Embroidery and Tapestry Weaving Part 9

Another kind of filling can be seen in progress in fig. 122. The st.i.tches used in it are overcast and b.u.t.tonhole. With the help of this last-mentioned st.i.tch patterns of all kinds can be carried out, for each succeeding row of the st.i.tch can be worked into the heading of the last row, and in this way it is possible to build up any required shape. This figure is a working diagram of a piece of cut work of which the completed square with its surrounding decoration can be seen in fig. 34.

After overcasting the raw edges a diagonal thread is thrown across (E D on plan), upon which the pattern shall be built up; the thread is taken once to and fro and then twisted back again for a third crossing.

Commence by overcasting the threads from point D, and upon reaching the part where the pattern is widened out, change the st.i.tch to an open b.u.t.tonholing (as shown on line B). It is worked openly in this way in order to leave s.p.a.ce for another row of the same kind of st.i.tching to be fitted in from the opposite side, which is the next thing to be done.

Then an outer row of b.u.t.tonhole st.i.tch is worked on each side of the central bar and into the heading of the first row of st.i.tching; this is shown in progress where the needle is at work. The entire pattern is carried out in this way, first laying down foundation threads in the necessary places and then covering them up with either overcasting or b.u.t.tonhole st.i.tch as required. It is easily possible to carry out flowers and all kinds of other things sufficiently well to make them pleasantly recognisable.

CHAPTER XI

EMBROIDERY WITH GOLD AND SILVER THREADS

Introduction--Materials--Precautions for the Prevention of Tarnish--Ancient Method of Couching--Its various Good Points--Description of Working Diagram--Working a Raised Bar--Examples of Patterns Employed in Old Work--Ill.u.s.trations upon Draped Figures--Usual Method of Couching--Couching Patterns--Outline Work--Raised Work--The Use of Purls, Bullions, &c.

Gold and silver threads have always played an important part in embroidered work, and are a most valuable addition to the worker's stock of materials, for they give a splendour and richness that is not obtainable in any other way. They have been utilised from the earliest times in both embroidery and weaving; in scripture and other ancient historical writings there is abundant proof of this fact.

The earliest form of gold thread in use was the pure metal beaten into thin plates and then cut into long narrow strips; that it was sometimes rounded into wire form is very probable. The first wire-drawing machine is said to have been invented by a workman at Nuremberg, but it was not until two centuries later that the drawing-mills were introduced into England.

Gold thread, similar to that we now use, entwined about a silk one, is mentioned in a XIVth century Latin poem; also, it is known that in the XIIIth century our English ladies prepared their own gold thread before working it in, and it was of the same type as ours, the gold being spirally twisted round a thread of silk or flax.[10]

To be a skilled worker with gold thread needs considerable application and practice. There is much variety in the work, some branches of it being more simple to manipulate than others. It is desirable for all workers to understand something of gold work, for it is frequently employed in conjunction with other embroidery, as well as alone. Fig.

123 shows a couched line of gold thread outlining some silk embroidery, which gives a pretty jewel-like effect of something precious in a setting of gold.

[Ill.u.s.tration: Fig. 123.]

Gold embroidery may be divided roughly into three main cla.s.ses, outline work, solid flat work, and raised work. Outline work is, as far as technique is concerned, one of the simplest forms of gold embroidery.

The pattern is followed round with a gold cord or double thread of pa.s.sing, fixed either visibly or invisibly with a couching st.i.tch; the work needs but an interesting design and suitable background to be most successful. Fig. 124 ill.u.s.trates a portion of a design, carried out with gold cord upon a velvet ground, which has been further enriched by the addition of little applied white flowers. The raised work, and that which introduces the use of purls and bullions, is at once more complicated, and perhaps hardly as pleasing as the simpler flat work.

[Ill.u.s.tration: Fig. 124.]

The method of applying the gold to the material is usually by couching of one form or another, for most of the threads are too inflexible to be st.i.tched through. The ground, if it shows at all, is usually a rich stuff, such as velvet, satin, or silk, in order to be in keeping with the valuable thread. If the ground chosen is difficult to work upon, the embroidery is carried out upon linen, and the finished work afterwards applied to the ground. If both background and pattern are solidly embroidered, linen can be used as the permanent ground. It is usual to have two layers of material for working upon, for gold threads are heavy and require the support of the double ground. There are several advantages in this double material, as the old workers knew, for we find they commonly used two. The under-layer can be a strong linen, and the surface one silk, satin, or a fine linen, as required.

