(Concluded from page 148.)

Put on the paste by smoothing it in the direction of the stitches, and then lav a piece of tissue paper over it.

The matter of pasting is a very important one. It must be done very carefully, for there is danger of destroying the completed work if any accident occurs. It is necessary not only because it secures all silk ends and keeps the stitches from drawing when the tension is relaxed, but it is a great preservative of the embroidery. Work, well pasted, can be cut out and applied and re-applied many times. It is in this way that the old embroideries are restored and made to look fresh.

The paste should be, so far as possible, confined to the embroidery itself, and not run over the edges more than one-half inch, because if the fabric is to hang in folds it should not be too stiff.

When the paste is perfectly dry, the work may be cut out of the frame by running the scissors through the linen about one inch from the design all round. If there are spaces of plain linen within the compass of the design, as in a wreath, for instance, do not cut into it; cut only aroun the work on its outer edge. While it is necessar to cut the linen close, a little margin should be left.

Now to return to the other method, that of doing the work on linen and transferring it when completed to another surface. In this case a sheet of tissue paper should be laid over the back after the first pasting. When this is perfectly dry lay on another coat of paste; cover it again with paper. When dry, paste a third time and cover again. After the last pasting the work should stand twenty-four hours before being cut out. Slit the linen out of the frame, and then cut out the work, making a true outline around the design, leaving a margin of an eighth of an inch. One needs sharp scissors and a steady hand for this.

Now set up the frame again with another piece of butchers' linen. Place the material to be decorated over the stretched surface and tack it down in position with as few stitches as possible. When you have the cloth or material fastened to the framed linen, lay the cut-out embroidery in position on it and secure it with small pins pushed through straight up and down. When its position is exact, fasten it with tacking stitches and remove the pins. Use a fine needle, and be sure it goes down and comes up straight through the embroidery.

Now, outline each figure of the design with one thread of filo of its own colour. These stitches should be taken between those of the embroidery, and, of course, should sink in so as to be invisible. Do not draw them too tightly, and take them close together in a slanting position. The work should not puff or blister.

When this outlining is finished, complete the applique by bordering the design with a double thread of Japanese gold or strands of filo thread couched firmly around it. After this is done, paste again lightly on the back; while wet, cover with a sheet of tissue paper, which will finish the whole neatly. When perfectly dry, cut the linen around the couching, which will release the whole from the second framing. Leave an inch of the linen as margin. It is best to relax the tension gradually by easing the lacing before cutting, for a sudden relaxing may cause a drawing of the stitchers in places. The silk stitches should be laid tight and smooth on stretched linen. It is absolutely necessary to emphasise the idea of working tightly and firmly, for while the slight loosening of the work after cutting from the frame is an improvement to it, if the stitches are not of equal tension the surface becomes rough and uneven. The embroidery on large vestments and church cloths is nearly all applied. It is very durable, and the effect of mounted work is extremely rich. L. B. Wilson.

Practical Aids to Art Workers.

Books So Far Reviewed, And Selected For Our Art Worker's And Art Lover's Library.






"Figure Drawing" .....

Richd. G. Hatton

Chapman & Hall. Henrietta Street, Covent Garden..

7/6 net.

Vol. II.

No. 8.

"Modelling" (2 vols.) .....

E. Lanteri.....

" " " "

15/- each


No. 9.

"Handbook of Plant-form"...

Ernest E. Clark

B. T. Batsford, 94, High Holborn .....

5/- net



"Ornament and its Application" ..

Lewis F. Day ...

,, ,, ,, ,,

8/6 net


No. 8.

"Silverwork And Jewellery"

H. Wilson .....

John Hogg, 13. Paternoster Row ......

5/- net


No. 7.

"Art Enamelling upon Metals" ..

Henry Cunynhame .:.

Archibald Constable & Co., I, Whitehall Gardens, S.W.

6/- net


No. 8.


George Jack ...

John Hogg

5/- net


No. 7.


Douglas Cockerill ..

,, .. .. .. .. ...,

5/- net



G. F. Watts ......

West and Pantini

George Newnes. Ltd. .. ......

3/6 net


No. 0.