HANDBOOK OF EMBROIDERY.pdf

The Project Gutenberg eBook of Handbook of Embroidery, by L. Higgin.

http://www.gutenberg.org/files/24964/24964-h/24964-h.htm

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The Project Gutenberg EBook of Handbook of Embroidery, by L. Higgin

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Title: Handbook of Embroidery

Author: L. Higgin

Editor: Lady Marian Alford

Release Date: March 30, 2008 [EBook #24964]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK HANDBOOK OF EMBROIDERY ***

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Proofreading Team at http://www.pgdp.net

HANDBOOK OF EMBROIDERY.

HANDBOOK OF EMBROIDERY

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The Project Gutenberg eBook of Handbook of Embroidery, by L. Higgin.

http://www.gutenberg.org/files/24964/24964-h/24964-h.htm

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.

LONDON:

SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,

CROWN BUILDINGS, FLEET STREET.

1880.

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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The Project Gutenberg eBook of Handbook of Embroidery, by L. Higgin.

http://www.gutenberg.org/files/24964/24964-h/24964-h.htm

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 passed through the

classes, 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 stitches, 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 space, and without practical illustration. 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 assistance, and to those who are unable to do so we cannot recommend

any of the methods now advertised.

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The Project Gutenberg eBook of Handbook of Embroidery, by L. Higgin.

http://www.gutenberg.org/files/24964/24964-h/24964-h.htm

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 æsthetic 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

mediæval work in her “Church Embroidery, Ancient and Modern,” which will always

be a first-class 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 stitches not here named, any

such communications will be gratefully received and made use of in future editions.

T HE E DITOR .

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The Project Gutenberg eBook of Handbook of Embroidery, by L. Higgin.

http://www.gutenberg.org/files/24964/24964-h/24964-h.htm

TABLE OF CONTENTS.

CHAPTER I.

Page 1 .

O F I MPLEMENTS AND M ATERIALS USED IN M ODERN

E MBROIDERY .

PAGE

Needles

Scissors

Prickers, &c.

Crewels

Tapestry Wool

Arrasene

Embroidery or Bobbin Silk

Rope Silk

Fine Silk

Purse Silk

Raw or Spun Silk

Vegetable Silk

Filoselle

Tussore

Gold

Japanese Gold Thread

Chinese Gold

Gold and Silver Passing

Bullion or Purl

Spangles

Plate

Recipes for Preserving Gold

CHAPTER II.

Page 11 .

T EXTILE F ABRICS USED AS G ROUNDS FOR

E MBROIDERY .

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