometimes used to partition off part of the church for a vestry1 a belfry1 or an organ-chamber4 ,besides these there are hangings simply for the purpose of covering bare walls1 in the chancel or elsewhere4 ,as a general principle one may say that curtains which were originally intended to be drawn or looped back may hang in folds1 while those used merely as a covering should hang plain4 ,wings or riddells1 portires1 c41 should be full2 altar-frontals1 dorsals1 and tapestries for bare walls should hang plain1 and may be treated more pictorially4 ,the altar strikes the keynote1 so to speak1 for the whole church4 ,to it1 as the culminating point1 all the decoration is directed2 and by it we are led through the different seasons of fast and festival1 marking these seasons by the change of vesture as definitely as by the changes in the ritual and service4 ,an altar-frontal is rather a large piece of work for one person to undertake1 unless she has had considerable practice 7which enables her to work quickly7 and has plenty of time to devote to it1 and is also possessed of sufficient patience to keep on with one thing till it is finished4 ,a frontal can very well be worked by several ladies1 each taking a separate piece on her own frame4 ,almost every kind of design can be worked in this way1 and that is why ,church work is so often done on linen and applied to the silk or velvet afterwards4 ,there is a popular idea that it must be done so1 but this is by no means the case2 it is merely a matter of convenience4 ,it is more ideally perfect as a matter of principle to work directly on the material to be beautified4 ,illustration3 ,fig4 ,i ,in describing how to make up a frontal we will take one for an #h-;foot altar1 #c feet #d inches high4 ,we will suppose the various details of an ,early ,english one 7such as ,fig4 ,i47 to be already worked and pasted at the back with embroidery paste as described in the chapter on ,appliqu-work1 cut out of the frames and neatly #8trimmed' round the edges1 leaving such a line of linen as will be perfectly covered with the outline with which it is couched down to the material the frontal is to be made of4 ,supposing it to be damask1 with a pattern that repeats every #c feet1 and that it is from #be to #bg inches wide2 #d yards only would be required1 as there would be no extra length wanted to make the patterns join exactly at the seams4 ,there would be three seams1 which must be neatly sewn1 either with very fine over-sewing1 or with back-stitching1 in silk of the same colour1 taking the greatest care to match the halves of the pattern all along the seam4 ,when this is done there will be a continuous surface of damask #cf inches wide and #ajj or more inches long4 ,a large strong frame must be prepared with stout linen mounted in it1 rather larger than the frontal is to be--say #h feet #f inches #c feet #f inches4 ,now it makes no difference to the convenience of working how long the frame is2 but no woman could work to the centre of one mounted #db inches wide4 ,one cannot comfortably work further in than about #ac inches2 therefore1 although the linen should be of the full width1 not more than twice #ac1 viz4 #bf inches1 should be presented to be worked upon at one time4 ,the easiest way to arrange this is to run a tuck along the top and bottom of the linen before it is put into the frame1 or two tucks along the bottom1 according to the particular requirements of the design4 ,a chain-stitch sewing machine would do this firmly and quickly1 as it is only to reduce the width temporarily1 and it could be as quickly undone after it had served its purpose4 ,if the long bars of the frame be round instead of flat1 both linen and silk may be wound upon it to reduce the width to start with4 ,this involves the removal of the sidebars each time the work is #8let out'2 they should not be taken out altogether1 neither should the lacing be quite undone1 but merely loosened sufficiently for the bars to slip gently out of their sockets2 there should be one person stationed at each side-bar while this is being done1 to see that it is moved evenly and laced up as before1 only with additional lacing where it has been let out4 ,a straight line should be marked down the middle of the linen2 it is best run in with coloured silk or cotton to show on both the under and the upper sides1 as this will be the starting-point for all measurements4 ,the central line of the damask is next found1 and tacked down to the one on the linen4 ,the seams will have been pressed open and flat1 and the selvedges nicked pretty deeply with sharp scissors all along2 if there is a hard edge1 it should be cut off4 ,the damask should then be well stretched over the linen1 which should not1 as yet1 be made as tight as it will go2 after the silk is on 7fastened first by pins and then sewn all round71 the whole must be stretched up as well and evenly as possible4 ,see that the angles of the frame are right angles1 whether the sides are set in with pegs or screws2 all measurements should be taken quite accurately by means of a tape that will not #8give4' ,chesterman's metallic ones are perfect1 but require care in using1 as they easily break and get out of order4 ,a large #8straight-edge' and #8set-square' are also necessary4 ,the frontal is now ready for the embroidery4 ,the central ornament is placed on first2 then those on each side2 then the others beyond4 ,the measure can be pinned at each end of the frame to see that the upper points are even1 and again to verify the lower ones4 ,sometimes the design of the damask may be taken as a guide if evenly woven2 and quite accurately put on the frame2 but that should be tested first4 ,when each flower has been carefully placed and kept in position by means of numerous fine steel pins stuck vertically through the work1 they must all be tacked firmly with stitches of fine strong silk or cotton straight down the centre and then into any outstanding points4 ,these stitches should be very small on the #8right' side of the work so that they need not be taken out after it is finished4 ,then the whole of the outline is couched over the edges of the work covering the little border of linen left for this purpose on cutting it out of the frame4 ,two1 three1 or even four full thicknesses of filoselle1 four or more of #8,stout ,floss1' or of gold thread1 make an excellent outline for gold and silk embroidery1 according to the coarseness or fineness of the work2 for appliqu different coloured cords are useful1 and for most work gold thread or brown filoselle would be safe4 ,the couching stitches should be placed fairly close together1 and should be done with strong silken thread4 ,when the more solid ornaments are securely attached to the frontal1 the scroll-work belonging to them may be added as far as can be reached without interfering with the tucks in the linen1 which may then be let out4 ,illustration3 ,fig4 ,,ii ,illustration3 ,fig4 ,,iii ,illustration3 ,fig4 ,,iv ,illustration3 ,fig4 ,v ,when the lowest row is finished and the scroll-work1 the fringe is sewn on while the work is still in the frame1 a line being first drawn 7with tailor's chalk on a dark ground1 or coloured chalk1 yellow by preference1 on a white ground7 straight along the bottom1 where it will be just covered by the upper edge of the fringe4 ,now the ,,fringe is a feature of the work to which ,i would draw particular attention1 because it has a distinct artistic value of its own1 which is too often neglected or not understood and appreciated as it should be4 ,the use of a fringe as a decorative finish to every kind of textile is common to all countries and all ages4 ,in early ,assyrian sculpture we see it on the garments of warriors4 ,in the ,holy ,scriptures we read of the fringe of golden bells on ,aaron's ephod1 also of the fringes on the garments of the people of ,god as symbols of their consecration2 while the fringes at the edges of rugs and tapestries1 both ancient and modern1 are so universal as to simply suggest their origin--viz4 the loose threads of the warp left when cutting them off the loom4 ,a handsome fringe is at the same time the most beautiful and the most natural finishing touch to the lower edge of any hanging1 whether plain woven or embroidered4 ,it may also with propriety go down the sides--though this should be narrow and preferably uncut4 ,generally speaking1 #b inches is deep enough for the bottom of the frontal1 #a inch for the super-frontal1 and inch for the sides4 ,in arranging the colours of the fringe a large proportion should be given to that of the ground-work1 damask1 c41 and then a fair quantity to each of the principal colours used in the embroidery4 ,measurements of the spacing required1 and good-sized patterns of the colours1 with a diagram of their order in the fringe1 should always be sent to the manufacturer when ordering it4 ,the heading of the fringe should be also specially designed1 or it is nearly certain to be ugly4 ,if gold thread is used in the embroidery1 it should also appear in the fringe1 if not in the #8fall1' at least in the #8head4' ,it should first be tacked1 then stitched on1 the upper edge just covering the line1 starting from the centre and working towards each side4 ,it must be stitched firmly with strong thread or silk of the same colour as one of those used in the head2 the fringe must not be pulled at all tight from end to end1 but rather #8eased' on1 or it will #8draw' when taken out of the frame4 ,a few extra inches should be allowed for this shrinkage when giving the measurements to the manufacturer4 ,when this is all done it is ready for the making up4 ,some may consider this mere upholsterer's work1 and think they may very well1 at this stage1 hand it over to the commercial workshop2 but as it is a point of religious as well as artistic sentiment1 that at least the same guiding spirit1 if not actually the same pair of hands1 should see the work through to the end1 we will proceed4 ,an inner lining of firm1 evenly woven hemp or sail-cloth should be cut exactly true to the size which the frontal is to be1 allowing #b inches at the bottom to be turned up4 ,in our supposed case it will be #h feet long and #c feet #f inches wide4 ,if there are any creases in it1 it should be laid on a wet cloth and ironed all over with a heavy1 hot flat-iron and not folded again4 ,it is made wide enough to use without seams4 ,it ought not to be stiffened with glue1 or contain #8dressing' of any kind1 and should be of sufficient substance without it4 ,a large table1 or a board that can rest on the trestles of the mounting frame1 should be covered with a white sheet and the frontal laid on it1 face downward1 on taking it out of the frame4 ,a line ruled down the centre of the hempen cloth must be placed to the central line of the frontal1 and the two tacked together1 taking care that the needle does not damage any delicate part of the embroidery4 ,all knots should be on the #8right' side of the frontal if the tacking threads are to come out afterwards1 which may or may not be necessary2 the edges are then turned evenly1 first along the bottom and then the two sides1 beginning from the bottom when doing each side4 ,it is then to be turned face uppermost1 and the top edge sewn to the hemp4 ,the method of hanging the frontal must now be decided upon4 ,it can be made with a piece of the linen to go right over the altar and hang down behind1 weighted with a rod in the hem2 or it can be hung by rings or buttonholes from hooks under the altar-slab4 ,the former method is the simpler where there is no gradine with heavy ornaments to be lifted down every time the frontal is changed4 ,the super-frontal 7frontlet is perhaps the more correct term7 can then be made in one with the frontal1 as seen in many old examples2 but the latter method seems to be the most common1 possibly from the economical practice of making one frontlet serve for many frontals4 ,if then we are making it in this way and the frontlet is already provided1 we must take two careful measurements--one from the floor to the hooks on the altar1 the other from the floor to the lower edge of the frontlet4 ,if the latter is #g inches deep it will allow #cc inches of the frontal to show beneath3 the actual height of it will depend on the position of the hooks4 ,the linen lining is cut to allow turnings of about an inch down the sides and along the bottom1 and to turn over the top hem covering the raw edge of the silk on the right side1 where it has been sewn down to the interlining4 ,the linen lining is now to be firmly stitched all along with strong back-stitching2 the other edges may be hemmed round on the #8wrong' side after tacking them in place4 ,a wooden lath may be slipped through the hem at the bottom1 and a brass one along the top2 in this case buttonholes may be worked in the upper one wherever the hooks would come1 instead of rings sewn on4 ,the lining should be of a stout pure linen and may be of the same colour as the frontal4 ,i have given somewhat minute directions as to the making up of the altar-frontal1 as the method is very similar for all this kind of work4 ,curtains do not require an interlining1 neither do vestments unless the stuff is poor1 which of course it ought not to be4 ,an interlining of soft coarse muslin1 or very thin unbleached calico1 perhaps helps to keep it in shape and does not interfere with the grace of the folds2 but anything which makes a vestment stiff or cumbersome should be avoided4 ,altar-frontals are frequently stretched and nailed to a light wooden frame--a plan which is extremely convenient1 and perhaps helps their preservation where they are frequently changed--but their textile grace is greatly diminished2 when such a frame is used ,i would suggest covering it first with a light-textured linen and sewing the frontal to this1 instead of nailing it on4 ,if the super-frontal1 or frontlet1 has not been already provided1 we shall have to consider the question of the depth it ought to be made4 ,again ,i can only give general principles4 ,the beauty of the whole depends on the due proportion of its parts4 ,as altars are usually nearly of the same height1 whatever their length may be1 it follows that a deep frontlet reduces the proportion of the frontal to a mere ribbon if it is very long4 ,therefore we may say1 the longer the altar the narrower the super-frontal should be4 ,that part of the super-frontal which lies flat on the top of the altar should always be made of pure linen4 ,it may be of the same colour as the border which hangs down 7if the fair linen cloth with a cover on it is not kept on always71 but it is really more practical when made of undyed linen4 ,,chapter ,,ix ,,on ,,the ,,cope ,,and ,,mitre ,there is no vestment which has engaged the interest of artists and needlewomen more than the ,cope4 ,it is part of the state apparel of kings1 nobles and bishops1 and seems to be both the ecclesiastical and secular descendant of the glorious ,trabea or #8,toga picta' of ancient ,rome1 where it was the custom of victorious generals to offer their magnificent robes in the temples4 ,illustration3 ,a ,fifteenth-century ,bishop 7,botticelli7 ,it seems to have maintained its pre-eminence as the most