HANDBOOK OF EMBROIDERY.

HANDBOOK OF EMBROIDERY

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.

[Pg v]

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.

[Pg vi]
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.

[Pg vii]
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
[Pg viii]
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.

The Editor.

[Pg ix]

TABLE OF CONTENTS.

[Pg 1]

HANDBOOK OF EMBROIDERY.

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 coarse “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 pass 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.

[Pg 2]
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.

Prickers are necessary for piercing holes in gold embroidery,
and also for arranging the lie of the thread in
some forms of couching.

[Pg 3]

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 coarse work, such as screen
panels on sailcloth, or for embroidering on Utrecht
velvet, it is generally better doubled), care should be
taken never to pass it through the eye of the needle,
knotting the two ends; but two separate threads of the
length required should be passed 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 washing-powder is used. Directions for cleaning
[Pg 4]
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 coarse, 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-fashioned chenille.

[Pg 5]

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 passed 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.

These must be threaded together through the needle,
care being taken not to tangle the piece of “rope” from
which they have been detached. There need be no waste
[Pg 6]
if this operation is carefully done, as good silk will always
divide into strands without fraying.

In using “fine silk,” one length must be cut first, then
other strands laid on it,—as many as are needed to form
the thickness required. They should be carefully laid in
the same direction as they leave the reel or card. If
placed carelessly backwards and forwards, they are sure
to fray, and will not work evenly together. With silk
still more than with crewel, it is necessary to thread all
the strands through the needle together, never to double
one back, and never to make a knot.

It is intended in future to do away with this distinction
between “rope” and “fine” silk, and to have it all manufactured
of one uniform thickness, which will consist of
eight strands of the same quality as the “fine” silk at
present in use. As it will, however, still be necessary to
divide the thread, and even perhaps occasionally to
double it, the directions given above will be useful.

Purse Silk is used sometimes for diapering, and in
rare cases in ordinary embroidery, where a raised effect
is required.

Raw or spun silk is a soft untwisted cream-coloured
silk, used for daisies and other simple white flowers, or
in outlining. It is much cheaper than embroidery silk
or filoselle.

Vegetable Silk (so-called) is not used or sold by the
Royal School.

[Pg 7]
Filoselle, when of good quality, is not, as some people
suppose, a mixture of silk and cotton. It is pure silk,
but of an inferior quality; and therefore cheaper. It
answers many of the purposes of bobbin silk, but is
not suitable for fine embroidery on silk or satin fabrics.
It should be used also in strands, and the same remarks
hold good with regard to its not being doubled, but cut
in equal lengths.

Tussore.—Interesting experiments have recently been
made with the “Tussore,” or “wild silk” of India, which
bids fair to create a revolution in embroidery. Not
only can it be produced for less than half the price
of the “cultivated silk” of Italy, China, or Japan, but it
also takes the most delicate dyes with a softness that
gives a peculiarly charming effect. It can scarcely be
said to be in the market as yet, but in all probability
before this work is through the press it will have
become an important element in decorative needlework.
It is much less glossy than cultivated silk.

[Pg 8]

GOLD THREAD, &c.

“Japanese gold thread,” which has the advantage of
never tarnishing, is now extremely difficult to obtain.
Being made of gilt paper twisted round cotton thread, it
cannot be drawn through the material by the needle;
but must in all cases be laid on, and stitched down with
a fine yellow silk, known as “Maltese,” or “Horse-tail.”

“Chinese gold” is manufactured in the same manner
as the Japanese; but being of a much redder colour is
not so satisfactory in embroidery unless a warm shade
is desirable for a particular work.

Gold and silver passing, a very fine kind of thread, can
either be used for working through the material, or can
be laid on like the Japanese gold. They are suitable for
“raised gold or silver embroidery.”

Bullion, or Purl, is gold or silver wire made in a series
of continuous rings, like a corkscrew. It is used in
ecclesiastical work, for embroidering official and military
uniforms, and for heraldic designs. It should be
cut into the required lengths—threaded on the needle
[Pg 9]
and fastened down as in bead-work. Purl is sometimes
manufactured with a coloured silk twisted round the
metal though not concealing it, and giving rich tints to
the work.

Spangles were anciently much used in embroidery,
and were sometimes of pure gold. They are but little
used now.

Plate consists of narrow plates of gold or silver
stitched on to the embroidery by threads of silk, which
pass over them.

The French and English gold thread is made of thin
plates of metal cut into strips, and wound round strands
of cotton in the same manner as the Japanese gold. If
the metal is real, the cost is of course great. It is sold
by weight, gold being about 20s. per oz., and silver, 10s.
per oz. In addition to its superiority in wear, it has this
advantage, that old gold or silver thread is always of
intrinsic value, and may be sold at the current price of
the metal whatever state it may be in. Many varieties
of gilt thread are manufactured in France and England,
which may be used when the great expense of “real
gold” is objected to. But although it looks equally well
at first, it soon becomes tarnished, and spoils the effect
of the embroidery. Gold and silver threads are difficult
to work with in England, and especially in London, as
damp and coal-smoke tarnish them almost before the
work is out of the frame. Mrs. Dolby recommends cloves
being placed in the papers in which they are kept.

[Pg 10]

RECIPES FOR PRESERVING GOLD.

We give here two recipes, which may be found serviceable.
They are from different sources; the first is a very
old one. They may preserve gold for a certain time.

1. Isinglass dissolved in spirits of wine and brushed
over the thread or braid, which should be hung over
something to dry, and not touched with the hand.

2. Spirits of wine and mastic varnish mixed very thin
and put on in the same way with a brush.

[Pg 11]

CHAPTER II.

TEXTILE FABRICS USED AS GROUNDS FOR
EMBROIDERY.

LINENS.

There are many varieties of unglazed, half-bleached
linens, from that thirty-six and forty inches wide, used
for chair-back covers, to that ninety inches wide, used
for large table-covers, curtains, &c. There are also endless
varieties of fancy linens, both of hand and power-loom
weaving, for summer dresses, for bed furniture, chair-back
covers, table-cloths, &c.

Flax is the unbleached brown linen, often used for
chair-back covers.

Twill is a thick linen suitable for coverings for furniture.

Kirriemuir Twill is a fine twilled linen made at
Kirriemuir, and is good for tennis aprons, dresses,
curtains, &c.

[Pg 12]
Sailcloth is a stout linen, of yellow colour, and is only
suitable for screen panels.

