Handbook of Embroidery Part 1

Handbook of Embroidery.

by L. Higgin.

PREFACE.

In drawing up this little "Handbook of Embroidery" we do not pretend to give such complete technical directions as would enable a beginner in this beautiful art to teach herself; because learning without practical lessons must be incomplete, and can only lead to disappointment.

We have sought, therefore, only to respond to the inquiries we are constantly receiving, and to supply useful hints to those who are unable to avail themselves of lessons, and are forced to puzzle over their difficulties without help from a trained and experienced embroiderer; at the same time, the rules we have laid down and the directions we have given may serve to remind those who have pa.s.sed through the cla.s.ses, of many little details which might easily be forgotten when the lessons are over, though so much of the success of embroidery depends upon them.

We have given a short description of the most useful st.i.tches, and have pointed out their applicability to different styles of work; we have named the various materials which are best suited as grounds for embroidery, and the silks, filoselles, crewels, &c., which are most commonly employed, with practical rules for their use in the best and most economical manner.

Also we have given such plain directions as to stretching, framing, and cleaning the work as are possible in a limited s.p.a.ce, and without practical ill.u.s.tration. We venture to hope we have thus supplied a want that has been long felt by those who interest themselves in the art in which Englishwomen once excelled, but which had languished of late years, and almost died out amongst us, though it has always been taught in many continental cities, where embroideries have never ceased to be required for church decoration.

We have abstained from giving any directions as to the tracing of designs upon material, for two sufficient reasons: firstly, that the Royal School of Art-Needlework has never supplied designs alone, or in any other form than as prepared work; and secondly, that having made experiments with all the systems that have been brought out for "stamping," ironing from transfer-papers, or with tracing powder, it has been found that designs can only be artistically and well traced on material by hand painting. Those ladies who can design and paint their own patterns for embroidery are independent of a.s.sistance, and to those who are unable to do so we cannot recommend any of the methods now advertised.

It has been thought unnecessary to enter into the subject of ecclesiastical embroidery at present. This has been so thoroughly revived in England, and practised in such perfection by sisterhoods--both Anglican and Roman Catholic--as well as by some of the leading firms of church decorators, that we have not felt ourselves called upon to do more than include it in our course of lessons.

The aesthetic side of our subject we have purposely avoided, as it would lead us further than this purely technical guide-book pretends to go. But we propose shortly to bring out a second part devoted to design, composition, colour, and the common-sense mode of treating decorative Art, as applied to wall-hanging, furniture, dress, and the smaller objects of luxury.

We shall examine and try to define the principles which have guided Eastern and Western embroideries at their best periods, hoping thus to save the designers of the future from repeating exploded experiments against received canons of good taste; checking, if we can, the exuberance of ignorant or eccentric genius, but leaving room for originality.

Mrs. Dolby, who by her presence and her teaching helped Lady Welby to start the Royal School of Art-Needlework, has left behind her a most valuable guide for mediaeval work in her "Church Embroidery, Ancient and Modern," which will always be a first-cla.s.s authority.

The Author and the Editor of this handbook are equally impressed with the responsibility they have undertaken in formulating rules for future embroiderers. They have consulted all acknowledged authorities, and from them have selected those which the teachers in the Royal School of Art-Needlework have found the most practical and instructive.

Should any of their readers favour them with hints or criticisms, or give them information as to pieces of embroidery worth studying, or st.i.tches not here named, any such communications will be gratefully received and made use of in future editions.

THE EDITOR.

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CHAPTER I.

OF MATERIALS AND IMPLEMENTS USED IN MODERN EMBROIDERY.

IMPLEMENTS.

_Needles._--The best "embroidery needles" for ordinary crewel handwork are Nos. 5 and 6. For coa.r.s.e "sailcloth," "flax," or "oatcake," No. 4.

For frame embroidery, or very fine handwork, the higher numbers, from 7 to 10.

It is a mistake to use too fine a needle. The thread of crewel or silk should always be able to pa.s.s loosely into the eye, so as not to require 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, are best. Some workers prefer ivory or vulcanite. Two thimbles should be used for framework.

_p.r.i.c.kers_ are necessary for piercing holes in gold embroidery, and also 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 the length of the skein. If a long needleful is used, it is not only apt to pull the work, but is very wasteful, as the end of it is liable to become frayed or knotted before it is nearly worked up. If it is necessary to use it double (and for coa.r.s.e work, such as screen panels on sailcloth, or for embroidering on Utrecht velvet, it is generally better doubled), care should be taken never to pa.s.s it through the eye of the needle, knotting the two ends; but two separate threads of the length required should be pa.s.sed together through the needle.

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

In crewels of the best quality the colours are perfectly fast, and will bear being repeatedly washed, provided no soda or was.h.i.+ng-powder is used. Directions for cleaning crewel work are given later; but it should not be sent to an ordinary laundress, who will most certainly ruin the colours.

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

_Tapestry Wool_ is more than twice the thickness of crewel, and is used for screen panels, or large curtain borders, where the work is coa.r.s.e, and a good deal of ground has to be covered. It is also used for bath blankets and carriage and sofa rugs. Tapestry wool is not yet made 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 all shades, as there is not much demand for them at present.

_Arrasene_ is a new material. It is a species of worsted chenille, but is not twisted round fine wire or silk, like ordinary chenille; though it is woven first into a fabric, and then cut in the same manner. It serves to produce broad effects for screen panels, or borders, and has a very soft, rich appearance when carefully used. It is made also in silk; but this is inferior to worsted arrasene, or the old-fas.h.i.+oned chenille.

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SILKS.

_"Embroidery," or Bobbin Silk_, which has now almost superseded floss, is used for working on satin and silk, or for any fine work. It is made in strands, each of which has a slight twist in it to prevent its fraying as floss does. As this silk is required in all varieties of 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 it is almost always necessary to use several strands, and these in varying number, according to the embroidery in hand, the rope silk has to 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 must be cut and pa.s.sed carefully between finger and thumb once or twice, that it may not be twisted. It should then be carefully separated into the number of strands most suitable for the embroidery in hand; for ordinary work three is about the best number.