Hinda M. Hands

“ A brilliant effect with bad workmanship is not a thing impossible, but in work intended for the decoration of the Sanctuary it is even more to be deplored than in more mundane things; though embroidery of all sorts not being a necessary work, there is no excuse for doing badly in any circumstances. It is a mistake to think that time and material spent on practice are wasted. ”

“ Whether the worker be her own designer or not, too much care and attention can hardly be bestowed on the choice and arrangement of the design. The principal requirements to be fulfilled are Beauty, Fitness, and Practicability.
Beauty comes first as it is simply the raison d’être of embroidery. If decoration does not really add to the artistic value of the thing it is applied to, it is worse than useless as it destroys a certain real kind of beauty which exists in simplicity. ”

“ Wherever possible, it is best to arrange all the textile hangings, vestments, &c., to be used in a church at the same time, and to have a definite scheme of design and colour to work upon. Even when the funds necessary to carry it out are not available all at once, the general idea could be fixed upon and the accomplishment of it could follow by degrees. Too often there appears to be a sort of haphazard effect in the decoration of churches—a want of unity, as though each separate thing were an after-thought, bearing no relation to what had been done before. ”

“ Cloths of gold and of silver are truly splendid, whether as a background for embroidery or to be used alone or for orphreys on a plainer material. Only the very best kinds should ever be employed for Church work, any thing else will look tawdry, and even the best is apt to tarnish in the air of towns or near the sea. Needless to say, it is always expensive. ”

“ This is why I would strongly urge all who wish to enrich their embroideries with the human figure to practise drawing first. I would further suggest that the drawing should be chiefly from the antique, and the study altogether more with regard to typical than individual forms, as this training is not for the painting of ‘pictures,’ but for the sake of knowing what are the elements of human beauty and how they ought to be applied or modified. Neither am I including the study of design, which, as I have before remarked, is a study in itself. ”

“ But still, where there is not a very large expanse to fill, a worked background is not a luxury unattainable; a very satisfactory and glorious one is gold thread laid in diaper-patterns. Laid-work and darning are quicker—the latter makes a beautifully broken colour for showing up large outline figure-work done on unbleached linen or worsted material for hangings. ”

“ Chain-stitch, which I have mentioned as a suitable stitch to cover the join when working in inlay, may be described here, as it is very useful for any work that is not done in a frame. It has been so much imitated by means of the sewing-machine in modern times as to be somewhat out of favour, but it need not look mechanical if used with discretion. It makes a beautiful even line, following any curve with great precision and ease, and will always find its place at the hands of the competent worker, either as an outline stitch or a filling. ”

“ The whole of the architectural background is worked in gold thread laid horizontally, the effect both of colour and shading being entirely produced by means of the silk it is couched with. In places the gold is completely veiled by the stitches, in others it gleams through, and again it is left quite bare and shining with its own lustre alone. Every line of the architecture is accentuated with gold twist of different degrees of thickness, and sometimes varied again by being twisted in the opposite direction. ”

“ It is to this reverent care and scrupulous cleanliness that we owe the conservation of so many of the precious relics of the past that have come down to our own time, which with rough and careless handling would have perished long ago. A small neat cushion of velvet or some other soft textile, about 9 by 3 inches in size, after the old fashion, would be much better for the altar-book to rest upon than the hard wooden or brass desks we so often see nowadays. ”

“ And Practicability is essential because it is in vain to draw a beautiful design which cannot be carried out by the needle and thread. In embroidery the finished work ought always to be more, not less, beautiful than the coloured drawing.
Then there is the position it is to occupy—the style of architecture, method of lighting and amount of light, size of the church, &c. A large church and a dark chancel, for instance, require bolder design and brighter colour than would be suitable for a small church or one so lighted that every detail is evident at a glance. ”

“ It brings before our eyes an example of human talent consecrated to the highest ends. And it continues a tradition characteristic of the Christian Church throughout its history—one dating back, indeed, to those more ancient days when, in the language of the Book of Exodus, ‘All the women that were wise-hearted did spin with their hands, and brought that which they had spun, both of blue, and of purple, and of scarlet and of fine linen,’ for use and adornment in the Tabernacle of God. ”

