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HANDBOOK OF EMBROIDERY. 

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 HANDBOOK OF EMBROIDERY

 BY L. HIGGIN. 

 EDITED BY LADY MARIAN ALFORD. 

 PUBLISHED BY AUTHORITY OF THE ROYAL SCHOOL OF ART-NEEDLEWORK, AND DEDICATED TO THEIR PRESIDENT, H. R. H. PRINCESS CHRISTIAN, OF SCHLESWIG-HOLSTEIN, PRINCESS OF GREAT BRITAIN AND IRELAND. 

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 LONDON: SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON, CROWN BUILDINGS, FLEET STREET. 1880. 

(_All rights reserved. _)

NOTE. 

Plates Nos. 4 and 19 show a portion only of the designs by Mr. W. Morris and Mr. Fairfax Wade. 

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PREFACE. 

In drawing up this little "Handbook of Embroidery" we do not pretendto give such complete technical directions as would enable a beginnerin this beautiful art to teach herself; because learning withoutpractical lessons must be incomplete, and can only lead todisappointment. 

We have sought, therefore, only to respond to the inquiries we areconstantly receiving, and to supply useful hints to those who areunable to avail themselves of lessons, and are forced to puzzle overtheir difficulties without help from a trained and experiencedembroiderer; at the same time, the rules we have laid down and thedirections we have given may serve to remind those who have passedthrough the classes, of many little details which might easily beforgotten when the lessons are over, though so much of the success ofembroidery depends upon them. 

We have given a short description of the most useful stitches, andhave pointed out their applicability to different styles of work; wehave named the various materials which are best suited as grounds forembroidery, and the silks, filoselles, crewels, &c. , which are mostcommonly employed, with practical rules for their use in the best andmost economical manner. 

Also we have given such plain directions as to stretching, framing, and cleaning the work as are possible in a limited space, and withoutpractical illustration. We venture to hope we have thus supplied awant that has been long felt by those who interest themselves in theart in which Englishwomen once excelled, but which had languished oflate years, and almost died out amongst us, though it has always beentaught in many continental cities, where embroideries have neverceased to be required for church decoration. 

We have abstained from giving any directions as to the tracing ofdesigns upon material, for two sufficient reasons: firstly, that theRoyal School of Art-Needlework has never supplied designs alone, or inany other form than as prepared work; and secondly, that having madeexperiments with all the systems that have been brought out for"stamping, " ironing from transfer-papers, or with tracing powder, ithas been found that designs can only be artistically and well tracedon material by hand painting. Those ladies who can design and painttheir own patterns for embroidery are independent of assistance, andto those who are unable to do so we cannot recommend any of themethods now advertised. 

It has been thought unnecessary to enter into the subject ofecclesiastical embroidery at present. This has been so thoroughlyrevived in England, and practised in such perfection bysisterhoods--both Anglican and Roman Catholic--as well as by some ofthe leading firms of church decorators, that we have not feltourselves called upon to do more than include it in our course oflessons. 

The æsthetic side of our subject we have purposely avoided, as itwould lead us further than this purely technical guide-book pretendsto go. But we propose shortly to bring out a second part devoted todesign, composition, colour, and the common-sense mode of treatingdecorative Art, as applied to wall-hanging, furniture, dress, and thesmaller objects of luxury. 

We shall examine and try to define the principles which have guidedEastern and Western embroideries at their best periods, hoping thus tosave the designers of the future from repeating exploded experimentsagainst received canons of good taste; checking, if we can, theexuberance of ignorant or eccentric genius, but leaving room fororiginality. 

Mrs. Dolby, who by her presence and her teaching helped Lady Welby tostart the Royal School of Art-Needlework, has left behind her a mostvaluable guide for mediæval work in her "Church Embroidery, Ancientand Modern, " which will always be a first-class authority. 

The Author and the Editor of this handbook are equally impressed withthe responsibility they have undertaken in formulating rules forfuture embroiderers. They have consulted all acknowledged authorities, and from them have selected those which the teachers in the RoyalSchool of Art-Needlework have found the most practical andinstructive. 

Should any of their readers favour them with hints or criticisms, orgive them information as to pieces of embroidery worth studying, orstitches not here named, any such communications will be gratefullyreceived and made use of in future editions. 

 THE EDITOR. 

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TABLE OF CONTENTS. 

 CHAPTER I. 

 _Page 1. _

 OF IMPLEMENTS AND MATERIALS USED IN MODERN EMBROIDERY. 

 PAGE

 Needles 1

 Scissors 1

 Prickers, &c. 2

 Crewels 3

 Tapestry Wool 4

 Arrasene 4

 Embroidery or Bobbin Silk 5

 Rope Silk 5

 Fine Silk 6

 Purse Silk 6

 Raw or Spun Silk 6

 Vegetable Silk 6

 Filoselle 7

 Tussore 7

 Gold 8

 Japanese Gold Thread 8

 Chinese Gold 8

 Gold and Silver Passing 8

 Bullion or Purl 8

 Spangles 9

 Plate 9

 Recipes for Preserving Gold 10

 CHAPTER II. 

 _Page 11. _

 TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY. 

 Linens 11

 Flax 11

 Twill 11

 Kirriemuir Twill 11

 Sailcloth 12

 Oatcake Linen 12

 Oatmeal Linen 12

 Smock Linen 12

 Bolton, or Workhouse Sheeting 12

 Satins and Silks 14

 Silk Sheeting 14

 Tussore and Corah Silks 15

 Plain Tapestries 15

 Brocatine 15

 Cotton and Woollen 16

 Velveteen 16

 Utrecht Velvet 16

 Velvet Cloth 16

 Felt 16

 Diagonal Cloth 16

 Serge 17

 Soft, or Super Serge 17

 Cricketing Flannel 17

 Genoa or Lyons Velvet 17

 Silk Velvet Plush 17

 Cloths of Gold and Silver 18

 CHAPTER III. 

 _Page 19. _

 STITCHES. 

 Stem Stitch 19

 Split Stitch 22

 Satin Stitch 23

 Blanket Stitch 23

 Button-hole Stitch 24

 Knotted Stitch 24

 Chain Stitch 27

 Twisted Chain 28

 Feather Stitch 29

 CHAPTER IV. 

 _Page 33. _

 Frames and Framing 33

 CHAPTER V. 

 _Page 37. _

 STITCHES USED IN FRAME EMBROIDERY. 

 Feather Stitch 37

 Couching or Laid Embroidery 39

 Net-patterned Couching 41

 Brick Stitch 41

 Diaper Couchings 42

 Basket Stitch 42

 Spanish Embroidery 43

 Cross Stitch 45

 Simple Cross Stitch 46

 Persian Cross Stitch 46

 Burden Stitch 50

 Stem Stitch 51

 Japanese Stitch 51

 Tambour Work 51

 Opus Anglicum 52

 Cut Work 54

 Inlaid Appliqué 54

 Onlaid Appliqué 54

 Gold Embroidery 57

 Backing 58

 Stretching and Finishing 59

 Embroidery Paste 59

 Cleaning 60

 ILLUSTRATIONS. 

 Description of the Plates 62

 Sixteen Plates, containing 24 Designs 65 to 96

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HANDBOOK OF EMBROIDERY. 

CHAPTER I. 

OF MATERIALS AND IMPLEMENTS USED IN MODERN EMBROIDERY. 

IMPLEMENTS. 

_Needles. _--The best "embroidery needles" for ordinary crewel handworkare Nos. 5 and 6. For coarse "sailcloth, " "flax, " or "oatcake, " No. 4. For frame embroidery, or very fine handwork, the higher numbers, from7 to 10. 

It is a mistake to use too fine a needle. The thread of crewel or silkshould always be able to pass loosely into the eye, so as not torequire any pulling to carry it through the material. 

 * * * * *

_Scissors_ should be finely pointed, and very sharp. 

 * * * * *

_Thimbles_ which have been well worn, and are therefore smooth, arebest. Some workers prefer ivory or vulcanite. Two thimbles should beused for framework. 

 * * * * *

_Prickers_ are necessary for piercing holes in gold embroidery, andalso for arranging the lie of the thread in some forms of couching. 

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MATERIALS. 

CREWELS, AND HOW TO USE THEM. 

_Crewel_ should be cut into short threads, never more than half thelength of the skein. If a long needleful is used, it is not only aptto pull the work, but is very wasteful, as the end of it is liable tobecome frayed or knotted before it is nearly worked up. If it isnecessary to use it double (and for coarse work, such as screen panelson sailcloth, or for embroidering on Utrecht velvet, it is generallybetter doubled), care should be taken never to pass it through the eyeof the needle, knotting the two ends; but two separate threads of thelength required should be passed together through the needle. 

Crewel should not be manufactured with a twist, as it makes theembroidery appear hard and rigid; and the shades of colour do notblend into each other so harmoniously as when they are untwisted. 

In crewels of the best quality the colours are perfectly fast, andwill bear being repeatedly washed, provided no soda or washing-powderis used. Directions for cleaning crewel work are given later; but itshould not be sent to an ordinary laundress, who will most certainlyruin the colours. 

Crewel is suitable for embroidery on all kinds of linen--on plain ordiagonal cloth, serge, flannel, &c. It is also very effective whenused in conjunction with embroidery silk, or filoselle, either inconventional designs, or where flowers are introduced. The leaves maybe worked in crewels, and the flowers in silk, or the effect of thecrewels increased by merely touching up the high lights with silk. 

 * * * * *

_Tapestry Wool_ is more than twice the thickness of crewel, and isused for screen panels, or large curtain borders, where the work iscoarse, and a good deal of ground has to be covered. It is also usedfor bath blankets and carriage and sofa rugs. Tapestry wool is not yetmade in all shades. 

Fine crewels are used for delicately working small figures, d'oyleys, &c. ; but there is also a difficulty about obtaining these in allshades, as there is not much demand for them at present. 

 * * * * *

_Arrasene_ is a new material. It is a species of worsted chenille, butis not twisted round fine wire or silk, like ordinary chenille; thoughit is woven first into a fabric, and then cut in the same manner. Itserves to produce broad effects for screen panels, or borders, and hasa very soft, rich appearance when carefully used. It is made also insilk; but this is inferior to worsted arrasene, or the old-fashionedchenille. 

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SILKS. 

_"Embroidery, " or Bobbin Silk_, which has now almost supersededfloss, is used for working on satin and silk, or for any fine work. Itis made in strands, each of which has a slight twist in it to preventits fraying as floss does. As this silk is required in all varietiesof thickness, it is manufactured in what is technically called "rope, "that is, with about twelve strands in each thread. When not "rope"silk, it is in single strands, and is then called "fine" silk. As itis almost always necessary to use several strands, and these invarying number, according to the embroidery in hand, the rope silk hasto be divided, or the fine doubled or trebled, as the case may be. 