MATERIALS

A variety of metal threads are manufactured for embroidery purposes, and they are all obtainable in gold, silver, or imitations of these; aluminium thread has been made lately, and has the advantage of being untarnishable, but its colour and quality do not seem quite satisfactory, and it is not popular. The imitation threads are never worth the using; they tarnish to a worse colour, and are more difficult in manipulation; what goes by the name of real gold, is silver or copper, plated with the more valuable metal. The pure gold thread is said not to be so practical as this, being too brittle; but somehow or other it was more successfully manufactured in the past than nowadays, for some gold work six centuries old exhibits beautifully bright threads.

The following list comprises the chief threads used in this work:--

_Pa.s.sing._--This is a bright smooth thread, resembling in appearance a gold wire; it consists of a narrow flat strip of gold spirally twisted round a silken thread. It can be obtained in different sizes, the finest qualities going by the name of tambour. Most pa.s.sing has to be couched on to the material, but it is possible to st.i.tch in the tambour like ordinary thread.

_Purl._--This resembles a smooth round hollow tube of metal, very pliable and elastic; when pulled lengthways it is found to be constructed like a closely coiled spiral spring. It is manufactured in lengths of about one yard, and for use it is cut into small sections of any required size with scissors or a knife. There are several varieties of purl, namely, the smooth, rough, check, and wire check. The smooth has a bright polished appearance, which is obtained by a flat gold wire being spun spirally round; the rough has a duller and more yellow appearance, which is owing to the wire having been rounded; the check is bright and sparkling, and consists of the flattened wire spun in a different way, so that parts of it catch the light and sparkle; the wire check is the same thing, but duller and of a deeper yellow, owing again to its being made of the round wire.

_Bullion._--This is the name given to the larger sizes of purl.

_Pearl Purl._--This is manufactured in the same spiral tube-like fas.h.i.+on as the other purl, but the gold wire is previously hollowed out in this [inverted U] shape, the convex side being the one exposed. This, when spun round, has the appearance of a string of tiny gold beads. It is frequently used as an outlining thread.

Various gold twists and cords can be obtained; they are composed of several threads twisted up in the usual cord fas.h.i.+on, each ply consisting of gold spun round a silk thread.

_Plate_ is a flat strip of metal commonly about one-sixteenth of an inch wide; it can be obtained in different widths.

_Spangles._--These are small variously shaped pieces of thin metal, usually pierced with a hole in the centre for fixing on to the material.

They are frequently circular in shape, and either flat or slightly concave; the latter are the prettier. Many fancy shapes also are obtainable, but they are inclined to look tawdry, and suggestive of the pantomime.

_Cloth of Gold and Silver._--This is a fabric manufactured of silk, with gold or silver thread inwoven in the making. It is not now so much used as formerly, when it was in great request for robes of kings and other high dignitaries of church or state.

A special make of silk for couching down gold thread is obtainable in various colours. It is called horsetail or sewings, and is both fine and strong.

Padding for use in raised gold work is usually yellow, and for silver, white or grey. Yellow soft cotton, linen thread, or silk, are all used for the purpose.

Various precautions can and must be taken to keep the gold thread bright, for under unfavourable circ.u.mstances it rapidly a.s.sumes a bad colour; the silver thread is even more liable to tarnish than the gold, and it turns a worse colour, going black. There is a special paper manufactured to wrap threads in, and the stock supply should be kept in a tin or air-tight bottle; this is in order to protect the metal from damp, which is most injurious; to do this is a difficult matter in the English climate. Linen used for working upon, or as backing, is best unbleached, for sometimes the chemicals used in the bleaching process have a deleterious effect upon the gold; a piece of gold embroidery wrapped up in cotton wool for preservation has been found completely spoiled by some chemical in this wool, which proved more disastrous than exposure to air would have been. Gas, strong scents, handling (especially with hot hands), all have an evil effect, and so should be avoided as much as possible. Work even whilst in progress should be kept covered as much as is practicable, and should not be allowed to hang about; the quicker it is done the better. A piece of finished work can be polished up with a leather pad or a brush, similar to a housemaid's brush for silver-cleaning purposes; this of course, must be used with care.

ANCIENT METHOD OF COUCHING

Gold thread can be couched on to the material in two distinct ways, one of them in use at the present day, the other one that was commonly practised in the XIIIth and XIVth centuries. About the second half of the last-named century the earlier method was supplanted by the present one. Almost every example of early gold thread work exhibits this obsolete and ingenious method of couching. The Syon cope and the Jesse cope in the Victoria and Albert Museum may be mentioned as famous examples. M. Louis de Farcy[11] draws especial attention to this beautiful method of working, to which he gives the name _point couche rentre ou retire_, and strongly urges its revival; he points out many distinct advantages it has over the method now in use.

