No. 19.
Tambour Work has fallen into disuse, but was greatly admired when our grandmothers in the last century sprigged Indian muslins or silks with coloured flowers for dresses, and copied or adapted Indian designs on fine linen coverlets. These were very refined, but no more effective than a good chintz. There are exquisite specimens of the stitch to be seen in most English homes, and in France it was in vogue in the days of Marie Antoinette. Its use is now almost confined to the manufacture of what is known as Irish or Limerick lace, which is made on net in the old tambour frames, and with a tambour or crochet hook. The frame is formed of two rings of wood or iron, made to fit loosely one within the other. Both rings are covered with baize or flannel wound round them till the inner one can only just be passed through the outer. The fabric to be embroidered is placed over the smaller hoop, and the other is pressed down over it and firmly fixed with a screw. A small wooden frame of this description is universally used in Ireland for white embroidery on linen or muslin. In tambour work the thread is kept below the frame and guided by the left hand, while the hook or crochet needle is passed from the surface through the fabric, and brings up a loop of the thread through the preceding stitch, and the needle again inserted, forming thus a close chain on the surface of the work.
The difficulty of working chain stitch in a frame probably led to the introduction 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, and therefore does not enter into our province.
Dr. Rock[1] and other authorities agree in thinking that the distinctive feature of this style, which was introduced about the end of the thirteenth century, was a new way of working the flesh in subjects containing figures.
Instead of the faces being worked in rows of straight stitches (like that described as Burden stitch on page 50) as we see in the old Flemish, German, and Italian work of the same period, the English embroiderers invented a new stitch, which they commenced in the centre of the cheek and worked round and round—gradually letting the lines fall into outer circles of ordinary feather stitch.
Having thus prepared an elastic surface, they proceeded to model the forms and make lights and shadows by pressing the work into hollows, with small heated metal balls, the work being probably damped as a preparation for this process. So skilfully did they carry out their intention, that the effect is still the same after the lapse of five centuries. We must unwillingly add that, though much appreciated in the thirteenth century, the effect is rather curious and quaint than beautiful.
The Syon cope in the Kensington Museum, of the thirteenth century, is a fine specimen of this attempt to give the effect of bas-relief to the sacred subjects depicted. The whole cope shows how various were the stitches worked at that period. On examination with a microscope, the flesh stitch appears to be merely a fine split stitch worked spirally, as we now work fruit.
FOOTNOTE:
[1] See Dr. Rock’s preface to his “Descriptive Catalogue of Textile Fabrics” in the Kensington Museum.
CUT WORK OR APPLIQUÉ.
Decorative cut work is of infinite variety, but may be divided into two groups, “inlaid appliqué” and “onlaid appliqué.”
“Inlaid” appliqué consists in tracing the same pattern on two different fabrics, say a gold cloth and a crimson velvet; then cutting both out carefully, and inlaying the gold flowers into the crimson velvet ground, and the crimson flowers into the gold ground.
This kind of work may be seen constantly in Italian rooms of the seventeenth century, and the alternate breadths of crimson and gold give a very fine effect as of pilasters, and in general are enriched by 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 or couchings of floss silk. Sometimes narrow ribbons or fine strips of cut silk are stitched over the edges to keep them down flat.
“Onlaid appliqué” is done by cutting out the pattern in one or many coloured materials, and laying it down on an intact ground of another material. Parts are often shaded with a brush, high lights and details worked in with stitches of silk, and sometimes whole flowers or figures are embroidered, cut out, and couched down. This sort of work is extremely amusing, and gives scope to much play of fancy and ingenuity, and when artistically composed it is sometimes very beautiful.
Another style of “onlaid appliqué” is only worked in solid outlines, laid down in ribbon or cord, sometimes in both. This was much in vogue in the time of Queen Anne, and for a hundred years after.
No. 20.
The ribbon, very soft and thick, sometimes figured, sometimes plain, was manufactured with a stout thread on each side, which could be drawn, and so regulate the ribbon and enable it to follow the flow of the pattern.