suitable vestment for priest or bishop at such high and solemn ceremonies as the ,coronation of sovereigns1 choral ,baptisms1 ,marriages and ,burials1 also for processions at great festivals1 c4 ,the old examples which remain are often extremely beautiful and interesting1 showing that the utmost care and thought and almost unlimited time must have been bestowed upon them4 ,they are frequently embroidered all over1 or are made of the richest velvet or brocade with hood and orphreys of woven gold4 ,illustration3 ,diagram1 shewing proportions of well-shaped ,cope4 ,scale inch #a foot ,hood may be pointed round or square at the bottom4 ,the shape is theoretically semicircular1 but in practice it is best1 when drawing the semicircle1 to place the centre a few inches above the straight line which forms the front edge of the garment 7diagram74 ,this causes the front to be a little longer from the top to the hem than the back is1 and thus allows for the part which is taken up at the neck2 when it is worn it rises up there from the shoulders4 ,this becomes quite ungainly when the orphreys 7which are laid on the edge of the front7 are very wide and stiff1 but it again may be partially compensated by fastening the morse rather low on the orphreys and having it of a good size so as to leave a fairly wide opening in front3 the whole cope will then settle lower on the shoulders4 ,there is another way of getting over the difficulty1 and that is to #8shape' it to fit on the shoulders4 ,i have seen one ancient and one modern specimen treated thus1 and they look very well when in use1 but they are quite exceptional1 and this method of course destroys the typical half-circle1 and would require the orphreys to be cut to fit also4 ,it is better to keep the orphreys narrow2 the only excuse for such very wide ones seems to be the magnificent embroidery of figures and tabernacle-work with which they were so often decorated in the fifteenth and sixteenth centuries1 when wide orphreys became so generally used4 ,illustration3 ,sketch showing spacing of ,canopy-work--typical ,english thirteenth-century ,cope of ,st4 ,sylvester4 ,each of the larger spaces is filled with groups of figures illustrating the ,life of ,christ1 smaller ones with ,angels1 the medallions with birds4 ,a very favourite arrangement of design in the old ,english work was to divide the whole surface of the cope into a series of quatrefoils1 like the #8,syon cope1' or of canopy-work1 as shown by the cope of #8,st4 ,sylvester1' enclosing groups of figures illustrating the life of ,christ1 the intermediate spaces being filled with cherubim and angels4 ,the lowest central space was often occupied by the ,annunciation or the ,nativity2 the middle one usually by the ,crucifixion1 and the upper one by the ,lord in ,glory4 ,this arrangement left very little room for a hood2 indeed1 at this period they are generally so small as not to require much consideration1 being often merely a triangular enlargement of the orphrey at the centre4 ,when the fashions changed 7which they seemed to do definitely1 if slowly71 our forefathers did not exercise so much judgment as we might expect in adapting their priceless inheritance of needlework1 but hacked away at one part and joined on at another1 quite regardless of the mutilation it involved4 ,even in the ,syon cope the orphreys1 which are supposed to have been added only about fifty years later than the body of the cope1 cut off half of the figures of the angels nearest to the edge4 ,the #8,daroca' cope at ,madrid1 which is worked in the same style and of very similar design1 has its original narrow orphrey1 and the angels are designed to fit into their spaces1 but the large hood seems to have been an after-thought1 and a border and fringe have been ruthlessly struck through the figures of four angels enclosing the upper central group which completed the design4 ,in many of the later ones the hood and orphreys became the principal features of the cope1 and all the decoration was concentrated upon them4 ,both hood and orphrey are worked separately 7unless the former be a quasi-hood joined in with the orphrey1 or marked out merely on the back of the cope74 ,the orphrey is applied to the cope in a long embroidery frame1 before making it up4 ,the hood is not usually so applied1 but made up by itself1 lined and fringed2 and fastened1 by means of loops sewn on its upper edge1 to buttons placed to correspond on the orphrey 7either below or over it74 ,the cope and its lining1 of silk or linen1 should be cut out exactly alike1 allowing at least half an inch for #8turnings' all round 7see ,a on diagram74 ,tiny snippets should be cut out of these #8turnings' along the curved edge 7,b on diagram71 then outside and lining should have their edges turned up and tacked separately1 then again tacked together1 first down the middle1 then along the straight edge1 and lastly round the curve1 in each case starting from the centre4 ,it is then ready to be slip-stitched together--again beginning at the centre1 both for straight and curved edges4 ,illustration3 ,mitre of ,st4 ,thomas of ,canterbury ,the cope is fastened in front with a large clasp or brooch1 called the morse4 ,this may be made of metal enriched with precious stones1 in which case it is work for the artist-goldsmith4 ,or it may be of material richly embroidered1 with or without jewels2 a good size for a morse is from #f to #h inches long by #c inches wide4 ,some of those worn by bishops at ,king ,edward ,,vii4's coronation were #ab inches long4 ,it should be fastened firmly on the right side of the garment about #ab inches from the centre1 and may have three or four large strong #8eyes' sewn on the other edge in which the hooks will fit1 which are to be fixed securely on the corresponding spot on the left side of the cope4 ,both the hood and the lower edge of the cope itself may be finished off with a border or a fringe1 or both4 ,the ,mitre--also part of the official dress of bishops and archbishops--is a linen cap of a nearly triangular form as seen from the front or back4 ,the appearance of it is familiar to all 7in a somewhat exaggerated form7 in the armorial bearings of many ,sees1 and in pictures1 c41 where towards the fifteenth century it grows taller and bigger1 and more unbecoming as time goes on4 ,the older ones are often merely decorated with an orphrey down the middle and a band round the head2 an embroidered rose or a jewel is sometimes placed on either side of the vertical band4 ,in the more ornamental ones they are completely covered with embroidery of the finest description1 often jewelled wherever possible--but the same arrangement is generally followed4 ,the lappets 7inful7 are worked to match1 and are placed in the middle of the head-band at the back1 either close together or an inch or two apart4 ,they are from #aj to #ad inches long and from #a to #c inches wide1 finished at the ends with fringe or tassels4 ,the accompanying illustration of one of the mitres of ,st4 ,thomas of ,canterbury shows an excellent shape1 and although well covered with embroidery is not over-ornamented4 ,the height is #aj inches and the size round the head #bd inches4 ,a mitre is much easier to make than would at first sight appear4 ,a simple one of the dimensions of ,st4 ,thomas's requires a piece of material #ab inches wide and about #bf inches long 7of course1 if made for any individual bishop it must be proportionate to the size of his head74 ,it may be made of cloth of gold or any precious material1 or of pure plain white linen4 ,illustration ,to ornament it1 the material should be stretched on a frame1 the centre marked1 two lines drawn 7tacked in with fine silk7 vertically and horizontally at right angles to each other1 ,a ,a and ,b ,b4 ,then marking off an inch along all the edges for turnings1 a diagonal line is drawn from ,a to ,c and again from ,c to ,d4 ,the parts enclosed within these lines and ,d ,e are where the ornamentation is worked1 including the orphreys4 ,space for these should be marked out next1 or they may be worked straight on to the stuff2 in any case1 all except the one which covers the seam should be stitched on before it is taken out of the frame4 ,the making up is done simply by stitching it together in the first place so as to make a circular band2 then the top edges are placed together1 turning in the inch 7or whatever is allowed for74 ,a slit nearly the depth of the turnings should be cut at ,c and a snippet cut out at ,a 7see diagram74 ,it is then to be sewn neatly together along the top1 ,g meeting ,g1 with ,a at one end and ,d at the other4 ,when this is done the inful are sewn under the edge of the mitre at the back1 and a lining 7previously prepared of exactly the same shape1 but a trifle smaller7 slip-stitched all round the lower edge and kept in place by means of a few stitches at each point4 ,the mitre should then be folded quite flat1 and the edge of the folds outlined with gold twist or fine cord2 a little tuft of silk and gold thread1 or a small gold acorn or some such small ornament1 is sometimes fastened on the apex of each angle4 ,this is for a simple linen mitre1 for the more gorgeous ones1 preciosa and aurifrigiata1 a band of leather is sometimes placed inside between the outside and the lining1 wide enough to reach from ,e to ,b and ,c where the angle begins 7#d inches in diagram74 ,the triangular pieces are cut out before making it up 7along the dotted line in diagram71 and another piece of material 7not necessarily like the rest of the mitre7 is cut to fit1 and sewn neatly all round1 before the edging of cord is put on4 ,the shape of this top piece will vary from a square to any lozenge1 according to the angle at which the point of the mitre is made4 ,in my diagram it is a right-angle1 and so the top would be #h inches square4 ,it should have an interlining of something light1 yet fairly stiff4 ,parchment used to be considered the correct thing for this interlining1 but a good collar interlining or tailor's canvas will suffice4 ,,chapter ,x ,,on ,,eucharistic ,,vestments1 ,,chalice-,,veil ,,and ,,burse ,the ,ornaments ,rubric as it stands at the beginning of our ,prayer-books has been an open field for controversy for many years4 ,so much light has been thrown by this means upon customs and observances once almost forgotten and fallen into neglect 7which obviously at the time of the ,rubric were before the eyes or fresh in the memories of all ,church-people71 that we can now once more picture to ourselves1 without effort1 what our forefathers strove successfully to retain as permissible for the maximum 7if not absolutely commanded as the minimum7 of distinctive vesture and ritual to be used in the services of the ,church of ,england4 ,for the ,celebrant--the ,amice1 the ,albe1 the ,girdle1 the ,stole1 the ,maniple or ,fanon1 and the ,chasuble4 ,for the ,epistoler and ,gospeller--the same vestments1 except that instead of the ,chasuble a ,dalmatic or ,tunicle is worn4 ,for the ,altar itself--a ,frontal1 ,fair linen cloth1 two ,corporals 7or ,corporal and ,chalice-veil1 or ,corporal and ,pall71 ,purificators1 and ,corporal-case or ,burse4 ,the symbolism of the vestments may be considered in a two-fold aspect3 both as signifying the garments worn by our ,lord at ,his ,passion 7and so keeping before the eyes of the congregation the #8continual remembrance'71 and1 secondly1 as representing the virtues required in the ministers4 ,thus we may see in the amice1 first1 the cloth with which our ,lord was blindfolded when the ,jews struck ,him on the face1 and1 secondly 7as it is first placed on the head71 #8,hope--the ,helmet of ,salvation4' ,in the albe1 first1 the white garment in which ,he was arrayed by ,herod1 and secondly1 ,innocence of ,life1 or a #8conscience void of offence toward ,god4' ,and so1 of the others1 the girdle1 stole1 and maniple may represent the cords and bands with which ,he was bound and scourged1 and1 secondly1 purity or chastity1 and the yoke of ,christ4 ,while in the chasuble we see the royal robe in which ,he was mocked as king1 and1 secondly1 covering and embracing all1 the glorious grace of charity4 ,the amice1 albe1 c41 will be more particularly described in the chapter on ,linen-work4 ,the altar-frontal we have already spoken of4 ,in this place we will consider the stole1 maniple1 chasuble1 and dalmatic4 ,in a little book such as this1 the primary intention of which is to be of practical use to the embroidress1 we cannot do more than touch upon the very outside margin of history4 ,it is1 indeed1 extremely interesting to trace back to their primitive uses and beginnings all the articles of vesture and ornament used by the ,church in her services2 but ,i can merely remark in passing upon the evolution of the ,liturgical garments1 which seem to have proceeded gradually from the most simple and elementary requirements2--begun by necessity1 continued by reverence1 and completed by symbolism4 ,putting aside1 therefore1 learned research into the origin of the stole 7orarium1 stola7 and the maniple 7mapula1 sudarium1 mantile1 or fanon71 we need not go further back than the ninth or tenth centuries to find them in general use by the clergy much the same as we see them now4 ,the stole and maniple are usually made to match1 and follow the colour of the season1 as shown by the altar-frontal4 ,about #i feet is the full length of the former and #c feet of the latter2 #b yards of damask will be sufficient for both1 if the stole has a seam in the centre1 and half the width only of #bg-;inch damask is required4 ,and the best shops will supply the half-width if requested to do so2 but if other vestments are being made at the same time1 with the same material1 it is more economical to get all the silk in one length1 as it will cut to more advantage than by getting the pieces separately4 ,illustration3 ,fig4 ,i4--,rubens's ,portrait of ,st4 ,ignatius of ,loyola1 7in ,warwick ,castle71 showing elaborately worked ,chasuble ,illustration3 ,fig4 ,,ii4--,ancient forms of ends of ,stole and ,maniple ,the width of a stole and a maniple may be from #a to #b inches in the narrowest or central part4 7,they are sometimes made wider1 but are not so convenient to wear under a chasuble47 ,they may be perfectly straight from end to end1 as in ,illustration ,a1 or they may widen out by degrees from the centre to the fringe1 as at ,d4 ,they may have a square end added on like ,c1 or begin to widen from #h to #aj inches above the fringe 7see ,b71 or1 again1 only just over the fringe1 as in ,e and ,f4 ,all these are typical ancient examples4 ,as to the decoration of them1 as a rule they were either woven in gold thread or embroidered richly throughout the whole length in gold diaper patterns1 or geometric devices1 with crosses1 roses1 c41 at intervals2 or with figures1 as in the celebrated ,durham relics of ,st4 ,cuthbert4 ,the fringes were often very handsome1 either knotted or plain1 in various colours or of gold alone2 sometimes tassels at the corners were used instead of fringe1 or little golden bells4 ,the material of which they are made should be rich and handsome--by preference the same as the chasuble4 ,a deacon's stole#h should not be so richly decorated as that of