Oatcake Linen, so called from its resemblance to Scotch
oatcake, has been popular for screen panels or washstand
backs. It is very coarse and rough.

Oatmeal Linen is finer and of a greyer tone. It is also
used for screens, and for smaller articles.

Smock Linen is a strong even green cloth. It makes
an excellent ground for working screens, and is also used
for tennis aprons.

Crash.—Properly speaking, the name “crash” is only
applied to the coarse Russian home-spun linen, which
has been such a favourite from the beauty of its tone of
colour. It is, however, erroneously applied to all linens
used for embroidery, whether woven by hand-loom or
machinery; and this confusion of names frequently leads
to mistakes. Crash is almost always very coarse, is never
more than eighteen inches wide, and cannot be mistaken
for a machine-made fabric. It is woven by the Russian
peasants in their own homes, in lengths varying from five
to ten yards, and, therefore, though sent over in large
bales, it is very difficult to find two pieces among a hundred
that in any way match each other.

Bolton, or Workhouse Sheeting, is a coarse twilled cotton
fabric, seventy-two inches wide, of a beautiful soft creamy
colour, which improves much in washing. It is
[Pg 13]
inexpensive, and an excellent ground for embroidery, either
for curtains, counterpanes, chair coverings, or for ladies’
dresses, or tennis aprons.

It resembles the twilled cotton on which so much of
the old crewel embroidery was worked in the seventeenth
century, and is one of the most satisfactory materials
when of really good quality.

All descriptions of linen, except the “oatcake” and
“sailcloth,” can be embroidered in the hand.

[Pg 14]

TEXTILE FABRICS.

SATINS AND SILKS.

Satins and Silks can only be embroidered in a frame.
Furniture satins of stout make, with cotton backs, may
be used without backing; but ordinary dress satins require
to have a thin cotton or linen backing to bear the strains
of the work and framing. Nothing is more beautiful
than a rich white satin for a dress embroidered in coloured
silks.

For fans, a very fine, closely woven satin is necessary,
as it will not fold evenly unless the satin is thin; and yet
it must be rich enough to sustain the fine embroidery, without
pulling, or looking poor. A special kind of satin is
made for the manufacture of fans, and none other is
available.

“Silk Sheeting” of good quality, “Satin de Chine”
and other silk-faced materials of the same class, may
either be embroidered in the hand, or framed; but for
large pieces of work a frame is essential. These materials
are suitable for curtains, counterpanes, piano coverings,
[Pg 15]
or panels, and indeed for almost any purpose. The finer
qualities are very beautiful for dresses, as they take rich
and graceful folds, and carry embroidery well.

Tussore and Corah Silks are charming for summer
dresses, light chair-back covers, or embroidered window
blinds. They will only bear light embroidering in silk or
filoselle.

Within the last year successful experiments have been
made in dyeing these Indian silks in England. The
exact shades which we admire so much in the old
Oriental embroideries have been reproduced, with the
additional advantage of being perfectly fast in colour.

Nothing can be more charming as lining for table-covers,
screens, curtains, &c.; and they are rather less
expensive than other lining silks.

The fabrics known as Plain Tapestries are a mixture
of silk and cotton, manufactured in imitation of the
handworked backgrounds so frequent in ancient embroideries—especially
Venetian. Almost all the varieties
of Opus Pulvinarium, or cushion stitch, have been reproduced
in these woven fabrics.

Brocatine is a silk-faced material, woven to imitate
couched embroidery. The silk is thrown to the surface
and is tied with cotton threads from the back.

As ground for embroidery it has an excellent effect.

[Pg 16]

TEXTILE FABRICS.

COTTONS AND WOOLLENS.

Velveteen, if of good quality, makes an excellent ground
for screen panels, chair-covers, portières, curtains, borders,
&c. It can be worked in the hand if the embroidery
be not too heavy or large in style.

Utrecht Velvet is only suitable for coarse crewel or
tapestry wool embroidery. It is fit for curtain dados or
wide borderings.

Velvet Cloth is a rich plain cloth, finished without any
gloss. It is a good ground for embroidery, either for
curtains or altar-cloths. It is two yards wide.

Felt is sometimes used for the same purposes, but does
not wear nearly so well, and is difficult to work.

Diagonal Cloth can be worked either in the hand or
frame, although it is always much better in the latter.
It is used for table-covers, curtains, chair-seats, &c.

[Pg 17]
Serge is usually made thirty-six inches wide. It has
long been in favour for curtains, small table-covers,
dresses, &c. It can now be obtained at the school fifty-four
inches wide, in many shades.

Soft or Super Serge, also fifty-four inches wide, is an
excellent material, much superior in appearance to
diagonal cloth, or to the ordinary rough serge. It takes
embroidery well.

Cricketing flannel is used for coverlets for cots, children’s
dresses, and many other purposes. It is of a
beautiful creamy colour, and is a good ground for fine
crewel or silk embroidery. It need not be worked in a
frame.

Genoa or Lyons Velvet makes a beautiful ground for
embroidery; but it can only be worked in a frame, and
requires to be “backed” with a thin cotton or linen lining,
if it is to sustain any mass of embroidery. For small
articles, such as sachets or casket-covers, when the work
is fine and small, the backing is not necessary. Screen
panels of velvet, worked wholly in crewels, or with crewel
brightened with silk, are very effective. Three-piled
velvet is the best for working upon, but is so expensive
that it is seldom asked for.

Silk Velvet Plush (a new material) can only be used
in frame work, and must be backed. It is useful in
“appliqué” from the many beautiful tones of colour it
takes. As a ground for silk or gold embroidery it is
also very good.

[Pg 18]

TEXTILE FABRICS.

GOLD AND SILVER CLOTH.

Cloth of Gold or Silver is made of threads of silk
woven with metal, which is thrown to the surface. In its
best form it is extremely expensive, varying from £4 to
£6 per yard, according to the weight of gold introduced.
Cloth of silver is generally £3 the yard.

Inferior kinds of these cloths are made in which silk
largely predominates, and shows plainly on the surface.
They are frequently woven in patterns, such as diaper or
diagonal lines, with a tie of red silk, in imitation of the
diaper patterns of couched embroidery.

They are chiefly used in ecclesiastical or heraldic embroidery;
their great expense preventing their general
use.

[Pg 19]

CHAPTER III.

STITCHES USED IN HAND EMBROIDERY AS
TAUGHT AT THE ROYAL SCHOOL OF
ART-NEEDLEWORK.