The German, French, and Italians often enriched this style of work with a flower, embroidered and applied thrown in here and there. Very small fringes also were introduced into the pattern, or arabesqued.
“Cut work,” like the appellation “Feather stitch,” has a totally different meaning when it is given to white embroidery, and it has nothing to do with appliqué, but takes its name from the fact that the pattern is mostly cut or punched out, and then edged with button-hole or plain overlaid stitch.
In working appliqué it is best, although not absolutely necessary, to have the design traced on the material to be used as a ground, which must then be framed as for ordinary embroidery. A copy of the design must be made on tracing-paper, and the outlines carefully pricked out with a needle or pin, laying the paper on several folds of flannel or cloth for greater convenience in pricking.
A pad, made of a long strip of flannel about four inches wide, rolled very tightly, must be made ready, and some pounce made of about equal quantities of finely powdered charcoal and pipe-clay. The leaf or scroll which is wanted for the work must now be selected, and the pricked design laid face downwards on the fabric which is to be applied. The flannel pad must be dipped in the pounce and rubbed well into the outlines of the pricked design, which must be held firmly in its place with the left hand. On lifting the tracing-paper, the design will be found to be marked out on the material distinctly enough for it to be cut out with a sharp pair of scissors. The pounce can afterwards be dusted off.
The leaf or scroll having been thus cut out must be fastened in its place on the design with small pins, and then carefully sewn down. The edges are then finished off by stitches of embroidery or by a couching line (see page 39). The stems are frequently worked in with stem stitching or couching, and the leaves enriched by large veinings of crewel or silk work, or in conventional designs, with some of the many varieties of herringboning.
Gold Embroidery on velvet or satin grounds requires to be worked on a strong even linen, and then cut out and applied in the same manner as ordinary appliqué. Where a particularly rich and raised effect is required any embroidery may be treated in this manner. It is of course more troublesome, but quite repays the labour spent upon it by the increased beauty of the work.
The transfer of old embroideries on to a new ground is usually done by appliqué, although we have already described a better process at page 39.
In transferring old needlework it is necessary to cut away the ground close to the edge of the embroidery. It is then placed on the new material, which has been previously framed, and the outline tacked down. The best way of finishing is then to work in the edges with silks dyed exactly to match the colours in the old work. If properly done, it is impossible to discover which are old and which new stitches, and only by examining the back, that the work has been transferred at all.
We used the words “dyed to match” advisedly, as it is impossible otherwise to procure new silks which will correspond with the old.
Embroidery transferred in this manner is as good as it was in its first days, and in many cases is much better, for time often has the same mellowing and beautifying effect in embroideries as in paintings.
A less expensive, but also a much less charming, method is to edge the old embroidery after applying it to the new ground with a cord or line of couching.
With this treatment it is, however, always easy to perceive that the work 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 a board with tacks or drawing-pins. It is then covered smoothly, and completely, with paste. The wrong side of the velvet, satin, serge, or whatever is to be used in the work, is then pressed firmly down on the pasted surface with the hands, and then left to dry.
In giving the foregoing account of the most typical stitches, we hope we have succeeded in showing the principle on which each should be worked. They form the basis of all embroidery, and their numerous modifications cannot be fully discussed in the limit we have prescribed to ourselves. It is sufficient to observe that the instruction we have tried to impart is that which it is absolutely necessary for the needleworker to master thoroughly before she attempts to cope with the artistic element of her work. That it is a creative art is undoubted, for no two pieces of embroidery are alike unless executed by the same hand, and from the same design.
For the advanced artist there is a store of instruction in the fine collection at South Kensington, which, seen by the light of Dr. Rock’s invaluable “Catalogue of Textile Fabrics,” is an education in itself, of which the ethnological as well as the artistic interest cannot be over-estimated, and it is within the reach of all who can find time to bestow upon it.
STRETCHING AND FINISHING.