the priest4 ,illustration3 ,early ,twelfth ,century ,from ,,ms41 ,british ,museum4 ,v#f ,the chasuble 7chesible1 casula1 planeta1 amphibalus1 pnula7 seems in very early days to have been the ordinary outer dress of the clergy as well as the one worn at the celebration of the ,eucharist2 no doubt the latter would be handsomer both in material and ornamentation1 so as to make a distinction4 ,the most usual form would seem to be that of a semicircle joined up the front1 leaving an aperture sufficient for the head of the wearer to pass through4 ,it may possibly have been of a completely circular shape to begin with1 with a hole in the centre like a poncho or a gaberdine4 ,it may have been cut away at the sides for convenience1 till by degrees it arrived at the two typical shapes of #8,gothic1' or pointed1 and #8,roman1' or square4 ,the former has always been more generally used in our ,church1 but the latter was not uncommon at the time of our ,rubric4 ,fig4 ,,iii4 shows the early form of ,gothic4 ,it is from one of the tombs in ,worcester ,cathedral of the early thirteenth century2 there are numbers of equally fine ones to be seen on the effigies of priests and bishops in our old parish and cathedral churches all over the country2 the older they are1 the fuller and softer-looking is the vestment as a rule4 ,they often have one straight orphrey 7or pillar7 in front and a ,y-shaped cross at the back 7where the square-shaped ones have a ,latin cross74 ,sometimes they have a ,y-cross in front also4 ,occasionally there is no orphrey in front1 as in ,fig4 ,,iii4 ,it is not unlikely that the orphrey was added to cover the seam4 ,illustration3 ,fig4 ,,iii4--,a ,bishop's ,tomb in ,worcester ,cathedral4 7,showing old form of ,english chasuble7 ,another and very graceful way of decorating the chasuble is by embroidering it over the shoulders between the arms of the ,y-cross1 either on the back alone or extending over the front also4 ,this kind of ornamentation is called the #8,flower1' and may be seen on the chasuble of ,st4 ,thomas of ,canterbury 7p4 #eh7 and also on ,fig4 ,,iv4 ,almost the only difference between a modern chasuble of a good #8make' and the old ,gothic is the seam on the shoulders1 which makes it less cumbersome to wear4 ,although the ,gothic may be the more artistic garment1 the square chasuble can also be a noble-looking vestment in its older and ampler form1 as may be seen by ,fig4 ,i41 taken from ,rubens's portrait of ,st4 ,ignatius of ,loyola4 ,it also gave scope for much decoration1 as the broad1 plain surface1 unbroken by folds1 lent itself to more pictorial treatment4 ,there are many in the ,south ,kensington and other museums with representations of the ,crucifixion1 surrounded by groups of saints and attendant angels4 ,the chasuble follows the colour of the season4 ,a good average size is #ed inches long at the back 7#c or #d inches shorter in front7 and #ej inches wide at the widest part4 ,it takes #f yards of #be- or #bg-;inch material1 not counting any extra length which may be required for #8repeat' of pattern1 which must never be forgotten when ordering any kind of figured stuff4 ,when there are orphreys1 they should be worked separately on strips of satin1 velvet or damask1 of a different colour or material from that of the vestment1 and applied to it on a frame before joining the two halves together at the shoulders4 ,a medallion may be placed at the intersection of the ,y-cross1 which should not be too low down4 ,the material of which the orphrey is made should never be less rich than the vestment to which it is applied4 ,the ,,dalmatic worn by the ,gospeller or deacon and the tunicle worn by the ,epistoler or sub-deacon are very similar to each other in shape and general appearance4 ,the latter is usually a little simpler in decoration4 ,many very beautiful examples may be seen in our museums and picture galleries4 ,it was a favourite custom with the ,old ,masters to represent the ,angel ,gabriel in the dress of a deacon in pictures of the ,annunciation4 ,there were also many well-known ones of ,,ss4 ,stephen and ,lawrence4 ,illustration3 ,fig4 ,,iv4--,diagram showing dimension of ,chasuble ,the world-renowned #8,dalmatic of ,charlemagne'#i is still in existence in the ,treasury of the ,vatican1 which shows the freedom with which masters of the craft could treat the decoration of the dalmatic with the happiest results4 ,in these days we generally keep to the two stripes 7clavi7 and two or four apparels4 ,the length of the dalmatic and tunicle should be about the same as that of the chasuble or a little shorter4 ,they also follow the colour of the season where there are complete suites of vestments1 but for poorer churches it has not always been considered necessary4 ,the lining of all vestments should be of a different colour from the vestment itself4 ,it may be of either silk or linen2 the richer ones are preferably of silk1 as it is not so heavy and cumbersome as linen4 ,the narrow orphrey is placed straight down each side of the dalmatic from the shoulder to the hem1 which may be fringed all round2 sometimes a rich tassel hangs over each shoulder1 as in the sketch of ,st4 ,lawrence4 ,the apparels are rectangular pieces of silk or velvet1 usually embroidered very richly in gold and colours1 and made up quite separately from the vestment which they adorn4 ,they are attached by means of lightly worked tacking or slip-stitches4 ,for an amice the apparel is generally stiffened with an interlining of tailor's canvas4 ,it should be about #bb inches long and #c or #d inches deep4 ,in use it looks something like a collar1 and is sometimes called the amice collar4 ,for a dalmatic or tunicle the apparels may be about #ba #ae inches for the skirt and #ba #i for the upper one2 but there is no exact rule about size1 only they should not be too long 7not more than #ba inches to fit in between the clavi71 and for the skirt not too deep4 ,they are generally shorter on the albe than on the dalmatic--from #ab to #ae inches4 ,they may be of any colour2 a crimson ground with gold1 blue1 and white decoration has always been a favourite combination and looks well with most vestments4 ,a bold design and plenty of gold and colour are desirable4 ,illustrations ,,iii4 and ,,iv4 in ,chapter ,,vi4 give good fifteenth or sixteenth century designs for an apparel4 ,they are done in these colours4 ,the earlier ones were generally of geometric design1 like the stoles in ,illustration ,i41 and the interlaced circles with cross in the centre1 c4 ,a piece of rich brocade or damask1 c41 was often used instead of embroidery4 ,for sleeves and skirt of albe they may match the amice collar4 ,indeed1 ,i have seen fourteenth-century work in which the stole1 fanon1 orphreys of chasuble1 and apparels of albe and amice are all of the same pattern1 and the effect was very good4 ,illustration3 ,fig4 ,v4--,chasuble of ,st4 ,thomas of ,canterbury 7,at ,sens7 ,the corporal-case1 or burse1 and the silk chalice-veil are usually en suite with the altar and vestments4 ,it is said by some that the silk chalice-veil is a foreign innovation and has no proper place in the ,anglican ritual1 but it is of such general use now that we must mention it here4 ,it is usually made of the richest silk or satin1 and embroidered all over1 or at the corners and centre1 or with a border all round and a cross or monogram in the middle of one side1 lined with silk and edged with a narrow fringe or cord1 or made up plain4 ,the design is frequently1 but not necessarily1 made to match the burse4 ,when this is desired1 it is important to arrange it so that the design and embroidery are not spoilt when the veil is in use2 for it must be remembered that the burse always presents a flat surface of at least #i inches square1 while the veil is intended to hang over the chalice1 so that the centre 7with a radius of probably from #b to #c inches7 is the only part that will lie flat when in use4 ,i once saw a beautifully worked chalice-veil entirely spoilt by the heads of the four ,evangelists hanging upside down over the chalice4 ,the design had apparently been copied from an alms-dish of ,benvenuto ,cellini1 and was extremely beautiful in itself and quite suitable for a burse1 but did not lend itself happily to a chalice-veil4 ,illustration3 ,fig4 ,,vi4--,ornament for ,chasuble1 called the ,flower ,the burse should be made of rich and beautiful material4 ,in many of the old ones the back was made of leather1 or something else useful and strong2 but nowadays they are generally made of damask or satin1 the same as the front4 ,nine inches square is a good size4 ,if a chalice-veil and burse are being made to match1 #a yard of #bg-;inch material will usually be enough for the two4 ,first cut a square of #be inches for the veil2 then two squares of #aa inches each from the piece that is left2 this allows #a inch all round for turnings4 ,when the embroidery on the silk for the burse is finished it should be cut out of the frame with the linen still at the back1 not cut away round the work1 or it will be apt to show a ridge where it leaves off when it is stretched over the boards2 besides1 it is needed to protect the silk where the edge of the boards would otherwise come in contact with it4 ,have ready four pieces of good strong cardboard1 cut exactly square1 each #i inches4 ,this can be got at any good shop where mounts for pictures are cut4 ,illustration3 ,fig4 ,,vii4--,st4 ,stephen 7after ,v4 ,carpaccio7 ,two pieces of fine white linen1 each #aa inches square1 should be ready1 nicely washed and ironed4 ,the linen is to be stretched over two of the boards1 the embroidered silk over one1 and the plain silk1 for the back1 on the other4 ,it can be done either by taking long stitches from one edge of the stuff to the other1 right across the boards1 or by means of a very small quantity of embroidery-paste on the inside of the turnings4 ,then each linen-covered board is placed with a silk-covered one1 and the two sewn together with the finest stitches of over-sewing1 in white thread or silk4 ,after this the linen-faced sides are placed together1 the silk being outside1 and the two sets of board are joined at the left side by means of four or five tiny hinges1 worked strongly through the silk and inner lining1 in buttonhole stitch of the same colour as the cover4 ,illustration3 ,fig4 ,,viii4--,st4 ,lawrence 7after ,fra ,angelico7 ,some people make the back and front all in one piece of silk1 but this is not so convenient either to work or to make up4 ,there is more difficulty in getting the design exactly in the middle and straight on the boards2 there is1 besides1 a constant strain afterwards on that edge of the silk which acts as a hinge every time it is opened and shut4 ,another diversity in the way of making up a burse is the letting in of side-pieces1 like a purse or pocket-book4 ,this also is difficult to do neatly1 and is inconvenient in use2 but where it is preferred it may be made less awkward by setting in a straight-edged piece of linen instead of a #8gusset-shaped' one1 covering it with silk like the burse-cover1 and stitching it firmly into a pleat before joining the two boards together4 ,it will then more readily keep in place1 and if it bulges when in use it will not look so slovenly as it does when the side-pieces are of linen alone4 ,many of the old burses were sewn up closely along three sides1 with the fourth only left open1 but this is obviously inconvenient4 ,illustration3 ,fig4 ,,ix4--,diagram showing dimensions of ,dalmatic ,illustration3 ,corporal-case or ,burse4 7,italian1 ,sixteenth ,century47 ,from a drawing1 size about #aj in4 square ,v4 ,a4 ,museum1 ,south ,kensington 7,no4 #aeaa--achh74 ,illustration3 ,chalice-veil4 7,italian1 ,seventeenth ,century47 ,from a photograph1 size about #bd in4 square ,v4 ,a4 ,museum1 ,south ,kensington 7,no4 #bcg--ahie74 ,,chapter ,,xi ,,on ,,banners1 ,,etc4 ,ecclesiastical banners vary to almost any extent in size1 shape1 and material1 as well as design4 ,illustration3 ,,design ,,for ,,banner ,one of the simplest1 much in use in the olden times1 was the ,banner of ,st4 ,george1 the patron ,saint of ,england4 ,it is suitable to nearly every place and occasion1 and consists of a red cross on a white ground1 and is of a plain rectangular shape with a fringe or border all round4 ,the choir banner generally has as its chief ornament the figure of the patron saint1 or the emblems of the dedication of the church1 or the coat-of-arms of the parish or see1 with the name of the church on the upper border4 ,it may have orphreys down the sides1 or be #8parsem' with flowers1 or the whole of it may be treated more or less pictorially 7within a border7 with an incident in the life of the saint4 ,the other banners in general use are those belonging to the different ,church guilds and societies working in the parish1 such as ,temperance societies 7a favourite device for this is ,st4 ,george and the ,dragon71 ,sunday schools1 ,missionary societies1 #8,c4,b4,s4' ,embroiderers' ,guilds1 c4 c4 ,appliqu work1 as ,i have before observed1 is admirably suitable for banners1 whether the design consists of figures or emblematical devices4 ,the material should be good of whatever kind1 and strong1 and the work firmly and closely done to stand wear and tear1 especially if used in outdoor processions4 ,but a painted banner is really more suited to our climate than a worked one4 ,i do not mean an imitation of embroidery4 ,nothing could be in worse taste than the pretence of such a thing1 but a good painting on canvas or any suitable material1 in oils or tempera1 which will not be greatly affected by sunshine1 rain1 or fog1 would answer all the requirements of an outdoor processional banner far better than a more delicate embroidered one4 ,after painting ,i recommend ,inlay1 and thirdly ,appliqu in suitable materials for banners4 ,these methods are described in ,chapter ,,vi4 ,but of course for use in a building ordinary embroidery in gold and silks is not out of place where funds permit4 ,a plain rectangular banner is made up in the same manner as an altar-frontal4 ,but a less simple shape is not quite so easy to finish off neatly4 ,i therefore give a diagram showing how to arrange the making up of a more intricate form4 ,illustration3 ,tackings ,the black lines shew the edge of ,inter-lining4 ,the dotted lines1 where turnings are cut4 ,the fine lines shew the tacking4 ,the banner is laid face downward on the table and the interlining 7previously cut exactly to right size and shape7 tacked down to it through the centre and near the edges4 ,the dotted lines show how the material of the banner is to be cut to make the turnings lie flat4 ,it is then to be laid face upwards and all the edges turned and tacked closely over the interlining4 ,the outer lining may then be laid upon it1 the corners cut and the edges turned1 making it about one-eighth inch smaller than the other2 the two are then placed together1 tacked once more and then firmly sewn all round4 ,if the fringe has an ornamental heading it should be put on last of all1 but if not it should be inserted and firmly stitched in place before the outer lining is sewn down4 ,all the edges may be evenly pressed with