To avoid pulling or puckering the work, care should
be taken—firstly, that the needle is not too small, so as
to require any force in drawing it through the material;
secondly, the material must be held in a convex position
over the fingers, so that the crewel or silk in the needle
shall be looser than the ground; and thirdly, not to use
too long needlefuls. These rules apply generally to all
handworked embroideries.

STITCHES.

Stem Stitch.—The first stitch which is taught to a
beginner is “stem stitch” (wrongly called also, “crewel
stitch,” as it has no claim to being used exclusively in
crewel embroidery). It is most useful in work done in
[Pg 20]
the hand, and especially in outlines of flowers, unshaded
leaves, and arabesque, and all conventional designs.

No. 1.—Stem Stitch.

It may be best described as a long stitch forward on
the surface, and a shorter one backward on the under
side of the fabric, the stitches following each other almost
in line from left to right. The effect on the wrong side
is exactly that of an irregular back-stitching used by
dressmakers, as distinguished from regular stitching.
A leaf worked in outline should be begun at the lower
or stalk end, and worked round the right side to the top,
taking care that the needle is to the left of the thread
as it is drawn out. When the point of the leaf is reached,
it is best to reverse the operation in working down the
left side towards the stalk again, so as to keep the needle
to the right of the thread instead of to the left, as in
going up.

[Pg 21]

No. 2.

The reason of this will be easily understood: we will
suppose the leaf to have a slightly serrated edge (and
there is no leaf in nature with an absolutely smooth one).
It will be found that in order to give this ragged appearance,
it is necessary to have the points at which the
insertions of the needle occur on the outside of the leaf:
whereas if the stem stitch were continued down the
left side, exactly in the same manner as in ascending the
right, we should have the ugly anomaly of a leaf outlined
thus:—

No. 3.

If the leaf is to be worked “solidly,” another row of
stem stitching must be taken up the centre of it (unless
it be a very narrow leaf), to the top. The two halves of
the leaf must then be filled in, separately, with close,
even rows of stem stitch, worked in the ordinary way,
[Pg 22]
with the needle to the left of the thread. This will prevent
the ugly ridge which remains in the centre, if it is
worked round and round the inside of the outline. Stem
stitch must be varied according to the work in hand. If
a perfectly even line is required, care must be taken that
the direction of the needle when inserted is in a straight
line with the preceding stitch. If a slight serrature is
required, each stitch must be sloped a little by inserting
the needle at a slight angle, as shown in the illustration.
The length of the surface stitches must vary to suit
the style of each piece of embroidery.

Split Stitch is worked like ordinary “stem,” except
that the needle is always brought up through the crewel
or silk, which it splits, in passing.

The effect is to produce a more even line than is
possible with the most careful stem stitch. It is used for
delicate outlines. Split stitch is rarely used in hand
embroidery, being more suitable for frame work: but
[Pg 23]
has been described here as being a form of stem stitch.
The effect is somewhat like a confused chain stitch.

Satin Stitch—French Plumetis—is one of those chiefly
used in white embroidery, and consists in taking the
needle each time back again almost to the spot from
which it started, so that the same amount of crewel or
silk remains on the back of the work as on the front.
This produces a surface as smooth as satin: hence its
name. It is chiefly used in working the petals of small
flowers, such as “Forget-me-nots,” and in arabesque designs
where a raised effect is wanted in small masses.

No. 4.—Satin Stitch.

Blanket Stitch is used for working the edges of
[Pg 24]
table-covers, mantel valances, blankets, &c., or for edging any
other material. It is simply a button-hole stitch, and
may be varied in many ways by sloping the stitches
alternately to right and left; by working two or three together,
and leaving a space between them and the next
set; or by working a second row round the edge of the
cloth over the first with a different shade of wool.

No. 5.—Blanket Stitch.

Knotted Stitch, or French Knot, is used for the centres
of such flowers as the daisy or wild rose, and sometimes
for the anthers of others. The needle is brought up at
the exact spot where the knot is to be: the thread is held
in the left hand, and twisted once or twice round the
needle, the point of which is then passed through the
[Pg 25]
fabric close to the spot where it came up: the right
hand draws it underneath, while the thumb of the left
keeps the thread in its place until the knot is secure.
The knots are increased in size according to the number
of twists round the needle. When properly made, they
should look like beads, and lie in perfectly even and
regular rows.

No. 6.—Knotted Stitch, or French Knot.

This stitch is very ancient, and does not seem confined
to any country, and the Chinese execute large and
elaborate pieces of embroidery in it, introducing beautiful
shading. A curious specimen of very fine knotting
stitch was exhibited at the Royal School in 1878, probably
of French workmanship. It was a portrait of St.
Ignatius Loyola, not more than six inches in length, and
was entirely executed in knots of such fineness, that
without a magnifying glass it was impossible to discover
the stitches. This, however, is a tour de force, and not
quoted as worthy of imitation.

There is one variety of this stitch, in which the thread
is twisted a great many times round the needle, so as to
form a sort of curl instead of a single knot. This is
found in many ancient embroideries, where it is used for
the hair of saints and angels in ecclesiastical work.

Knotted stitch was also employed largely in all its
forms in the curious and ingenious but ugly style in
vogue during the reign of James I., when the landscapes
were frequently worked in cross, or feather stitch, while
the figures were raised over stuffing, and dressed, as it
were, in robes made entirely in point lace, or button-hole
stitches, executed in silk. The foliage of the trees and
shrubs which we generally find in these embroidered
[Pg 26]
pictures, as well as the hair in the figures, were worked
in knotted stitches of varying sizes, while the faces were
in tent stitch or painted on white silk, and fastened on to
the canvas or linen ground.

No. 7.—Bullion Knot.

Another variety of knotting, which is still occasionally
used, resembles bullion, being made into a long roll.
A stitch of the length of the intended roll is taken in
the material, the point of the needle being brought to
the surface again in the same spot from which the
thread originally started; the thread is then twisted
eight or ten times round the point of the needle, which
is drawn out carefully through the tunnel formed by
the twists, this being kept in its place by the left thumb.
The point of the needle is then inserted once more in
the same place as it first entered the material, the long
knot or roll being drawn so as to lie evenly between
the points of insertion and re-appearance, thus treating
the twisted thread as if it were bullion or purl.

[Pg 27]
Chain Stitch is but little used in embroidery now,
although it may sometimes be suitable for lines. It is
made by taking a stitch from right to left, and before the
needle is drawn out the thread is brought round towards
the worker, and under the point of the needle.

No. 8.—Chain Stitch.

