This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
The Conventional Rose Design (see pages 206-7) for Bible cover and the alternative pomegranate design should be wrought in full ecclesiastical embroidery. They should be made heavy and rich in decided colours and gold, after the style of the old missal work. The floss silk should be used in two strands throughout the work. The roses may be done in three shades of pink. Begin with a light tone at the edges and shade to a deep colour at the centres. Use the lily greens for the calyxes. Work the centre dot over twice in opposite directions to raise it, then cross-bar it with one or two lines, and fasten at the intersection with a couching stitch. Work the four trefoil leaves in silver greens in three shades. The monogram is done in laid stitch at right angles with its outline. Cover the outer edge line with stitches taken in working cotton, not straight across the width, but at a decided slant. Do not pile the stitches; they are to raise the gold, and should lie evenly. Raise the band which surrounds the monogram in the same way. If you are working on a material which is to serve as background - as silk or velvet - you are now ready for the gold, but if on a linen backing, cover all the ground spaces with satin stitch. Split the floss silk into two strands for this. Disregard the nimbus which is around the Ihs, filling in the space completely with the satin stitch. When this is done, work out the nimbus in .a fine thread of Japanese gold, couching it firmly over the satin background. Border all the forms with a double thread of fine gold, as shown in the drawing, and cover the cotton raised lines with two rows of the double gold. This book-cover requires very careful work, as all the parts are independent and a great deal is laid in a very small space.
Nasturtium Band. (See Supplement B, No. 43.) This delightful arrangement of a beautiful flower is susceptible of great results if intelligently handled. Used exactly as it is represented in the design, it would serve for a border for a chairback or sofaback, or a decoration for a workhag. Twice repeated it would make an ideal table-centre. Algerian silk or stout floss should be used in rich tones ...range deepening to the darkest red, the spots of black and a touch of palest green in the very centre of the flower; very dark greens for the stems and leaves, the veinings almost black. No outline is required here. The stems should be worked in satin stitch, and the leaves and flowers shaded from light to dark in imperceptible gradation. For another treatment, enlarge the design to four or five times its present size. Cut out the blossoms in velvet (using three different tones of orange for this), putting in the lines and spots in thick Algerian silk, and buttonholing the edges with the same. The leaves may either be cut out and applied in green linen or darned in thick green silk or tapestry worsted; but whichever mode of working is employed, the leave- must he finished before the velvet flowers are laid on, or the effect will be entirely spoilt. A curtain of dull blue arras cloth, with a nasturtium fringe treated as described, would indeed be a thing of beauty, and amply repay the enterprising worker for her toil. Linen makes the best ground for the smaller pieces, and may be either natural coloured or dull green or blue.
Book Cover (Sweet Pea). (See page 186.) Work this on fine natural tinted linen or parchment
0 loured satin; or. if preferred, vellum might be used. The stems and little tendrils should be laid in fine gold thread sewn down with brownish horsetail. Three tones of fresh delicate green for the leaves and calyxes, and five or si\ tones of tender pink for the blossoms. This should be filo floss, and only one thread should be used. Work the inner petals of the three darkest tones, and the outer petals from the palest of the five. The little pods should be green with solid golden circles, and the line surrounding the pattern should also be laid in gold whipped over with green.
Sweet-Pea Semi-conventional Border. (Page 186.) There are various ways in which this design may be utilised for needlework; the scroll-like corner adds much to its practical value. It would be especially suitable for a table-centre-piece or tea-table cloth, the edge finished with a hemstitch beyond the embroidery, or buttonholed on the outer side and cut out. The design may either be treated in solid embroidery or outlined only; if outlined, the scrolls might be filled in with a light lace stitch. Lace stitches are used on linen with the happiest results. Either natural colouring or two tones of any given colour would come well on white or ecru linen. Great care must be taken to adhere strictly to the outlines in every detail, so as to preserve the distinctive character of the blossoms.
Sweet Pea Border. (See Supplement B, No. 45.)
This quaint arrangement might be used as a border for a summer tea-cloth or a table-centre where the floral decorations were of many-hued sweet peas. Fine white linen of almost a cambric texture, or the faintest and palest shade of green makes the best ground, and the worker cannot do better than copy direct from nature.
Square for Pin Cushion. (See Supplement A, No. 41.
The design is a conventionalised treatment of the carnation, but suggests also the peacock feather, and might be worked effectively on white satin or coarse silk in peacock tones, viz., blue, green, purple and gold. The pip-shaped ornament might be made to suggest an "eye" in blue and purple. The foliage may be green, and the triangular corner pieces in graduated tones of blue green and purple.
Sweet Peas: Repeat Design. (See page 187.) This may be worked for a small standing screen, or it might be used (enlarged) for a curtain for a bookcase a valance below a pottery shelf. Thin furniture satin, or moire natural coloured, would make a pleasing ground. The dotted lines should be cut gold beads or French knots of gold thread - the true Parisian kind, which is as flexible as silk. The stems may be laid in gold thread, or worked in satin stitch over a padding thread, or simply in stem stitch - two tones of green. Filo floss should be used for the flowers in many tones, from pink, so pale as to be almost white, to a deep red. It may be objected that these flowers are too small to admit of many different tones, but each blossom may differ from the next by a judicious distribution of the tints. A shaded bonier of straight lines edged with gold thread makes a harmonious finish. All the tones employed in the work should appear, beginning with the lightest and shading down to the darkest, and back again to the first, beginning and ending with a line of gold thread.
M. B. H.