If rope silk is being used, the length required for a needleful mustbe cut and passed carefully between finger and thumb once or twice, that it may not be twisted. It should then be carefully separated intothe number of strands most suitable for the embroidery in hand; forordinary work three is about the best number. 

These must be threaded together through the needle, care being takennot to tangle the piece of "rope" from which they have been detached. There need be no waste if this operation is carefully done, as goodsilk will always divide into strands without fraying. 

In using "fine silk, " one length must be cut first, then other strandslaid on it, --as many as are needed to form the thickness required. They should be carefully laid in the same direction as they leave thereel or card. If placed carelessly backwards and forwards, they aresure to fray, and will not work evenly together. With silk still morethan with crewel, it is necessary to thread all the strands throughthe needle together, never to double one back, and never to make aknot. 

It is intended in future to do away with this distinction between"rope" and "fine" silk, and to have it all manufactured of one uniformthickness, which will consist of eight strands of the same quality asthe "fine" silk at present in use. As it will, however, still benecessary to divide the thread, and even perhaps occasionally todouble it, the directions given above will be useful. 

 * * * * *

_Purse Silk_ is used sometimes for diapering, and in rare cases inordinary embroidery, where a raised effect is required. 

 * * * * *

_Raw_ or _spun silk_ is a soft untwisted cream-coloured silk, used fordaisies and other simple white flowers, or in outlining. It is muchcheaper than embroidery silk or filoselle. 

 * * * * *

_Vegetable Silk_ (so-called) is not used or sold by the Royal School. 

 * * * * *

_Filoselle_, when of good quality, is not, as some people suppose, amixture of silk and cotton. It is pure silk, but of an inferiorquality; and therefore cheaper. It answers many of the purposes ofbobbin silk, but is not suitable for fine embroidery on silk or satinfabrics. It should be used also in strands, and the same remarks holdgood with regard to its not being doubled, but cut in equal lengths. 

 * * * * *

_Tussore. _--Interesting experiments have recently been made with the"Tussore, " or "wild silk" of India, which bids fair to create arevolution in embroidery. Not only can it be produced for less thanhalf the price of the "cultivated silk" of Italy, China, or Japan, butit also takes the most delicate dyes with a softness that gives apeculiarly charming effect. It can scarcely be said to be in themarket as yet, but in all probability before this work is through thepress it will have become an important element in decorativeneedlework. It is much less glossy than cultivated silk. 

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GOLD THREAD, &c. 

"_Japanese gold thread_, " which has the advantage of never tarnishing, is now extremely difficult to obtain. Being made of gilt paper twistedround cotton thread, it cannot be drawn through the material by theneedle; but must in all cases be laid on, and stitched down with afine yellow silk, known as "Maltese, " or "Horse-tail. "

 * * * * *

"_Chinese gold_" is manufactured in the same manner as the Japanese;but being of a much redder colour is not so satisfactory in embroideryunless a warm shade is desirable for a particular work. 

 * * * * *

_Gold and silver passing_, a very fine kind of thread, can either beused for working through the material, or can be laid on like theJapanese gold. They are suitable for "raised gold or silverembroidery. "

 * * * * *

_Bullion, or Purl_, is gold or silver wire made in a series ofcontinuous rings, like a corkscrew. It is used in ecclesiastical work, for embroidering official and military uniforms, and for heraldicdesigns. It should be cut into the required lengths--threaded on theneedle and fastened down as in bead-work. Purl is sometimesmanufactured with a coloured silk twisted round the metal though notconcealing it, and giving rich tints to the work. 

 * * * * *

_Spangles_ were anciently much used in embroidery, and were sometimesof pure gold. They are but little used now. 

 * * * * *

_Plate_ consists of narrow plates of gold or silver stitched on to theembroidery by threads of silk, which pass over them. 

 * * * * *

The French and English gold thread is made of thin plates of metal cutinto strips, and wound round strands of cotton in the same manner asthe Japanese gold. If the metal is real, the cost is of course great. It is sold by weight, gold being about 20s. Per oz. , and silver, 10s. Per oz. In addition to its superiority in wear, it has this advantage, that old gold or silver thread is always of intrinsic value, and maybe sold at the current price of the metal whatever state it may be in. Many varieties of gilt thread are manufactured in France and England, which may be used when the great expense of "real gold" is objectedto. But although it looks equally well at first, it soon becomestarnished, and spoils the effect of the embroidery. Gold and silverthreads are difficult to work with in England, and especially inLondon, as damp and coal-smoke tarnish them almost before the work isout of the frame. Mrs. Dolby recommends cloves being placed in thepapers in which they are kept. 

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RECIPES FOR PRESERVING GOLD. 

We give here two recipes, which may be found serviceable. They arefrom different sources; the first is a very old one. They may preservegold for a certain time. 

1. Isinglass dissolved in spirits of wine and brushed over the threador braid, which should be hung over something to dry, and not touchedwith the hand. 

2. Spirits of wine and mastic varnish mixed very thin and put on inthe same way with a brush. 

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CHAPTER II. 

TEXTILE FABRICS USED AS GROUNDS FOR EMBROIDERY. 

LINENS. 

There are many varieties of unglazed, half-bleached linens, from thatthirty-six and forty inches wide, used for chair-back covers, to thatninety inches wide, used for large table-covers, curtains, &c. Thereare also endless varieties of fancy linens, both of hand andpower-loom weaving, for summer dresses, for bed furniture, chair-backcovers, table-cloths, &c. 

 * * * * *

_Flax_ is the unbleached brown linen, often used for chair-backcovers. 

 * * * * *

_Twill_ is a thick linen suitable for coverings for furniture. 

 * * * * *

_Kirriemuir Twill_ is a fine twilled linen made at Kirriemuir, and isgood for tennis aprons, dresses, curtains, &c. 

 * * * * *

_Sailcloth_ is a stout linen, of yellow colour, and is only suitablefor screen panels. 

 * * * * *

_Oatcake Linen_, so called from its resemblance to Scotch oatcake, hasbeen popular for screen panels or washstand backs. It is very coarseand rough. 

 * * * * *

_Oatmeal Linen_ is finer and of a greyer tone. It is also used forscreens, and for smaller articles. 

 * * * * *

_Smock Linen_ is a strong even green cloth. It makes an excellentground for working screens, and is also used for tennis aprons. 

 * * * * *

_Crash. _--Properly speaking, the name "_crash_" is only applied to thecoarse Russian home-spun linen, which has been such a favourite fromthe beauty of its tone of colour. It is, however, erroneously appliedto all linens used for embroidery, whether woven by hand-loom ormachinery; and this confusion of names frequently leads to mistakes. Crash is almost always very coarse, is never more than eighteen incheswide, and cannot be mistaken for a machine-made fabric. It is woven bythe Russian peasants in their own homes, in lengths varying from fiveto ten yards, and, therefore, though sent over in large bales, it isvery difficult to find two pieces among a hundred that in any waymatch each other. 

 * * * * *

_Bolton, or Workhouse Sheeting_, is a coarse twilled cotton fabric, seventy-two inches wide, of a beautiful soft creamy colour, whichimproves much in washing. It is inexpensive, and an excellent groundfor embroidery, either for curtains, counterpanes, chair coverings, orfor ladies' dresses, or tennis aprons. 

It resembles the twilled cotton on which so much of the old crewelembroidery was worked in the seventeenth century, and is one of themost satisfactory materials when of really good quality. 

 * * * * *

All descriptions of linen, except the "oatcake" and "sailcloth, " canbe embroidered in the hand. 

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TEXTILE FABRICS. 

SATINS AND SILKS. 

_Satins and Silks_ can only be embroidered in a frame. Furnituresatins of stout make, with cotton backs, may be used without backing;but ordinary dress satins require to have a thin cotton or linenbacking to bear the strains of the work and framing. Nothing is morebeautiful than a rich white satin for a dress embroidered in colouredsilks. 

For fans, a very fine, closely woven satin is necessary, as it willnot fold evenly unless the satin is thin; and yet it must be richenough to sustain the fine embroidery, without pulling, or lookingpoor. A special kind of satin is made for the manufacture of fans, andnone other is available. 

 * * * * *

"_Silk Sheeting_" of good quality, "_Satin de Chine_" and othersilk-faced materials of the same class, may either be embroidered inthe hand, or framed; but for large pieces of work a frame isessential. These materials are suitable for curtains, counterpanes, piano coverings, or panels, and indeed for almost any purpose. Thefiner qualities are very beautiful for dresses, as they take rich andgraceful folds, and carry embroidery well. 

 * * * * *

_Tussore and Corah Silks_ are charming for summer dresses, lightchair-back covers, or embroidered window blinds. They will only bearlight embroidering in silk or filoselle. 

Within the last year successful experiments have been made in dyeingthese Indian silks in England. The exact shades which we admire somuch in the old Oriental embroideries have been reproduced, with theadditional advantage of being perfectly fast in colour. 

Nothing can be more charming as lining for table-covers, screens, curtains, &c. ; and they are rather less expensive than other liningsilks. 

The fabrics known as _Plain Tapestries_ are a mixture of silk andcotton, manufactured in imitation of the handworked backgrounds sofrequent in ancient embroideries--especially Venetian. Almost all thevarieties of _Opus Pulvinarium_, or cushion stitch, have beenreproduced in these woven fabrics. 

 * * * * *

_Brocatine_ is a silk-faced material, woven to imitate couchedembroidery. The silk is thrown to the surface and is tied with cottonthreads from the back. 

As ground for embroidery it has an excellent effect. 

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TEXTILE FABRICS. 

COTTONS AND WOOLLENS. 

_Velveteen_, if of good quality, makes an excellent ground for screenpanels, chair-covers, portières, curtains, borders, &c. It can beworked in the hand if the embroidery be not too heavy or large instyle. 

 * * * * *

_Utrecht Velvet_ is only suitable for coarse crewel or tapestry woolembroidery. It is fit for curtain dados or wide borderings. 

 * * * * *

_Velvet Cloth_ is a rich plain cloth, finished without any gloss. Itis a good ground for embroidery, either for curtains or altar-cloths. It is two yards wide. 

 * * * * *

_Felt_ is sometimes used for the same purposes, but does not wearnearly so well, and is difficult to work. 

 * * * * *

_Diagonal Cloth_ can be worked either in the hand or frame, althoughit is always much better in the latter. It is used for table-covers, curtains, chair-seats, &c. 

 * * * * *

_Serge_ is usually made thirty-six inches wide. It has long been infavour for curtains, small table-covers, dresses, &c. It can now beobtained at the school fifty-four inches wide, in many shades. 