The next stitch is taken from the point of the loop
thus formed forwards, and the thread again kept under
the point, so that a regular chain is formed on the surface
of the material.

This chain stitch was much employed for ground
patterns in the beautiful gold-coloured work on linen
for dress or furniture which prevailed from the time of
James I. to the middle of the eighteenth century. It
gave the appearance of quilting when worked on linen in
geometrical designs, or in fine and often-repeated arabesques.
Examples of it come to us from Germany and
Spain, in which the design is embroidered in satin stitch,
[Pg 28]
or entirely filled in with solid chain stitch, in a uniform
gold colour.

Chain stitch resembles Tambour work, which we shall
describe amongst framework stitches, though it is not at
present practised at this School.

Twisted Chain, or Rope stitch.

No. 9.—Twisted Chain.

Effective for outlines on coarse materials, such as
blankets, carriage rugs, footstools, &c.

It is like an ordinary chain, except that in place of
starting the second stitch from the centre of the loop,
the needle is taken back to half the distance behind it,
and the loop is pushed to one side to allow the needle to
enter in a straight line with the former stitch. It is not
of much use, except when worked with double crewel
[Pg 29]
or with tapestry wool; and should then have the appearance
of a twisted rope.

Feather Stitch.—Vulgarly called “long and short stitch,”
“long stitch” and sometimes “embroidery stitch.” We
propose to restore to it its ancient title of feather stitch—“Opus
Plumarium,” so called from its supposed resemblance
to the plumage of a bird.

No. 10.—Feather Stitch.

We shall now describe it as used for handwork; and
later (at page 37), as worked in a frame. These two
modes differ very little in appearance, as the principle
is the same, namely, that the stitches are of varying
length, and are worked into and between each other,
adapting themselves to the form of the design, but in
handwork the needle is kept on the surface of the
material.

[Pg 30]
Feather Stitch is generally used for embroidering
flowers, whether natural or conventional.

In working the petal of a flower (such as we have
chosen for our illustration), the outer part is first worked
in with stitches which form a close, even edge on the
outline, but a broken one towards the centre of the petal,
being alternately long and short. These edging stitches
resemble satin stitch in so far that the same amount of
crewel or silk appears on the under, as on the upper side
of the work: they must slope towards the narrow part
of the petal.

The next stitches are somewhat like an irregular
“stem,” inasmuch as they are longer on the surface
than on the under side, and are worked in between the
uneven lengths of the edging stitches so as to blend
with them. The petal is then filled up by other stitches,
which start from the centre, and are carried between
those already worked.

When the petal is finished, the rows of stitches should
be so merged in each other that they cannot be distinguished,
and when shading is used, the colours should
appear to melt into each other.

In serrated leaves, such as hawthorn or virginia creeper,
the edging stitches follow the broken outline of the leaf
instead of forming an even outer edge.

It is necessary to master thoroughly this most important
stitch, but practice only can make the worker
perfect.

The work should always be started by running the
thread a little way in front of the embroidery. Knots
should never be used except in rare cases, when it is
[Pg 31]
impossible to avoid them. The thread should always be
finished off on the surface of the work, never at the back,
where there should be no needless waste of material.
No untidy ends or knots should ever appear there; in
fact, the wrong side should be quite as neat as the right.
It is a mistake to suppose that pasting will ever do
away with the evil effects of careless work, or will steady
embroidery which has been commenced with knots, and
finished with loose ends at the back.

The stitches vary constantly according to their application,
and good embroiderers differ in their manner of
using them: some preferring to carry the thread back
towards the centre of the petal, on the surface of the
work, so as to avoid waste of material; others making
their stitches as in satin stitch—the same on both sides,
but these details may be left to the intelligence and
taste of the worker, who should never be afraid of trying
experiments, or working out new ideas.

Nor should she ever fear to unpick her work; for
only by experiment can she succeed in finding the best
combinations, and, one little piece ill done, will be sufficient
to spoil her whole embroidery, as no touching-up
can afterwards improve it.

We have now named the principal stitches used in
hand embroidery, whether to be executed in crewel or silk.

There are, however, numberless other stitches used in
crewel embroidery: such as ordinary stitching, like that
used in plain needlework, in which many designs were
formerly traced on quilted backgrounds—others, again,
are many of them lace stitches, or forms of herringbone,
[Pg 32]
and are used for filling in the foliage of large conventional
floriated designs, such as we are accustomed to see
in the English crewel work of the sixteenth and seventeenth
centuries, on a twilled cotton material, resembling
our modern Bolton sheeting.

It would be impossible to describe or even enumerate
them all; as varieties may be constantly invented by an
ingenious worker to enrich her design, and in lace work
there are already 100 named stitches, which occasionally
are used in decorative embroidery. Most of these, if required,
can be shown as taught at the Royal School of
Art-Needlework, and are illustrated by samplers.

[Pg 33]

CHAPTER IV.

FRAMES AND FRAMING.

Before proceeding to describe the various stitches used
in frame embroidery, we will say a few words as to the
frame itself, the manner of stretching the material in it,
and the best and least fatiguing method of working at it.

The essential parts of an embroidery frame are: first,
the bars, which have stout webbing nailed along them,
and mortice holes at the ends; second, the stretchers,
which are usually flat pieces of wood, furnished with
holes at the ends to allow of their being fastened by
metal pegs into the mortice holes of the bars when the
work is stretched.

In some cases the stretchers are fastened into the bars
by strong iron screws, which are held by nuts.

FRAMING.

In choosing a frame for a piece of embroidery we must
see that the webbing attached to the sides of the bar is
long enough to take the work in one direction. Begin by
[Pg 34]
sewing the edge of the material closely with strong linen
thread on to this webbing. If the work is too long to
be put into the frame at one time (as in the case of
borders for curtains, table-covers, &c.), all but the portion
about to be worked should be rolled round one bar of
the frame, putting silver paper and a piece of wadding
between the material and the wood, so as to prevent its
being marked.

The stretchers should then be put in and secured with
the metal pegs.

A piece of the webbing having been previously stitched
on to the sides of the material, it should now be braced
with twine by means of a packing needle, passing the
string over the stretchers between each stitch taken in
the webbing, and, finally, drawing up the bracing until
the material is strained evenly and tightly in the frame.
If the fabric is one which stretches easily, the bracings
should not be drawn too tightly.