“ In early and medieval times needlework as an adjunct to weaving and outline work by itself was used with a most perfect artistic effect, done in couched metals or silken cord, or in simple chain-stitch or back-stitch, &c.; while, as for appliqué, many gorgeous vestments may still be seen retaining much of their original beauty, worked in satin on velvet, silk upon damask, &c., Botticelli and other great masters not disdaining to draw designs for such work with their own hands. ”

“ It is equally necessary for the embroiderer to be able to enter into the ideas and intentions of the designer. It adds considerably to the interest of the work when it is carried out by the person who designed it, but I must protest against the notion gaining ground largely in certain educational circles, that the embroiderer ought to design her own work. There are very many women capable of executing perfect stitchery and of entering into the highest ideals of beauty and devotion who are not fitted by nature or training to artistic design. ”

“ Too much care cannot be taken with floss silk, as it is apt to catch in everything it comes near and is very easily damaged. For the same reason the needlefuls should not be long, and if the silk be bought in skeins it should be carefully wound at once, on smooth reels or cards, keeping a separate one for each shade, which should be duly named and numbered.
Of all the stitches which are worked with silk, I think SATIN-STITCH, with its many offshoots and variations, is the foremost both for usefulness and beauty. The smooth brightness of the surface ”

“ Great care should be exercised in the choice of the linen, which should be unbleached and closely and evenly woven, coarse or fine, according to the nature of the work to be done on it. The inexperienced would do well to buy their linen not from drapers, but from the best embroidery shops, stating for what purpose they require it, whether for heavy gold-work, fine floss, &c.
To stretch the linen on to the frame, cut the linen, ‘by the thread,’ rather wider than the webbing which is attached to two bars of the frame. Turn down the edges evenly. ”

“ It should not look like an imitation of work done entirely by the needle, and much stitchery mixed with it or worked upon it is apt to give a false impression, besides weakening the character of the work, which should be simple and dignified, with no fussiness about it. If much variety is desired, it can always be produced by the judicious selection of different materials. There is great diversity of surface effect in satin, diaper, damask and corded silks, while velvet is indeed more different than any added stitch would be. ”

“ The designer for ecclesiastical art may be compared to the composer of sacred oratorios—he needs the co-operation of many minds, hearts, and hands to perfect the realisation of his idea, and the many count it a joy to be led by him. The more entire the sympathy throughout, the more perfect will be the result. ”

“ In all the specimens of ancient church embroideries which have come down to us, we find a free use of gold and silver threads: some are worked entirely in gold, others with a preponderance of the precious metals used in conjunction with silk, while a third use was to touch up salient points or as an outline to glorify the whole and bring it into unity. ”

“ Some method should be kept to in cutting the appliqué a certain way in the stuff; there is a distinct difference in colour when it is cut with the warp or across it, or again, diagonally. Take satin for example: cut a leaf or the petal of a flower with the ‘smooth’ of the satin going in one direction, and then cut another exactly similar, with the satin in a different direction, and place them side by side; it will be evident at once that this quality of textile fabrics (i.e. the change of colour according to direction of warp and weft) must be reckoned with and used intelligently. ”

“ If it is a border of any considerable length a number of skeins may be all begun together; then, pinning them all down with a long fine pin, the stitches are set in at regular intervals to make the pattern. The floss-silk in this case requires no needle, but, when once begun, is ‘paid off’ the reel or card by degrees as required.
Laid-work makes a beautiful background; the over-stitching may be either of split-stitch, couching, or back-stitch, and may be done either in a pattern or by simple lines, diagonal, vandyked, or at right angles with the silk laid down. ”

“ The whole of the frontal is closely ‘parsemé,’ with the typical Cherubim, Angels, flowers, &c., of the period (thirteenth to sixteenth centuries) and very much ornamented with free and graceful scroll-work. There is a return to the simpler method for working the face; or perhaps I should say a continuation of this method, which has never been entirely given up, in spite of prevailing fashion; probably the embroiderer instinctively feels it to be the most manageable. I mean the evenly worked surface (be it split-stitch or satin-stitch) on which the features are worked in outline. ”

“ Some of the richest and most beautiful examples, both ancient and modern, have been worked entirely in gold; and it is encouraging to the beginner not to have the complications of colours and various silks, &c., to contend with at the same time, as it leaves the mind free to concentrate itself on the attainment of a good technique, which in embroidery, like everything else worthy to be called art, cannot be accomplished without a good deal of practice. ”