 * * * * *

_Soft or Super Serge_, also fifty-four inches wide, is an excellentmaterial, much superior in appearance to diagonal cloth, or to theordinary rough serge. It takes embroidery well. 

 * * * * *

_Cricketing flannel_ is used for coverlets for cots, children'sdresses, and many other purposes. It is of a beautiful creamy colour, and is a good ground for fine crewel or silk embroidery. It need notbe worked in a frame. 

 * * * * *

_Genoa or Lyons Velvet_ makes a beautiful ground for embroidery; butit can only be worked in a frame, and requires to be "backed" with athin cotton or linen lining, if it is to sustain any mass ofembroidery. For small articles, such as sachets or casket-covers, whenthe work is fine and small, the backing is not necessary. Screenpanels of velvet, worked wholly in crewels, or with crewel brightenedwith silk, are very effective. Three-piled velvet is the best forworking upon, but is so expensive that it is seldom asked for. 

 * * * * *

_Silk Velvet Plush_ (a new material) can only be used in frame work, and must be backed. It is useful in "appliqué" from the many beautifultones of colour it takes. As a ground for silk or gold embroidery itis also very good. 

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TEXTILE FABRICS. 

GOLD AND SILVER CLOTH. 

_Cloth of Gold or Silver_ is made of threads of silk woven with metal, which is thrown to the surface. In its best form it is extremelyexpensive, varying from £4 to £6 per yard, according to the weight ofgold introduced. Cloth of silver is generally £3 the yard. 

 * * * * *

Inferior kinds of these cloths are made in which silk largelypredominates, and shows plainly on the surface. They are frequentlywoven in patterns, such as diaper or diagonal lines, with a tie of redsilk, in imitation of the diaper patterns of couched embroidery. 

They are chiefly used in ecclesiastical or heraldic embroidery; theirgreat expense preventing their general use. 

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CHAPTER III. 

STITCHES USED IN HAND EMBROIDERY AS TAUGHT AT THE ROYAL SCHOOL OFART-NEEDLEWORK. 

To avoid pulling or puckering the work, care should be taken--firstly, that the needle is not too small, so as to require any force indrawing it through the material; secondly, the material must be heldin a convex position over the fingers, so that the crewel or silk inthe needle shall be looser than the ground; and thirdly, not to usetoo long needlefuls. These rules apply generally to all handworkedembroideries. 

STITCHES. 

_Stem Stitch. _--The first stitch which is taught to a beginner is"stem stitch" (wrongly called also, "crewel stitch, " as it has noclaim to being used exclusively in crewel embroidery). It is mostuseful in work done in the hand, and especially in outlines offlowers, unshaded leaves, and arabesque, and all conventional designs. 

[Illustration: No. 1. --STEM STITCH. ]

It may be best described as a long stitch forward on the surface, anda shorter one backward on the under side of the fabric, the stitchesfollowing each other almost in line from left to right. The effect onthe wrong side is exactly that of an irregular back-stitching used bydressmakers, as distinguished from regular stitching. A leaf worked inoutline should be begun at the lower or stalk end, and worked roundthe right side to the top, taking care that the needle is to the leftof the thread as it is drawn out. When the point of the leaf isreached, it is best to reverse the operation in working down the leftside towards the stalk again, so as to keep the needle to the right ofthe thread instead of to the left, as in going up. 

[Illustration: No. 2. ]

The reason of this will be easily understood: we will suppose the leafto have a slightly serrated edge (and there is no leaf in nature withan absolutely smooth one). It will be found that in order to give thisragged appearance, it is necessary to have the points at which theinsertions of the needle occur on the outside of the leaf: whereas ifthe stem stitch were continued down the left side, exactly in the samemanner as in ascending the right, we should have the ugly anomaly of aleaf outlined thus:--

[Illustration: No. 3. ]

If the leaf is to be worked "solidly, " another row of stem stitchingmust be taken up the centre of it (unless it be a very narrow leaf), to the top. The two halves of the leaf must then be filled in, separately, with close, even rows of stem stitch, worked in theordinary way, with the needle to the left of the thread. This willprevent the ugly ridge which remains in the centre, if it is workedround and round the inside of the outline. Stem stitch must be variedaccording to the work in hand. If a perfectly even line is required, care must be taken that the direction of the needle when inserted isin a straight line with the preceding stitch. If a slight serrature isrequired, each stitch must be sloped a little by inserting the needleat a slight angle, as shown in the illustration. The length of thesurface stitches must vary to suit the style of each piece ofembroidery. 

 * * * * *

_Split Stitch_ is worked like ordinary "stem, " except that the needleis always brought up _through_ the crewel or silk, which it splits, inpassing. 

The effect is to produce a more even line than is possible with themost careful stem stitch. It is used for delicate outlines. Splitstitch is rarely used in hand embroidery, being more suitable forframe work: but has been described here as being a form of stemstitch. The effect is somewhat like a confused chain stitch. 

 * * * * *

_Satin Stitch_--_French Plumetis_--is one of those chiefly used inwhite embroidery, and consists in taking the needle each time backagain almost to the spot from which it started, so that the sameamount of crewel or silk remains on the back of the work as on thefront. This produces a surface as smooth as satin: hence its name. Itis chiefly used in working the petals of small flowers, such as"Forget-me-nots, " and in arabesque designs where a raised effect iswanted in small masses. 

[Illustration: No. 4. --SATIN STITCH. ]

 * * * * *

_Blanket Stitch_ is used for working the edges of table-covers, mantel valances, blankets, &c. , or for edging any other material. Itis simply a button-hole stitch, and may be varied in many ways bysloping the stitches alternately to right and left; by working two orthree together, and leaving a space between them and the next set; orby working a second row round the edge of the cloth over the firstwith a different shade of wool. 

[Illustration: No. 5. --BLANKET STITCH. ]

 * * * * *

_Knotted Stitch_, or _French Knot_, is used for the centres of suchflowers as the daisy or wild rose, and sometimes for the anthers ofothers. The needle is brought up at the exact spot where the knot isto be: the thread is held in the left hand, and twisted once or twiceround the needle, the point of which is then passed through thefabric close to the spot where it came up: the right hand draws itunderneath, while the thumb of the left keeps the thread in its placeuntil the knot is secure. The knots are increased in size according tothe number of twists round the needle. When properly made, they shouldlook like beads, and lie in perfectly even and regular rows. 

[Illustration: No. 6. --KNOTTED STITCH, or FRENCH KNOT. ]

This stitch is very ancient, and does not seem confined to anycountry, and the Chinese execute large and elaborate pieces ofembroidery in it, introducing beautiful shading. A curious specimen ofvery fine knotting stitch was exhibited at the Royal School in 1878, probably of French workmanship. It was a portrait of St. IgnatiusLoyola, not more than six inches in length, and was entirely executedin knots of such fineness, that without a magnifying glass it wasimpossible to discover the stitches. This, however, is a _tour deforce_, and not quoted as worthy of imitation. 

There is one variety of this stitch, in which the thread is twisted agreat many times round the needle, so as to form a sort of curlinstead of a single knot. This is found in many ancient embroideries, where it is used for the hair of saints and angels in ecclesiasticalwork. 

Knotted stitch was also employed largely in all its forms in thecurious and ingenious but ugly style in vogue during the reign ofJames I. , when the landscapes were frequently worked in cross, orfeather stitch, while the figures were raised over stuffing, anddressed, as it were, in robes made entirely in point lace, orbutton-hole stitches, executed in silk. The foliage of the trees andshrubs which we generally find in these embroidered pictures, as wellas the hair in the figures, were worked in knotted stitches of varyingsizes, while the faces were in tent stitch or painted on white silk, and fastened on to the canvas or linen ground. 

[Illustration: No. 7. --BULLION KNOT. ]

Another variety of knotting, which is still occasionally used, resembles _bullion_, being made into a long roll. A stitch of thelength of the intended roll is taken in the material, the point of theneedle being brought to the surface again in the same spot from whichthe thread originally started; the thread is then twisted eight or tentimes round the point of the needle, which is drawn out carefullythrough the tunnel formed by the twists, this being kept in its placeby the left thumb. The point of the needle is then inserted once morein the same place as it first entered the material, the long knot orroll being drawn so as to lie evenly between the points of insertionand re-appearance, thus treating the twisted thread as if it werebullion or purl. 

 * * * * *

_Chain Stitch_ is but little used in embroidery now, although it maysometimes be suitable for lines. It is made by taking a stitch fromright to left, and before the needle is drawn out the thread isbrought round towards the worker, and under the point of the needle. 

[Illustration: No. 8. --CHAIN STITCH. ]

The next stitch is taken from the point of the loop thus formedforwards, and the thread again kept under the point, so that a regularchain is formed on the surface of the material. 

This chain stitch was much employed for ground patterns in thebeautiful gold-coloured work on linen for dress or furniture whichprevailed from the time of James I. To the middle of the eighteenthcentury. It gave the appearance of quilting when worked on linen ingeometrical designs, or in fine and often-repeated arabesques. Examples of it come to us from Germany and Spain, in which the designis embroidered in satin stitch, or entirely filled in with solidchain stitch, in a uniform gold colour. 

Chain stitch resembles _Tambour work_, which we shall describe amongstframework stitches, though it is not at present practised at thisSchool. 

 * * * * *

_Twisted Chain_, or Rope stitch. 

[Illustration: No. 9. --TWISTED CHAIN. ]

Effective for outlines on coarse materials, such as blankets, carriagerugs, footstools, &c. 

It is like an ordinary chain, except that in place of starting thesecond stitch from the centre of the loop, the needle is taken back tohalf the distance behind it, and the loop is pushed to one side toallow the needle to enter in a straight line with the former stitch. It is not of much use, except when worked with double crewel or withtapestry wool; and should then have the appearance of a twisted rope. 

 * * * * *

_Feather Stitch. _--Vulgarly called "_long and short stitch_, " "_longstitch_" and sometimes "_embroidery stitch_. " We propose to restore toit its ancient title of feather stitch--"_Opus Plumarium_, " so calledfrom its supposed resemblance to the plumage of a bird. 

[Illustration: No. 10. --FEATHER STITCH. ]

We shall now describe it as used for handwork; and later (at page 37), as worked in a frame. These two modes differ very little inappearance, as the principle is the same, namely, that the stitchesare of varying length, and are worked into and between each other, adapting themselves to the form of the design, but in handwork theneedle is kept on the surface of the material. 

Feather Stitch is generally used for embroidering flowers, whethernatural or conventional. 

