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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
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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 ***
Produced by Julie Barkley, Sam W. and the Online Distributed
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.
(
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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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
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
.
T
EXTILE
F
ABRICS
USED
AS
G
ROUNDS
FOR
E
MBROIDERY
.
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