For small pieces of work a deal hand-frame, morticed
at the corners, will suffice, and this may be rested on
the table before the worker, being held in its position by
two heavy leaden weights, covered with leather or baize,
in order to prevent them from slipping. It should be
raised off the table to a convenient height, thus saving
the worker from stooping over her frame, which tires
the eyes, and causes the blood to flow to the head.

There is no doubt that a well-made standing-frame is
a great convenience, as its position need not be disturbed,
and it can be easily covered up and put aside when not
in use. It requires, however, to be very well made, and
should, if possible, be of oak or mahogany, or it will
[Pg 35]
warp and get out of order. It must also be well weighted
to keep it steady.

For a large piece of work it is necessary to have a long
heavy frame with wooden trestles, on which to rest it.
The trestles should be made so as to enable the frame to
be raised or lowered at will.

A new frame has recently been invented and is sold
by the Royal School, which, being made with hinges and
small upright pins, holds the ends of the material firmly,
so that it can be rolled round and round the bar of the
frame without the trouble of sewing it on to the webbing.

When a frame is not in use, care should be taken that
it does not become warped from being kept in too dry or
too hot a place, as it is then difficult to frame the work
satisfactorily.

It will be found useful to have a small basket, lined
with holland or silk, fastened to the side of the frame, to
hold the silks, thimbles, scissors, &c., needed for the
work. Two thimbles should be used, one on each hand,
and the best are old silver or gold ones, with all the
roughness worn off, or ivory or vulcanite.

The worker ought to wear a large apron with a bib to
save her dress, and a pair of linen sleeves to prevent the
cuffs from fraying or soiling her work.

Surgeon’s bent scissors are useful for frame embroidery,
but they are not necessary, as ordinary sharp-pointed
scissors will answer every purpose.

When silk, satin, or velvet is not strong enough to bear
the strain of framing and embroidering, it must be backed
with a fine cotton or linen lining. The “backing” in this
case is first framed, as described above, and the velvet or
[Pg 36]
satin must then be laid on it, and first fastened down
with pins; then sewn down with herringbone stitch,
taking care that it is kept perfectly even with the thread
of the “backing,” and not allowed to wrinkle or blister.

It is most important that a worker should learn to use
equally both hands, keeping the right hand above the
frame till the arm is tired, then letting the left take its
place while the right goes below.

A cover should be made large enough to envelop both
the upper and under portions of the work, and to be
fastened down to the sides, so as to protect it from dust
when it is not being used, and during work it should be
kept over the portion of the embroidery not actually in
hand.

Lastly, a good light should be chosen, so as not to try
the eyes.

Many materials can only be embroidered in a frame,
and most work is best so done. A greater variety of
stitches is possible, and on the stretched flat surface the
worker can see the whole picture at once, and judge of
the effect of the colours and shading as she carries out
the design. It is the difference between drawing on
stretched or crumpled paper.

[Pg 37]

CHAPTER V.

STITCHES USED IN FRAME EMBROIDERY.

Feather Stitch.—In framework, as in handwork, we
restore the ancient name of Feather work or stitch—Opus
Plumarium. We have already said that it was so-called
from its likeness to the plumage of a bird.

This comes from the even lie of the stitches, which fit
into and appear to overlap each other, presenting thus a
marked contrast to the granulated effect of tent stitches,
and the long ridges of the Opus Anglicum, having no
hard lines as in stem stitch, or flat surfaces as in satin
stitch.

Feather stitch, when worked in a frame, is exactly the
same as that worked in the hand, except that it is more
even and smooth. The needle is taken backwards and
forwards through the material in stitches of varying
lengths; the next row always fitting into the vacant
spaces and projecting beyond them, so as to prepare for
the following row.

Every possible gradation of colour can be effected in
[Pg 38]
this way, and it applies to every form of design—floral
or arabesque. Natural flowers have mostly been worked
in this stitch.

A skilful embroiderer will be careful not to waste more
silk than is absolutely necessary on the back of the work,
while, at the same time, she will not sacrifice the artistic
effect by being too sparing of her back stitches.

[Pg 39]

“COUCHING,” OR LAID EMBROIDERY.

This name is properly applied to all forms of embroidery
in which the threads of crewel, silk, or gold
are laid on the surface, and stitched on to it by threads
coming from the back of the material. Under this head
may be classed as varieties the ordinary “laid backgrounds,”
“diaper couchings,” “brick stitch,” “basket
stitch,” and the various forms of stuffed couchings which
are found in ancient embroideries. Couching outlines
are usually thick strands of double crewel, tapestry wool,
filoselle, cord, or narrow ribbon laid down and stitched at
regular intervals by threads crossing the couching line at
right angles. They are used for coarse outline work, or
for finishing the edges of appliqué.

Plain Couching, or “Laid Embroidery.”—The threads
are first laid evenly and straight from side to side of the
space to be filled in, whether in the direction of warp or
woof depends on the pattern; the needle being passed
through to the back, and brought up again not quite
[Pg 40]
close, but at a sufficient distance to allow of an intermediate
stitch being taken backwards; thus the threads
would be laid alternately first, third, second, fourth, and
so on. This gives a better purchase at each end than if
they were laid consecutively in a straight line. If the
line slants much, it is not necessary to alternate the rows.
When the layer is complete, threads of metal, or of the
same or different colour and texture, are laid across at
regular intervals, and are fixed down by stitches from the
back.

No. 11.—Plain Couching.

The beauty of this work depends upon its regularity.

This kind of embroidery, which we find amongst the
old Spanish, Cretan, and Italian specimens, is very useful
where broad, flat effects without shading are required;
but unless it is very closely stitched down, it is not durable
[Pg 41]
if there is any risk of its being exposed to rough usage.
It is possible to obtain very fine effects of colour in this
style of work, as was seen in the old Venetian curtains
transferred and copied for Louisa, Lady Ashburton.
These were shown at the time of the Exhibition of
Ancient Needlework at the School in 1878.

Ancient embroidery can be beautifully restored by
grounding in “laid work,” instead of transferring it where
the ground is frayed, and the work is worthy of preservation.
It must be stretched on a new backing, the
frayed material carefully cut away, and the new ground
couched as we have described.

In other varieties of couching, under which come the
many forms of diapering, the threads are “laid” in the
same manner as for ordinary couching; but in place of
laying couching lines across these, the threads of the first
layer are simply stitched down from the back, frequently
with threads of another colour.

Net-patterned Couching.—The fastening stitches are
placed diagonally instead of at right angles, forming a
network, and are kept in place by a cross-stitch at each
intersection.