a warm iron after the tacking-threads are removed4 ,next to the plain rectangular shape1 the single point at the bottom is the easiest to make up4 ,proportion in size and shape is the great thing to aim at4 ,a square and a half is a fair one for a rectangle4 ,variations should be rather in favour of additional length than additional width1 but no exact rule can be given1 as so much depends on the design4 ,it should be borne in mind that lines going parallel with the long side tend to lengthen1 and parallel with the short side to shorten1 the apparent size of any figure4 ,a banner should not be too large and heavy1 in consideration for the person who has to carry it1 neither should it be too small1 or it will look poor and insignificant1 however good both material and workmanship may be4 ,if possible it should be worked on both sides1 as the expanse of lining which is displayed when it is in use is not very interesting to look upon1 and is in evidence for quite as long a time as the front during a procession4 ,vasari says that ,botticelli invented the method of work ,i have described as ,inlay for the use of church banners1 considering it more effective than any other kind of work and having the advantage of being equally visible on both sides of the banner4 ,botticelli drew beautiful designs for needlework of this kind1 but it had been actually in use for other purposes many centuries before4 ,illustration3 ,pall1 belonging to the ,saddlers' ,company ,some of the finest specimens of early ,english ,church embroidery which have survived to our time are to be seen in the funeral ,,palls or herse-cloths belonging to the old guilds and companies4 ,it seems to me that it would be a good thing if each parish church had now such a decent and seemly covering for her departed as was customary in earlier days4 ,the pall is still used at the burial of great persons4 ,those of us who were present at the funeral of ,queen ,victoria will not have forgotten the beautiful one worked for that occasion by the ladies of the ,royal ,school of ,art ,needlework4 ,the terrible masses of black velvet1 c41 used in the last century seem to have left a sense of recoil in the minds of many against the use of the pall altogether1 but if it were once realised that black is altogether unnecessary 7white or red or blue and gold being quite as often used in former times in the ,english ,church7 ,i think that the idea would be generally approved of having one beautiful covering for the use of rich and poor alike4 ,of course1 it would not be possible or suitable for every simple parish church to have such magnificent embroideries as are shown1 for instance1 on the illustration here given of the ,saddlers' ,pall1 or as the ,fishmongers'1 ,vintners'1 or other rich merchants' guilds1 but a handsome cloth of red or blue brocade with a text worked on the border1 or a simple symbolic design in appliqu repeated at intervals1 or a plain cross 7the sign which can be read and understood by all7 going over it from side to side and from end to end1 would not be very costly4 ,the centre of this one is of rich red and gold velvet brocade1 and the border is magnificent with coloured silks1 gold1 c4 ,desk-hangings1 which are of use for the better preservation of the books laid upon them1 and sometimes desirable as introducing a little colour and comfort among the wood and stone-work of pulpit or reading-desk1 are usually1 though not necessarily1 of the same colour as the altar-frontal or other hangings1 so far as the ground-work is concerned2 the embroidery also ought to harmonise in colour and style1 especially if they come into view at the same time4 ,the same may be said of almsbags1 book-markers1 kneelers1 and any other textile furnishings there may be4 ,for a desk1 a piece of silk or velvet1 c41 should be measured wide enough to cover the flat part of the desk 7allowing a little extra on each side for #8turnings'71 and the length should be sufficient to hang down about #ab to #af inches in front only of a pulpit desk1 but both back and front of a faldstool or prayer desk3 #f to #h inches is deep enough for these1 which should be embroidered and fringed both front and back4 ,a simple border-pattern either upright or lateral in motive looks as well as anything here1 as it is not intended to attract particular attention to itself4 ,altar and office-books may be covered with very beautiful embroideries1 and if the materials of which they are made are good and substantial they will stand a fair amount of wear and last many years4 ,,almsbags should not be very elaborately worked1 as they soon wear out or yet dirty when in constant use4 ,three-eighths of a yard of twenty-four inch material is enough to cut two if arranged in the manner shown on the diagram1 thus3-- ,it will be noticed that the back of each bag ,a1 is cut in one piece and the front1 ,b1 ,c1 is cut in two pieces4 ,the interlining1 which should be of a good quality of tailor's canvas1 is cut in the same way2 the silk or linen lining--the #8business' part of the bag--is made a very little smaller than the worked part of the front ,b4 ,to make up the almsbag1 after the embroidery is worked on the silk 7or whatever the material may be71 the linen at the back may be cut away round the work if it makes it too clumsy4 ,then interlining and embroidered front are tacked together1 corners cut and curves nicked before turning the edges over1 the upper part of front and the whole back treated in the same way4 ,then the stout silk or fine linen lining is joined along the sides and bottom with fine back-stitching1 and the upper edge hemmed down to the top of embroidered front and along the dotted line of upper front 7see ,d74 ,illustration3 ,central ,ornament at ,sides and ,ends of ,pall1 belonging to ,saddler's ,company ,the two parts are then first tacked1 then sewn together with fine over-sewing1 done in silk of the same colour as the material1 and the bag is finished4 ,sometimes a fine cord is sewn all round the bag4 ,the embroidery ought to be fine and close to wear well2 it is a nice little piece of work for beginners to try their hand on4 ,illustration3 ,bible1 bound for ,queen ,elizabeth in ruby velvet1 embroidered in coloured silks1 gold and silver thread1 and seed pearls 7size1 #af #aa7 7,in the ,bodleian ,library7 ,kneelers frequently consist merely of mats and strips of carpet1 and certainly from an artistic point of view good carpet is better than poor needlework4 ,but if people will have the patience to do it there is no need to have bad needlework when there is an ideal stitch for the purpose which requires no technical skill in embroidery--which calls in fact for nothing in the worker but diligence1 patience1 and accuracy in counting4 ,i refer to the good old cross-stitch1 which unfortunately has got itself into disrepute by its devotees trying to make it do work for which it is manifestly by its nature unfit1 and by the crude colouring which was common at the time the so-called ,berlin-work was in vogue4 ,if we return to the early pattern-books of ,german and ,venetian origin 7there are many republished in the present day7 it should be quite easy to choose good and suitable ones from among them1 avoiding as a rule those sold in shops as #8exclusively ecclesiastical1' which are generally hideous1 and also any that make attempts at shading naturalistic foliage and blossom3 see that the design frankly acknowledges the limitations of the method and thus makes artistic use of it 7see ,illustration ,f1 ,chapter ,,xii474 ,good strong wool or silk and linen canvas should be selected and the work done with a #8rug' needle4 ,this work is easily made up1 the edges turned over and strong flax or hempen cloth hemmed to it4 ,an interlining of coarse felt may be added if extra thickness is desired4 ,the modern use of the ,,book-,,marker in the ,holy ,bible1 ,office1 and ,altar books seems partly to be occasioned by the absence of illuminated ,initials1 ,versals1 c41 which in former days assisted the reader in finding his place in the book4 ,but there was often in medieval times a small handkerchief 7sudariolum7 attached to the altar-book by a ribbon for the use of the officiating priest1 and this string would naturally sometimes be used as a #8marker4' ,in the course of time1 like all other things used in the sanctuary1 this would become resplendent with gold and embroidery1 till the ornamental took the place of the useful and remained only as a symbol4#aj ,book-markers should not be wide or clumsy or they defeat one of the objects for which they exist--the preservation from wear and tear of the books in which they are placed4 ,it would perhaps be more convenient if they were fastened into the binding1 but as this is seldom done effectually in the first place1 and they soon get worn out1 the movable ones1 which can easily be replaced1 are now in general use4 ,a simple device at each end and the appropriate finish of a good fringe are all that is necessary4 ,for the sake of harmonious appearance1 and not for any ritual reason1 they are usually made en suite with the vestments and altar4 ,illustration3 ,diagram showing how to cut two ,almsbags ,when working book-markers sufficient ribbon should be left below the design to turn up and cover the back of the work4 ,the raw edge will be turned in and it will be slip-stitched along the top and over-sewn down both sides4 ,the fringe is then over-sewn to the extreme end of the marker4 ,if the #8head' of the fringe is not suitable for this treatment1 the ribbon that covers the back of the work may be cut separately and the head of the fringe inserted between the two4 ,the back may also be embroidered4 ,illustration3 ,ancient ,pulpit-hanging in ,stapleton ,church1 ,shrewsbury ,illustration3 ,ornament for ,horse-cloth1 belonging to the ,fishmongers' ,company ,,chapter ,,xii ,,on ,,the ,,principal ,,stitches ,,used ,,in ,,linen-,,work ,in all the previous chapters ,i have assumed that the embroidress would carry out the suggestions given by means of gold and silver thread1 floss silks1 c41 working them either directly upon some rich fabric such as silk or velvet1 or else on linen with the ultimate purpose of transferring it to the more precious material1 or1 thirdly1 on a linen ground which is eventually covered so entirely with embroidery that no trace of the original material appears4 ,i have mentioned coloured linens and linen thread as desirable materials where economy is a consideration1 to be used for the same purposes and in the same manner as silk and gold1 c4 ,i now propose to treat of linen-work as a separate branch of ,church needlework1 different both in regard to the materials employed and in the method of using them4 ,illustration3 ,sampler for ,linen-work ,to begin with1 as the ground-work will be of white linen1 which naturally requires frequent washing1 the decoration of it must either be detachable 7as in the case of #8,apparels'71 or it must be of such a nature as to withstand injury under the necessary processes of the laundry4 ,this limits the materials for the embroidery to linen thread1 cotton1 crewel wool1 washing silk1 and a certain make of tambour gold which can be conveniently worked through the substance of the linen4 ,it excludes 7generally speaking7 all loose surface-stitches and highly raised relief work2 but on the other hand it allows of many curious and diversified stitches which can only be worked satisfactorily when done in the hand without a frame1 such as chain-stitch1 buttonhole1 c4 c4 ,in choosing the materials1 whether it be the linen itself or the embroidery threads1 a careful judgment is required to select only the best and most durable4 ,if colours are to be used in the ornament1 it is well to test them beforehand as to their behaviour under the ordeal of washing4 ,the guarantee of the labels on many of them is insufficient4 ,the linen itself ought also to be washed in boiling water before the cutting-out or embroidering is attempted4 ,hand-made and grass-bleached linens are much to be preferred to the more perfect-looking but less reliable products of machinery4 ,linen thread for embroidery is not so easy to work with as some of the cottons prepared for this purpose2 but it looks so well when carefully handled that it repays a little extra trouble in the using4 ,it is apt to come untwisted in the friction through the stuff1 and then to break rather readily2 the remedy is to roll the needle between the finger and thumb from time to time during each needleful1 to keep it twisted right1 or to change hands1 working with the left if possible1 or from the opposite end of the work where it is convenient4 ,the needlefuls also should not be too long4 #8,d4,m4,c4' cottons 7of which there are a great number of different kinds7 are very nice-looking and pleasant to work with2 the colours also are good4 ,for white work ,i prefer ,clark's ,anchor 7 broder71 the numbers from #e to #aj being especially good and useful4 ,,the ,,stitches ,there is a great variety in the stitches which may be employed in linen embroidery1 but for each separate piece of work it is best to keep to one or two only4 ,in the accompanying sampler ,i have contrived to show about a dozen different ones without seriously interfering with the unity of the design2 but it is to be taken merely as a sampler of stitches1 and of those only the most desirable for ,church linen4 ,all this kind of work should be solid and firm without being drawn too tight4 ,it should never be so tightly done as embroidery which is worked in a frame1 if the linen becomes puckered or drawn out of shape it will never #8come right' afterwards1 so the stitches ought to be well practised on a waste piece of linen till the right degree of tension is ascertained4 ,a want of due regard to this is the cause of much disappointment in work done in the hand2 if too loose it soon becomes shabby1 and if too tight it makes a series of small holes all round the work1 after repeated efforts of the laundress to make the thing lie smoothly by means of much stretching and heavy ironing4 ,in general method1 embroidery worked loose in the hand differs from that done in a frame1 in that each stitch is completed by one action of the needle instead of two1 as it goes in and out of the stuff4 ,illustration ,,satin-,,stitch1 marked ,a on the sampler1 is nearly always padded first by running a few stitches backwards and forwards in the opposite direction to that of the satin-stitch1 which covers it by going #8over and over1' the needle going in at one edge of the outline and coming out at the other as nearly as possible at right angles4 ,the stitches should be placed quite close together1 and should never be much more than inch across3 if the design shows a wider space to be filled it must be subdivided by a voided line4 ,some workers pad their satin-stitch very thickly1 thinking to make it handsomer2 but all very high relief is a mistake from an artistic point of view1 as it destroys the delicacy one expects to see in linen-work1 and obtrudes itself unduly even when worked entirely in white4 ,indeed1 some authorities go so far as to say that the change of surface or texture caused by the stitchery is the only legitimate effect in