Embroidery and Tapestry Weaving Part 7

INLAID WORK

Inlaid work is in effect similar to the applied, and it is used for the same purposes. The difference with this is that both background and pattern are cut out and fitted into each other, instead of only one of them being cut out and laid on an entire ground. The method of work is economical, for there need be very little waste of material. What is left from cutting out the pattern and background for one piece can be used as ground and pattern for another and possibly companion piece.

There is in Perugia a church which possesses a complete set of draperies of this description, that were made at a good period for this work, early XVIth century, and evidently were designed for the position they occupy. On festivals, the piers, pulpit, and parts of the wall are hung with these rose and gold-coloured hangings of inlaid work. The design is a conventional scroll-work pattern, and the various hangings have alternately the rose ground with gold pattern, and gold ground with rose pattern, the whole forming a rich and harmonious interchange of colour.

[Ill.u.s.tration: Fig. 96.]

Fig. 96 is an example of inlaid work. It is a XVth century tabard said to have belonged to Charles the Bold, and now in the Musee Historique at Berne. The pattern, it will be noticed, is planned on the counterchange principle, which is particularly well suited for this method of work.

A very ancient piece of the same kind of inlaid work is the funeral tent of Queen Isi-em-Keb, dated about 980 B.C., which is in the Boulak Museum, Cairo. It is composed of thousands of pieces of gazelle hide dyed in various colours and st.i.tched together so as to form a wonderful design.[4]

To carry out the work--St.i.tch in a frame some holland to use as a background; this may be only temporary, being removed when the work is completed, or it may be left for additional strength. The materials for both background and pattern must first be carefully cut out. It is a good plan, where possible, to cut the two together so as to ensure exact similarity, for they have to fit together afterwards like the parts of a puzzle. The cut edges cannot be allowed to fray, so if there is any danger of this, precautions must be taken to prevent it, though the better way is to choose in the first place more suitable material.

Leather is a particularly good example of one. Any pasting or backing which might be used for prevention of fraying would prevent also that possibility of exposing both sides of the work, which in inlay is sometimes a valuable quality; also, the stiffening which unavoidably results from pasting is rarely an improvement. When materials of different thicknesses are used together, the thinner one can be lined with fine holland so as to make it nearer equal in strength. After the materials are cut out the next process is to lay them in position on the prepared holland and tack them to it. Then, with an overcast st.i.tch that must not be allowed to pierce the under surface, join all the edges together, and cover the st.i.tches with a finis.h.i.+ng cord or braid. The backing can now be removed if need be.

PATCHWORK

Patchwork can hardly attain to a high position amongst the various branches of embroidery. The main object of doing patchwork frequently is to make good use of valuable sc.r.a.ps of waste material. Unless, however, the product shows evidence of well thought out colour and arrangement, it cannot come under the heading of embroidery. Interesting results, however, of many kinds can be produced from this paint-box of brightly coloured sc.r.a.ps of material by ingenious mixing and shaping of them.

Patchwork infers a rather more mosaic-like design than inlaid work, to which it is in some respects similar. The geometrically planned mosaic and inlay pavements that are to be seen so commonly in Italy and the East suggest great variety of patterns that could be applied to patchwork. The ill.u.s.tration at fig. 97 is a simple example taken from this source. Too often the results are only "alarming," as the Countess of Wilton expressively puts it, thinking, probably, of the patterns frequently seen upon cus.h.i.+ons, patterns more resembling bright-coloured bricks set in cornerwise than anything else. They are the most unrestful looking things imaginable. The important elements of the work lie in the colour, shape, and texture of the pieces used, for upon the right selection the result wholly depends. The shapes chosen must be simple owing to the necessity of fitting and st.i.tching them together, but there is plenty of variety obtainable with simplicity. The design may consist of one shape repeated or several. If only one, it is limited to a few geometrical figures, such as the square, hexagon, or sh.e.l.l shape; if more than one, there can be greater variety of pattern. Fig. 98 is an example in which four shapes are made use of, a large and small circle, an octagon, and an S-like twist. Four of these twists together make the figure that interlaces over the surface. Embroidery st.i.tching can be added to patchwork; for instance, this example might have a neat border pattern worked on all the S-shapes, as suggested in the diagram, which would probably considerably increase its interest. Fig. 99 shows flowers springing from the base of the sh.e.l.l-form in use upon it. The embroidery could be simply carried out in one colour, or if a more gorgeous result were required, variety could be introduced in this way as well as in the ground, and a marvellous combination of intricate colour could be thus produced.

[Ill.u.s.tration: Fig. 97.]

[Ill.u.s.tration: Fig. 98.]

