Op. Va

PLATE 14

A group of fillings in which darning plays an important part, the backgrounds of two of the leaves were carried out in indigo, the veinings were worked in solid rows of outline st.i.tch in brown shading to a lighter bronze green, the central vein in the upper leaf was in chain-st.i.tch in dark blue and the outline of leaf was carried out in two rows of chain st.i.tching in darkest indigo. The shamrock leaf has a darned contour of double threads, the filling was in stem st.i.tch, solid, with bars of a darker colour worked across it. The little band at the bottom of the group was a mixture of satin, chain, stem and French knots.

[Ill.u.s.tration: PLATE 14]

Op. VI

The following sketch was done from bed hangings, the property of the Earl of Powis, at Powis Castle.

PLATE 15

The design is a bold one of big leaves worked on the usual thick white hand-made linen. Undoubtedly the wools used were green at the time of working, but have now changed to beautiful shades of blue to indigo.

Each leaf throughout the work has a thick contour in rope st.i.tch of the four shades of the wool used, and the stem is most effective, done in squares of Cretan st.i.tch in the same four shades.

[Ill.u.s.tration: PLATE 15]

Op. VII

PLATE 16

This bold leaf is mainly carried out in block shading, but the colours are unusual. Indigo for the outside edge, soft brown the central block, and light green for the inner; in the second leaf the green is employed only for the line of veining; the two leaves or sections on the right-hand side are treated as follows--The upper one has outlines of brown, between which blocks of "b.u.t.tonhole" in indigo are worked, the intervening s.p.a.ces being simply decorated by a loop st.i.tch in green wool. The sprays are in satin st.i.tch, which is one of the best for small sprays to be worked solid.

[Ill.u.s.tration: PLATE 16]

PLATE 17

A very handsome leaf, in the working of which many st.i.tches are employed.

The curved scroll at the top is carried out in block shading in blue to pale green; the curved section on the right is marked out in squares filled alternately with satin st.i.tches, with a simple French knot in each square, and by a square trellis secured in the centre by a cross st.i.tch; the scroll below this is outlined in crewel st.i.tch, and filled with laid work or strands of wool thrown across from edge to edge and couched by back st.i.tches at the points of intersection.

The three leaves at the root of the stem are carried out in block shading in shades of grey green, the leaf above is outlined in crewel st.i.tch and filled with fancy devices worked in b.u.t.tonhole st.i.tch with darning background; the centre motive is a solid ma.s.s of French knots, well raised and blue in colour. I have seen this same motive carried out in three shades, the lightest group at the point, the darkest at the back.

[Ill.u.s.tration: PLATE 17]

PLATE 18

More fillings taken from a piece of work executed in the late 17th century.

I Is one of the diverse methods of treating the large tree stems in a design. Within the fan-like outlines traced down on the linen is a solid filling of satin st.i.tches, varying row by row from pale fawn at the foot to dark chestnut brown round the top, the direction of the st.i.tches is shewn in the drawing.

II Here we have a fancy lattice of three strands of laid wool couched with small French knots at the intersecting points, the outline is in stem st.i.tch and fanciful back st.i.tches are used as fillings.

III Has first rows of long single threads thrown across, caught down with stars and groups of satin st.i.tching crossed.

IV A light treatment for stems, the filling, sh.e.l.ls in b.u.t.tonhole st.i.tches, with second outline in darning.

V One of the examples of the introduction of lace st.i.tches that is to be noted in work of the late 17th century, the alternate blocks are in basket st.i.tch, the others in double cross st.i.tch in contrasting colours.

VI Quaint example of couched work.

[Ill.u.s.tration: PLATE 18]

PLATE 19

A collection of particularly beautiful fillings seen in a Georgian copy of a very old example.

I Has double rows of outline st.i.tch, framing s.p.a.ces filled with stars in back st.i.tch, the centre being solid in shading st.i.tch.

II Outline of rope st.i.tch and cross trellis of the same. Stars of back st.i.tch couched down with contrasting wools.

III Part of a beautiful stem, outline of chain bars of b.u.t.ton st.i.tch in double wool and spots in loop st.i.tch.

IV The two small petals filled solid with stem st.i.tch, three rows of which are used for outlining the long petal, the centre being filled with rings in b.u.t.tonhole st.i.tch and darned background.

V Is carried out in satin and stem st.i.tch, with back st.i.tch bars couched with contrasting wool.

[Ill.u.s.tration: PLATE 19]

Op. VIII

PLATE 20

These two sketches were taken from an 18th century (?) curtain done in solid crewel work, in somewhat bright colouring. The brown veining which occurs in I and in nearly all the leaves was most effective; in this plate is also shown a good example of basket st.i.tch stem work. The acorn cup was worked in close French knots.

II The large leaf is a good example of solid work. The contour was in stem st.i.tch, the serrated edges turned over on to the brown surface were in shading st.i.tch, the red veinings in satin st.i.tch.

[Ill.u.s.tration: PLATE 20]