Embroidery and Tapestry Weaving. Grace Christie
circular frame, such as is shown in fig. 3, is useful for marking linen or for any small work. This, formed of two hoops fitting closely one within the other, can be procured in wood, ivory, or bone, of various sizes, the one illustrated being about 6 inches in diameter. The material to be worked upon is stretched between these hoops like the parchment on a drum. These tambour frames, as they are called, are sometimes fixed into a small stand or fitted with a wooden clamp for fastening to a table; this frees both hands for work. These tambours cannot well be recommended; the material is apt to stretch unevenly, and a worked part, if flattened between the hoops, is liable to be damaged.
The illustration at fig. 4 shows a simple little instrument for making a twisted cord. It is interesting to note that Etienne Binet, who wrote on embroidery about 1620, when discussing some necessary equipment for an embroideress mentions "un rouet pour faire les cordons."
There is sometimes a difficulty in procuring the cord just right to suit the finished work; the texture may be too coarse to put beside fine embroidery, it may not be a good match, and, even if so at first, it may fade quite differently from the worked silks. For these and other reasons it is a safe method to make the cord one's self, possibly with some materials of the kind already used in the embroidery.
This appliance enables the worker to make any kind of twisted cord; it is as simple as a toy to handle, and gives excellent results. It is a metal instrument about 8 inches in height. The three small discs are wheels, supported on the arms of an upright cross which has a heavy circular base. These three wheels are connected by a cord with a larger wheel below that has a handle attached to it. The cord runs in a groove round the circumference of each wheel, and must be held taut in position. By turning the handle of the large wheel the three small ones are set in motion. Three hooks, attached to the axles of the small wheels, are therefore rotated with them. One end of each ply of the cord in making is looped on to one of these hooks, the other ends are attached to three similar hooks fixed into a block of wood which, when in use, is firmly clamped to the table. Further instruction in the making of cords is given in Chapter XIII.
To trace the pattern on to the material the following articles may be required: Indian ink, a small finely-pointed sable brush, a tube of oil paint, flake white or light red, according to the colour of the ground material, turpentine, powdered charcoal or white chalk for pounce, tracing paper, drawing-pins, and a pricker. This last-mentioned tool is shown in fig. 5. It is about 5 inches long, and is like a needle with the blunt end fitted into a handle. For rubbing on the pounce some soft clinging material rolled into a ball is necessary. A piece of old silk hose tightly rolled up makes an excellent pad for the purpose.
The knife shown in fig. 6 is useful for cutting out at times when the use of scissors is not practical. It is used in an upright position, with the point outwards.
A spindle for winding gold thread upon whilst working is shown in fig. 7. It is about 8 inches long. A soft padding of cotton thread is first placed round (between A and B, fig. 7), and the gold thread wound upon that. The end of the thread passes through the forked piece at the top on its way to being worked into the material. The use of this or some similar appliance enables the worker to avoid much touching of the metal threads.
A small tool called a piercer is represented by fig. 8; it is used in gold work; the flat end assists in placing the gold in position, and also in making the floss silk lie quite flat; the pointed end is used for piercing holes in the material for passing coarse thread to the back, and for other purposes. This little tool, made of steel, is about 5 inches in length.
MATERIALS
The surface is a matter of special interest in embroidery work. This makes the choice of materials of great importance. Besides the question of appearance, these must be suitable to the purpose, durable, and, if possible, pleasant to work with and upon. The materials chosen should be the best of their kind, for time and labour are too valuable to be spent upon poor stuffs; occasionally a piece of old work is seen with the ground material in shreds and the embroidery upon it in a good state of preservation, which is a pity, for a newly applied ground of any kind is never as satisfactory as the original one. Still another plea for the use of good materials is the moral effect they may have upon the worker, inciting her to put forth her best efforts in using them.
The purpose to which the work is to be put usually decides the ground material, besides governing pattern, stitches, and everything else. A background is chosen, as a rule, to show to advantage and preserve what is to be placed upon it, though sometimes it is the other way about, and the pattern is planned to suit an already existing ground.
A background must take its right place, and not be too much in evidence, although if of the right kind it may be full of interest. There are, roughly speaking, three ways of treating the ground, leaving the material just as it is, covering part of it with stitching, or working entirely over it.
If there is no work upon the ground the choice of material becomes more important. Texture, colour, tone, and possibly pattern, have all to be considered, though the problem is often best solved by the selection of a plain white linen. The question of texture is sometimes one of its suitability for stitching upon; colour and tone may be of all kinds and degrees from white to black; these two, as a rule, being particularly happy ones. If the ground stuff is patterned, as in the case of a damasked silk, it must be specially chosen to suit the work to be placed upon it; small diaper patterns are frequently very good, since they break up the surface pleasantly without being too evident.
Linen, which well answers all the usual requirements, is, for this reason, very frequently chosen for a ground material. It can be procured in great variety, the handmade linens being the best of all. Of kinds besides the ordinary are twilled linens, of which one named Kirriemuir twill is similar to the material used in the fine old embroidered curtains. Some damask linens look very well as backgrounds for embroidery; the pattern is sometimes a slightly raised diaper, which forms a pleasantly broken surface. Loosely woven linens can be obtained specially suitable for drawn thread work. In any case, if there is dressing in the new material, it must be well boiled before the embroidery is commenced: this makes it much softer for stitching through. Coloured linens are rarely satisfactory, a certain kind of blue being almost the only exception. The safest plan is to keep to pure white, or to the unbleached varieties that have a slightly grey or warm tone about them. Wools, silks, and flax threads all look well upon a linen ground; it is not usually in good taste to embroider with poor thread upon a rich ground material, and, upon the other hand, gold thread and floss demand silk or velvet rather