white work2 but ,i think the majority would allow a little relief1 providing it is not exaggerated1 especially as it causes the satin-stitch to lie much more smoothly than when done without any under layer of cotton4 ,next to the satin- and chain-stitches ,i think ,,buttonhole-,,stitch is perhaps the most useful for linen embroidery4 ,simple buttonholing is worked from left to right1 setting the needle in and out at right angles to the outline1 holding the thread down with the left thumb at each stitch while the needle goes over it4 ,both chain- and feather-stitch may be considered variations of buttonhole1 the principle of the method being the same in each case1 viz4 working from left to right 7or from the top downwards71 holding the thread under the thumb for the needle to pass over as it pierces the stuff and comes out again at one #8stroke4' ,in ordinary buttonholing the stitches are placed as near together as possible3 at a little distance apart it becomes #8blanket-stitch1' of which there are as many variations as the ingenious needlewoman chooses to make1 but which are not appropriate to our present purpose4 ,to work the foliation marked ,b on the sampler1 it should be slightly padded1 exactly as for satin-stitch1 and the ridged side of the stitch kept to the outline2 round the inner curves1 if a sufficient number of stitches are inserted1 the ridge will stand up a little and accentuate the #8eye' of the curve very prettily4 ,the firmness of outline obtained by buttonholing has caused it to be applied to the most beautiful designs for cut-linen work 7see ,illustration1 p4 #hb71 which may be carried out with any amount of detail without the least danger of its fraying or getting out of shape1 and which will last and wear as long as the linen itself4 ,the outline should be run round before working the buttonhole for this purpose1 the stitches kept close together and drawn rather tighter than when intended to lie on the surface4 ,illustration ,the inner outlines1 also marked ,b on the sampler1 are done in the same stitch1 in the one case set in straight and in the other slanting4 ,the tiny rosettes above are worked by setting the needle in at the same place at each stitch4 ,by drawing the thread fairly tight1 a small neat hole is arrived at in the centre of each2 if the linen is very hard and strong1 the spot should be pierced with a stiletto before working4 ,illustration ,another application of the principle is shown as a #8filling' stitch at ,c on the sampler4 ,it is worked like one of the lace stitches1 except that the needle takes up a bit of the linen beneath at each stroke 7instead of #8being in the air1' as lace may be truly defined74 ,an outline of chain-stitch should be worked first1 as it provides a neat and convenient boundary for the rows of buttonholing to begin and end with4 ,bringing out the needle on the edge to the right of the worker1 it is carried straight across the work to the left and set into one of the chain-stitches there2 it is then brought out at the next chain1 and the long thread buttonholed over till it arrives at the beginning of the thread where it was fastened on4 ,the same process is repeated till the space is filled1 the stitches in each row of buttonholing being placed between those of the previous row1 and each row beginning at the left over the thread laid across from the right4 ,this will be seen clearly by the detail ,c1 which is very much enlarged to show the working1 but the rows of buttonholing are not usually much more than of an inch deep4 ,it combines admirably with chain-stitch for leaves1 flowers1 and even figures1 the stems and small details being worked in chain1 and the filling in this solid form of buttonhole1 while features and the folds of garments may be clearly indicated by voided lines4 ,,feather-,,stitch1 marked ,d on the sampler1 may be considered another development of the buttonhole-stitch1 the simpler forms of it being merely one1 two1 or three slanting buttonhole-stitches taken alternately from the one side and the other of imaginary boundary lines4 ,in practising the stitch1 until the worker gets accustomed to it1 it is a good plan to trace real boundary lines1 determining the width to be kept to1 and two other lines at equal distances within these1 as a guide for keeping the stitches all of the same size4 ,feather-stitch by itself makes a very pretty border pattern1 but it always seems a little frivolous unless it is subdued by an enclosing line of chain-stitch or buttonhole1 with either of which it will combine most happily4 ,the chain may be done first on each side 7making1 in fact1 the boundary for width71 and then the single feather-stitches taken from side to side into each chain in turn1 being careful to pick up a tiny bit of the stuff on the needle1 as well as the thread of the chain1 at each stitch1 otherwise it will be only a surface-stitch1 which does not wear so well1 though the appearance is almost exactly the same4 ,if buttonhole be used for the edge1 either it should be done slanting1 to agree with the feather1 or the latter should be worked in upright stitches to suit the buttonhole4 ,in this case it does not matter which is done first1 as the stitches go between and not into each other4 ,illustration ,,herring-,,bone is somewhat similar in appearance to feather-stitch1 but the method of working is quite different4 ,it is begun from the opposite end of the border1 working from the bottom upwards1 and the needle is set in the same direction as the line of the border1 not at right angles or diagonally1 but on the line itself4 ,the stitches are taken alternately from side to side1 and the threads cross each other naturally1 without any intervention of the needle or thumb of the worker4 ,it is a stitch well known to the neat-fingered housewife for keeping flat the cut edges of a seam where a hem is considered too clumsy4 ,as a decoration it is seldom used in its simplest form2 but ,i have seen many beautiful pieces of embroidery executed entirely in other forms of the same stitch1 such as ,swiss or ,close herring-bone or ,fish-bone4 ,the method of work is shown here1 and ,i think needs no further description4 ,in the third diagram of this stitch it will be noticed that the needle goes at right angles with the outline1 both in the large stitch from edge to edge1 and in the little stitch in the middle4 ,this makes the work less thick and substantial than the ,swiss1 which gives the same effect at a greater expenditure of silk or cotton1 c4 ,illustration ,,back-,,stitching is very useful for making fine lines1 for following outside of an outline which may seem too hard1 or for breaking up a background1 as in the central petal of the fleur-de-lys in the sampler1 where it answers the same purpose as dots or #8sympathetic lines' in a drawing1 by filling a flat surface quietly and unobtrusively4 ,it is well to work it in rather coarser thread than the satin-stitch it accompanies4 ,the stitches should not lie too close together2 a very small piece of the stuff should be taken up on the needle at each stitch1 and the point of the needle brought out at the spot where the next stitch is to be4 ,if the dots do not look large enough1 each stitch should be gone over twice1 instead of only once1 at exactly the same place4 ,when three or four stitches are used one over the other1 they make a smooth raised knot preferable to ,french knots for linen-work1 as they do not get disarranged by ironing4 ,when only one or two stitches are used for each dot1 the needle should pierce the thread at the back as it goes through from one dot to the next place4 ,,cross-,,stitch is1 ,i think1 too well known to need much in the way of description4 ,but the application of it to linen-work would well repay more attention than is commonly given to it4 ,i need only point to the accompanying examples from ,south ,kensington to show something of the beauty that may be arrived at by this simple kind of work4 ,there are three typical ways of doing this1 the first 7as in ,illustration ,f7 by making a pattern on the linen by means of cross-stitch alone1 in one colour4 ,the second 7,f1 f71 by making the pattern by the linen1 the background being in cross-stitch4 ,the third1 by combining cross-stitch with back-stitch for the fine lines1 by means of which the smaller detail can be described without breaking up the pattern too much4 7,see ,f1 f74 ,it can be diversified by using two or more colours1 but a medley is undesirable4 ,i myself prefer the patterns worked in one colour only2 and ,i believe most of the old work was done in either red1 green1 blue1 or brownish yellow1 each used alone1 and making by itself quite sufficient contrast with the white linen on which it was worked4 ,illustration3 ,illustration 7,f71 ,cross-stitch ,spanish1 ,sixteenth ,century4 ,v4 ,a4 ,museum 7,no4 #bbg--ahhj7 ,if the linen used is too fine to allow the counting of the threads1 in order to keep the stitches of a uniform size and to follow the pattern correctly1 a fine canvas may be tacked over it1 and the work done through the two thicknesses4 ,when it is finished1 the threads of the canvas can easily be drawn away1 leaving the work on the linen sufficiently accurate if it has been carefully done4 ,i would recommend the use of an embroidery frame for work done on this system1 as the stitches ought to be set in quite vertically to keep them true4 ,all canvas or #8cushion' work may be done on other textiles by means of this method1 and for quite coarse work a frame is unnecessary4 ,there is yet another application of cross-stitch admirable for linen-work1 which was much in favour for the bordering of corporals1 c41 in the sixteenth century1 and presents a lighter effect than the ordinary solid-looking cross-stitch4 ,in appearance it is very similar to #8,lacis' 7a darning on coarse1 square-meshed net1 or on small-meshed netting74 ,this open-worked cross-stitch is accomplished by drawing the thread it is worked with quite tight at each half-stitch that is taken into the linen1 the first process of the #8cross'-stitch is worked all along one row before the second1 which #8crosses' over it4 ,it is either worked in two colours1 one for the pattern and one for the ground1 or the ground alone is worked1 leaving the linen to form the pattern1 in the same manner as ,f1 f1 the ground of the border becoming open-work4 ,it may be thus worked with a beautiful lacy effect in white thread or silk for altar-linen4 ,in each case the thread used must be fine and strong4 ,illustration3 ,illustration 7,f1 f7 ,spanish1 ,early ,sixteenth ,century4 ,the same back and front4 ,v4 ,a4 ,museum1 ,s4 ,kensington 7,no4 #bbd--ahhj7 ,,chapter ,,xiii ,,on ,,altar-,,linen ,the linen required for service at the ,holy ,table includes a #8,fair ,linen ,cloth1' a ,corporal1 ,chalice-veil and ,pall1 or a pair of ,corporals2 ,purificators1 and a ,credence ,cloth4 ,illustration3 ,portion of an ,altar-cloth 7,embroidered ,cambric71 ,italian ,the first-named should be made to fit the top of the altar exactly as to width1 but may hang down at each end to within a foot or so of the floor1 including the fringe4 ,the hem along the sides should be one inch wide and that at the ends about three inches wide4 ,if any embroidery is worked on the part which lies flat on the top1 it should not be done in high relief1 and may consist of five crosses1 one in the centre and one at each corner about an inch from the edges of the altar1 worked in chain or close herring-bone1 or very slightly padded satin-stitch4 ,the two ends which hang down may be enriched by any amount of embroidery1 and any of the stitches described in the last chapter may be used4 ,many of the clergy prefer their altar-linen worked entirely in white2 linen-thread1 silk1 or cotton may be employed2 where colour is not objected to1 red1 blue1 green and yellow1 either singly or in combination1 may produce very beautiful results4 ,illustration ,i41 p4 #hj1 taken from an altar-band at ,south ,kensington1 is worked with the names of saints1 alternately red and blue1 the foliage green1 fruit red and yellow1 flowers red1 white and blue4 ,the stitch used throughout is close herring-bone or braid-stitch1 with the exception of the quaint little birds1 which are done in cross-stitch4 ,for less elaborate work one of the cross-stitch borders ,f and ,f1 f1 p4 #gg1 and worked in red silk or in gold colour1 would look well1 and all the rest of the altar-linen could be done to match1 or with a narrower border4 ,for white work ,illustration ,,ii4 is very satisfactory4 ,the outline of the leaves may be done in chain-stitch1 the veins and grapes in satin-stitch1 the quatrefoil in feather-stitch2 the sacred monogram may be either solid satin-stitch1 divided down the middle of each down-stroke by a voided line1 or outlined with chain-stitch and filled with the buttonhole filling or with satin-stitch dots1 or again1 with close feather-stitch like the quatrefoil4 ,the stems of the vine may be filled in the same manner1 and the leaves with a series of back-stitches1 like the illustration given for ,chalice-veil4 ,a neatly sewn hem is better for altar-linen than hem-stitching or drawn thread2 the latter especially being somewhat flimsy1 and destroying to a certain extent the wearing properties of the fabric1 is decidedly unsuitable for this purpose1 except perhaps one kind1 of which ,i give an illustration here 7,illustration ,,iii41 p4 #ha74 ,in this some of the strands of either warp or weft are withdrawn as in ordinary drawn-thread work1 but instead of being merely tied together by means of the needle and thread1 or the spaces between filled up with stitches1 the absent strands are replaced1 and one might say more than made good by the darning which builds up the pattern4 ,this darning might be done all in white-linen thread1 or colour may be introduced as in this example1 which is of blue and white alternate medallions1 and the fringe is spaced with blue to correspond4 ,the threads withdrawn should be counted if the linen is fairly coarse1 but if very fine1 measurement will suffice for accuracy and is not so trying for the eyes2 indeed1 after a little practice1 neither should be necessary in the case of the strands taken up by the needle in the course of the work4 ,in my example--which is done on a heavy homespun linen--twenty-four threads go to the half-inch1 both in warp and weft1 and ,i would recommend that this pattern should be practised on nothing finer until it is thoroughly learnt1 as it is somewhat intricate4 ,the narrow border above and below the principal pattern is simple enough4 ,illustration3 ,fig4 ,i4--,portion of ,linen ,altar-cloth ,band1 embroidered in various coloured silks in close herring-bone or ,plait-stitch ,german1 ,fifteenth ,century4 ,in ,v4 ,a4 ,museum 7,no4 #g1jbe--ahfj74 ,to work it1 begin by drawing three-eighths of an inch deep1 then threading a needle with blue linen1 silk or cotton1 take up five threads 7or their equivalent one-eighth of an inch71 and knot the blue over them with a single knot1 just to keep it in place to start with2 lay the end along with the strands of the linen1 and work over it by taking an equal number of strands on the needle in the opposite direction to the