Always avoid using an iron to embroidery. It flattens the work, and is apt to injure the colour. For embroidery on linen, unless very badly done, it will be found quite sufficient to stretch the work as tightly as possible with white tacks or drawing-pins on a clean board, and damp it evenly with a sponge. Leave it until quite dry, and then unfasten it, and, if necessary, comb out the fringe. If it is new work, it should not be fringed until after it has been stretched.
For crewel work on cloth or serge, it is sometimes necessary to rub a little shoemaker’s paste on to the back of the embroidery, while it is tightly stretched. When pasting can be avoided, it is always better to do without it; but it serves to steady the work in some cases, and makes it wear better. Unless it is absolutely necessary, it is better not to paste the back of screen panels, whatever may be the materials on which they are worked; but more especially satin or velvet, as it interferes with the straining of the work by the cabinet-maker.
We give a recipe for Embroidery Paste, which is said to be excellent:—Three and a half spoonfuls of flour, and as much powdered resin as will lie on a half-penny. Mix these well and smoothly with half a pint of water, and pour it into an iron saucepan. Put in one teaspoonful 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 cheap and inferior worsteds will not do so. Ordinary crewel work on linen may be washed at home, by plunging it into a lather made by water in which bran has been boiled, or even with simple soap-suds, so long as no soda or washing-powder is used. It should be carefully rinsed without wringing, and hung up to dry. When almost dry, it may be stretched out with drawing-pins on a board, and will not require ironing.
Embroidery on cloth or serge may often be cleaned with benzoline, applied with a piece of clean flannel; but in any case, where a piece of work is much soiled, or in the case of fine d’oyleys, it is safer to 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.
APPENDIX.
DESIGNS FOR EMBROIDERY.
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. To introduce 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. George Aitchison.
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 outline in silk or crewel.
No. 12.—Design for Border for Curtain or Table Cover. Designed by Miss Burnside, of the R.S.A.N.
No. 13.—Table Border. Designed by Mr. Fairfax Wade. Conventional Buttercup. To be worked either solid or in outline.
No. 14.—Table Border. Designed by Mr. Walter Crane. For solid embroidery in crewel or silk.
No. 15.—Table Border. Designed by Mr. Walter Crane. For solid embroidery in crewel or silk.
No. 16.—Border. Designed by Miss Mary Herbert, R.S.A.N. For crewel or silk embroidery, either in outline or solid.
No. 17.—Two Panels. Designed by Rev. Selwyn Image. Representing Juno and Minerva.
No. 18.—Two Panels. Designed by Rev. Selwyn Image. Representing Venus and Proserpine. To be worked in outline on linen, as No. 1, or in coloured silks on a groundwork of satin de chine.
No. 19.—Wall Hanging. Designed by Mr. W. Morris. To be worked on linen 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 of transposed Appliqué.
1. DESIGN FOR WALL PANEL.
By E. Burne-Jones.
2. DESIGN FOR WALL PANEL.
By Walter Crane.
3. DESIGN FOR A QUILT OR TABLE COVER.
By George Aitchison.
Vincent Brooks Day & Son, Lith.
4. DESIGN FOR WALL PANEL OR CURTAIN.
By Fairfax Wade.
5. DESIGN FOR A QUILT OR COUVRE-PIED.
By Fairfax Wade.
6. DESIGN FOR A SOFA-BACK COVER.
By William Morris.
7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL.
By George Aitchison.
Vincent Brooks Day & Son, Lith.
8. DESIGN FOR APPLIQUÉ.
By Fairfax Wade.
DESIGNS FOR CHAIR-SEATS OR CUSHIONS. (9. PERIWINKLE 10. IRIS.)
By Miss Jekyll.
Vincent Brooks Day & Son, Lith.
11. DESIGN FOR A BORDER.
By Miss Webster.
Vincent Brooks Day & Son, Lith.
12. DESIGN FOR A BORDER FOR A CURTAIN OR TABLE COVER.
By Miss Burnside.
DESIGNS FOR TABLE BORDERS.
No. 13 by Fairfax Wade; 14 and 15 by Walter Crane; 16 by Mary Herbert.
Vincent Brooks Day & Son, Lith.
