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Almost every fabric that is good of its kind is suitable for a ground
for needlework, and any thread of silk, linen, cotton, or wool, is
suitable for laying on a web, with the purpose of decorating it. Yet
these materials should not be wedded indiscriminately, every surface
requiring its peculiar treatment; a loose woollen fabric, for example,
being best covered with wool-work rather than with silk. Not that it is
necessary to work in linen thread on linen ground, in silk on silk
ground, and so forth; silk upon linen, silk on canvas, wool on linen,
are legitimate, because suitable combinations; it being scarcely
necessary to note that linen or wool threads should not be used on silk
surface, as to place the poorer on the richer material would be an error
in taste. Gold thread and precious stones will of course be reserved for
the richer grounds, and the more elaborate kinds of work.

A plain or a figured (damask) silk can be employed as a ground for
needlework, the broken surface of a good damask sometimes enriching and
helping out the design. If work is to be laid directly on silk ground,
it should be rather open and light in character; if closer stitches are
wanted, the principal forms are usually done on a canvas or linen
backing, which is then cut out and "applied" to the final silk ground,
the design being carried on and completed by lighter work of lines and
curves, and by the enrichment of gold thread, and sometimes even
precious stones. These two methods are a serious and dignified form of
embroidery, and were often used by the great mediaeval embroiderers on a
rich figured or damask silk, and sometimes on plain silk, and sometimes
on a silky velvet. It is not easy to procure absolutely pure "undressed"
silk now, and pliable silk velvet of a suitable nature is still more
difficult to obtain. Satin is, to my thinking, almost too shiny a
surface for a ground, but it may, occasionally, be useful for small
work. A sort of imitation called "Roman satin" is sometimes employed on
account of its cheapness and effectiveness, I suppose, as it cannot be
for its beauty; the texture, when much handled, being woolly and
unpleasant. No one taking trouble to procure choice materials will think
of making use of it.

Floss silk lends itself particularly to the kind of needlework we are
speaking of; there is no twist on it, the silk is pure and untouched, if
properly dyed has a soft gloss, and a yielding surface that renders it
quite the foremost of embroidery silks, though its delicate texture
requires skilful handling. But avoid silks that profess to be floss with
the difficulty in handling removed. If the old workers could use a pure
untwisted floss, surely we can take the trouble to conquer this
difficulty and do the same. Twisted silk, if used on a silk ground,
should, I think, be rather fine; if thick and much twisted, it stands
out in relief against the ground and gives a hard and ropy appearance. I
am, in fact, assuming that work on so costly a material as pure thick
silk is to be rather fine than coarse. Gold and silver thread is much
used with silk, but it is almost impossible to keep the silver from
tarnishing. Ordinary "gold passing," which consists of a gilt silver
thread wound round silk, is also apt to tarnish, and should always be
lacquered before using--a rather troublesome process to do at home, as
the gold has to be unwound and brushed over with the lacquer, and should
be dried in a warm room free from damp, or on a hot sunny day. Japanese
paper-gold is useful, for the reason that it does not tarnish, though in
some ways it is more troublesome to manage than the gold that can be
threaded in a needle and passed through the material. It consists, like
much of the ancient gold thread, of a gilded strip of paper wound round
silk, the old gold being gilded vellum, when not the flat gold beaten
out thin (as, by the bye, in many of the Eastern towels made to-day
where the flat tinsel is very cleverly used).

For needlework for more ordinary uses, linen is by far the most pleasing
and enduring web. Unlike silk on the one side, and wool on the other, it
has scarcely any limitations in treatment, or in material suitable to be
used on it. For hangings it can be chosen of a loose large texture, and
covered with bold work executed in silk, linen thread, or wool, or it
can be chosen of the finest thread, and covered with minute delicate
stitches; it can be worked equally well in the hand, or in a frame, and
usually the more it is handled the better it looks. A thick twisted silk
is excellent for big and coarse work on linen, the stitches used being
on the same scale, big and bold, and finer silk used sparingly if
needed. White linen thread is often the material employed for linen
altar cloths, coverlets, etc., and some extremely choice examples of
such work are to be seen in our museums, some worked roughly with a
large linen thread and big stitches, some with patient minuteness. It is
hardly necessary to say how important the design of such work is.

Different qualities of this material will be suggested to the
embroideress by her needs; but, before passing to other things, I should
not omit mention of the charming linen woven at Langdale. For some
purposes it is very useful, as good linen for embroidering on is not
easy to obtain. We have, however, yet to find a web which will resemble
the rougher and coarser linens used for old embroideries, rather loosely
woven, with a thick glossy thread, and of a heavy yet yielding
substance, quite unlike the hard paper-like surfaces of machine-made
linens. The Langdale linen is, of course, hand-spun and hand-made, and
the flat silky thread gives a very pleasant surface; but, owing to its
price and fine texture, it is not always suitable for the purposes of
large hangings. Many fine examples of Persian work, such as quilts and
so forth, are executed on a white cotton ground, neither very fine nor
very coarse, entirely in floss silk, a variety of stitches being used,
and the brightest possible colours chosen. The cool silky surface of
linen, however, commends itself more to us than cotton, each country
rightly choosing the materials nearest to hand, in this as in other
decorative arts. Both linen and cotton are good grounds for wool-work,
of which the most satisfactory kind is that done on a large scale, with
a variety of close and curious stitches within bold curves and outlines.

Canvas and net are open textures of linen or cotton, and can be used
either as a ground-work covered entirely with some stitch like the
old-fashioned cross-stitch or tent-stitch, or some kindred mechanical
stitch, or it can stand as the ground, to be decorated with bright
silks. The texture of canvas being coarse, the design for it should be
chosen on a large scale, and thick silk used; floss preferably as the
glossiest, but a thick twisted silk is almost equally effective, and
rather easier to handle. This canvas is used frequently in
seventeenth-century Italian room-hangings, either in the natural
brownish colour, or dyed blue or green, the dye on it giving a dusky
neutral colour which well shows up the richness of the silk.

Of woollen materials, cloth is the king; though as a ground for
needle-decoration it has its limitations. It forms a good basis for
applique, the groups of ornament being worked separately, and laid on
the cloth with threads and cords of silk, gold, or wool, according to
the treatment decided on. Rough serge gives a good surface for large
open wool-work. Such work is quickly done, and could be made a very
pleasing decoration for walls. See the delightful inventories of the
worldly goods of Sir John Fastolf in the notes to the Paston Letters,
where the description of green and blue worsted hangings, and "bankers"
worked over with roses and boughs, and hunting scenes, make one long to
emulate the rich fancies of forgotten arts, and try to plan out similar
work, much of which was quite unambitious and simple, both in design and
execution. "Slack," a slightly twisted wool, worsted and crewel are
usually the forms of work used; of these slack wool is the pleasantest
for large work, worsted being too harsh; crewel is very fine and much
twisted,[1] often met with in old work of a fine kind. The advantage of
wool over silk in cost is obvious, and renders it suitable for the
commoner uses of life, where lavishness would be out of place.



[1] Crewel, crull, curly:--

"His locks were crull as they were laid in press,"

says Chaucer of the Squire in The Canterbury Tales.

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