For the work to be made up satisfactorily it is necessary that the shapes be accurately cut out. To ensure this, a metal plate is cut and all the shapes are taken from it; sometimes, in lieu of this, a pattern is cut out in stiff cardboard. Lay this pattern-shape on the wrong side of the material and pencil it round, then carefully cut out the stuff, leaving about a quarter of an inch for turning in. Next lay the pattern-shape upon a piece of stiff paper or thin card-board and again trace off the shape, this time cutting it out exactly to the pattern, tack the material to the paper, and st.i.tch down the raw edges at the back. Lay the prepared patches on a table and put them in place by referring to the design, and then commence sewing the edges together with an overcast st.i.tch on the wrong side. When all are sewn, remove the papers and flatten the seams with an iron. Any braid or st.i.tch that may be required to mask the join is next put on; this may be made ornamental by interlacing knots at the corners, or by any other device that happens to suit the work. The last thing to be done is to put a neat lining upon the back to cover and protect the numerous raw edges.

[Ill.u.s.tration: Fig. 99.]

FOOTNOTE:

[4] For further information see "The Funeral Tent of an Egyptian Queen,"

by Villiers Stuart.

CHAPTER IX

METHODS OF WORK--(_continued_)

Quilting--Raised Work--Darning--Open Fillings--Darned Netting.

Quilting is a method of working by which three materials are fixed together by more or less all-over st.i.tching. It probably developed through the necessity of keeping the three layers in place. For practical purposes only, the sewing machine does the work excellently, but by making the st.i.tching follow out some prearranged design, it is raised to the level of art. Plate III. is an interesting example showing what can be done in the way of design with the st.i.tching over the surface. Embroidery may be added to the quilting, and this is often an improvement. The Eastern nations carry out marvellously intricate designs in quilting, and English XVIIIth century work of this kind shows Eastern influence strongly. A good example of this is a very interesting piece in the Victoria and Albert Museum.[5]

The first aim in quilting was evidently warmth, and the name denotes one of the chief uses to which it is put. It is made use of also for curtains, infants' caps or gloves (see fig. 100), all these things requiring the three layers for warmth. The materials usually consist of a surface one, which can be silk, fine linen or anything else; an interlining of some softer material having a certain amount of spring in it, such as flannel, cotton wadding, or wool; and for the third, an underneath lining of some kind. A cord is sometimes inserted instead of the inner layer of stuff, the lines of st.i.tching running along either side to keep it in place. Occasionally there are only the top and the under layer, with no intervening material. The st.i.tch usually employed is a running, back, or chain st.i.tch, and it can be of the colour of the surface, or a contrast to it. Gold silk is often seen upon a white linen ground. The chief interest in the work lies in the choice of pattern, such things as colour, variety of st.i.tching, interest in material, are not made much of. In planning the pattern, use is made of the knowledge that the closely st.i.tched parts will lie more flatly, so it frequently happens that the ground has a small diaper running over it, and the pattern part, being less worked upon, perhaps only outlined, stands out more and forms an effective contrast.

[Ill.u.s.tration: Fig. 100.]

RAISED WORK

In the XIVth century raised work was commonly done, but few examples are known of date earlier than this. The raised effect is obtained by an interposed layer of padding, which is a good method of getting a certain kind of effect. It is perhaps wise to err on the side of too little rather than too much relief. An example of too much and also of a wrong kind is the English stump work that was popular in the XVIIth century, when figures were stuffed like dolls, the clothes made separately and attached, even to the shoes and stockings. Germain de St. Aubin, writing in 1769, describes with much admiration a kind of _broderie en ronde bosse_, apparently much the same thing and in equally doubtful taste, though the skill required to carry it out must have been considerable.

The work, usually done in a frame, must be well carried out technically; the padding should be quite perfect in the form required before the final surface layer is worked over it, for this one will not make any deficiency right, but will only serve to show it up the more. Another point to be careful about is to make the padding stop well within the traced line of the pattern, otherwise the finished design will turn out much larger than was originally intended. The outline is sometimes worked round at the commencement, whereby its correctness is ensured.

[Ill.u.s.tration: Fig. 101.]

[Ill.u.s.tration: Fig. 102.]

Many different materials are brought into use for padding purposes. One of the simplest and most durable is a running of thread as ill.u.s.trated in fig. 101. The thread can be arranged so as to be thicker in the centre than at the edges by laying some extra st.i.tches over that part.

If a quite flat padding is required, the shape, cut out in cloth, felt, or parchment, is attached by st.i.tches to the material as shown in fig.