17. TWO DESIGNS FOR WALL PANELS—“JUNO” AND “MINERVA.”
By the Rev. Selwyn Image.
18. TWO DESIGNS FOR WALL PANELS—“VENUS” AND “PROSERPINE.”
By the Rev. Selwyn Image.
19. DESIGN FOR WALL-HANGING.
By William Morris.
20. DESIGN FOR WALL-HANGING.
By William Morris.
Vincent Brooks Day & Son, Lith.
21. DESIGN FOR BORDER FOR APPLIQUÉ.
From Ancient Italian Work.
Vincent Brooks Day & Son, Lith.
22. ITALIAN DESIGN.
Showing the application of transposed Appliqué.
Vincent Brooks Day & Son, Lith.
Royal School of Art-Needlework.
Incorporated under “The Companies’ Acts, 1862 and 1867,” by licence of
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. the Princess Christian of Schleswig-Holstein, for the twofold purpose of supplying suitable employment for Gentlewomen and restoring Ornamental Needlework 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 in the Exhibition Road, and Her Majesty the Queen was graciously pleased to grant to it the prefix of “Royal.”
The Royal School of Art-Needlework exhibited at the Centennial Exhibition of Philadelphia, 1876, and received a Certificate of Award—medals not being granted to institutions or corporate bodies. A Silver Medal was also granted by the Jurors of the International Exhibition, Paris, 1878, for embroideries exhibited there.
The result of seven years’ experience of the working of the School has shown that the objects for which it was formed are appreciated by the public, and has justified its establishment on a permanent basis. This has accordingly been effected under a special licence from the Board of Trade, granted under authority of an Act of Parliament which authorizes the incorporation of associations not constituted for purposes of profit.
The ultimate profits of the Association, after payment of all Debentures, are to be applied to such charitable or other purposes as the Association may from time to time determine, not being inconsistent with the provisions of the Memorandum of Association, which require that the Shareholders shall not take any personal profit out 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 been sent out to take charge of the School of Art-Needlework in Philadelphia.
The Show Rooms are open from 10 a.m. to 6 p.m. in Summer, and to 5 p.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 for lessons, and addresses of Provincial Agents, may be obtained by writing to the Secretary.
A Branch School for Scotland has now been opened in Glasgow. Show Rooms at 108, St. Vincent Street.
ROYAL SCHOOL OF ART-NEEDLEWORK.
EXHIBITION ROAD,
SOUTH KENSINGTON.
PREPARED WORK.
Work can be obtained from the Royal School of Art-Needlework having a design traced, a portion of the embroidery commenced, and sufficient materials for finishing. Ladies’ own materials will be traced and prepared for working if desired. Dresses must be cut out and tacked together before being sent to the School, and lines marked on the material to show where the design is to be placed.
When an order for prepared work is executed exactly by the directions given, or when the selection of Design or Colouring is left to the School, the work cannot be exchanged or taken back.
The materials supplied with the work are considered more than sufficient to finish it, and if more are required afterwards they must be purchased separately.
A few specimen prices are quoted, but no estimates can be given for prepared work, except in cases of large orders where a great quantity of material is supplied.
All Designs supplied are Copyright of the Royal School of Art-Needlework, and must not be made use of for purposes of sale.
Designs on paper are not supplied under any circumstances, nor can work be sent out on approbation.
All work supplied is stamped with the monogram of the Royal School of Art-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. per yard.
Borders, on Serge or Diagonal, suitable for Table Covers or Dresses, from 7s. per yard.
Borders, on Serge or Diagonal, suitable for Curtains, Chimney Valances, &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. per dozen.
Folding Screens, on Sailcloth, £1 1s. to £1 10s. per panel.
CREWELS.
Crewels are sold at the rate of 8d. per ounce skein, or in quarter-pound bundles, containing not more than four shades, at 2s. In quarter-pound bundles, containing selected colours, at 3s.
Embroidery Silks, at 6s. 6d. per ounce reel, and 3s. 3d. per half-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 be purchased at the School.
NOT LESS THAN ONE YARD SOLD.