In working the petal of a flower (such as we have chosen for ourillustration), the outer part is first worked in with stitches whichform a close, even edge on the outline, but a broken one towards thecentre of the petal, being alternately long and short. These edgingstitches resemble satin stitch in so far that the same amount ofcrewel or silk appears on the under, as on the upper side of the work:they must slope towards the narrow part of the petal. 

The next stitches are somewhat like an irregular "stem, " inasmuch asthey are longer on the surface than on the under side, and are workedin between the uneven lengths of the edging stitches so as to blendwith them. The petal is then filled up by other stitches, which startfrom the centre, and are carried between those already worked. 

When the petal is finished, the rows of stitches should be so mergedin each other that they cannot be distinguished, and when shading isused, the colours should appear to melt into each other. 

In serrated leaves, such as hawthorn or virginia creeper, the edgingstitches follow the broken outline of the leaf instead of forming aneven outer edge. 

It is necessary to master thoroughly this most important stitch, butpractice only can make the worker perfect. 

The work should always be started by running the thread a little wayin front of the embroidery. Knots should never be used except in rarecases, when it is impossible to avoid them. The thread should alwaysbe finished off on the surface of the work, never at the back, wherethere should be no needless waste of material. No untidy ends or knotsshould ever appear there; in fact, the wrong side should be quite asneat as the right. It is a mistake to suppose that pasting will everdo away with the evil effects of careless work, or will steadyembroidery which has been commenced with knots, and finished withloose ends at the back. 

The stitches vary constantly according to their application, and goodembroiderers differ in their manner of using them: some preferring tocarry the thread back towards the centre of the petal, on the surfaceof the work, so as to avoid waste of material; others making theirstitches as in satin stitch--the same on both sides, but these detailsmay be left to the intelligence and taste of the worker, who shouldnever be afraid of trying experiments, or working out new ideas. 

Nor should she ever fear to unpick her work; for only by experimentcan she succeed in finding the best combinations, and, one littlepiece ill done, will be sufficient to spoil her whole embroidery, asno touching-up can afterwards improve it. 

 * * * * *

We have now named the principal stitches used in hand embroidery, whether to be executed in crewel or silk. 

There are, however, numberless other stitches used in crewelembroidery: such as ordinary stitching, like that used in plainneedlework, in which many designs were formerly traced on quiltedbackgrounds--others, again, are many of them lace stitches, or formsof herringbone, and are used for filling in the foliage of largeconventional floriated designs, such as we are accustomed to see inthe English crewel work of the sixteenth and seventeenth centuries, ona twilled cotton material, resembling our modern Bolton sheeting. 

It would be impossible to describe or even enumerate them all; asvarieties may be constantly invented by an ingenious worker to enrichher design, and in lace work there are already 100 named stitches, which occasionally are used in decorative embroidery. Most of these, if required, can be shown as taught at the Royal School ofArt-Needlework, and are illustrated by samplers. 

[Decoration]

[Decoration]

CHAPTER IV. 

FRAMES AND FRAMING. 

Before proceeding to describe the various stitches used in frameembroidery, we will say a few words as to the frame itself, the mannerof stretching the material in it, and the best and least fatiguingmethod of working at it. 

The essential parts of an embroidery frame are: first, the bars, whichhave stout webbing nailed along them, and mortice holes at the ends;second, the stretchers, which are usually flat pieces of wood, furnished with holes at the ends to allow of their being fastened bymetal pegs into the mortice holes of the bars when the work isstretched. 

In some cases the stretchers are fastened into the bars by strong ironscrews, which are held by nuts. 

FRAMING. 

In choosing a frame for a piece of embroidery we must see that thewebbing attached to the sides of the bar is long enough to take thework in one direction. Begin by sewing the edge of the materialclosely with strong linen thread on to this webbing. If the work istoo long to be put into the frame at one time (as in the case ofborders for curtains, table-covers, &c. ), all but the portion about tobe worked should be rolled round one bar of the frame, putting silverpaper and a piece of wadding between the material and the wood, so asto prevent its being marked. 

The stretchers should then be put in and secured with the metal pegs. 

A piece of the webbing having been previously stitched on to the sidesof the material, it should now be braced with twine by means of apacking needle, passing the string over the stretchers between eachstitch taken in the webbing, and, finally, drawing up the bracinguntil the material is strained evenly and tightly in the frame. If thefabric is one which stretches easily, the bracings should not be drawntoo tightly. 

For small pieces of work a deal hand-frame, morticed at the corners, will suffice, and this may be rested on the table before the worker, being held in its position by two heavy leaden weights, covered withleather or baize, in order to prevent them from slipping. It should beraised off the table to a convenient height, thus saving the workerfrom stooping over her frame, which tires the eyes, and causes theblood to flow to the head. 

There is no doubt that a well-made standing-frame is a greatconvenience, as its position need not be disturbed, and it can beeasily covered up and put aside when not in use. It requires, however, to be very well made, and should, if possible, be of oak or mahogany, or it will warp and get out of order. It must also be well weightedto keep it steady. 

For a large piece of work it is necessary to have a long heavy framewith wooden trestles, on which to rest it. The trestles should be madeso as to enable the frame to be raised or lowered at will. 

A new frame has recently been invented and is sold by the RoyalSchool, which, being made with hinges and small upright pins, holdsthe ends of the material firmly, so that it can be rolled round andround the bar of the frame without the trouble of sewing it on to thewebbing. 

When a frame is not in use, care should be taken that it does notbecome warped from being kept in too dry or too hot a place, as it isthen difficult to frame the work satisfactorily. 

It will be found useful to have a small basket, lined with holland orsilk, fastened to the side of the frame, to hold the silks, thimbles, scissors, &c. , needed for the work. Two thimbles should be used, oneon each hand, and the best are old silver or gold ones, with all theroughness worn off, or ivory or vulcanite. 

The worker ought to wear a large apron with a bib to save her dress, and a pair of linen sleeves to prevent the cuffs from fraying orsoiling her work. 

Surgeon's bent scissors are useful for frame embroidery, but they arenot necessary, as ordinary sharp-pointed scissors will answer everypurpose. 

When silk, satin, or velvet is not strong enough to bear the strain offraming and embroidering, it must be backed with a fine cotton orlinen lining. The "backing" in this case is first framed, as describedabove, and the velvet or satin must then be laid on it, and firstfastened down with pins; then sewn down with herringbone stitch, taking care that it is kept perfectly even with the thread of the"backing, " and not allowed to wrinkle or blister. 

It is most important that a worker should learn to use equally bothhands, keeping the right hand above the frame till the arm is tired, then letting the left take its place while the right goes below. 

A cover should be made large enough to envelop both the upper andunder portions of the work, and to be fastened down to the sides, soas to protect it from dust when it is not being used, and during workit should be kept over the portion of the embroidery not actually inhand. 

Lastly, a good light should be chosen, so as not to try the eyes. 

Many materials can only be embroidered in a frame, and most work isbest so done. A greater variety of stitches is possible, and on thestretched flat surface the worker can see the whole picture at once, and judge of the effect of the colours and shading as she carries outthe design. It is the difference between drawing on stretched orcrumpled paper. 

[Decoration]

[Decoration]

CHAPTER V. 

STITCHES USED IN FRAME EMBROIDERY. 

_Feather Stitch. _--In framework, as in handwork, we restore theancient name of _Feather work_ or stitch--_Opus Plumarium_. We havealready said that it was so-called from its likeness to the plumage ofa bird. 

This comes from the even lie of the stitches, which fit into andappear to overlap each other, presenting thus a marked contrast to thegranulated effect of tent stitches, and the long ridges of the _OpusAnglicum_, having no hard lines as in stem stitch, or flat surfaces asin satin stitch. 

Feather stitch, when worked in a frame, is exactly the same as thatworked in the hand, except that it is more even and smooth. The needleis taken backwards and forwards through the material in stitches ofvarying lengths; the next row always fitting into the vacant spacesand projecting beyond them, so as to prepare for the following row. 

Every possible gradation of colour can be effected in this way, andit applies to every form of design--floral or arabesque. Naturalflowers have mostly been worked in this stitch. 

 * * * * *

A skilful embroiderer will be careful not to waste more silk than isabsolutely necessary on the back of the work, while, at the same time, she will not sacrifice the artistic effect by being too sparing of herback stitches. 

[Decoration]

[Decoration]

"COUCHING, " OR LAID EMBROIDERY. 

This name is properly applied to all forms of embroidery in which thethreads of crewel, silk, or gold are laid on the surface, and stitchedon to it by threads coming from the back of the material. Under thishead may be classed as varieties the ordinary "laid backgrounds, ""diaper couchings, " "brick stitch, " "basket stitch, " and the variousforms of stuffed couchings which are found in ancient embroideries. Couching outlines are usually thick strands of double crewel, tapestrywool, filoselle, cord, or narrow ribbon laid down and stitched atregular intervals by threads crossing the couching line at rightangles. They are used for coarse outline work, or for finishing theedges of appliqué. 

 * * * * *

_Plain Couching_, or "_Laid Embroidery_. "--The threads are first laidevenly and straight from side to side of the space to be filled in, whether in the direction of warp or woof depends on the pattern; theneedle being passed through to the back, and brought up again notquite close, but at a sufficient distance to allow of an intermediatestitch being taken backwards; thus the threads would be laidalternately first, third, second, fourth, and so on. This gives abetter purchase at each end than if they were laid consecutively in astraight line. If the line slants much, it is not necessary toalternate the rows. When the layer is complete, threads of metal, orof the same or different colour and texture, are laid across atregular intervals, and are fixed down by stitches from the back. 

[Illustration: No. 11. --PLAIN COUCHING. ]

The beauty of this work depends upon its regularity. 

This kind of embroidery, which we find amongst the old Spanish, Cretan, and Italian specimens, is very useful where broad, flateffects without shading are required; but unless it is very closelystitched down, it is not durable if there is any risk of its beingexposed to rough usage. It is possible to obtain very fine effects ofcolour in this style of work, as was seen in the old Venetian curtainstransferred and copied for Louisa, Lady Ashburton. These were shown atthe time of the Exhibition of Ancient Needlework at the School in1878. 

Ancient embroidery can be beautifully restored by grounding in "laidwork, " instead of transferring it where the ground is frayed, and thework is worthy of preservation. It must be stretched on a new backing, the frayed material carefully cut away, and the new ground couched aswe have described. 

In other varieties of couching, under which come the many forms ofdiapering, the threads are "laid" in the same manner as for ordinarycouching; but in place of laying couching lines across these, thethreads of the first layer are simply stitched down from the back, frequently with threads of another colour. 

 * * * * *

_Net-patterned Couching. _--The fastening stitches are placeddiagonally instead of at right angles, forming a network, and are keptin place by a cross-stitch at each intersection. 

