This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
The D'Oyly Design (see Supplement A, No. 101) would look well on Harris green linen, worked with white filo-floss silk (use two threads of silk) or with Harris flax thread, which has almost the lustre of silk. The part of the leaf turned over should be worked in Oriental or herringbone-stitch and outlined with single knot-stitch. The buds may be in satin-stitch, and the stem and seeds in stem-stitch. The whole design would be improved outlined with Japanese gold; or, as the gold does not wash, a bright gold silk might be used.
The Sermon Case Design (see page 95) may be worked on a dark purple Roman satin. The flowers are to be an applique of white satin couched round with a medium tone of purple filo-floss silk and then outlined with gold thread work; the cross in satin-stitch with gold silk and French-knots down the centre, of the same colour. G. M. S.
The Stole (Supplement A) is to be worked on a ground of cream corded silk. The inside of the trefoil is an applique of rich blue satin, and the fleur-de-lis is worked in three or four tones of gold filo-floss silk, outlined with Japanese silk. The outside fleurs-de-lis are worked in tones of blue, harmonising with the colour of the satin, outlined with gold. The band of the inside and top fleurs-de-lis are to be gold.
G. M. S
The Alms Bag (Supplement A) may be worked on crimson cloth, the crown well padded and worked over with cream filo-floss silk, outlined with Japanese gold. A medium tone of green silk should be used for the cross, which is also to be outlined with gold. The rays of glory are to be all gold, and the circle is to be worked in satin-stitch alternately with the cream and green silk. G. M. S.
Blue linen of two distinct tones should be used for this. The band of flowers and foliage for the upper part should be traced on the paler, and the dado or lower portion on the darker. The leaves must then be cut out with a very sharp pair of scissors, and laid well over the paler linen with many close tacking threads to keep the edge in position. Darn the borders with coarse thick silk of a rich golden hue, and carry a heavy black line on each side of this to cut the border sharply off from the centre. Three " shades " of bronze green should be used for the leaves, and a brownish one for the stems, which may be worked in satin-stitch and padded. Care must be taken in carrying out this scheme to work firmly over the tops of the leaves where the join comes. If this is done, the whole thing, when completed, will be as solid as if worked on one piece only, while the effect of the two linens is much more interesting. All the leaves should be worked first; then the flowers should be put in, and for these tones of pink from the very palest, for the outer petals, to a deep rich red for the heart, should be used. For the buds, begin with the darkest shade, and tone off to the paler. The lines at the back of the design and the wandering roots should be all laid in fine Japanese gold; but for workers who find this process too wearisome, silk may be substituted. The band on the upper part of the curtain may be treated in exactly the same way as the dado, the tendrils being laid in Japanese gold.
An alternative method of treatment would be to trace the whole design on a background of Indian red; the flowers to be worked in palest yellow to orange; buds, orange to pale yellow; leaves and stems in harmonious tones of bronze. The border may then be a laid-on band of cream-edged black or a darning of the palest blue. Every leaf and petal must be edged with black, and much Japanese gold should be introduced in both the upper and lower sections. M. B. H.