Embroidery and Tapestry Weaving | Page 3

form, and memories of all kinds of things be pictured on
stuffs.
To laboriously train the hand is scarcely worth while unless it is
capable of expressing something that is at least pretty. Nowadays much
embroidery is done with the evident intent of putting into it the

minimum expenditure of both thought and labour, and such work
furnishes but a poor ideal to fire the enthusiasm of the novice; happily,
there still exist many fine examples showing what splendid results may
be achieved; without some knowledge of this work we cannot obtain a
just idea of the possibilities of the art.
It is obvious that much advantage can be gained from studying the
accumulated experience of the past in addition to that current in our
own day. To do this intelligently, the history of embroidery must be
followed in order that the periods richest in the various kinds of work
may be ascertained. Museums afford useful hunting-grounds for the
study of past work; other sources are private collections, churches,
costume in pictures or on engraved brasses, and manuscript inventories
such as those of cathedral treasuries, which sometimes contain
interesting detailed descriptions of their embroidered vestments and
hangings.
Blind copying of old work is not of much value; it is not possible or
desirable to imitate XIIIth century work now, but much can be learned
by examining fine examples in an appreciative and analytical spirit. In
what way the design has been built up can be discovered; the most
complicated result may often be resolved into quite elementary lines.
The student must find out wherein lie the attraction and interest, note
good schemes of colour, and learn about stitches and methods of work
by close examination of the embroidery, both front and back.
Every one knows what embroidery is, and a formal definition seems
unnecessary. As a matter of fact, it would be a difficult task to give one,
since weaving, lace-making, and embroidery are but subtle variations
of the same art.
This art may be of the highest or the most homely character, and the
latter is by no means to be despised. Simple unaffected work decorating
the things of every-day use can give a great deal of pleasure in its way.
This should surely be the accomplishment of every woman, for though
she may not have the skill to attain to the highest branches, it would at
least enable her to decorate her home with such things as the
counterpanes, curtains, and other objects that set such a personal stamp

upon the English domestic work of several centuries, and which
nowadays can hardly be found except stored up in museums.
It is advisable as a general rule that the design be both made and carried
out by the same person. From the worker's own point of view the
interest must be much greater when working out her own ideas than
when merely acting as amanuensis to another. The idea is more likely
to be expressed with spirit; further there is the possibility of adding to
or altering, and thereby improving, the work as it progresses. The
designer must in any case be well acquainted with stitches and
materials, for they play an important part in achieving good results. The
individuality of the worker should be evident in her work; indeed it
generally is, for even plain hems by two people bear quite different
characters; the degree of individuality present, varies with each one, but
in any case it will be much more marked if the design and stitching
bear the stamp of the same personality.
The difference between good and unsatisfactory results should be
carefully thought out, for it is often but a small matter. The best kind of
work is that which appeals to the intelligence as well as to the eye,
which is another way of saying there should be evidence of mind upon
the material. Work must be interesting in some way if it is to be
attractive; it had better almost be faulty and interesting than dull, dry,
and correct. It can interest by reminding us of pleasant things, such as
familiar flowers, shady woods, or green lawns; birds, beasts, and so
forth can be depicted in their characteristic attitudes, or a story can be
told; in fact, work can be made attractive in a hundred different ways. It
must not show signs of having wearied the worker in the doing; variety
and evidence of thought lavishly expended upon it will prevent this,
and enthusiasm will quicken it with life.
The selection of the object to work comes at an early stage, and is a
matter to be well considered, for it is a pity to spend time and labour
upon unsuitable objects when there are many excellent ones to choose
from. In thinking over what to