first lot4 ,this must be done backwards and forwards till nearly half the bar is firmly and evenly covered with blue4 ,then take up five and leave five1 darning 7over twenty altogether7 backwards and forwards about four times to make the cross-bar4 ,the first bar is to be continued up to the end1 then the other stroke of the ,h-form is to be worked the same as the first1 only1 instead of doing the cross-bar1 the needle is just run through the former stitches 7in with the warp-strands74 ,they are worked alternately two blue and two white1 and ,i strongly recommend blue or green to be used with the white for practice1 for the sake of the worker's eyes1 as all white work is undeniably bad to do very much of4 ,to fasten off the thread it is simply run through the stitches already done and cut off close4 ,to work the larger part of the pattern1 threads are drawn to the depth of one inch 7see ,a1 on ,illustration ,,iv41 which is very much enlarged to show the method of work74 ,this will be for a row of half medallions4 ,a very fine needle and ,no4 #ajj or #abj cotton is used to collect the strands into a series of upright bars 7,b71 by twisting the fine cotton over each group of four 7or an eighth part of the threads which each medallion takes to do74 ,it should be twisted round and round fairly tightly1 from one end to the other1 and a few stitches into the linen will help to keep them apart at each end4 ,when this is done1 another inch may be drawn1 leaving a few threads of the linen intact between the two halves of the medallion1 ,d4 ,illustration3 ,fig4 ,,ii4--,border for ,fair ,linen ,cloth1 suitable for working all in white--in the same style as ,no4 ,,vi ,illustration3 ,fig4 ,,iii4--,strong ,drawn-thread work in blue and white thread1 suitable for border of ,fair ,linen ,cloth ,the dotted lines at ,e show how the bars are pulled apart on the one hand and drawn together on the other by the darning forming the pattern1 the bars thus connecting the whole of the medallions throughout the work4 ,f shows one of the latter being worked from the centre4 ,it is begun by darning eight bars regularly backwards and forwards about four times4 ,then the two middle bars are left and one side is darned over only three bars1 to finish the first #8step1' and to leave the little window-like opening1 ,h1 then over two bars only to finish the #8window1' and begin the second step4 ,at ,j it goes right across six bars once1 when returning to the centre it goes down the two that were left till it arrives near ,f again1 and the other side is begun in steps like the first4 ,at ,j it goes right across six again and keeps on till the second step is finished1 which is where the needle has got to in the sketch4 ,the second step is about half the depth of the first4 ,the third is the same depth as the second1 but is darned over four bars4 ,this leaves two to be finished last1 and these two are darned over till the undrawn strip of linen is reached and the half medallion is finished4 ,the other half is exactly the same1 only reversed4 ,the thread should be worked fairly tight throughout4 ,illustration3 ,fig4 ,,iv4--,details of ,fig4 ,,iii1 showing how to work it ,the hem at the bottom should be finished off with a fringe4 ,if colours are used in the work they should appear again in the fringe1 but if it is all white a good knotted one of fine white linen thread should be sewn on by its upper edge 7see ,illustration ,,ii471 taking care not to stretch it at all1 but rather to ease it on4 ,it should hang quite free1 not on the stuff1 as it is in the case of frontals1 c4 ,i may here remark that it is a mistake to suppose that there is any difficulty in washing fringes4 ,if they are not too deep in the #8fall1' and are well made of good linen thread1 they only need to be well shaken two or three times when wet and while drying1 to make them hang perfectly straight and well4 ,good thread lace#aa may be used instead of fringe4 ,lace is also sometimes tacked along the front to hang over the super-frontal1 but as it requires to be taken off every time the cloth is washed it is not practicable unless some careful lady is responsible for its welfare1 or unless some such lace as ,irish crochet be used1 which will stand washing4 ,i believe the coloured embroidery described above used to be tacked on to the ends of the fair linen in this way like apparels1 and removed for the more frequent washing of the cloth itself2 in some modern churches where there are plenty of persons able and willing to attend to these things they are still used1 and quite appropriately2 but for a small village or very poor town church it seems more suitable to have good strong linen1 simple embroideries 7either in one colour or white71 and a stout linen fringe to match4 ,illustration3 ,fig4 ,v4--,design for ,cut-linen work ,cut-linen too may be used either for an open-work border or instead of lace or fringe for the edge4 ,if evenly and firmly worked1 either in buttonhole or over-sewing1 it will last as long as the linen itself4 ,in olden times the ,,corporal or corporax-cloth was often made large enough to cover the surface of the altar1 to fold over the chalice1 or a #8,pair of ,corporals' were used4 ,it seems to be more general now to have one corporal about twenty-four inches square1 and one smaller and thinner--a #8,chalice-veil1' used in conjunction with a stiffened square of linen called the pall2 which together take the place of the second corporal4 ,the corporal may be worked with five crosses like the altar cloth1 only smaller1 or with one1 just above the hem1 in the centre of one of the sides2 or it may have a border embroidered all round it4 ,there are some in the ,victoria and ,albert ,museum done in cross-stitch very similar to the designs ,i have suggested for ,fair ,linen ,cloths1 and one1 it may be noted1 with the border worked exactly the same on both sides 7inside and out71 so that when turned over in actual use there would be no #8wrong side' to show4 ,the more delicate #8,chalice-veil' may be embroidered all over1 so long as the decoration does not interfere with the softness of the linen1 which is its chief beauty4 ,if it is intended to be folded when in use it should not be so soft1 and the design might take up just one-ninth of the surface--one-third of the width by one-third of the length1 so that when folded in three each way the ornamentation may fill the central square4 ,illustration3 ,fig4 ,,vi4--,linen ,pall ,illustration3 ,fig4 ,,vii4--,design for centre of ,chalice-veil ,if it is to hang over as a veil the same rule applies to it as to the silk chalice-veil1 namely1 that as one-third of it will hang down all round when in use1 the design must take account of these conditions4 ,the corners or the sides may be the centre of decoration1 which should in this case grow upward1 or a border may run all round4 ,it is frequently edged with lace of the finest and richest description4 ,the ,,pall1 which is used with the soft fine chalice-veil1 is a stiff square of linen from #d to #f inches in size1 according to the chalice it is to cover4 ,it may be embroidered all over1 or with a cross1 or the sacred monogram1 or a symbol of the ,passion in the centre4 ,some stiffen it with a square of cardboard covered with linen1 others with a double fold of the material used for the interlining of linen collars4 ,the upper square1 which is embroidered1 is often made separately2 it is in this case hemmed 7sometimes edged with a narrow thread lace71 and a tiny strap is buttonholed across each corner to keep it in place4 ,otherwise it is over-sewn finely all round in the same manner as are the boards of a burse4 ,in every case the stiffening is covered on both sides with fine white linen neatly sewn4 ,the origin of the ,,purificator is very obscure1 while the use of and the necessity for it are quite obvious4 ,purificators and lavabo towels now supply the place of the original maniple1 c41 and in consequence are not subject to much ornamentation1 the cross on the purificator being intended more to indicate its sacred use than as a decoration4 ,there seems to be no reason why the lavabo towel should not have a neat border worked just above the hem or fringe4 ,purificators should be made of the softest of linen1 plain or diapered1 about #ab inches square1 or #i #ab4 ,the edges may be fringed by drawing out threads all round to the depth of about half an inch1 or they may be neatly sewn with a very narrow plain hem4 ,a small cross in the centre or at one of the corners is all that is necessary in the way of embroidery4 ,the ,,credence ,,cloth should be made to fit the table4 ,it may hang down a little on each side like the altar cloth1 and have a border somewhat similar only narrower1 and either a fringe or lace to match in style4 ,in some churches the old custom is retained of hanging a #8,,houseling-,,cloth'#ab over the altar-rails4 ,these rails were first required in ,england about the beginning of the seventeenth century1 according to ,canon #g of #afdj1 to preserve the communion-table from ,puritan profanations4 ,previously to this the ,houseling-cloth 7a long white silken or linen towel7 was held before the communicants as they knelt at the altar4 ,it is a reverent and seemly custom1 intended to prevent the fall of any particle of the ,blessed ,sacrament during the communion of the people4 ,the decoration of it may be treated in the same style as that of the altar- and credence-cloths4 ,humeral veils1 offertory veils1 and sudaries of various kinds have been in more or less constant use to preserve the books1 sacred vessels1 vestments1 c41 from contact with the bare hands of the assistants at the altar4 ,it is to this reverent care and scrupulous cleanliness that we owe the conservation of so many of the precious relics of the past that have come down to our own time1 which with rough and careless handling would have perished long ago4 ,a small neat cushion of velvet or some other soft textile1 about #i by #c inches in size1 after the old fashion1 would be much better for the altar-book to rest upon than the hard wooden or brass desks we so often see nowadays4 ,wherever these latter are used a soft cloth of some kind should at least prevent their contact with valuable books1 especially if the covers are embroidered4 ,,chapter ,,xiv ,,on ,,the ,,albe1 ,,surplice1 ,,etc4 ,there are various opinions among the learned both as to the origin and line of descent 7so to speak7 of all the distinctive vestments worn by the ministers of the ,church at the present day4 ,the albe and surplice are not among the least interesting from an historical point of view2 however1 it is not our purpose to discuss it here1 and whatever theory we may prefer--that which derives them from a ,levitical ancestry1 or from the ,eastern garments of common use in the time of ,our ,lord1 or from the ,grco-,roman in the early centuries of our era1 the fact remains that from the very earliest times of which we have any record of such things white linen raiment#ac was a noticeable feature in the dress of the ,christian minister1 whether priest1 deacon1 or server4 ,the albe and the surplice were possibly both derived from one original garment4 ,their chief characteristics were that they were long1 full1 and made with sleeves2 moreover that they were usually of white linen1 and either quite plain or ornamented in some simple and appropriate manner by a border that could be washed with the garment1 or 7in the case of the albe from the thirteenth century7 by apparels which were easily removed without injuring it4 ,the ,,albe has retained its primitive character in all these respects4 ,the long flowing garment is confined at the waist1 for convenience in ministration1 by a girdle or band1 which may consist simply of a plain linen cord #d yards long1 finished at the ends with tassels of the same2 or it may be a band from #a to #c inches wide1 richly embroidered in silk and gold4 ,when this is the case it should be fastened by strings sewn to the lining1 or by hooks and eyes1 or a clasp1 so that it may not become creased and spoiled by frequent tying4 ,a band is perhaps better for keeping the stole in place as being less liable to roughen and damage the silk4 ,it seems to have been an old ,english custom to use a band1 judging by the old inventories1 c41#ad but it is not so general in these days as the cord1 and the symbolism is lost unless the band is kept quite narrow4 ,illustration3 ,fig4 ,i4--,albe1 with ,girdle1 ,amice1 and ,stole ,illustration3 ,fig4 ,,ii4--,ancient ,albe 7,south ,kensington ,museum7 ,the diagram 7,illustration ,,ii47 shows the shape and dimensions of a very old albe now in the ,victoria and ,albert ,museum1 ,south ,kensington4 ,the linen it is made of is #bb inches wide1 and the seams are joined down the middle of the front and back by means of an insertion1 worked in buttonhole-stitch with white linen thread1 rather more than2 inch wide4 ,the seams at the shoulders are treated in the same way with insertion inch wide1 into which is worked an inscription in red thread2 and there is a small red cross on each of the gussets let in at the waist to contain the gathers1 which are set very close together1 to provide the necessary fulness for the skirt4 ,the apparels are made of fourteenth century brocade4 ,modern albes are usually either gathered into a neck-band somewhat like a surplice 7see ,illustration ,,iii471 and so are full all the way down1 or they may be widened gradually from the shoulder4 ,the measurements are very similar in each case1 and take from #g to #i yards of linen1 a yard wide4 ,in the gathered pattern 7which is much handsomer than the plain one7 there are no cut seams except for the sleeves2 the selvedges should be over-sewn together with fine cotton very closely1 and then the seams will not show at all4 ,those on the sleeve should be finely stitched and the raw edge turned in and #8felled'--i4e4 hemmed--down on the inside4 ,the neck and shoulder bands should be stitched with fine back-stitching on the outside4 ,they may be decorated with any fancy stitch as well1 or a narrow border may be embroidered4 ,the hem round the bottom should be from #a to #c inches deep4 ,a border of embroidery may be worked all round1 above the hem4 ,the custom of working a lace insertion in the middle of a seam1 which used to be common to the better sort of household linen as well as that for the ,church1 has fallen into disuse of late years1 in consequence of our linen being woven so much wider than it used to be4 ,but it might still be used in the front and back of the plain albe1 and it may be well to describe the method of working it1 as it is not at all difficult to do1 nor so tedious as it might appear at first glance4 ,and irrespective of the width of linen1 there are occasions when the length may require addition 7such1 for instance1 as the enlargement of a fair linen cloth for an altar74 ,it is a recognised law of art that ,beauty should be called forth by ,necessity2 and the hiding1 covering1 or ornamenting a seam was perhaps the very first incentive to embroidery6 ,illustration3 ,fig4 ,,iii4--,modern ,albe ,if it is a cut edge which is to be joined to another in this manner1 each piece of stuff is