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Updated: May 11, 2025
In fact, there are indications that this is the work more of a painter than of an embroidress, who would have acknowledged by her stitches the feathering of the birds' necks as well as their roundness. That is not a triumph of even stitching; but it is a triumph of drawing with the needle.
Anyway, the mixture of painting and embroidery is not to be endured; and it is a poor-spirited embroidress who will thus confess her weakness and call on painting to help her out. It does not even do that, it fails absolutely to produce the desired effect. The painting quarrels with the stitching, and there is after all no semblance of that unity which is the very essence of picture.
But, though the pattern be a veritable flower garden, the embroidress will not forget, to use the happy phrase of William Morris, that she is gardening with silks and gold threads. Let the needleworker study the work of the needle in preference to that of the brush; let her aim at what stuff and threads will give her, and give more readily than would something else.
A survey of the stitches is the necessary preliminary, either to the design or to the execution of needlework. How else suit the design to the stitch, the stitch to the design? In order to do the one the artist must be quite at home among the stitches; in order to do the other the embroidress must have sympathy enough with a design to choose the stitch or stitches which will best render it.
Raised work in white upon white is often used for purposes which make it inevitable that sooner or later the work will be washed. That is a consideration which the embroidress must not leave out of account. In any case, work over stitchery is more durable than over loose padding such as cotton wool.
The study of design forms part of the education of an embroidress, not so much that she may design what she works, but that she may know in the first place what good design is, and, in the second, be equal to the ever-recurring occasion when a design has to be modified or adapted.
When this central core of wire is withdrawn, you have a long hollow tube of spirally twisted wire. This the embroidress cuts into short lengths as required, and sews on to the silk as she would a long bead or bugle.
Unless the colour scheme should necessitate an outline, an embroidress, sure of her skill, will often prefer not to outline her work, and to get even the drawing lines within the pattern, by VOIDING. She will leave, that is to say, a line of ground-stuff clear between the petals of her flowers, or what not; which line, by the way, should be narrower than it is meant to appear, as it looks always broader than it is.
The embroidress is free, of course, to work her stitches in a direction which does not express form at all, so as to give a flat tint, in which is no hint of modelling; but the intention is here quite obviously naturalistic. The rendering below shows the direction the stitches should have taken. There, every stitch helps to explain the feathering.
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