M WITH ILLUSTRATIONS BY THE AUTHOR for richer effects only obtainable through ODERN methods and tastes are so largely in accordance with the Gothic periods, that no more fertile source of inspiration can be found for art-work of any kind than in the ancient handicrafts of the Tudor times. The rich designs found in old manuscript illuminations, in stained glass, in wall decorations both painted and carved, are so elemental in principle that they may be adapted and elaborated for use in any kind of handiwork. Not long ago I noticed how near the modern embroidery, particularly that of the eyelet variety, came to the ancient Tudor cutwork. There is, however, a lack in the modern work, a shortcoming, when compared with Eliz abethan embroidered A Lily Design for a Waist Front, Collar, and Cuffs. frocks. I observed, as is the case so often with our workers, that we had failed to recognize the decorative force of individual stitches, and had endeavored to make up by elaborate design the richness the older work attained by greater discrimination in the choice and placing of the various "points." Much of the charm of medieval work lies in rich coloring daringly applied. The present fashion, of course, authorizes pure white as the best taste, but this fashion is bound, in time, to pass, if it be not passing already, or, at least, to exist side by side with demands ground, over a rich green underlay. would have the richness of the costumes seen in Abbey's paintings. In his series of costume studies entitled "Irish Queens" I noticed a deep blue kirtle bordered with a band of russet in cutwork, letting the blue show through. In the Metropolitan Museum there are several examples of rich eyelet embroidery upon "hempen stuffe." Our modern linens and canvases are peculiarly adapted to eyelet-work. The soft French cottons in delightful colors make excellent threads for this; and if the imported skeins are used they will be found to wash without fading. Pretty business waists or blouses to go with walking and street suits may be made of écru, sage-green, or russet-brown canvas, trimmed with bands or medallions of cream canvas embroidered in eyelet - stitch with French cotton in the Gobelin or Arras colors, or the warm reds and peacock blues of the medieval period. or leaf surfaces. It is an old French rule, and a good one, that stuffing should be done with the same thread as overlaying, and in Colored embroidery presents less difficult the opposite direction. Should shrinkage oc cur, or the overlaying part a little in laundering, no discrepancies will then show. In stuffing always use an even rope-stitch of the Kensington variety, putting the needle through both sides of the material at once, and laying thick ropes lengthwise of the figure. In covering do the very opposite, laying the stitches the narrowest way possible and putting the needle through and through, using both hands. This method sounds difficult, but those who have accustomed themselves to it know that they can produce exquisite curves, clean edges, and perfect covering. There is no comparison between work done this way and that done by passing the needle under the stuffing and out again in a single stitch. A fixed embroidery-frame is almost necessary in doing through-and-through work. A Grape Design for Collar and Cuffs. technique than pierced white-work, owing to the softer thread used and the coarser designs chosen for it. There are a few rules, however, applicable to both, which have been perpetuated by such exquisite workers as the sisters of the Belgian convents, the peasants of France and Bulgaria, and the shepherd wives of the Tyrol. Probably these rules are as old as the stitches themselves, of which there are three kinds-the eyelet, round and narrow, both vesica and oval; the solid stuffed-work; filling stitches. Eyelets give most character to the completed piece, and therefore should be used with utmost care. They should never be placed where the design suggests solidity, but rather between the parts of a design. For example, the hard, bulb-shaped calyx tube of a rosebud should never be represented by an eyelet, nor the calyx leaves. An oval or vesica eyelet may give a pretty touch to the completed bud by inserting it at the top, where it will suggest the opening of the petals. Filling stitches of a lace variety are to be avoided in work of the best taste. There are two kinds of dots possible, seed-stitch and French knots. Of these the first kind, made of two tiny stitches placed side by side and not covered, is valuable for wide spaces to The Grape Pattern for the Front of a Blouse. Solid stuffed-work should never be forced to occupy broad spaces. Its descriptive character is that of a ridge. Narrow leaves, veins, stems, turned-over edges, small calyx cups, may all be done in this stitch to advantage. It should never be employed for broad petal be differentiated from others, one-half a rose- separate dots. They should be tightly wound and grouped in a close furry mass. They launder badly, wear loose or completely off in time, and are only of use when forming a centre surrounded by an outline or stuffed-work. Very Very rarely fine bars may be used as a filling stitch. They should be stuffed and covered as stems or outlines. And now a word as to the patterns suitable for Tudor embroidery. They should, first of all, bear the stiff, conventional character of Gothic designs. Secondly, they should be made from units used in that period. The accompanying illustrations are from the Tudor rose, grape, and lily. The acanthus, blackberry, and maple might be similarly used, and even possibly the oak. A little ingenuity, and recourse to a library containing books on art and architecture, will give the The first design is of lilies, conventionalized, and will make a very attractive pattern for the front, collar, and cuffs of a heavy A Wild Rose Design for a Blouse. hand-worker the satisfaction of knowing that her products are based upon beautiful themes, and executed in a manner upon which four centuries have made no improvement. The Collar and Cuffs of the Rose Pattern linen shirt-waist for spring and summer use. The work should be done with a linen or mercerized cotton floss, rather heavy. The outlines should be worked in a rope stitch and worked over and over in solid embroidery. The stems may be stuffed with a simple outline or back stitch, and the eyelets should be worked in the usual way. This Tudor embroidery is peculiarly adaptable to the adornment of gowns. The heavy effect of the raised outlines is very rich, and the generous use of the eyelets makes the finished work most effective, particularly when used over a color. It may be carried out in all white on linen with exceedingly good results also. In each of the designs here illustrated there is a pattern for the front of the waist, for the collar, and for the cuff. This cuff or plain band design may be applied to the decoration of the skirt as well, and may be stamped and embroidered on a belt also if desired. The grape design is another effective one for use on white linen. The bunches of grapes made of eyelet-work are striking. The pattern, besides the collar and cuff designs, has a wide band finished with a twisted vine, which it is planned to use as a trimming down the front of the waist. Either one, two, or three rows of this design may be used, with plain surfaces between or tucks. Two rows with a group of tucks extending only a little way down between providing fulness is a good way to use this pattern. The third and last design is one of roses, carried out in the same style as the others. The patterns, perforated, to be stamped by rubbing a little powder over the perforated lines with a pad of muslin or felt, are for sale by HARPER'S BAZAR at fifty cents each. |