Plate No. 40.

Description Of Designs Illustrated 72

Back of a Chasuble. Italian, 17th Century [58 - 1891.]

Plate No. 41.

Description Of Designs Illustrated 73

Embroidered Panel, " Pomona." Designed by the late Sir E. Burne-Jones and William Morris. Worked at the Royal School of Art Needlework

Plate No. 41.

Embroidered panel, "Pomona." Figure designed by the late Sir Edward Burne-Jones, and the background ornament by the late William Morris. The figure is worked in long and short stitch, with dull pinkish red silks. The face and hands were painted by the late Sir Edward Burne-Jones; the large leafy scrolls are in laid-work. For the small underlying flowers and foliage long and short stitch is employed. The grapes in the border are padded. In this reproduction the scroll work is more predominant than in the actual work, and, in the writer's opinion, the scrolls are too large in relation to the figure.

Plate No. 42.

Corner of a chalice veil. Italian, seventeenth century [573 - 1894]. On a ground of cream-coloured silk, the design is embroidered in shades of yellow, orange, red, blue, and green silks, laid * and stitched down in split stitch, outlined with silver cord. The formal leaves and flowers (chiefly large tulips) are in eight groups, and radiate towards the centre, in which is a small cross in gold basket stitch. The floral groups are tied with ribbons in laid work, the stems to flowers, and scrolling bands connecting the groups are in silver basket stitch.

Second example. - Border. Italian, seventeenth century [686 - 1891]. The pattern, embroidered in long and short stitches with coloured silks, on a brown square-meshed net, consists of continuous floral scrolls, arranged horizontally, and springing from each side of a central stem surmounted by a flower. The upper and lower edges are worked with coloured silks in repeating pointed tooth-shapes.

* Laid work, see fig. 3, Plate No. 57, and fig. 50, Plate No. 68.

Plate No. 42.

Description Of Designs Illustrated 74

Corner of a Chalice Veil. Cream coloured Silk, embroidered with Silk, Gold and Silver Threads. Italian, 17th Century [573 - 1894].

Description Of Designs Illustrated 75

Border of Brown Square-meshed Net, embroidered with Coloured Silks. Italian, 17th Century [686 - 1891J.

Plate No. 43.

Description Of Designs Illustrated 76

Embroidery on Brown Silk Net. Italian, late 16th Century [631 - 1893].

Plate No. 43.

Embroidery on a brown silk net. Italian, late sixteenth century [631 - 1893]. Worked in string-coloured linen thread with a repeating design, arranged in straight rows, and consisting of a branch with stems and leaves, separated by a label. The devices on the second row are placed the reverse way to those on the first and third rows.

This pattern is very similar in style to those used on the dresses in the period of Henry IV., Louis XIII., and Philip IV. of Spain; and also appear in the paintings by Cornelius de Vos (1620).

Plate No. 44.

Portion of curtain or hanging. Italian, late sixteenth century [5064 - 1859]. Of black square-meshednet, embroidered with coloured silks in satin stitch, with a pattern composed of white and red flowers with green leaves and stems arranged on a geometrical foundation. It has a narrow border, slightly scalloped, and figured with continuous stem forms clothed with flowers and leaves.

Owing to the squareness of the mesh the design has a certain rigidity which is generally pleasant, where the petals of the flowers are tipped with strong colours as in the flower "A" in the illustration; the straight lines produced are too pronounced.

Plate No. 44.

Description Of Designs Illustrated 77

Pcrticn of a Curtain. Black, Square-meshed Net, embroidered with Coloured Silks. Italian, 16th Century [5064 - 1859].

Description Of Designs Illustrated 78

Border for a Chair Back. Lacis Work on a Netted Foundation.

Plate No. 45.

Border for a chair back. Lacis work on a netted foundation.

Plate No. 46.

There are two kinds of lacis work. In one the pattern is darned on a netted foundation, and in the other on a mesh of linen. The illustrations on Plates No. 45 and 46 are on hand-made net. The design is simply darned in linen threads. The stepping outline gives a quaint, rigid character to the forms, which has a distinctive value. The square mesh is recognised, and no attempt should be made to disguise it, as in the enlarged detail on this plate, where the outline of thick linen thread is taken through the middle of the mesh when curved forms are required. In this respect it is not so satisfactory as the border on the preceding plate.

Plate No. 47.

The specimen reproduced on p. 190 is worked on home-spun linen. It is necessary to choose a fabric with an even warp and woof for such work, which is executed in the following manner : Tack the linen firmly on to a piece of American cloth, which should be wider than the work by an inch and a half on both sides. Great care is necessary in doing this, for if the threads are not straight when they are drawn out, the squares of the mesh will not be true. When cutting the threads, a pair of pointed and very sharp scissors is needed, also much care and patience, for a wrong cut is easily made and not very easily rectified. For ordinary patterns cut two threads and leave two, raising the threads about half an inch from where they have been cut to help in guiding the eye. A larger mesh may be required for bolder designs, and in those circumstances the judgment of the worker must be exercised as to the number of threads to cut and to leave. Draw the short threads out first, then cut and draw the long ones; it is well not to have too long a piece in mesh before drawing in the pattern, as the network is liable to get out of order. Darn in the pattern with a coarse thread; Nos. 1 and 2 of Taylor's Mecklenburg thread are suitable. To begin the darning, pass the needle and thread through the overcasting to the nearest stitch; when some of the pattern is worked, run the needle through the darning, taking care that it is quite secure. To do the network, begin at the left-hand side and work diagonally, making two twists round the threads each time. For this use a fine thread; No. 8 Taylor's thread is a good size. It is not necessary only to work in one colour; a very good effect is produced by twisting the net ground in unbleached thread or coloured silk, and sometimes a different coloured thread is run round the edge of the pattern. With regard to designs, many cross-stitch patterns answer very well, taking into consideration that as lacis work was very much used in the seventeenth century, patterns of that period seem the most suitable for the purpose.