Art in Needlework: A Book about Embroidery. Lewis F. Day
shading very deliberately schemed by the designer. In natural colours upon white. French. Louis Seize. (V. & A. M.)
76 SHADING IN SHORT STITCHES; picturesque to the point of a touch of white in the glistening yellow of the dove's eye. Chenille, in chain-stitch, is used for the wreath and in the leaves of the flower sprigs. These are in colours, the birds are in silvery greys, all on a white satin ground. French. Louis Seize. (V. & A. M.)
77 SHADING IN LONG-AND-SHORT AND SPLIT STITCHES, with more regard to expression of form than to neatness of execution. German. 16th century. (V. & A. M.)
78 CHAIN-STITCH, showing in the figures of the little men what a draughtsman can express in a few stitches. Full size. Chinese. (Mrs. L. F. D.)
79 FIGURE WORK—The flesh in straight upright stitches, the drapery laid and couched. English. 15th century. (V. & A. M.)
80 CONSUMMATE FIGURE EMBROIDERY—Canvas ground entirely covered. Flesh in coloured silks, short-stitch; drapery coloured silks over gold, which only gleams through in the lighter parts. Architecture closely couched gold. Part of an orphrey. Florentine. 16th century. (V. & A. M.)
81 CHINESE FIGURES—The flesh in short satin-stitches, the rest in chain-stitch; chiefly in blue and white upon a figured white silk ground. About actual size. (Mrs. L. F. D.)
82 SATIN-STITCH, showing the influence of its direction upon the tone of colour. The pattern is all in one shade of yellow-brown floss upon white linen. The outline steps with the weaving, and so shows connection between satin and canvas stitches. Italian, 17th century. (V. & A. M.)
83 MEANINGLESS DIRECTION OF STITCH—Satin and herring-bone stitches. From an altar-cloth. German. 17th century. (V. & A. M.)
84 MORE EXPRESSIVE LINES OF STITCHING—To compare with Illustration 83.
85 SATIN AND PLUMAGE STITCHES chiefly, the bird's crest in French knots, the clouds about him in knotted braid. The direction of the stitch is most artfully chosen, and the precision of the work is faultless. The satin ground is of brilliant orange-red; the crane, white, with black tail feathers, scarlet crest, and yellow beak and legs; the clouds, black and white and blue. Japanese. (Mrs. L. F. D.)
86 RENAISSANCE CHURCH WORK IN GOLD AND SILVER, partly flat, partly in relief, upon pale blue satin, with touches of pink and crimson silk to give emphasis. Spanish. 18th century. Compare the stem with Illustration 66, B. (V. & A. M.)
87 GOTHIC CHURCH WORK—The flesh, &c., in split-stitch; the vine-leaves green, getting yellower as it nears the crimson silk ground. Part of a cope embroidered with a representation of the Tree of Jesse. English. Ca. 1340. (V. & A. M.)
88 MODERN CHURCH WORK ON LINEN, in long-and-short stitch. Veins padded with embroidery cotton and worked over with two threads of filo-floss, a green and a blue; the rest of the leaves worked in one shade of stout floss. All this applied to velvet with a couching of brown filoselle, and the tendrils added. Designed and executed by Miss C. P. Shrewsbury. (The property of the artist.)
89 SIMPLE STITCHING ON LINEN, the broader bands in a canvas stitch in yellow, the finer lines in back-stitch in pale grey silk. Italian. (Mrs. L. F. D.)
90 SIMPLE COUCHED OUTLINE WORK, in purplish silk cord upon linen. Part of an altar-cloth. Italian. 16th century. (V. & A. M.)
91 RENAISSANCE ORNAMENT—Most gracefully designed arabesque. The raised outline (couched) has somewhat the effect of cloisons, the satin-stitch (in colours) of brilliant enamel. It is upon a white satin ground. The foreshortened face in the picture is painted upon satin. Italian. Ca. 1700. (V. & A. M.)
92 APPLIQUÉ DESIGN, in yellow satin upon crimson velvet—Double outline; next the red, white, sewn with pale blue; next the yellow, gold. Midrib of the leaf couched silver. Spanish, 16th century. (V. & A. M.)
93 SATIN-STITCH—except that the heart-shaped features at the base and the lily-shaped flowers, of which only the tips are shown, are outlined with fine white cord. Part of a fan, worked by Miss Buckle, from a design by L. F. D. (The property of the worker.)
94 LEATHER APPLIQUÉ UPON VELVET—The stitching well within the edge of the leather.
Errata.
Page 30. Diagram belongs to G (Stem-Stitch) described on page 32, not C (Thick Crewel-Stitch).
Page 125, 2nd line. For "lower" read "upper."
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