102; the surface st.i.tching would be taken across it. Cardboard, sometimes pasted on to the ground, is used for this purpose, but it is unsatisfactory in several ways; for instance, cardboard letters are procurable for embroidering initials upon linen, but they are not at all practical for anything that goes through the wash; moreover, the letters are sometimes of bad design. Cotton wool is used as a stuffing, its surface being usually covered over with muslin, but this again would not stand much wear of any kind, and so could only be used under certain conditions.

[Ill.u.s.tration: Fig. 103.]

Another good method is to couch down a hank of threads of fine cotton or perhaps wool as ill.u.s.trated in fig. 103. For raised lines there is a special kind of string procurable that can be couched to the ground material at the required places. The padding, whatever it may be composed of, should be as nearly as possible of the same colour as the surface layer, in view of any after wear and tear misplacing the threads.

[Ill.u.s.tration: Fig. 104.]

The top layer of underlay must lie in direction contrary to the surface embroidery st.i.tching, which is very often some form of satin st.i.tch taken from side to side over the padding. Instead of going through the material it can be fixed on each side with a couching st.i.tch, as in fig. 104. A stronger way than these would be that shown in fig. 129.

b.u.t.tonhole is a good st.i.tch for working over a padding; it would be worked solidly in the manner described and ill.u.s.trated on page 117, but taken, as there shown, over a padding instead of over a flat surface.

DARNING

There is a most practical sound about darning; it can, however, be made good use of in embroidery as well as in plain needlework. There are two rather different kinds in use; in both the st.i.tch is a running one and done in much the same way that a thin place would be darned in mending.

One kind of darning is rather popular at the present moment, and examples of it may be familiar; it is a large, bold kind of work, often carried out with a coa.r.s.e twisted silk. Upon the background, the lines of st.i.tching usually run straight across or up and down, in the pattern, they radiate according to the shape of the form to be filled. The entire material is covered one way or another by the running st.i.tches, and just one thread of the ground fabric is picked up where necessary at irregular intervals; a loosely woven linen is often chosen for working upon, one in which it is easy to pick up the single thread. Gradation of colour can easily be introduced; the design chosen is most frequently some kind of conventional flower and leafy scroll. This method of embroidery is seen to best advantage when used upon large surfaces.

The second kind is called pattern darning; in it the st.i.tches are picked up in some regular order, so that they form various geometrical patterns over the surface. It is worked by counting the threads of the fine linen ground and picking up a single thread or more in some regular sequence.

The threads are run in parallel lines close together, either horizontally or vertically, so as to take advantage of the web of the fabric. The work is particularly pretty and not difficult, requiring only patience and good eyesight. Fig. 105 gives some simple examples of the work--The first is a chevron pattern, formed by picking up one thread and leaving about five each time; each succeeding row moves a step forward or backward as required to carry out the pattern. In the second example the darning is taken two ways of the material; in the centre, where it meets and crosses, it entirely covers the ground. A different colour might be used for each direction, which would look very well at the crossing in the centre. The four corners are filled up with a chequer darn; this each time picks up as much material as it leaves.

The third example shows the darning st.i.tch forming a diamond pattern.

Samplers, dated early XIXth century, may be seen entirely filled with these pattern darns; they are covered with most intricate and beautiful sample squares showing various patterns in darning, and were possibly done in order to learn how to repair damask table linen. In a collection of early Egyptian work in the Victoria and Albert Museum, there is some pattern darning, dated VIth to IXth century, A.D., which proves it to be a very early method of embroidering.

[Ill.u.s.tration: Fig. 105.]

[Ill.u.s.tration: Fig. 106.]

This pattern darning, however, is so pretty that it is often possible to make use of it in embroidery work for all kinds of purposes. It makes a very good background if there is sufficient s.p.a.ce to show the pattern, if there is not, the irregular darning might be used instead, for it would in that case be just as good and much quicker to work. To pattern-darn the ground with the ornament upon it left in the plain material, perhaps not worked upon at all, is a very effective method of carrying out a design, see fig. 106 for example. Again it might very well be used for the conventional carrying out of draperies in the same way as in _point couche rentre ou retire_.[6] The draperies on the figure in the frontispiece could easily be carried out with silk thread in the darning st.i.tch, in fact this method of decoration more closely resembles the early couching than any other; it is not quite as satisfactory because the single threads of the background that are picked up prevent the ground showing nothing but silk. Bands of this work may be seen ornamenting needle books or work cases; it shows to best advantage when worked finely with floss or filosel silk, the coa.r.s.e twisted silks are too thick for the purpose.

OPEN WORK FILLINGS

[Ill.u.s.tration: Fig. 107.]

[Ill.u.s.tration: Fig. 108.]

Patterns can be carried out in line, they can be worked quite solidly, and there is a method that lies between these two known as open filling.