hemmed separately4 ,the work is begun upon one hem as a foundation1 and when finished is sewn closely on to the other4 ,for the first row 99 make two tiny buttonhole stitches into the edge of the hem 7or of the selvedge if there is no hem74 ,then leave a small space1 equal to the room taken up by the two buttonhole stitches2 then two more stitches1 then leave a space of about inch1 carrying the cotton straight along--repeat from 99 till the first row is done1 all along the edge4 ,turn the work over to the other side1 or fasten off thread and begin at the same end as at first3 by turning it over the same effect is attained--viz4 working from left to right for each row1 which keeps the work even4 ,for the second row the threads which stretch across the spaces of inch are covered with fine buttonholing1 and two stitches are put into each of the tiny spaces left for them in the first row4 ,when the end of the second row is reached the work should be turned over1 as before1 and the third row done exactly the same as the first1 except that the pairs of stitches are worked into the little spaces caused by going from the bar to the middle of the pairs of stitches instead of into the stuff3 c on ,illustration ,,iv4 shows this very much enlarged2 a and b are the same size as the work on the old albe4 ,after the first row1 which is worked into the linen1 it is better to use a blunt needle4 ,the button-hole-stitches should be drawn up tightly over the thread throughout the work2 in the illustration of the detail they are not drawn tightly enough for the real work4 ,from three to five bars are enough for this pattern4 ,a great number of different ones can be arranged with a little ingenuity1 variation being brought about by differing the proportions of buttonhole #8filling1' bars and spaces4 ,illustration3 ,fig4 ,,iv ,the sleeve of the albe is1 theoretically1 tight fitting1 but for convenience in wearing it over other clothing1 and to get it easily over the hand1 it is generally made from #ab to #ad inches in circumference at the wrist4 ,in old pictures one often sees it fitting quite closely1 in which case it is provided with buttons and buttonholes to fasten the extra opening1 which has to be made at the under seam4 ,illustration3 ,fig4 ,v4--,amice of ,st4 ,thomas of ,canterbury ,the ,,amice is either a square or rectangular piece of fine linen from #bi to #cf inches in length1 worn as a neck-cloth with the albe and covering the edge of the chasuble1 where it would otherwise come in contact with the neck of the wearer4 ,it is hemmed with a narrow hem all round and has two strings #gd inches long1 fastened at the upper corners to keep it in place4 ,it sometimes has a large cross embroidered upon it1 as in this example which is taken from that of ,st4 ,thomas ,becket1 and has an apparel of gold embroidery attached to the upper edge4 ,these apparels were almost universal from the thirteenth to the sixteenth century1 and are retained in the ,english use4 ,it is lightly tacked on to the edge of the amice1 so that when it is turned back over the chasuble it lies evenly round like a collar4 ,it may be made to match the colour of the vestment it is worn with1 or one richly embroidered with gold or made of gold tissue1 may be worn with any of them4 ,illustration3 ,fig4 ,,vi4--,english ,choir ,surplice 7,a4,d4 #acja7 ,the ,,surplice1 which from very early times seems to have formed part of the choir habit of clergy and other ministers alike1 is very similar to the albe1 except that1 being an outer instead of an under vestment1 the sleeves are long and full1 and also in consequence of being worn over a cassock1 an albe1 or a #8pellice'#ae it has become somewhat shorter in the skirt2 but there are1 from the time of ,edward the ,confessor onward1 numerous canons1 laws1 and directions always ordering the surplice to be long enough to reach down to the heels4 ,the albe1 surplice1 and rochet are very much alike2 in the old documents it is often difficult to determine which of the three is meant1 there being so many names for the same thing1 and both names and uses almost interchangeable4 ,but in the present day we confine the term albe to the one with somewhat tight-fitting sleeves1 surplice to the one with long flowing sleeves1 and rochet to the one without any1 or with full ones gathered into a band at the wrist4 ,albes were at one time occasionally made of silk1 and sometimes were even coloured1#af but ,i do not think surplices ever were1 neither have they ever been much ornamented4 ,smocking at the gathers or an embroidered neck-band seems to have been the only decoration at all common4 ,the rochet was and still is sometimes embroidered all round just above the hem4 ,the accompanying diagram 7,illustration ,,viii47 shows how to cut a surplice like the one represented at ,illustration ,,vii4 ,the dimensions are very similar to those given by ,dr4 ,rock1 except that his is fuller in the skirt4 ,if this is desired it can be done without any difficulty by merely adding another width of linen 7placing the centre on the diagram #ah inches further to the right1 and thus using two full widths instead of one74 ,it is better in this case to make the collar-band deeper1 as it is difficult to get so many gathers into the #bi inches of circumference given here4 ,illustration3 ,fig4 ,,vii4--,modern ,surplice ,all the selvedge seams should be #8whipped1' #8seamed1' or #8over-sewn'--three names for one and the same process4 ,the diagonal seams or any with cut edges must be #8run and felled4' ,this pattern takes #f yards of linen1 a yard wide2 ,dr4 ,rock's would take #b yards more4 ,his is more suitable for smocking2 and where a deep collar-band is used it may be embroidered1 preferably in white1 though some of the old ones were done in red4 ,a priest's surplice should measure at least #d yards round the bottom2 those for choir men and boys are not usually so wide4 ,illustration3 ,fig4 ,,viii ,,conclusion ,on bringing this little book to an end the author feels sadly aware of its many deficiencies4 ,time does not allow for either very strict revision or much elaboration of the papers which formed the foundation of it4 ,there are many points of interest connected with the subject of ,church needlework which have been purposely touched upon as briefly as possible1 that the student may not be obliged to wade through a quantity of extraneous matter in order to find the practical information required4 ,there are others omitted for want of time and space 7such1 for instance1 as illustration and explanation of the various symbols1 c41 used in ,church embroidery from the earliest times to the present day3 special characteristics of different styles1 periods1 and countries1 c4 c47 ,but there is one point ,i find ,i have not mentioned in its proper place 7,chapter ,,vii71 which ,i am unwilling to pass over altogether because it involves a matter of principle4 ,it is concerning the practice of painting the faces instead of working them in figure-embroidery4 ,it seems to me no more legitimate than it would be actually to embroider the robes of a painted portrait6 ,if figure-embroidery is beyond the ability of any individual worker1 let her get someone else to do the faces while she contents herself with the robes and background1 or apply her powers to other work4 ,there is plenty of beautiful embroidery to be done without employing figure-work at all4 ,i have seen faces painted into embroidery so exactly simulating needlework that it is almost impossible to tell the difference4 ,this obviates the objectionable clashing of the two distinct arts as far as appearance goes2 but it seems to me morally worse1 inasmuch as it is an intentional deception4 ,one branch of art does not need to imitate another4 ,each should seek perfection in its own special way1 and sincerity is one great essential in all4 ,this brings me to my parting word4 ,be true and your work will be beautiful4 ,let everything that is done for the ,church be done for the ,glory of ,god1 and there will be no trickery possible1 no attempt to make anything appear better than it is4 ,the simplest work done in honest materials is more essentially lovely than the most elaborate of #8shoddy4' #8,whatsoever things are true1 ,whatsoever things are honest1 ,whatsoever things are pure1 ,whatsoever things are lovely1 ,whatsoever things are of good report1 ,if there be any virtue and if there be any praise think on these things4' ,,footnotes #a ,it is a mistake to be over-timid in attacking floss-silk4 ,it requires a light but firm hand1 and should be pulled fairly tight to get it to lie smoothly--a sort of little secondary jerk after drawing the needle through to the back4 #b ,line and ,form1 by ,walter ,crane1 i4 #a4 #c ,this is the smallest quantity that can be made satisfactorily1 twice this quantity is easier to manage4 ,a moderately heaped tablespoonful is about equal to #a oz41 and a small teaspoonful to #b dr4 ,ordinary water filtered instead of distilled will do if it is soft4 #d ,this method1 called a'or nu1 the ,florentines seem to have got from ,flanders1 where it had long been in use4 #e ,vasari says3 #8,the figures are no less admirably executed with the needle than drawn by ,pollaiuolo with the pencil1 and thus we are largely indebted to one master for his design1 and to the other for his patience4' #f ,art in ,needlework1 p4 #acj4 #g ,to the present day our sovereigns offer upon the altar at their coronation a #8,pall of ,silk' in accordance with old custom4 #h ,the name orarium to denote a stole is still used in the ,eastern ,church for the deacon's stole 771 although it has passed out of use in the ,western church altogether1 ,i believe4 #i ,there is a beautiful coloured reproduction of it in the #8,art ,worker's ,quarterly1' ,january #aijf4 #aj #8,in the famous triptych of the ,seven ,sacraments1 by ,van der ,weyde1 now in the ,antwerp ,museum1 the central compartment shows a missal upon the altar at ,mass with a sudariolum hanging from it4 ,it would seem by no means impossible that the string to which this napkin was attached was used as a book-marker4 ,the ,bishop's maniple still serves the same purpose in the book of the ,gospels at the beginning of ,mass4'--,rev4 ,h4 ,thurston1 ,s4,j41 #8,vestments of ,low ,mass1' #8,the ,month1' ,october #ahih4 #aa ,appendix ,c4 #ab ,howsel--,husel ,saxon name for the ,eucharist4 #ac #8,white shining vestment of fine linen common to all clergy4'--,council of ,narbonne ,a4,d4 #ehj4 #ad ,at ,sarum in #abbb there were nine girdles of silk and twelve others mentioned in the ,inventory4 ,there was one of gold tissue found upon the body of ,st4 ,cuthbert at ,durham4 #ae ,hence the derivation1 to which some writers refer as evidence of its being at one time an under garment1 points exactly the other way1 the pellice being a long lambskin dress worn by the ,english clergy from very early times4 ,see ,matthew ,paris1 ,vit4 ,abb41 p4 #ec4 #af ,perhaps the red and blue cassocks sometimes to be seen nowadays may justify their existence by the example of these coloured albes frequently mentioned in old documents and depicted in illuminated ,,mss4 ,,appendices ,,appendix ,a ,,table ,,of ,,liturgical ,,colours ,,according ,,to ,,the ,,ancient ,,use ,,of ,,five ,,english ,,dioceses ,,or ,,conventual ,,churches ,,compared ,,with ,,that ,,of ,,rome ,season ,westminster,sarum ,exeter ,wells ,lichfield ,rome ,advent ,white ,unknown ,violet ,medius ,black ,violet 78 ,white7 78 ,blue7 ---------------------------------------- ------------------------- ,christmas ,white ,mixed ,white ,white ,white ,white colours ---------------------------------------- ------------------------- ,the ,epiphany,white ,mixed ,white ,white ,red ,white colours ---------------------------------------- ------------------------- ,epiphany ,white 7to ,red ,green ,red ,at will ,green 7,octave7 to ,candlemas7 of ,septuagesima ,sacrist ---------------------------------------- ------------------------- ,septuagesima,reddish ,red ,violet ,unknown -- ,violet to ,lent 7subrubeus7 ---------------------------------------- ------------------------- ,lent1 first ,black 7in ,unknown ,violet -- ,black ,violet four weeks practice1 7in ,white7 practice1 ,white7 ---------------------------------------- ------------------------- ,lent1 last ,red ,red ,violet ,red ,red ,violet two weeks or ,passion-tide ---------------------------------------- ------------------------- ,easter1 from,red ,white or ,white ,red1 ,low ,white ,white ,first ,mixed ,sunday ,evensong1 on colours ,white ,easter ,eve1 to ,low ,sunday ---------------------------------------- ------------------------- ,low ,sunday ,red ,white ,white ,red ,white ,white to ,ascension ,day ---------------------------------------- ------------------------- ,ascension ,white ,white or -- ,white ,white ,white ,day to ,mixed ,whit ,sunday colours ---------------------------------------- ------------------------- ,whit ,sunday ,red 7or ,white or ,red ,red ,white ,red ,saffron7 ,mixed ,yellow colours 7or ,green7 ---------------------------------------- ------------------------- ,trinity ,red ,mixed ,if ,red ,white ,white ,sunday colours handsome1 ,green1 otherwise ,white ---------------------------------------- ------------------------- ,corpus -- -- ,red and ,red -- ,white ,christi and ,white ,octave ---------------------------------------- ------------------------- ,sundays ,red ,red ,green ,red ,at will ,green after of ,trinity ,sacrist ---------------------------------------- ------------------------- ,week days -- ,unknown -- -- -- ,green after ,trinity1 not being ,saints ,days ,,saints ,,days ---------------------------------------- ------------------------- ,st4 ,paul -- ,red ,red or ,red ,red ,white 7,january #be7 ,blue ---------------------------------------- ------------------------- ,evangelists ,red ,red ,red ,red -- ,red ---------------------------------------- ------------------------- ,apostles ,red ,red ,red ,red ,red ,red ---------------------------------------- ------------------------- ,martyrs ,red ,red ,red ,red ,red ,red ---------------------------------------- ------------------------- ,virgins ,white ,white ,white ,white ,white ,white ---------------------------------------- ------------------------- ,confessors ,yellow ,yellow -- ,blue and ,varius ,white 7or ,green 7or ,green and ,blue7 ,saffron7 ---------------------------------------- ------------------------- ,st4 ,john ,white ,white -- ,indius ,varius ,white ,baptist 78 ,blue7 7,june #bd7 ---------------------------------------- ------------------------- ,all ,saints -- ,unknown ,white1 ,white and,varius ,white ,red1 and ,red all colours ---------------------------------------- ------------------------- ,st4 ,michael ,white ,white ,white ,white and,white ,white and or ,blue ,indius ,all ,angels 78 ,blue7 ---------------------------------------- ------------------------- ,st4 ,john ,white ,white ,white -- ,white ,white ,evangelist ---------------------------------------- ------------------------- ,holy ,violet ,unknown -- ,red -- ,violet ,innocents ,festivals of,white ,white ,white ,white ,white ,white the ,blessed ,virgin ,mary ,dedication -- ,white or ,all ,blue and -- ,white of ,churches ,mixed colours ,white colours ,burial ,black ,black ,black ,black ,black ,black ,wherever ,black was ordered1 ,violet1 ,purple1 ,dark ,blue1 and ,ash-colour1 or ,grey1 seem to have been considered equivalent4 ,so ,green also replaced ,yellow4 ,,appendix ,b ,a ,,few ,,of ,,the ,,symbols ,,and ,,emblems ,,most ,,frequently ,,used ,,in ,,ecclesiastical ,,art ,i4 ,the ,,fish4--,the first1 in point of date1 as a distinctly ,christian ,symbol 7#a7 of ,baptism1 7#b7 of the ,name of ,,our ,,lord1 the letters ,in ,greek forming an anagram of the ,name ,,jesus4 ,,ii4 ,the ,,cross4--,the universal emblem of ,christianity1 showing the length1 breadth1 depth1 and height of the ,love of ,,god in ,christ4 ,as decoration1 the ,latin form should only be used for ,penitential occasions1 being the symbol of suffering and of the ,passion4 ,the ,greek or equilateral1 the foundation of all the more decorative ones1 is suitable for all times and seasons except ,christmas and ,epiphany4 ,the ,gammadion1 ,fylfot1 ,swarstika1 or 7in heraldry7 the ,cross ,potent rebated--a prehistoric cross found all over the world--is suitable for all seasons1 and was the one most generally used in ancient ,church embroidery4 ,,iii4 ,the ,,glory1 ,,nimbus and ,,aureole1 in the ,east1 an attribute of power2 in the ,west1 of ,divinity or of consecration4 ,,iv4 ,the ,,lamb4--,an early symbol of ,christ as the ,lamb of ,,god1 the sacrifice for sin4 ,with the standard #8,agnus ,dei1' signifies the ,risen ,,lord4 ,as an attribute 7#a7 of ,st4 ,john the ,baptist1 in reference to his words #8,behold1' c42 7#b7 of ,st4 ,agnes ,innocence and ,purity1 and for her name4 ,v4 ,the ,,pelican #8in her piety1' a symbol 7#a7 of ,christ giving ,life by ,his sufferings2 7#b7 of the ,blessed ,sacrament4 ,,vi4 ,the ,,lion ,strength1 ,fortitude1 ,solitude1 as an attribute of ,martyrs1 signifies the mode of their death2 of ,st4 ,mark as ,evangelist1 because he depicts ,christ as the #8,lion of the tribe of ,judah4' ,,vii4 ,the ,,hart or ,,hind ,solitude1 ,purity1 ,religious ,aspiration1 #8,like as the ,hart desireth1' c43 ,ps4 #db4 ,,viii4 ,the ,,crown ,symbol of ,victory4 ,female saints generally depicted wearing the crown1 male saints hold it in their hands or have it at their feet1 or angels bear it above4 ,symbol of ,martyrdom1 attribute of ,royalty4 ,,ix4 ,the ,,palm ,symbol also of ,victory1 especially that of ,martyrdom4 ,saints and angels bear them in their hands 7never on the ground or at their feet74 ,x4 ,the ,,olive ,peace2 attribute of the ,angels of the ,nativity--,st4 ,gabriel1 ,st4 ,agnes1 c4 ,,xi4 ,the ,,dove is the symbol of the ,holy ,ghost4 ,it is shown at the ,annunciation1 ,baptism1 and over the heads of saints considered specially inspired2 7#b7 emblem of the ,soul4 ,,xii4 ,the ,,lily ,purity1 especial attribute of the ,blessed ,virgin ,mary1 ,st4 ,gabriel1 ,st4 ,joseph1 ,st4 ,francis4 ,,xiii4 ,the ,,book signifies the ,gospel or an ,evangelist2 or in the hands of other saints1 learning and writings4 ,,xiv4 ,a ,,church in the hands of a saint indicates that he 7or she7 was the founder2 an attribute of ,st4 ,jerome as a ,primitive ,father4 ,,xv4 ,a ,,ship or ,,ark ,the ,holy ,catholic ,church4 ,,xvi4 ,an ,,anchor ,hope4 ,,xvii4 ,a ,,lamp1 ,,lantern or ,,taper ,piety or ,wisdom4 ,,xviii4 ,the ,,chalice1 with ,host1 symbol of the ,holy ,eucharist2 also ,faith4 ,the ,chalice1 with ,serpent1 attribute of ,st4 ,john1 in reference to tradition of poisoned ,chalice4 ,,xix4 ,the ,,four ,,evangelists were1 in very early times1 symbolised by four scrolls on the arms of an equilateral cross4 ,later 7from ,second to ,fifth ,century7 by four rivers1 and from the ,fifth ,century onwards by the four ,living ,creatures4 ,,st4 ,,matthew the winged man1 in reference to his gospel showing the ,humanity of ,christ4 ,,st4 ,,mark the ,lion1 his gospel being especially for the ,jews4 ,,st4 ,,luke the ,ox1 showing the sacrificial aspect4 ,,st4 ,,john the ,eagle1 #8taking the highest flight and portraying the ,divinity' of our ,,lord4 ,,xx4 ,the ,,twelve ,,apostles4 ,the earliest representations are purely emblematical--twelve sheep in a row 7six on each side7 with the #8,agnus ,dei' in the middle4 ,the next twelve men1 all exactly alike1 carrying a sheep1 with our ,,lord as the ,good ,shepherd larger than the others4 ,afterwards the attributes of the ,twelve ,apostles became as follows3-- ,st4 ,peter1 with keys or a fish4 ,st4 ,paul1 with the sword4 ,st4 ,andrew1 with diagonal cross4 ,st4 ,james 7,major71 with pilgrim's staff4 ,st4 ,john1 with the chalice4 ,st4 ,thomas1 with builder's rule4 ,st4 ,james 7,minor71 with club4 ,st4 ,philip1 with staff or crozier4 ,st4 ,bartholomew1 with large knife4 ,st4 ,matthew1 with purse or bag4 ,st4 ,simon1 with saw4 ,st4 ,thaddeus or ,jude1 with halberd4 ,st4 ,matthias1 with lance4 ,,xxi4 ,a ,,circle signifies the ,world or ,eternity1 or perfection4 ,an ,,equilateral ,,triangle 7or other equal three-fold form7 stands for the ,holy ,trinity4 ,a ,,square or ,,quatrefoil for the ,world1 ruled by the ,cross4 ,,xxii4 ,the ,,monograms ,,ih,c or ,,ih,s1 and ,,xp,c or ,,xp,s1 are the first two and last letters of the ,name ,,jesus and the title ,christ in ,greek 7the ,c being the older form of ,s74 ,they have been used from very early times1 and are among the most beautiful and suggestive of the symbols4 ,they should not be used indiscriminately1 but given a due place of honour1 such as on an altar-frontal or the orphrey of a chasuble or cope4 ,they can be1 and often are1 extremely decorative1 and the thoughtless worker is sometimes betrayed into placing them most inappropriately simply because she happens to possess a good drawing of one4 ,,appendix ,c ,,on ,,lace ,,as ,,applied ,,to ,,church ,,vestments1 ,,linen1 ,,etc4 ,there are some in the present day who object entirely to the use of lace on any article for ecclesiastical purposes1 chiefly on the ground that it is not to be found on the older ones4 ,it seems to me that this is not a sufficient reason for discarding it altogether 7providing that it is otherwise appropriate71 for it has always been the custom of the ,church to welcome every new form of art as it arises and to consecrate to her use the offerings of the faithful4 ,lace was not used on the older vestments1 c41 not because there was anything intrinsically wicked about it1 or even frivolous1 but because it was not yet invented6 ,there is no reliable evidence to prove the existence of lace1 as we understand the term1 before the fifteenth century4 ,it seems to have been evolved gradually from #8cut linen' through #8drawn-thread1' #8reticella1' and #8,lacis' to needle-point and pillow- or bobbin-lace1 and was not in general use till the seventeenth century1 by the middle of which it is to be seen1 not merely as a decoration1 but even as the entire fabric of altar-frontals and vestments4 ,there is no excuse1 of course1 for using paltry cheap lace1 as there is no necessity for employing it at all4 ,in very old churches where everything is en suite1 and in simple village churches1 it would not be suitable1 but ,i think some quite modern ones may err on the side of being over-zealous for strict ,medievalism4 ,at any rate1 it is well to understand the reason of things1 and then decisions will be made with judgment4 ,,appendix ,d ,,books ,,useful ,,to ,,the ,,student ,,of ,,church ,,needlework ,n4,b4--,those marked with 99 are mostly about embroidery1 and the others on design or history1 c4 99 ,alford1 ,lady1 ,needlework as ,art4 99 ,barber1 ,mary1 ,some ,drawings of ,ancient ,embroidery4 99 ,bock1 ,dr41 ,geschichte der ,liturgischen ,gewnder4 ,braun1 ,die ,priestlichen ,gewnder1 c4 ,clausse1 ,g41 ,les ,monuments du ,christianisme1 c4 ,chambers1 ,divine ,worship in ,england in ,thirteenth ,century1 c4 ,crane1 ,walter1 ,line and ,form 7and others74 99 ,davenport1 ,english ,embroidered ,bookbindings4 ,day1 ,lewis1 ,several ,handbooks on ,design4 99 ,day1 ,lewis1 and ,mary ,buckle1 ,art in ,needlework4 99 ,dolby1 ,anastasia1 ,church ,embroidery4 ,dolby1 ,anastasia1 ,church ,vestments4 99 ,farcy1 ,louis de1 ,la ,broderie du ,,xiii ,sicle1 c4 ,jameson1 ,mrs41 ,sacred and ,legendary ,art4 ,jones1 ,owen1 ,grammar of ,ornament4 ,jones1 ,owen1 ,principles1 an ,attempt to ,define1 c4 99 ,kendrick1 ,a4 ,f41 ,english ,embroidery4 99 ,lefbure1 ,e41 ,embroidery and ,lace4 ,legg1 ,j4 ,wickham1 ,notes on the ,history of ,liturgical ,colours4 ,marriott1 ,vestiarium ,christianum4 99 ,pugin1 ,glossary of ,ecclesiastical ,ornament4 99 ,rock1 ,dr4 ,daniel1 ,textiles1 ,introduction to4 ,rock1 ,dr4 ,daniel1 ,church of our ,fathers4 ,semper1 ,der ,stil4 99 ,townsend1 ,w4 ,g4 ,p41 ,embroidery3 or the ,craft of the ,needle4 ,ward1 ,historic ,ornament4 99 ,wilton1 ,countess of1 ,the ,art of ,needlework4 ,,magazines4 99 ,the ,art ,workers' ,quarterly4 99 ,burlington4 99 ,home ,art ,work4 99 ,studio4 ,transactions of ,st4 ,paul's ,ecclesiological ,society4 ,vols4 ,i4 and ,,ii4 especially4 ,,index ,albe1 an ancient1 #hf apparels of1 #hf how to make1 #hf insertion on old1 #hg modern1 #hg-hh origin of1 #he symbolism of1 #ec ,almsbags1 #fg ,altar1 keynote of decoration1 #ci-dj linen required for1 #gi ,altar-cloth band1 #gi-hj fair linen1 #gi ,altar-frontal1 #ci early ,english1 #dj to make up1 #dj-dg ,amice1 apparel of1 #hh of ,st4 ,thomas of ,canterbury1 #hh origin of1 #hh symbolism of1 #ec ,apparels1 #eg of albe1 #hf of amice1 #hh of dalmatic1 #bd1 #eg ,appliqu1 #ba examples of1 #bb-bd method of cutting1 #bf to prepare1 #be uses of1 #be ,apron necessary1 #af ,back-stitching1 #gf ,banners1 #fe appliqu suitable for1 #be design for1 #fd ,basket-stitch1 #ab ,book-covers1 #fg ,book-markers1 #fh ,books1 care of1 #hd ,brocade1 #c ,burse1 #eh1 #fb to make1 #eh1 #fa ,buttonhole-filling1 #ge ,buttonhole-stitch1 #gd ,canvas-stitch1 #gg ,chain-stitch1 #bg ,chalice-veil 7linen71 #hc 7silk71 #eh design for1 #hc specimen of1 #fc ,chasuble1 early ,english examples1 #ee from ,harleian ,,mss41 #ee how to make1 #ef of ,st4 ,ignatius of ,loyola1 #ed of ,st4 ,thomas of ,canterbury1 #eh origin of1 #ee ornament of1 #8flower1' #ef1 #ei symbolism of1 #ec ,cherub1 early ,english1 #de ,cingulum or girdle1 #ec1 #he ,clavi1 #eg ,cloth1 linen and woollen1 #c of gold1 #c1 #i ,colours1 #b isolation of1 #ba liturgical1 #ci modification of1 #aj washing1 #af ,cope1 measurements of1 c41 #di the1 #di to make up1 #ej ,coptic embroidery1 #bh ,corporals1 case or burse1 #eh-fb pair of1 #hc ,couching 7gold71 #i 7silk71 #ae compared with laid-work1 #ae1 #ai ,counter-change1 #bf ,credence cloth1 #he ,crewel-stitch1 #bj ,cross-stitch1 #gf-gg like ,lacis1 #gg ,curtains1 principles to be observed in hanging1 #dj ,cut-linen1 #hb ,dalmatic1 #eg apparels of1 #bd1 #eg ,clavi1 #eg diagram of1 #fa ,damask1 #c ,darning1 #bj1 #ba on drawn-thread1 #gi1 #hb ,decoration1 futile1 #b of ancient copes1 usual arrangement of1 #ej some principles of1 #b ,design1 colour-scheme in1 #b ,designers for ecclesiastical art1 #b ,designs1 to transfer1 #f-g ,d'or nu1 #cd1 #cf ,drawing necessary for figure-work1 #bi ,emblems1 #if ,embroidery1 definition of1 #a ,english1 #a in gold1 #i-ac in linen1 #gb-gg in silks1 #ae paste1 #be #8,eye' of a curve1 #gd #8,fair-linen ,cloth1' #gi ,fanon or maniple1 #ec ,feather-stitch1 #ge ,figure-embroidery1 #bh-cg ,florentine1 #ce from frontal of ,st4 ,thomas 7 ,becket7 of ,canterbury1 ,salisbury1 #cc from ,syon cope1 #ca imitation of1 #ia three methods of1 #cd ,filling1 buttonhole1 #ge chain-stitch1 #bg stitches suitable for1 #gd-gf ,floss-silk1 embroidery in1 #ae-bj how to use1 #af ,flower1 ornament called the1 #ei ,flowers1 early ,english conventional1 #db-dd ,frames1 altar-frontals stretched on1 #dg embroidery1 #d-f how to mount for embroidery1 #f making up1 #da position of worker at1 #e ,french knots1 #bg ,fringe1 importance of1 #df washing of1 #hb ,frontal1 altar-1 #ci early ,english1 #dj how to make up1 #dj-dg keynote as to colour1 c41 #ci size1 #dj ,garments in embroidery1 treatment of1 #bi1 #cj1 #cb1 #ia liturgical1 #ec ,girdle of silk at ,sarum1 #he the1 use and symbolism of1 #ec ,gold1 cloth of1 #c1 #i d'or nu1 #cd1 #cf embroidery1 #i-ac raised work1 #ab stitches useful for1 #aj1 #aa thread1 different kinds of1 #c-d ,hands1 special care of the1 #af ,hangings1 various1 #dj ,herring-bone-stitch1 #ge close1 #gf ,swiss1 #gf ,herse-cloth or pall1 #ff1 #fg1 #ga colour of1 #fg ,history of embroidery1 #a ,houseling-cloth1 #hd ,imitations condemned1 #b1 #ia ,inlay1 #bf ,insertion1 #hf1 #hg ,kneelers1 #fh ,lace suitable for linen1 #hb ,lacis1 #gg ,laid-work1 #ae-ai compared with couching1 #ae1 #ai ,lavabo towels1 #hd ,light1 arrangement of1 #e ,linen1 altar1 #gi coloured1 #c coloured embroidery on white1 #hj corporal1 #hc #8cut1' #hb drawn-thread1 #gi-hb embroidery1 principal stitches1 #gc-gg fringe1 to wash1 #hb vestments1 #he ,linen-work1 materials for1 #gc sampler1 #gb ,lines1 #8,sympathetic1' #gf ,long- and short-stitch1 #ag ,maniple1 origin and symbolism of1 #ec shape and size of1 #ec-ee the1 #ec ,materials for backgrounds1 #c for embroidery1 #c-e for linen-work1 #gc ,mitre1 #ea-eb of ,st4 ,thomas of ,canterbury1 #ea ,needles1 #d to improve1 #d #8,opus ,anglicanum1' #cb ,outline1 #ba principle of1 #ba secondary1 #bc ,padding in gold-work1 #ab in linen-work1 #gd ,pall or herse-cloth1 #ff1 #fg linen1 #hc-hd ,parchment1 use of1 #ab1 #eb ,paste1 embroidery1 to make1 #be ,plate1 #ac ,plumage-stitch1 #ag ,principles1 a few-- of colour1 #ba of decoration1 #b of embroidery as art1 #a of proportion1 #dg1 #ff ,pulpit-hanging1 #gj ,purificators1 #hd ,radiation1 principle of1 #ag ,relief1 high1 #ab1 #gd exaggerated1 #cj ,rochet1 #hi ,saint ,ignatius of ,loyola1 #ed ,thomas of ,canterbury's amice1 #hh apparel1 #hh chasuble1 #eh mitre1 #ea ,sampler for gold-work1 #h for linen-work1 #gb for silk-work1 #ad ,shades of floss-silk1 #b-ae in old work1 #cf ,shading1 #ae1 #af ,silk and satin1 #c embroidery1 #ae embroidery compared with linen1 #gd ,silks1 embroidery1 #d ,soap1 carbolic1 c41 to avoid1 #af ,stitches--,back-stitch1 #gf basket-stitch1 #ab buttonhole1 #gd canvas or cushion1 #gg chain1 #bg couching1 #i1 #aj1 #aa1 #ae1 #fa cross1 #gf drawn-thread1 #ha feather1 #ge ,french knots1 #bg herring-bone1 #ge laid-stitch1 #ae-ai nu 7d'or71 #cd1 #cf open-worked cross-stitch1 #gg satin1 #af1 #ag1 #ah linen1 #gd short1 #ag1 #cd slanting1 #bj split-stitch1 #ah1 #bi1 #cj1 #cb1 #cf ,stole1 origin and symbolism of the1 #ec shape and design1 #ee size of the1 #ec ,stuffing-cotton1 #ab ,sudaries1 #hd ,super-frontal or frontlet1 #df ,surplice1 ancient1 #hi diagram1 #ij ,dr4 ,rock's pattern1 #ij how to make1 #hi modern1 #hi ,symbols1 #if #8,sympathetic lines1' #gf ,syon cope1 arrangement of design1 #cb background of1 #cg colours of1 #cb figure from the1 #ca gold-work of1 #cf method of work1 #cf ,toga1 ,roman1 #di ,towels1 ,lavabo1 #hd ,trabea1 #di ,tunicle1 #eg ,veil1 chalice 7silk71 #eh1 #fc 7linen71 #hc humeral1 #hd offertory1 #hd ,velvet1 #c ,vestments1 ,eucharistic1 #ec colours of1 #ci1 #ec symbolism of1 #ec linen1 #he-ij of ,walter de ,cantelupe1 fragments of1 #cj #8white shining1' #he ,white linen1 decoration of1 #gc1 #gd ,worcester1 bishop's tomb at1 #ef fragment of vestments1 #cj ,,printed ,,by ,,spottiswoode ,,and ,,co4 ,,ltd41 ,,new-,,street ,,square ,,london