“ Another diversity in the way of making up a burse is the letting in of side-pieces, like a purse or pocket-book. This also is difficult to do neatly, and is inconvenient in [61] use; but where it is preferred it may be made less awkward by setting in a straight-edged piece of linen instead of a ‘gusset-shaped’ one, covering it with silk like the burse-cover, and stitching it firmly into a pleat before joining the two boards together. It will then more readily keep in place, and if it bulges when in use it will not look so slovenly as it does when the side-pieces are of linen alone. ”

“ Back-stitching is very useful for making fine lines, for following outside of an outline which may seem too hard, or for breaking up a background, as in the central petal of the fleur-de-lys in the sampler, where it answers the same purpose as dots or ‘sympathetic lines’ in a drawing, by filling a flat surface quietly and unobtrusively. It is well to work it in rather coarser thread than the satin-stitch it accompanies. ”

“ Another application of the principle is shown as a ‘filling’ stitch at C on the sampler. It is worked like one of the lace stitches, except that the needle takes up a bit of the linen beneath at each stroke (instead of ‘being in the air,’ as lace may be truly defined) . An outline of chain-stitch should be worked first, as it provides a neat and convenient boundary for the rows of buttonholing to begin and end with. Bringing out the needle on the edge to the right of the worker, it is carried straight across the work to the left and set into one of the chain-stitches there ”

“ Satin-stitch, marked A on the sampler, is nearly always padded first by running a few stitches backwards and forwards in the opposite direction to that of the satin-stitch, which covers it by going ‘over and over,’ the needle going in at one edge of the outline and coming out at the other as nearly as possible at right angles. The stitches should be placed quite close together, and should never be much more than 1⁄4 inch across: if the design shows a wider space to be filled it must be subdivided by a voided line. Some workers pad their satin-stitch very thickly, thinking to make it handsomer ”

“ During the fourteenth and fifteenth centuries there was a spontaneous growth of feeling for truth and beauty in all the arts; more correct drawing and richer colouring combined with strong and graceful design to produce perfection in needlework. ”

“ Take a needleful of the palest of the three shades of blue floss and run round the traced outline of the upper portion of one of the petals. Never begin with a knot, but run a few stitches into a part that will be covered afterwards; to fasten it firmly just take a back-stitch and do not cut off the end till you have worked a few more stitches; always begin and end a needleful on the ‘right side’ of the work so as to have no loose ends at the back. Then bring the needle up from behind to the surface near the centre of the petal ”

“ A handsome fringe is at the same time the most beautiful and the most natural finishing touch to the lower edge of any hanging, whether plain woven or embroidered. It may also with propriety go down the sides—though this should be narrow and preferably uncut.
Generally speaking, 21⁄2 inches is deep enough for the bottom of the frontal, 11⁄2 inch for the super-frontal, and 3⁄4 inch for the sides. In arranging the colours of the fringe a large proportion should be given to that of the ground-work, damask, &c., and then a fair quantity to each of the principal colours used in the embroidery. ”

“ The only point one can insist on is this—let them be the best we can offer. The best does not necessarily mean the most expensive—but the most genuine and the most suitable. Whether of gold or silk or linen, let there be no pretence about it.
If silk DAMASK is chosen for the ground of the work (and there is nothing pleasanter to work on, or more satisfactory as a background if the design of the damask be broad and flat-looking) , let it be a good rich damask without any suspicion of cotton about it. ”

“ The stitches are taken alternately from side to side, and the threads cross each other naturally, without any intervention of the needle or thumb of the worker. It is a stitch well known to the neat-fingered housewife for keeping flat the cut edges of a seam where a hem is considered too clumsy. As a decoration it is seldom used in its simplest form; but I have seen many beautiful pieces of embroidery executed entirely in other forms of the same stitch, such as Swiss or Close herring-bone or Fish-bone. ”

“ A frontal can very well be worked by several ladies, each taking a separate piece on her own frame. Almost every kind of design can be worked in this way, and that is why Church work is so often done on linen and applied to the silk or velvet afterwards. There is a popular idea that it must be done so, but this is by no means the case; it is merely a matter of convenience. It is more ideally perfect as a matter of principle to work directly on the material to be beautified.
Fig. I
In describing how to make up a frontal we will take one for an 8-foot altar, 3 feet 4 inches high. ”