This style of couching was commonly used as a ground in ecclesiasticalwork of the fourteenth and fifteenth centuries. 

 * * * * *

_Brick Stitch. _--The threads are laid down two together, and arestitched across at regular intervals. The next two threads are thenplaced together by the side, the fastening stitches being taken at thesame distance from each other, but so as to occur exactly between theprevious couplings. Thus giving the effect of brickwork. 

 * * * * *

_Diaper Couchings. _--By varying the position of the fastening stitchesdifferent patterns may be produced, such as diagonal crossings, diamonds, zigzags, curves, &c. 

[Illustration: No. 12. --THREE ILLUSTRATIONS OF DIAPER COUCHINGS. ]

They are properly all gold stitches; but purse silk, thin cord, oreven untwisted silk may be used. 

A wonderful example of the many varieties of diapering is to be seenin the South Kensington Museum, No. 689. It is modern Belgian work, executed for the Paris Exhibition of 1867. As a specimen of fine andbeautiful diapering in gold, this could scarcely be surpassed. 

 * * * * *

_Basket Stitch_ is one of the richest and most ornamental of theseancient modes of couching. Rows of "stuffing, " manufactured in theform of soft cotton cord, are laid across the pattern and firmlysecured. Across these are placed gold threads, two at a time, andthese are stitched down over each two rows of stuffing. The two goldthreads are turned at the edge of the pattern, and brought back closeto the last, and fastened in the same way. Three double rows of goldmay be stitched over the same two rows of stuffing. 

The next three rows must be treated as brick stitch, and fastenedexactly between the previous stitchings, and so on, until the wholespace to be worked is closely covered with what appears to be a goldenwicker-work. 

Strong silk must be used for the stitching. 

[Illustration: No. 13. --BASKET STITCH. ]

The Spanish School of Embroidery has always been famed for itsexcellence in this style, and has never lost the art. The"Embroiderers of the King, " as they are called, still turn outsplendid specimens of this heavy and elaborate work, which are usedfor the gorgeous trappings of the horses of the nobility on gala daysand state occasions. 

A beautiful specimen was exhibited at the Royal School ofArt-Needlework, in 1878, by the Countess Brownlow, of analtar-hanging, entirely worked in basket stitch, in gold on whitesatin, and a modern example is still to be seen at the School in alarge counterpane, which was worked for the Philadelphia Exhibitionfrom an ancient one also belonging to Lady Brownlow. 

The Spanish embroiderers used these forms of couching over stuffingwith coloured silks as well as gold, and produced wonderfully richeffects. One quilt exhibited by Mrs. Alfred Morrison in 1878 was amarvel of colouring and workmanship. 

Basket stitch is mostly used now for church embroidery, or for smallarticles of luxury, such as ornamental pockets, caskets, &c. 

Diapering is generally employed in the drapery of small figures, andin ecclesiastical work. 

 * * * * *

Many fabrics are manufactured in imitation of the older diaperedbackgrounds, and are largely used to replace them. Among these are thematerial known as silk brocatine, and several kinds of cloth of goldmentioned in our list of materials. 

[Decoration]

[Decoration]

CUSHION STITCHES. 

_Cushion Stitch_--the ancient _Opus Pulvinarium_ of the Middle Ages, likewise called "Cross Stitch"--may lay claim to be one of the mostancient known in embroidery. There have been many varieties, but theprinciple is the same in all. It is worked on and through canvas, ofwhich the threads, as in tapestry, regulate the stitches. 

After six centuries of popularity it finally died out within the lastfew years as "Berlin wool work;" but will doubtless be revived againin some form after a time, as being well fitted for covering furnitureon account of its firmness and durability. 

In Germany and Russia it is still much used for embroideringconventional designs on linen; and the beautiful Cretan and Persianwork of which so much has lately been in the market, is executed inthis style. 

 * * * * *

_Tent Stitch_ may be placed first under this class, in which thethread coming from beneath is carried over a single cross of the warpand woof of the canvas. 

[Illustration: No. 14. --TENT STITCH. ]

 * * * * *

_Simple Cross Stitch. _--The worsted or silk is brought up again to thesurface, one thread to the left of the spot where the needle wasinserted, and is crossed over the first or "tent" stitch, forming aregular and even cross on the surface. 

[Illustration: No. 15. --SIMPLE CROSS STITCH. ]

 * * * * *

_Persian Cross Stitch. _--The peculiarity of this stitch is that in thefirst instance the silk or worsted is carried across two threads ofthe canvas ground, and is brought up in the intermediate space. It isthen crossed over the latter half of the original stitch, and a freshstart is made. 

[Illustration: No. 16. --PERSIAN CROSS STITCH. ]

Much of the beauty of Persian embroidery is produced by theirregularity of the crossing; the stitches being taken in masses, inany direction that seems most suitable to the design in hand, insteadof being placed in regular rows, with the stitches all sloping in onedirection, as is the case with the modern "Berlin work, " this, withthe happy choice of colours for which the Persians are so justlyfamous, produces a singular richness of effect. 

Allied to these canvas stitches and having their origin in them, arethe numerous forms of groundings, which are now worked on coarselinens, or in fact on any fabric; and have sometimes, althoughincorrectly, been called darning stitches, probably from theirresemblance to the patterns which are found on samplers, for darningstockings, old table linen, &c. &c. Almost any pattern can be producedin this style of embroidery, simply by varying the relative length ofthe stitches. 

Following the nomenclature of the committee which named and cataloguedthe specimens of ancient needlework exhibited in the South KensingtonMuseum in 1872, we have classed all the varieties of these groundingstitches under the name of Cushion stitch. 

 * * * * *

_Cushion Stitches_ are taken as in laid embroidery, so as to leave allthe silk and crewel on the surface, and only a single thread of theground is taken up; but in place of lying in long lines, from end toend of the material, they are of even length, and are taken in apattern, such as a waved line or zigzag; so that when finished theground presents the appearance of a woven fabric. 

[Illustration: No. 17. --CUSHION STITCH. ]

We give an illustration of one variety of cushion stitch, which mayeither be worked as described here, or in the hand, as in the woodcut. 

A good modern example of this background was exhibited in the School, on a bed-hanging, worked for the Honourable Mrs. Percy Wyndham, from adesign by Mr. W. Morris. In the Exhibition of Ancient Needlework lastyear were many beautiful specimens: notably one enormous wall-hangingof Italian seventeenth-century work, lent by Earl Spencer. Many of thefabrics known as "Tapestries" are woven imitations of these grounds, and carry embroidery so perfectly, that on the whole, except for smallpieces, it seems a waste of hand-labour to work them in, as the effectis not very far removed from that of woven material, while the expenseis, of course, very much greater. 

The ancient specimens of this stitch are worked on a coarse canvas, differing greatly from that which was recently used for Berlin woolwork. 

It cannot now be obtained except by having it especially made toorder. It has been replaced by a coarse hand-woven linen for the useof the School, but the ancient canvas is vastly superior, as itslooseness makes it easier for the worker to keep her stitches inregular lines. 

In some ancient specimens the design is worked in feather stitch, andthe whole ground in cushion stitch. In others the design is in finecross or tent stitch. There are several very beautiful examples ofthis kind of embroidery in the South Kensington Museum--Italian, ofthe seventeenth century. 

A variety of cushion stitch, which we frequently see in old Italianembroideries, was taught in the Royal School of Art-Needlework by MissBurden, and used under her direction in working flesh in some largefigures designed by Mr. Walter Crane for wall decoration, andexhibited at the Centennial Exhibition at Philadelphia. The stitchesare kept of one uniform length across the design. The next row isstarted from half the depth of the preceding stitch and kept of thesame length throughout. Its beauty consists in its perfect regularity. If worked in the hand, the needle is brought back underneath thematerial as in satin stitch; but in the frame all the silk or worstedcan be worked on the surface, with the exception of the smallfastening stitches. 

The effect when finished is that of a woven fabric. 

It is really more suitable in its original character of a groundstitch than for working flesh. We have given an illustration of it, because we are so frequently asked to describe "Burden stitch. "

[Illustration: No. 18. --"BURDEN" STITCH. ]

This form of cushion stitch worked extremely fine has been used forflesh in very ancient embroideries, even before the introduction ofthe _Opus Anglicanum_, and is found in the works of the Flemish, German, Italian, and French schools of the fourteenth and fifteenthcenturies. 

It seems to have been worked in a frame on fine canvas, or on a fabricof very even threads, and the stitches so taken that the same amountof silk appears on the back as on the surface of the embroidery. 

In a toilet cover of ancient Spanish work recently added to the SouthKensington Museum, the design is entirely embroidered in varieties of_cushion stitch_ in black floss silk upon a white linen ground. It is, however, extremely rare to see this stitch used in any other way thanas a ground, except in actual canvas work; in which we often seevarieties of it used to fill in portions of the design, while anotherstitch will be devoted entirely to the grounding. 

These stitches were often executed on an open net. 

 * * * * *

_Stem Stitch_ is used in frame embroidery, and does not differ in anyway from that described at page 20, under "handwork, " except that theneedle is of course worked through the material with both hands, as isthe case in all frame work. 

The same may be said of "split stitch;" but this is more frequently(because more easily) worked in a frame than done in the hand. 

 * * * * *

_Japanese Stitch_ is a modification of stem, but its peculiarityconsists in the worker taking very long stitches, and then bringingthe needle back to within a short distance of the firststarting-place; so that they may be in even parallel lines, advancingby gradation from left to right. It is principally used for workingwater or ground in a landscape. 

[Illustration: No. 19. ]

 * * * * *

_Tambour Work_ has fallen into disuse, but was greatly admired whenour grandmothers in the last century sprigged Indian muslins or silkswith coloured flowers for dresses, and copied or adapted Indiandesigns on fine linen coverlets. These were very refined, but no moreeffective than a good chintz. There are exquisite specimens of thestitch to be seen in most English homes, and in France it was in voguein the days of Marie Antoinette. Its use is now almost confined tothe manufacture of what is known as Irish or Limerick lace, which ismade on net in the old tambour frames, and with a tambour or crochethook. The frame is formed of two rings of wood or iron, made to fitloosely one within the other. Both rings are covered with baize orflannel wound round them till the inner one can only just be passedthrough the outer. The fabric to be embroidered is placed over thesmaller hoop, and the other is pressed down over it and firmly fixedwith a screw. A small wooden frame of this description is universallyused in Ireland for white embroidery on linen or muslin. In tambourwork the thread is kept below the frame and guided by the left hand, while the hook or crochet needle is passed from the surface throughthe fabric, and brings up a loop of the thread through the precedingstitch, and the needle again inserted, forming thus a close chain onthe surface of the work. 