This style of couching was commonly used as a ground
in ecclesiastical work of the fourteenth and fifteenth
centuries.

Brick Stitch.—The threads are laid down two together,
and are stitched across at regular intervals. The next
two threads are then placed together by the side, the
fastening stitches being taken at the same distance from
[Pg 42]
each other, but so as to occur exactly between the
previous couplings. Thus giving the effect of brickwork.

Diaper Couchings.—By varying the position of the
fastening stitches different patterns may be produced,
such as diagonal crossings, diamonds, zigzags, curves, &c.

No. 12.—Three Illustrations of Diaper Couchings.

They are properly all gold stitches; but purse silk,
thin cord, or even untwisted silk may be used.

A wonderful example of the many varieties of diapering
is to be seen in the South Kensington Museum, No. 689.
It is modern Belgian work, executed for the Paris Exhibition
of 1867. As a specimen of fine and beautiful
diapering in gold, this could scarcely be surpassed.

Basket Stitch is one of the richest and most ornamental
of these ancient modes of couching. Rows of “stuffing,”
manufactured in the form of soft cotton cord, are laid
[Pg 43]
across the pattern and firmly secured. Across these are
placed gold threads, two at a time, and these are stitched
down over each two rows of stuffing. The two gold
threads are turned at the edge of the pattern, and
brought back close to the last, and fastened in the same
way. Three double rows of gold may be stitched over
the same two rows of stuffing.

The next three rows must be treated as brick stitch,
and fastened exactly between the previous stitchings, and
so on, until the whole space to be worked is closely
covered with what appears to be a golden wicker-work.

Strong silk must be used for the stitching.

No. 13.—Basket Stitch.

The Spanish School of Embroidery has always been
famed for its excellence in this style, and has never
lost the art. The “Embroiderers of the King,” as they
are called, still turn out splendid specimens of this heavy
and elaborate work, which are used for the gorgeous
trappings of the horses of the nobility on gala days and
state occasions.

A beautiful specimen was exhibited at the Royal
School of Art-Needlework, in 1878, by the Countess
Brownlow, of an altar-hanging, entirely worked in basket
[Pg 44]
stitch, in gold on white satin, and a modern example is
still to be seen at the School in a large counterpane,
which was worked for the Philadelphia Exhibition from
an ancient one also belonging to Lady Brownlow.

The Spanish embroiderers used these forms of couching
over stuffing with coloured silks as well as gold, and
produced wonderfully rich effects. One quilt exhibited
by Mrs. Alfred Morrison in 1878 was a marvel of colouring
and workmanship.

Basket stitch is mostly used now for church embroidery,
or for small articles of luxury, such as ornamental
pockets, caskets, &c.

Diapering is generally employed in the drapery of
small figures, and in ecclesiastical work.

Many fabrics are manufactured in imitation of the
older diapered backgrounds, and are largely used to replace
them. Among these are the material known as
silk brocatine, and several kinds of cloth of gold mentioned
in our list of materials.

[Pg 45]

CUSHION STITCHES.

Cushion Stitch—the ancient Opus Pulvinarium of the
Middle Ages, likewise called “Cross Stitch”—may lay
claim to be one of the most ancient known in embroidery.
There have been many varieties, but the principle is
the same in all. It is worked on and through canvas, of
which the threads, as in tapestry, regulate the stitches.

After six centuries of popularity it finally died out
within the last few years as “Berlin wool work;” but
will doubtless be revived again in some form after a time,
as being well fitted for covering furniture on account of
its firmness and durability.

In Germany and Russia it is still much used for embroidering
conventional designs on linen; and the beautiful
Cretan and Persian work of which so much has lately
been in the market, is executed in this style.

Tent Stitch may be placed first under this class, in
[Pg 46]
which the thread coming from beneath is carried over
a single cross of the warp and woof of the canvas.

No. 14.—Tent Stitch.

Simple Cross Stitch.—The worsted or silk is brought
up again to the surface, one thread to the left of the spot
where the needle was inserted, and is crossed over the
first or “tent” stitch, forming a regular and even cross on
the surface.

No. 15.—Simple Cross Stitch.

Persian Cross Stitch.—The peculiarity of this stitch is
that in the first instance the silk or worsted is carried
[Pg 47]
across two threads of the canvas ground, and is brought
up in the intermediate space. It is then crossed over
the latter half of the original stitch, and a fresh start
is made.

No. 16.—Persian Cross Stitch.

Much of the beauty of Persian embroidery is produced
by the irregularity of the crossing; the stitches being
taken in masses, in any direction that seems most suitable
to the design in hand, instead of being placed in regular
rows, with the stitches all sloping in one direction, as is
the case with the modern “Berlin work,” this, with the
happy choice of colours for which the Persians are so
justly famous, produces a singular richness of effect.

Allied to these canvas stitches and having their origin
in them, are the numerous forms of groundings, which
are now worked on coarse linens, or in fact on any fabric;
and have sometimes, although incorrectly, been called
darning stitches, probably from their resemblance to the
patterns which are found on samplers, for darning stockings,
old table linen, &c. &c. Almost any pattern can
be produced in this style of embroidery, simply by
varying the relative length of the stitches.

Following the nomenclature of the committee which
named and catalogued the specimens of ancient needlework
exhibited in the South Kensington Museum in
1872, we have classed all the varieties of these grounding
stitches under the name of Cushion stitch.

Cushion Stitches are taken as in laid embroidery, so as
to leave all the silk and crewel on the surface, and only a
single thread of the ground is taken up; but in place of
lying in long lines, from end to end of the material, they
[Pg 48]
are of even length, and are taken in a pattern, such as a
waved line or zigzag; so that when finished the ground
presents the appearance of a woven fabric.

No. 17.—Cushion Stitch.

We give an illustration of one variety of cushion stitch,
which may either be worked as described here, or in the
hand, as in the woodcut.

A good modern example of this background was
exhibited in the School, on a bed-hanging, worked for the
Honourable Mrs. Percy Wyndham, from a design by
Mr. W. Morris. In the Exhibition of Ancient Needlework
last year were many beautiful specimens: notably one
enormous wall-hanging of Italian seventeenth-century
work, lent by Earl Spencer. Many of the fabrics known as
“Tapestries” are woven imitations of these grounds, and
carry embroidery so perfectly, that on the whole, except
for small pieces, it seems a waste of hand-labour to work
them in, as the effect is not very far removed from that
of woven material, while the expense is, of course, very
much greater.