The durability is very great, owing to the couching thread being upon the reverse side, where it is protected from wear and tear, and being out of sight can be made strong and durable. If a thread is accidentally broken it does not necessarily give way along an entire line, as may easily happen in the present method. A proof of this point can be seen upon the beautiful Ascoli cope lately in the Victoria and Albert Museum, about which there has been so much discussion of late as to in what country it originated, and who was the rightful owner. The early couching worked entirely over the background of the cope is in a state of perfect preservation; portions of the gold thread drapery have here and there been couched by the other method, the tying down threads have, in those parts, mostly disappeared, and the gold hangs loose and ragged upon the surface.

By the way in which it is worked, there results a particularly pleasing and even surface, agreeably varied by play of light and shade. Another advantage of the ancient method is that the completed work is very flexible; this point will appeal to those who have experienced the extreme stiffness of a large surface of ordinarily couched metal threads. Flexibility is an invaluable quality for any work destined, like copes and curtains, to hang in folds.

Representations of draperies upon figures are well expressed, for by the way in which they are worked there comes an indentation along the lines marking the folds; this emphasises them rather happily, and also breaks up the surface in a satisfactory manner.

Fig. 125 is a diagram that will aid in explaining the working, it gives both the front and the reverse side. This has been found to be the simplest and the most practical method of obtaining a result similar to the early examples; there is, however, no means other than examination of result whereby to get at this obsolete method. To all appearance there is upon the surface a kind of satin st.i.tch worked in gold pa.s.sing, the st.i.tches carrying out some geometrical pattern, such as a chevron or lattice; but at the back a linen thread is seen running to and fro in close parallel lines in the same direction as the surface thread, and at regular intervals encircled by the gold pa.s.sing, just as if this was intended to couch down the linen thread.

[Ill.u.s.tration: Fig. 125. Front. Back.]

The ingenuity and satisfactoriness of the method must be admitted by all who give it a trial, and it is interesting to conjecture how it may have arisen. Possibly weaving suggested it to the embroiderers, for, take away the intervening material, and it is not unlike woven work, and these two arts would very likely be the accomplishment of the same person. Perhaps the commonly used method of taking a coa.r.s.e thread through to the back (see fig. 167) suggested it, for this is briefly the whole process.

In order to try the couching, a two-fold ground material must be firmly stretched in an embroidery frame, a strong linen underneath and a thinner closely woven one upon the upper side. Some fine gold pa.s.sing and some strong linen thread, well waxed, are required to work with, also an embroidery needle with long eye and sharp point, the size, which is important, depending upon the threads in use; the needle has to pierce the two-fold ground material, making a hole only just large enough for the pa.s.sage of a double gold thread.

If the linen has a regular even thread the drawn pattern shown in the diagram can be worked by counting the threads of the ground fabric, but if this is difficult or impossible, as in the case say of a twilled surface, a careful tracing must be made upon the linen; a beginner may find this the easier way in any case.

The end of the gold thread, which by now, in readiness for working, will be wound upon the bobbin or spindle, must be pa.s.sed through to the back at the starting-point, the top left-hand corner in the diagram. The linen thread secures it at the back and then comes through to the front upon the traced line exactly beneath (see arrow on plan). It now encircles the gold thread which the left hand draws out rather tautly, and then returns by the same hole to the back, pulling the metal thread through with it. There is knack in taking the gold thread only just through and leaving the completed st.i.tch straight and flat upon the surface. The process is now repeated, the linen thread coming through to the front again upon the next traced line, and so on. When the base of the pattern is reached the gold thread is taken through once upon that line, and then commences a like journey upwards.

This practically explains the couching; variety is obtained by change of pattern, but the method of carrying it out is always the same. Figs.

126, 127, and 128 show three patterns taken from old examples of this couching.

[Ill.u.s.tration: Fig. 126.]

[Ill.u.s.tration: Fig. 127.]

The difficulties in technique are easily overcome; an important aid in this matter is the use of materials exactly right; this means needles and threads of the correct size, the ground composed of suitable fabrics, and properly strained in a frame. The aim in the working is to get each st.i.tch perfectly flat and straight in its correct place in spite of the obstinacy of the metal thread; to avoid making the perforation larger than necessary, for this makes the work clumsy; to make each succeeding line lie closely beside the last one, for the surface must be of solid gold, and if the ground showed through in places it would impoverish the effect.

[Ill.u.s.tration: Fig. 128.]

The direction of the couched thread is usually either vertical or horizontal, and it may be both of these in the same piece of work. The reason of this may be because it is worked by counting the threads of the fabric, or because the pattern is always treated as a diaper and placed upon the surface without regard to contour. The exception to this rule of direction is when the couching is taken along a stem or the narrow hem of a robe to form the border, or along a girdle, it then follows the direction of the band, this being evidently the most straightforward and satisfactory method to use for the purpose.

[Ill.u.s.tration: Fig. 129. Front. Back.]