The difficulty of working chain stitch in a frame probably led to theintroduction of a hook for this class of embroidery. 

 * * * * *

Perhaps we ought not to omit all mention of the _Opus Anglicum_ or_Anglicanum_ (English work), though it is strictly ecclesiastical, andtherefore does not enter into our province. 

Dr. Rock[1] and other authorities agree in thinking that thedistinctive feature of this style, which was introduced about the endof the thirteenth century, was a new way of working the flesh insubjects containing figures. 

Instead of the faces being worked in rows of straight stitches (likethat described as Burden stitch on page 50) as we see in the oldFlemish, German, and Italian work of the same period, the Englishembroiderers invented a new stitch, which they commenced in the centreof the cheek and worked round and round--gradually letting the linesfall into outer circles of ordinary feather stitch. 

Having thus prepared an elastic surface, they proceeded to model theforms and make lights and shadows by pressing the work into hollows, with small heated metal balls, the work being probably damped as apreparation for this process. So skilfully did they carry out theirintention, that the effect is still the same after the lapse of fivecenturies. We must unwillingly add that, though much appreciated inthe thirteenth century, the effect is rather curious and quaint thanbeautiful. 

The Syon cope in the Kensington Museum, of the thirteenth century, isa fine specimen of this attempt to give the effect of bas-relief tothe sacred subjects depicted. The whole cope shows how various werethe stitches worked at that period. On examination with a microscope, the flesh stitch appears to be merely a fine split stitch workedspirally, as we now work fruit. 

FOOTNOTE:

[1] See Dr. Rock's preface to his "Descriptive Catalogue of TEXTILEFABRICS" in the Kensington Museum. 

[Decoration]

CUT WORK OR APPLIQUÉ. 

Decorative cut work is of infinite variety, but may be divided intotwo groups, "inlaid appliqué" and "onlaid appliqué. "

 * * * * *

"_Inlaid_" appliqué consists in tracing the same pattern on twodifferent fabrics, say a gold cloth and a crimson velvet; then cuttingboth out carefully, and inlaying the gold flowers into the crimsonvelvet ground, and the crimson flowers into the gold ground. 

This kind of work may be seen constantly in Italian rooms of theseventeenth century, and the alternate breadths of crimson and goldgive a very fine effect as of pilasters, and in general are enrichedby a valance applied at the top, and a plain border at the bottom. 

The _inlaid_ part is sewn down with thread, and covered with cord orcouchings of floss silk. Sometimes narrow ribbons or fine strips ofcut silk are stitched over the edges to keep them down flat. 

 * * * * *

"_Onlaid_ appliqué" is done by cutting out the pattern in one or manycoloured materials, and laying it down on an intact ground of anothermaterial. Parts are often shaded with a brush, high lights and detailsworked in with stitches of silk, and sometimes whole flowers orfigures are embroidered, cut out, and couched down. This sort of workis extremely amusing, and gives scope to much play of fancy andingenuity, and when artistically composed it is sometimes verybeautiful. 

Another style of "onlaid appliqué" is only worked in solid outlines, laid down in ribbon or cord, sometimes in both. This was much in voguein the time of Queen Anne, and for a hundred years after. 

[Illustration: No. 20. ]

The ribbon, very soft and thick, sometimes figured, sometimes plain, was manufactured with a stout thread on each side, which could bedrawn, and so regulate the ribbon and enable it to follow the flow ofthe pattern. 

The German, French, and Italians often enriched this style of workwith a flower, embroidered and applied thrown in here and there. Verysmall fringes also were introduced into the pattern, or arabesqued. 

"Cut work, " like the appellation "Feather stitch, " has a totallydifferent meaning when it is given to white embroidery, and it hasnothing to do with appliqué, but takes its name from the fact that thepattern is mostly cut or punched out, and then edged with button-holeor plain overlaid stitch. 

In working appliqué it is best, although not absolutely necessary, tohave the design traced on the material to be used as a ground, whichmust then be framed as for ordinary embroidery. A copy of the designmust be made on tracing-paper, and the outlines carefully pricked outwith a needle or pin, laying the paper on several folds of flannel orcloth for greater convenience in pricking. 

A pad, made of a long strip of flannel about four inches wide, rolledvery tightly, must be made ready, and some pounce made of about equalquantities of finely powdered charcoal and pipe-clay. The leaf orscroll which is wanted for the work must now be selected, and thepricked design laid face downwards on the fabric which is to beapplied. The flannel pad must be dipped in the pounce and rubbed wellinto the outlines of the pricked design, which must be held firmly inits place with the left hand. On lifting the tracing-paper, the designwill be found to be marked out on the material distinctly enough forit to be cut out with a sharp pair of scissors. The pounce canafterwards be dusted off. 

The leaf or scroll having been thus cut out must be fastened in itsplace on the design with small pins, and then carefully sewn down. Theedges are then finished off by stitches of embroidery or by a couchingline (_see_ page 39). The stems are frequently worked in with stemstitching or couching, and the leaves enriched by large veinings ofcrewel or silk work, or in conventional designs, with some of the manyvarieties of herringboning. 

 * * * * *

_Gold Embroidery_ on velvet or satin grounds requires to be worked ona strong even linen, and then cut out and applied in the same manneras ordinary appliqué. Where a particularly rich and raised effect isrequired any embroidery may be treated in this manner. It is of coursemore troublesome, but quite repays the labour spent upon it by theincreased beauty of the work. 

The transfer of old embroideries on to a new ground is usually done byappliqué, although we have already described a better process at page39. 

In transferring old needlework it is necessary to cut away the groundclose to the edge of the embroidery. It is then placed on the newmaterial, which has been previously framed, and the outline tackeddown. The best way of finishing is then to work in the edges withsilks _dyed exactly to match_ the colours in the old work. If properlydone, it is impossible to discover which are old and which newstitches, and only by examining the back, that the work has beentransferred at all. 

We used the words "_dyed to match_" advisedly, as it is impossibleotherwise to procure new silks which will correspond with the old. 

Embroidery transferred in this manner is as good as it was in itsfirst days, and in many cases is much better, for time often has thesame mellowing and beautifying effect in embroideries as in paintings. 

A less expensive, but also a much less charming, method is to edgethe old embroidery after applying it to the new ground with a cord orline of couching. 

With this treatment it is, however, always easy to perceive that thework has been transferred. 

For almost all kinds of appliqué it is necessary to back the material;and it is done in this manner:--

A piece of thin cotton or linen fabric is stretched tightly on to aboard with tacks or drawing-pins. It is then covered smoothly, andcompletely, with paste. The wrong side of the velvet, satin, serge, orwhatever is to be used in the work, is then pressed firmly down on thepasted surface with the hands, and then left to dry. 

In giving the foregoing account of the most typical stitches, we hopewe have succeeded in showing the principle on which each should beworked. They form the basis of all embroidery, and their numerousmodifications cannot be fully discussed in the limit we haveprescribed to ourselves. It is sufficient to observe that theinstruction we have tried to impart is that which it is absolutelynecessary for the needleworker to master thoroughly before sheattempts to cope with the artistic element of her work. That it is acreative art is undoubted, for no two pieces of embroidery are alikeunless executed by the same hand, and from the same design. 

For the advanced artist there is a store of instruction in the finecollection at South Kensington, which, seen by the light of Dr. Rock'sinvaluable "Catalogue of Textile Fabrics, " is an education in itself, of which the ethnological as well as the artistic interest cannot beover-estimated, and it is within the reach of all who can find time tobestow upon it. 

STRETCHING AND FINISHING. 

Always avoid using an iron to embroidery. It flattens the work, and isapt to injure the colour. For embroidery on linen, unless very badlydone, it will be found quite sufficient to stretch the work as tightlyas possible with white tacks or drawing-pins on a clean board, anddamp it evenly with a sponge. Leave it until quite dry, and thenunfasten it, and, if necessary, comb out the fringe. If it is newwork, it should not be fringed until after it has been stretched. 

For crewel work on cloth or serge, it is sometimes necessary to rub alittle shoemaker's paste on to the back of the embroidery, while it istightly stretched. When pasting can be avoided, it is always better todo without it; but it serves to steady the work in some cases, andmakes it wear better. Unless it is absolutely necessary, it is betternot to paste the back of screen panels, whatever may be the materialson which they are worked; but more especially satin or velvet, as itinterferes with the straining of the work by the cabinet-maker. 

 * * * * *

We give a recipe for EMBROIDERY PASTE, which is said to beexcellent:--Three and a half spoonfuls of flour, and as much powderedresin as will lie on a half-penny. Mix these well and smoothly withhalf a pint of water, and pour it into an iron saucepan. Put in oneteaspoonful of essence of cloves, and go on stirring till it boils. Let it boil for five minutes, and turn it into a gallipot to cool. 

 N. B. --Let the gallipot have in it a muslin bag: the water can then be drained out from time to time, and the paste will be much better. 

CLEANING. 

Good crewels will always wash or clean without injury; but the cheapand inferior worsteds will not do so. Ordinary crewel work on linenmay be washed at home, by plunging it into a lather made by water inwhich bran has been boiled, or even with simple soap-suds, so long asno soda or washing-powder is used. It should be carefully rinsedwithout wringing, and hung up to dry. When almost dry, it may bestretched out with drawing-pins on a board, and will not requireironing. 

Embroidery on cloth or serge may often be cleaned with benzoline, applied with a piece of clean flannel; but in any case, where a pieceof work is much soiled, or in the case of fine d'oyleys, it is saferto send it to the cleaner's. 

 * * * * *

 _Messrs. Pullar and Son, Perth Dye Works, are very successful in cleaning all kinds of embroidery without injuring it. _

 _In many cases it may be well dyed--the silk in which the design is worked always showing a different shade from the ground. _

[Decoration]

APPENDIX. 

DESIGNS FOR EMBROIDERY. 

[Decoration]

[Decoration]

DESCRIPTION OF THE PLATES. 

No. 1. --DESIGN FOR WALL-PANEL. By Mr. E. Burne-Jones. 

 Worked in outline on neutral-tinted hand-woven linen in brown crewel. This style of embroidery is very suitable for internal decoration, where a good broad effect is required without a large amount of labour. A frieze or dado, or complete panelling of a room, may be worked in this way at a comparatively small cost. 

No. 2. --DESIGN FOR WALL OR SCREEN PANEL. By Mr. Walter Crane. Representing the Four Elements. 

 Embroidered in crewels on a silk ground of dead gold colour partly outlined. 

No. 3. --DESIGN FOR QUILT OR TABLE COVER. By Mr. George Aitchison. 

 A border of sunflowers and pomegranates, with powderings of the same for the centre. 