[Pg 49]
The ancient specimens of this stitch are worked on a
coarse canvas, differing greatly from that which was
recently used for Berlin wool work.

It cannot now be obtained except by having it especially
made to order. It has been replaced by a coarse hand-woven
linen for the use of the School, but the ancient
canvas is vastly superior, as its looseness makes it easier
for the worker to keep her stitches in regular lines.

In some ancient specimens the design is worked in
feather stitch, and the whole ground in cushion stitch. In
others the design is in fine cross or tent stitch. There are
several very beautiful examples of this kind of embroidery
in the South Kensington Museum—Italian, of the seventeenth
century.

A variety of cushion stitch, which we frequently see in
old Italian embroideries, was taught in the Royal School
of Art-Needlework by Miss Burden, and used under her
direction in working flesh in some large figures designed
by Mr. Walter Crane for wall decoration, and exhibited
at the Centennial Exhibition at Philadelphia. The
stitches are kept of one uniform length across the
design. The next row is started from half the depth
of the preceding stitch and kept of the same length
throughout. Its beauty consists in its perfect regularity.
If worked in the hand, the needle is brought back underneath
the material as in satin stitch; but in the frame all
the silk or worsted can be worked on the surface, with
the exception of the small fastening stitches.

The effect when finished is that of a woven fabric.

It is really more suitable in its original character of a
ground stitch than for working flesh. We have given an
[Pg 50]
illustration of it, because we are so frequently asked to
describe “Burden stitch.”

No. 18.—“Burden” Stitch.

This form of cushion stitch worked extremely fine has
been used for flesh in very ancient embroideries, even
before the introduction of the Opus Anglicanum, and is
found in the works of the Flemish, German, Italian, and
French schools of the fourteenth and fifteenth centuries.

It seems to have been worked in a frame on fine
canvas, or on a fabric of very even threads, and the
stitches so taken that the same amount of silk appears
on the back as on the surface of the embroidery.

In a toilet cover of ancient Spanish work recently
added to the South Kensington Museum, the design is
entirely embroidered in varieties of cushion stitch in black
floss silk upon a white linen ground. It is, however,
extremely rare to see this stitch used in any other way
than as a ground, except in actual canvas work; in
which we often see varieties of it used to fill in portions
of the design, while another stitch will be devoted entirely
to the grounding.

These stitches were often executed on an open net.

[Pg 51]
Stem Stitch is used in frame embroidery, and does not
differ in any way from that described at page 20, under
“handwork,” except that the needle is of course worked
through the material with both hands, as is the case in
all frame work.

The same may be said of “split stitch;” but this is
more frequently (because more easily) worked in a frame
than done in the hand.

Japanese Stitch is a modification of stem, but its peculiarity
consists in the worker taking very long stitches,
and then bringing the needle back to within a short
distance of the first starting-place; so that they may
be in even parallel lines, advancing by gradation from
left to right. It is principally used for working water or
ground in a landscape.

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
[Pg 52]
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.

[Pg 53]
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.

[Pg 54]

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
[Pg 55]
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.

[Pg 56]
“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
[Pg 57]
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,
[Pg 58]
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.

[Pg 59]

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
[Pg 60]
boils. Let it boil for five minutes, and turn it into a
gallipot to cool.

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.

[Pg 61]

APPENDIX.

DESIGNS FOR EMBROIDERY.

[Pg 62]

DESCRIPTION OF THE PLATES.

No. 1.—Design for Wall-Panel. By Mr. E. Burne-Jones.

No. 2.—Design for Wall or Screen Panel. By
Mr. Walter Crane. Representing the Four Elements.

No. 3.—Design for Quilt or Table Cover. By
Mr. George Aitchison.

No. 4.—Design for Wall Panelling or Curtains.
By Mr. Fairfax Wade.

[Pg 63]
No. 5.—Design for Quilt or Couvre-Pied. By Mr.
Fairfax Wade. To introduce squares of Greek or
guipure lace.

No. 6.—Design for Sofa-back Cover. By Mr. W.
Morris.

No. 7.—Design for Sofa-back Cover or Piano
Panel. By Mr. George Aitchison.

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.

[Pg 64]
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.

[Pg 65]

See larger image

1. DESIGN FOR WALL PANEL.
By E. Burne-Jones.

[Pg 67]

See larger image

2. DESIGN FOR WALL PANEL.
By Walter Crane.

[Pg 69]

See larger image

3. DESIGN FOR A QUILT OR TABLE COVER.
By George Aitchison.
Vincent Brooks Day & Son, Lith.

[Pg 71]

See larger image

4. DESIGN FOR WALL PANEL OR CURTAIN.
By Fairfax Wade.

[Pg 73]

See larger image

5. DESIGN FOR A QUILT OR COUVRE-PIED.
By Fairfax Wade.

[Pg 75]

See larger image

6. DESIGN FOR A SOFA-BACK COVER.
By William Morris.

See larger image

7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL.
By George Aitchison.
Vincent Brooks Day & Son, Lith.

[Pg 77]

See larger image

8. DESIGN FOR APPLIQUÉ.
By Fairfax Wade.

[Pg 79]

See larger image

See larger image

DESIGNS FOR CHAIR-SEATS OR CUSHIONS. (9. PERIWINKLE 10. IRIS.)
By Miss Jekyll.
Vincent Brooks Day & Son, Lith.

[Pg 81]

See larger image

11. DESIGN FOR A BORDER.
By Miss Webster.
Vincent Brooks Day & Son, Lith.

See larger image

12. DESIGN FOR A BORDER FOR A CURTAIN OR TABLE COVER.
By Miss Burnside.

[Pg 83]

See larger image

See larger image

See larger image

See larger image

DESIGNS FOR TABLE BORDERS.
No. 13 by Fairfax Wade; 14 and 15 by Walter Crane; 16 by Mary Herbert.
Vincent Brooks Day & Son, Lith.

[Pg 85]

See larger image

17. TWO DESIGNS FOR WALL PANELS—“JUNO” AND “MINERVA.”
By the Rev. Selwyn Image.

[Pg 87]

See larger image

18. TWO DESIGNS FOR WALL PANELS—“VENUS” AND “PROSERPINE.”
By the Rev. Selwyn Image.

[Pg 89]

See larger image

19. DESIGN FOR WALL-HANGING.
By William Morris.

[Pg 91]

See larger image

20. DESIGN FOR WALL-HANGING.
By William Morris.
Vincent Brooks Day & Son, Lith.

[Pg 93]

See larger image

21. DESIGN FOR BORDER FOR APPLIQUÉ.
From Ancient Italian Work.
Vincent Brooks Day & Son, Lith.

[Pg 95]

See larger image

22. ITALIAN DESIGN.
Showing the application of transposed Appliqué.
Vincent Brooks Day & Son, Lith.

[Pg 97]

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.

