67. raised work, showing underlay of linen, and the way it is sewn down - The work is in flax thread, red, yellow, and white, upon a blue linen ground. The stem is dotted with white beads, the ground with gold spangles. Part of an altar frontal. German. 15th century. (V. & A. M.)
68. raised gold basket patterns, etc, upon white satin. The stalk in fiat wire. Spanish. 17th century. (Mrs L. F. D.)
69. quilt, worked in chain-stitch from the back - which has precisely the effect of back-stitch. Yellow silk upon white linen. Old English. (V. & A. M.)
70. raised quilting, in black silk upon pale sea-green satin.
Part of the border of a prayer cushion. Old Persian. (Mrs L. F. D.)
72. stitches in combination - Among them Oriental, ladder, buttonhole, chain, crewel, satin, and herring-bone stitches, worked in dark blue silk upon unbleached linen. Old Cretan, so called. (Mrs L. F. D.)
73. FINE needlework UPON cambric - The substance of which is apparent upon the upper edge of the work. In the groundwork of the pattern generally the threads are drawn together to form an open net. The stitches occurring in the collar of which this is part are, buttonhole, satin, chain, herring-bone, cross, and back stitches. The outline is mostly in fine cross-stitch. Nothing could exceed the delicacy of the workmanship, which is in its kind perfect. Old English. (Coll. of Col. Green, R.E.)
74. part of A design by Walter crane, cunningly adapted to execution in needlework. Shows the direction of the stitch, and the part it can be made to play in expressing form. Worked in coloured silks upon linen' by Mrs Walter Crane, whose property the work is.
75. shading in chain-stitch in silk and chenille upon a satin ground. The shading very deliberately schemed by the designer. In natural colours upon white. French. Louis Seize. (V. & A. M.)
76. shading in short stitches ; picturesque to the point of a touch of white in the glistening yellow of the dove's eye. Chenille, in chain-stitch, is used for the wreath and in the leaves of the flower sprigs. These are in colours, the birds are in silvery greys, all on a white satin ground. French. Louis Seize. (V. & A. M.)
77. shading in long-and-short and split stitches, with more regard to expression of form than to neatness of execution. German. 16th century. (V. & A. M.)
78. chain-stitch, showing in the figures of the little men how much a draughtsman can express in a few stitches. Full size. Chinese. (Mrs L. F. D.)
79. figure work - The flesh in straight, upright stitches, the drapery laid and couched. English. 15th century. (V. & A. M.)
80. consummate figure embroidery - Canvas ground entirely covered. Flesh in coloured silks, short-stitch ; drapery in coloured silks over gold, which only gleams through in the high lights. Architecture closely couched gold. Part of an orphrey. Florentine. 16th century. (V. & A. M.)
81. Chinese figures - The flesh in short satin-stitches, the rest in chain-stitch; chiefly in blue and white upon a figured white silk ground. About actual size. (Mrs L. F. D.)
82. satin-stitch, showing the influence of its direction upon the tone of colour. The pattern is all in one shade of yellow-brown floss upon white linen. The outline steps with the weaving, and shows the connection between satin and canvas stitches. Italian. 17th century. (V. & A. M.)
83. meaningless DIRECTION OF STITCH - Satin and herringbone stitches. From an altar-cloth. German. 17th century. (V. & A. M.)
84. more expressive lines of stitching - To compare with
Illustration 83 (Meaningless Direction Of Stitch).
85. SATIN AND plumage stitches chiefly, the bird's crest in
French knots, the clouds about him in knotted braid. The direction of the stitch is most artfully chosen, and the precision of the work is faultless. The satin ground is of brilliant orange-red ; the crane, white, with black tail feathers, scarlet crest, and yellow beak and legs ; the clouds, black and white and blue. Japanese. (Mrs L. F. D.)
86. renaissance church work in gold and silver, partly flat, partly in relief, upon pale blue satin, with touches of pink and crimson silk to give emphasis. Spanish. 18th century. Compare the stem with Illustration 66 (Raised Work Sampler. L), B. (V. & A. M.)
87. Gothic church work - The flesh, etc, in split-stitch; the vine-leaves green, getting yellower as it nears the crimson silk ground. Part of a cope embroidered with a representation of the Tree of Jesse. English. Ca. 1340. (V. & A. M.)
88. modern church work on linen, in long-and-short stitch.
Veins padded with embroidery cotton and worked over with two threads of filo-floss, a green and a blue ; the rest of the leaves worked in one shade of stout floss. All this applied to velvet with a couching of brown filoselle, and the tendrils added. Designed and executed by Miss C. P. Shrewsbury. (The property of the artist.)
89. applique SPRIG, with subsidiary lines of gold embroidery upon the velvet to disguise the application. From a late Gothic altar frontal.
90. white work on fine linen - Chiefly in satin-stitch and seeding.
Designed by James Jeffrey, and worked (like the other illustrations to this chapter) by trade workers for the Irish factories.
91. white WORK on linen, in satin-stitch, seeding, and matting.
The vase shape outlined with sparring or spoke-stitch.
92. details - Designed to be worked chiefly in short satin-stitches; some matting in the leaves ; the berries formed by eyelets.
93. white work - Leaves and outlines in satin-stitch, heart shapes filled with seeding and matting.
94. white work - In satin-stitch with applique of rectangular pieces of cambric, seeding and eyelets in the sprigs.
95. white work - Satin-stitch and drawn-work, the centre applique.
96. butterfly - In satin-stitch, seeding, and sparring (which follows the lines of the wings and body). Eyelets for the eyes.
97. simple stitching on linen, the broader bands in a canvasstitch in yellow, the finer lines in back-stitch in pale grey silk. Italian. (Mrs L. F. D.)
98. simple couched outline work, in purplish silk cord upon linen. Part of an altar-cloth. Italian. 16th century. (V. & A. M.)
99. renaissance ornament - Most gracefully designed arabesque.
The raised outline (couched) has somewhat the effect of cloisons, the satin-stitch (in colours) of brilliant enamel. It is upon a white satin ground. The foreshortened face in the picture is painted upon satin. Italian. Ca. 1700. (V. & A. M.)
100. applique design, in yellow satin upon crimson velvet-Double outline ; next the red, white, sewn with pale blue ; next the yellow, gold. Midrib of the leaf couched silver. Spanish, 16th century. (V. & A. M.)
101. satin-stitch - Except that the heart-shaped features at the base and the lily-shaped flowers, of which only the tips are shown, are outlined with fine white cord. Part of a . fan, worked by Miss Buckle, from a design by L. F. D. (The property of the worker.)
102. leather applique UPON velvet - The stitching well within the edge of the leather.