 This has been embroidered on cream-coloured satin de chine in solid crewel work, with charming effect, both for a counterpane and curtains. 

No. 4. --DESIGN FOR WALL PANELLING OR CURTAINS. By Mr. Fairfax Wade. 

 To be worked in outline and solid embroidery, in silk or filoselle, on satin de chine. 

No. 5. --DESIGN FOR QUILT OR COUVRE-PIED. By Mr. Fairfax Wade. Tointroduce squares of Greek or guipure lace. 

 Worked in golden shades of silk on linen, lined with silk of the same colour. The embroidery is partly solid and partly outline, very fine and delicate. 

No. 6. --DESIGN FOR SOFA-BACK COVER. By Mr. W. Morris. 

 Worked on hand-woven linen in two shades of gold-coloured silks. Outline. 

No. 7. --DESIGN FOR SOFA-BACK COVER OR PIANO PANEL. By Mr. GeorgeAitchison. 

 Worked in two shades of blue silk on hand-woven linen or satin de chine. 

No. 8. --DESIGN FOR APPLIQUÉ. By Mr. Fairfax Wade. 

Nos. 9 and 10. --DESIGNS FOR CHAIR-SEATS OR CUSHIONS. By Miss Jekyll. Periwinkle and Iris. 

No. 11. --DESIGN FOR BORDER. By Miss Webster. To be worked in outlinein silk or crewel. 

No. 12. --DESIGN FOR BORDER FOR CURTAIN OR TABLE COVER. Designed byMiss Burnside, of the R. S. A. N. 

No. 13. --TABLE BORDER. Designed by Mr. Fairfax Wade. ConventionalButtercup. To be worked either solid or in outline. 

No. 14. --TABLE BORDER. Designed by Mr. Walter Crane. For solidembroidery in crewel or silk. 

No. 15. --TABLE BORDER. Designed by Mr. Walter Crane. For solidembroidery in crewel or silk. 

No. 16. --BORDER. Designed by Miss Mary Herbert, R. S. A. N. For crewel orsilk embroidery, either in outline or solid. 

No. 17. --TWO PANELS. Designed by Rev. Selwyn Image. Representing Junoand Minerva. 

No. 18. --TWO PANELS. Designed by Rev. Selwyn Image. Representing Venusand Proserpine. To be worked in outline on linen, as No. 1, or incoloured silks on a groundwork of satin de chine. 

No. 19. --WALL HANGING. Designed by Mr. W. Morris. To be worked onlinen in outline. 

No. 20. --WALL HANGING. Designed by Mr. W. Morris. Worked on linen. Background in Silk Cushion Stitch. 

No. 21. --BORDER FOR APPLIQUÉ. Copied from Ancient Italian work. 

No. 22. --ITALIAN DESIGN. A Specimen. Showing the application oftransposed Appliqué. 

[Illustration: 1. DESIGN FOR WALL PANEL. _By E. Burne-Jones. _]

[Illustration: 2. DESIGN FOR WALL PANEL. _By Walter Crane. _]

[Illustration: 3. DESIGN FOR A QUILT OR TABLE COVER. _By GeorgeAitchison. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 4. DESIGN FOR WALL PANEL OR CURTAIN. _By FairfaxWade. _]

[Illustration: 5. DESIGN FOR A QUILT OR COUVRE-PIED. _By FairfaxWade. _]

[Illustration: 6. DESIGN FOR A SOFA-BACK COVER. _By William Morris. _]

[Illustration: 7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL. _ByGeorge Aitchison. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 8. DESIGN FOR APPLIQUÉ. _By Fairfax Wade. _]

[Illustration: DESIGNS FOR CHAIR-SEATS OR CUSHIONS. (9. PERIWINKLE 10. IRIS. ) _By Miss Jekyll. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 11. DESIGN FOR A BORDER. _By Miss Webster. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 12. DESIGN FOR A BORDER FOR A CURTAIN OR TABLE COVER. _By Miss Burnside. _]

[Illustration: DESIGNS FOR TABLE BORDERS. _No. 13 by Fairfax Wade; 14and 15 by Walter Crane; 16 by Mary Herbert. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 17. TWO DESIGNS FOR WALL PANELS--"JUNO" AND "MINERVA. "_By the Rev. Selwyn Image. _]

[Illustration: 18. TWO DESIGNS FOR WALL PANELS--"VENUS" AND"PROSERPINE. " _By the Rev. Selwyn Image. _]

[Illustration: 19. DESIGN FOR WALL-HANGING. _By William Morris. _]

[Illustration: 20. DESIGN FOR WALL-HANGING. _By William Morris. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 21. DESIGN FOR BORDER FOR APPLIQUÉ. _From AncientItalian Work. _

Vincent Brooks Day & Son, Lith. ]

[Illustration: 22. ITALIAN DESIGN. _Showing the application oftransposed Appliqué. _

Vincent Brooks Day & Son, Lith. ]

[Decoration]

Royal School of Art-Needlework. 

_Incorporated under "The Companies' Acts, 1862 and 1867, " by licenceof the Board of Trade, granted under 30 and 31 Vic. , c. 131, sec. 23. _

Share Capital, £10, 000, in 1000 Shares of £10 each. Debenture Capital, £10, 000, to be issued in Debentures of £50 each. 

Patrons. 

 HER MAJESTY THE QUEEN. H. R. H. THE PRINCE OF WALES. H. R. H. THE PRINCESS OF WALES. 

President. 

 H. R. H. THE PRINCESS CHRISTIAN OF SCHLESWIG-HOLSTEIN. _Princess of Great Britain and Ireland. _

Vice-President. 

 THE LADY MARIAN ALFORD. 

Managing Committee. 

 THE COUNTESS SPENCER. THE COUNTESS COWPER. THE COUNTESS BROWNLOW. THE VISCOUNTESS DOWNE. THE LADY SARAH SPENCER. THE HON. LADY WELBY GREGORY. THE HON. MRS. PERCY WYNDHAM. MRS. EDWARD BARING. (_With power to add to their number. _)

Honorary Members of the Managing Committee. 

 THE LADY CHARLOTTE SCHREIBER. THE HON. LADY HAMILTON-GORDON. THE LADY FITZHARDINGE. THE HON. MRS. STUART WORTLEY. 

Finance Committee. 

 THE DUKE OF WESTMINSTER, K. G. THE EARL BROWNLOW. THE LORD SUDELEY. SIR COUTTS LINDSAY, BART. THE RIGHT HON. SIR WILLIAM HENRY GREGORY, K. C. M. G. MICHAEL BIDDULPH, ESQ. , M. P. EDMUND OLDFIELD, ESQ. 

Bankers. 

 LONDON AND COUNTY BANK, Albert Gate Branch. 

Solicitors. 

 MESSRS. TRINDERS & CURTIS-HAYWARD, 4, Bishopsgate Street Within, E. C. 

Offices. 

 EXHIBITION ROAD, SOUTH KENSINGTON. 

PROSPECTUS. 

The School was founded in 1872, under the Presidency of H. R. H. ThePrincess Christian of Schleswig-Holstein, for the twofold purpose ofsupplying suitable employment for Gentlewomen and restoring OrnamentalNeedlework to the high place it once held among the decorative arts. 

It was first established, under the title of School of Art-Needlework, in Sloane Street; but in 1875 was removed to the present premises inthe Exhibition Road, and Her Majesty the Queen was graciously pleasedto grant to it the prefix of "Royal. "

The Royal School of Art-Needlework exhibited at the CentennialExhibition of Philadelphia, 1876, and received a Certificate ofAward--medals not being granted to institutions or corporate bodies. ASilver Medal was also granted by the Jurors of the InternationalExhibition, Paris, 1878, for embroideries exhibited there. 

The result of seven years' experience of the working of the School hasshown that the objects for which it was formed are appreciated by thepublic, and has justified its establishment on a permanent basis. Thishas accordingly been effected under a special licence from the Boardof Trade, granted under authority of an Act of Parliament whichauthorizes the incorporation of associations _not_ constituted forpurposes of profit. 

The ultimate profits of the Association, after payment of allDebentures, are to be applied to such charitable or other purposes asthe Association may from time to time determine, not beinginconsistent with the provisions of the Memorandum of Association, which require that the Shareholders shall not take any personal profitout of the Association. 

The government of the School is vested in:

 First. --A President, Vice-President, and General Council. 

 Second. --A Managing Committee to be selected from the General Council, except as to Honorary Members to be nominated by the Managing Committee. 

 Third. --A Finance Committee, of whom a majority are to be elected by the Shareholders, and the remainder nominated by the Managing Committee. The sanction of this Committee is required for all expenditure. 

Agencies have now been opened in Liverpool, Manchester, Leeds, Norwich, Birmingham and Glasgow; and a member of the staff has beensent out to take charge of the School of Art-Needlework inPhiladelphia. 

The Show Rooms are open from 10 a. M. To 6 p. M. In Summer, and to 5p. M. In Winter, and close on Saturdays at 2 p. M. 

All letters must be addressed "The Secretary. "

Lists of designs, prices of prepared and finished work, terms forlessons, and addresses of Provincial Agents, may be obtained bywriting to the Secretary. 

A Branch School for Scotland has now been opened in Glasgow. ShowRooms at 108, St. Vincent Street. 

[Decoration]

ROYAL SCHOOL OF ART-NEEDLEWORK. EXHIBITION ROAD, SOUTH KENSINGTON. 

PREPARED WORK. 

[Decoration]

Work can be obtained from the ROYAL SCHOOL OF ART-NEEDLEWORK having adesign traced, a portion of the embroidery commenced, and sufficientmaterials for finishing. Ladies' own materials will be traced andprepared for working if desired. Dresses must be cut out and tackedtogether before being sent to the School, and lines marked on thematerial to show where the design is to be placed. 

When an order for prepared work is executed exactly by the directionsgiven, or when the selection of Design or Colouring is left to theSchool, _the work cannot be exchanged or taken back_. 

The materials supplied with the work are considered more thansufficient to finish it, and if more are required afterwards they mustbe purchased separately. 

A few specimen prices are quoted, but _no estimates can be given forprepared work_, except in cases of large orders where a great quantityof material is supplied. 

_All Designs supplied are Copyright of the Royal School ofArt-Needlework, and must not be made use of for purposes of sale. _

Designs on paper are not supplied under any circumstances, nor canwork be sent out on approbation. 

All work supplied is stamped with the monogram of the ROYAL SCHOOL OFART-NEEDLEWORK, as above, in addition to the letters P. W. 

 N. B. --_An extra charge is made for all designs not ordinarily used for Prepared Work. _

APPROXIMATE PRICES OF PREPARED WORK AND MATERIALS. 

TABLE COVERS, on Diagonal, from £1 1s. To £5 5s. 