[Pg 98]

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
[Pg 99]
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:

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.

[Pg 100]

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.

[Pg 101]
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.

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.

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.

[Pg 102]

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.

[Pg 103]

LIST OF DESIGNS.

CHAIR BACKS.

Honeysuckle, Bramble, Poppy, Passion Flower, Taxonia, Wild Rose,
Apple Blossom, Orange with Flowers, Virginia Creeper, Fish and
Bulrushes, Winter Cherry, Corn Flower, Hops, Carnations, Cherry,
Daisy Powdered, Primrose Powdered, Faust Motto, Iris Seed, Japanese,
Jessamine, Lantern Plant, Periwinkle, Potato, Zynia, Tiger Lily,
Geranium, Burrage, Corncockle, Hawthorn, Daffodil, Iris, Love-in-a-Mist,
&c. &c., with many conventional designs.

NARROW BORDERS.

SUITABLE FOR DRESSES OR TABLE COVERS.

Love-in-a-Mist, Daisy, Poppy, Honeysuckle, Strawberry, Forget-me-Not,
Flax, Jessamine, Blackberry, Virginia Creeper, Hawthorn,
Daffodil, Cowslip, Cherry, Buttercup, Mountain Ash, Ragged Robin,
Potentilla, Apple Blossom, Strawberry and Blossom, Christmas Rose,
&c. &c., also many conventional designs.

CURTAIN BORDERS.

Sunflower, Pomegranate, Passion Flower, Taxonia, Poppy, Lilies,
Magnolia, Orange, Hops, Marguerites, Love-in-a-Mist, Wild Rose,
Arbutus, Chrysanthemum, Iris, Cowslip, Primrose, Apple, &c. &c.

[Pg 104]

Royal School of Art-Needlework.

EXHIBITION ROAD, SOUTH KENSINGTON.

September, 1878.

The Committee of Management of the Royal School of
Art-Needlework has now organized Classes for Teaching Ornamental
Needlework at their premises in the Exhibition Road, South
Kensington.

These Classes are especially established for the instruction of Ladies
and Children, and include every kind of stitch in Crewel, Silk, and
Gold.

Ladies who wish to take lessons, or send their Children, are requested
to send their names to the Secretary, who will inform them when to
attend.

Each Course will consist of Six Lessons.

CREWELS.

Third Class—Six Lessons.

SILK AND APPLIQUÉ.

Second Class—Six Lessons.

ECCLESIASTICAL EMBROIDERY.

First Class—Six Lessons.

Single Lessons.

Special terms for Classes of Twelve and upwards.

[Pg 105]

FINISHED WORK.

Curtain Borders, on Serge or Diagonal Cloth, from £2 10s. to
£10 10s., about 3½ yards long.

Dress Borders, on ditto, from 7s. to 18s. per yard.

” ” on House Flannel, from 3s. 6d. to 10s. 6d. per yard.

Curtain Borders, on Linen, from £1 10s. to £6 6s. each.

Table Borders, on Linen, from £1 1s. to £2 10s.

Chair Backs, on Linen, from 14s. 6d. to £2 10s.

Sofa Backs, on Linen and Silk, from £2 2s. to £10.

Table Covers, on Linen, from £1 3s. to £5.

” ” Serge, from £1 1s. to £7.

” ” Diagonal, from 30s. to £26.

Small Chair Seats, on Diagonal, from 13s. to £2 12s.

Large ” ” Serge, from 13s. to £3 3s.

Cushions, made up, from £2 2s. to £5 7s.

Children’s Dresses, from £1 1s. to £3 3s.

” Aprons, from 12s. 6d. to £1 1s.

Children’s French Blouses, 18s. 6d. to £2 3s.

Ladies’ Lawn Tennis Aprons, from £1 5s. to £3 10s.

Linen D’Oyleys, from £2 7s. to £8 8s. per dozen.

Tea Cosies, on Diagonal, from 16s. 6d.

Kettledrum D’Oyleys, each 5s. 6d. to 16s. 6d.

Sachets, with Mat to correspond, on Linen, from £1 6s.

Folding Screens, from £13 to £100.

Curtains, on Serge or Linen, from £10 to £60 per pair.

Mantel Valances, from £2 2s. to £10 10s.

Banner Screens, from £1 10s.

Counterpanes, from £6 to £80.

Table Screens, from £4 4s.

Ladies’ Algerian Hoods, from £3 to £10.

Fans, Mounted, from £2 7s. to £20.

Carriage Rugs, from £2 to £10.

Blotter and Envelope Box, from £8 8s.

” on Linen, from £1 5s.

Envelope Box, on Linen, from £3.

Photograph Frames, from £1 10s.

[Pg 106]
Bellows, from £1 17s.

Opera Cloaks, from £3 3s.

Nightingale Dressing Jacket, from £2.

Bath Slippers, from 6s. 6d. per pair.

Washstand Backs, from £1 5s.

Blanket Mats, for Bath, 15s. 6d.

Berceaunette Covers, from £1 10s.

Sunshade Covers, from £3 3s.

Piano Panels, from £1 3s.

Babies’ Head Flannels, from £1 3s.

” Cloaks, from £4 4s.

Handkerchief Sachets, from £3 3s.

Knitting Pockets, from £1 1s.

P. O. Orders Payable to L. Higgin, Exhibition Road.
Not more than 18 Stamps received.

AGENTS IN THE COUNTRY.

Liverpool: Messrs. Rumney & Love, Bold Street.
Manchester: Messrs. E. Goodall & Co., King Street.
Leeds: Messrs. Marsh, Jones, & Cribbs.
Norwich: Messrs. Robertson & Sons, Queen Street.
Glasgow: Messrs. Alexander & Howell, 108, St. Vincent Street.
Birmingham: Messrs. Manton, Sons, & Gilbert.

And for

America: Messrs. Torrey, Bright, & Capen, Boston.

BRANCH SCHOOL FOR SCOTLAND:

116, St. Vincent Street, Glasgow.

All information to be obtained at the Show Rooms,
108, St. Vincent Street.

CHISWICK PRESS:—C. WHITTINGHAM, TOOKS COURT,
CHANCERY LANE.