 " " Serge " 18s. To £3 3s. 

LINEN TABLE COVERS, yard square, 14s. 6d. To £1 10s. 

CHAIR BACK COVERS, Linen, 7s. 6d. To £1 1s. 

BORDERS, on Linen, suitable for Table Covers or Dresses, from 5s. Peryard. 

BORDERS, on Serge or Diagonal, suitable for Table Covers or Dresses, from 7s. Per yard. 

BORDERS, on Serge or Diagonal, suitable for Curtains, ChimneyValances, &c. , from 13s. Per yard. 

 N. B. --_If several yards are ordered of one pattern the price is lower. _

BANNER SCREENS, Linen (various), 8s. 6d. To 15s. 6d. 

 " " Diagonal, 12s. 6d. To £2 2s. 

BABIES' BLANKETS, from 14s. 6d. 

BATH BLANKETS, yard square, 17s. 6d. ; yard and a half square, 26s. 

CHILDREN'S DRESS, from 18s. To £1 10s. 

TENNIS APRONS, from £1 1s. 

CUSHIONS, Linen, 7s. 6d. To 12s 6d. ; on Diagonal, &c. , 10s. 6d. To£1 1s. 

TOILET MATS or D'OYLEY, 8 inches square, from £1 6s. To £3 3s. Perdozen. 

FOLDING SCREENS, on Sailcloth, £1 1s. To £1 10s. Per panel. 

CREWELS. 

Crewels are sold at the rate of 8d. Per ounce skein, or inquarter-pound bundles, containing not more than four shades, at 2s. Inquarter-pound bundles, containing selected colours, at 3s. 

EMBROIDERY SILKS, at 6s. 6d. Per ounce reel, and 3s. 3d. Perhalf-ounce reel of one shade; or at 8s. Per ounce of selected colours. 

FILOSELLE, 3s. 6d. Per ounce. 

NEEDLES, 9d. Per packet. 

MATERIALS, suitable for embroidery, such as Homespuns, Fancy Linens, Serge, Diagonal, Utrecht Velvet, Satin de Chine, &c. &c. , may bepurchased at the School. 

NOT LESS THAN ONE YARD SOLD. 

[Decoration]

[Decoration]

LIST OF DESIGNS. 

CHAIR BACKS. 

Honeysuckle, Bramble, Poppy, Passion Flower, Taxonia, Wild Rose, AppleBlossom, Orange with Flowers, Virginia Creeper, Fish and Bulrushes, Winter Cherry, Corn Flower, Hops, Carnations, Cherry, Daisy Powdered, Primrose Powdered, Faust Motto, Iris Seed, Japanese, Jessamine, Lantern Plant, Periwinkle, Potato, Zynia, Tiger Lily, Geranium, Burrage, Corncockle, Hawthorn, Daffodil, Iris, Love-in-a-Mist, &c. &c. , with many conventional designs. 

NARROW BORDERS. 

SUITABLE FOR DRESSES OR TABLE COVERS. 

Love-in-a-Mist, Daisy, Poppy, Honeysuckle, Strawberry, Forget-me-Not, Flax, Jessamine, Blackberry, Virginia Creeper, Hawthorn, Daffodil, Cowslip, Cherry, Buttercup, Mountain Ash, Ragged Robin, Potentilla, Apple Blossom, Strawberry and Blossom, Christmas Rose, &c. &c. , alsomany conventional designs. 

CURTAIN BORDERS. 

Sunflower, Pomegranate, Passion Flower, Taxonia, Poppy, Lilies, Magnolia, Orange, Hops, Marguerites, Love-in-a-Mist, Wild Rose, Arbutus, Chrysanthemum, Iris, Cowslip, Primrose, Apple, &c. &c. 

 _The same Designs can be had in Horizontal Borders for Chimney Valances, wide Table Borders, and can be adapted for any purpose. _

 N. B. --The Royal School of Art-Needlework has no Branch School nor any Agency in London. 

Royal School of Art-Needlework. 

EXHIBITION ROAD, SOUTH KENSINGTON. 

 _September, 1878. _

The Committee of Management of the ROYAL SCHOOL OF ART-NEEDLEWORK hasnow organized Classes for Teaching Ornamental Needlework at theirpremises in the Exhibition Road, South Kensington. 

These Classes are especially established for the instruction of Ladiesand Children, and include every kind of stitch in Crewel, Silk, andGold. 

Ladies who wish to take lessons, or send their Children, are requestedto send their names to the Secretary, who will inform them when toattend. 

Each Course will consist of Six Lessons. 

 CREWELS. 

 THIRD CLASS--SIX LESSONS. _£ s. D. _ One Person 1 4 0 Two of same Family 1 16 0 Three ditto 2 8 0

 SILK AND APPLIQUÉ. 

 SECOND CLASS--SIX LESSONS. 

 One Person 1 10 0 Two of same Family 2 5 0 Three ditto 3 0 0

 ECCLESIASTICAL EMBROIDERY. 

 FIRST CLASS--SIX LESSONS. 

 One Person 2 0 0 Two of same Family 3 0 0 Three ditto 4 0 0

 SINGLE LESSONS. 

 One single Lesson (for 1 hour) on Lesson day 0 7 0 Ditto ditto Special day 0 8 6 Ditto on Ecclesiastical Work (at any time) 0 10 6

Private Lessons at Home, 10s. 6d. The hour and expenses. 

_Special terms for Classes of Twelve and upwards. _

FINISHED WORK. 

CURTAIN BORDERS, on Serge or Diagonal Cloth, from £2 10s. To £10 10s. , about 3½ yards long. 

DRESS BORDERS, on ditto, from 7s. To 18s. Per yard. 

 " " on House Flannel, from 3s. 6d. To 10s. 6d. Per yard. 

CURTAIN BORDERS, on Linen, from £1 10s. To £6 6s. Each. 

TABLE BORDERS, on Linen, from £1 1s. To £2 10s. 

CHAIR BACKS, on Linen, from 14s. 6d. To £2 10s. 

SOFA BACKS, on Linen and Silk, from £2 2s. To £10. 

TABLE COVERS, on Linen, from £1 3s. To £5. 

 " " Serge, from £1 1s. To £7. 

 " " Diagonal, from 30s. To £26. 

SMALL CHAIR SEATS, on Diagonal, from 13s. To £2 12s. 

LARGE " " Serge, from 13s. To £3 3s. 

CUSHIONS, made up, from £2 2s. To £5 7s. 

CHILDREN'S DRESSES, from £1 1s. To £3 3s. 

 " APRONS, from 12s. 6d. To £1 1s. 

CHILDREN'S FRENCH BLOUSES, 18s. 6d. To £2 3s. 

LADIES' LAWN TENNIS APRONS, from £1 5s. To £3 10s. 

LINEN D'OYLEYS, from £2 7s. To £8 8s. Per dozen. 

TEA COSIES, on Diagonal, from 16s. 6d. 

KETTLEDRUM D'OYLEYS, each 5s. 6d. To 16s. 6d. 

SACHETS, with Mat to correspond, on Linen, from £1 6s. 

FOLDING SCREENS, from £13 to £100. 

CURTAINS, on Serge or Linen, from £10 to £60 per pair. 

MANTEL VALANCES, from £2 2s. To £10 10s. 

BANNER SCREENS, from £1 10s. 

COUNTERPANES, from £6 to £80. 

TABLE SCREENS, from £4 4s. 

LADIES' ALGERIAN HOODS, from £3 to £10. 

FANS, Mounted, from £2 7s. To £20. 

CARRIAGE RUGS, from £2 to £10. 

BLOTTER AND ENVELOPE BOX, from £8 8s. 

 " on Linen, from £1 5s. 

ENVELOPE BOX, on Linen, from £3. 

PHOTOGRAPH FRAMES, from £1 10s. 

BELLOWS, from £1 17s. 

OPERA CLOAKS, from £3 3s. 

NIGHTINGALE DRESSING JACKET, from £2. 

BATH SLIPPERS, from 6s. 6d. Per pair. 

WASHSTAND BACKS, from £1 5s. 

BLANKET MATS, for Bath, 15s. 6d. 

BERCEAUNETTE COVERS, from £1 10s. 

SUNSHADE COVERS, from £3 3s. 

PIANO PANELS, from £1 3s. 

BABIES' HEAD FLANNELS, from £1 3s. 

 " CLOAKS, from £4 4s. 

HANDKERCHIEF SACHETS, from £3 3s. 

KNITTING POCKETS, from £1 1s. 

_P. O. Orders Payable to L. HIGGIN, Exhibition Road. Not more than 18Stamps received. _

AGENTS IN THE COUNTRY. 

_Liverpool_: Messrs. RUMNEY & LOVE, Bold Street. _Manchester_: Messrs. E. GOODALL & CO. , King Street. _Leeds_: Messrs. MARSH, JONES, & CRIBBS. _Norwich_: Messrs. ROBERTSON & SONS, Queen Street. _Glasgow_: Messrs. ALEXANDER & HOWELL, 108, St. Vincent Street. _Birmingham_: Messrs. MANTON, SONS, & GILBERT. 

And for

_America_: Messrs. TORREY, BRIGHT, & CAPEN, Boston. 

BRANCH SCHOOL FOR SCOTLAND:

116, ST. VINCENT STREET, GLASGOW. 

All information to be obtained at the Show Rooms, 108, St. VincentStreet. 

As advertisements have from time to time appeared in variousnewspapers offering for sale designs of the Royal School ofArt-Needlework, the Public is requested to note that no designs eitheron pricked paper, or in any other form than on commenced work, are, orever have been, sold by the School, or supplied to any agent. Further, that no tracing powder is used in preparing the patterns, or sold forthat purpose. All designs, therefore, offered as those of the RoyalSchool are either entirely spurious, or are pirated from theirs. 

CHISWICK PRESS:--C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE. 

Transcriber's Note

Minor typographic errors in punctuation have been corrected withoutnote. 

Hyphenation has been made consistent in the main body of the textwithout note. Please note that the author uses the term 'high light'rather than the more usual 'highlight'. 

The following amendments have been made:

 Page 15--grounds amended to ground--"As ground for embroidery it has an excellent effect. "

 Page 53--the page reference to Burden stitch has been amended from 49 to 50. 

 The first 10 captioned illustrations (starting with "No. 1. --STEM STITCH") have been made consistent with the later illustrations, by the removal of the word Illustration and a comma at the beginning of each of those captions. 

 The two illustrations on page 81 (Plates 11 and 12) were printed in reverse order in the original. The captions have been amended to the correct numeric order in this e-text. 

Currency indicators (s. And d. ) were printed in italics in the originaltext. The convention has not been retained in this e-text.