NEEDLEWORK.

Hawera Star, Volume XLVIII, 21 February 1925, Page 14

NEEDLEWORK.

STUDY AT THE ROYAL SCHOOL. If you happen to be in Exhibi-tion-road London, S.W ~ at a few minutes to 10 any week day, you willl see two broad streams of ardent young people of many nationalities, one coming from the South Kensington underground station, and the other from the direction of Hyde Park and Kensington Gardens. As these streams near the Imperial Institute-road they break up into numerous tributaries, which go towards many different public buildings in the vicinity—the University of London, the Royal College of Art, the College of Organists, Royal College of Music, the School of Mines and Engineering, Technical College, and Royal School of Needlework. It is in the last-named that I am interested, as for a year I was fortunate enough to enter’ this building every day through the little green door marked “Students Only” (writes Monica Moor* in the Sydney Morning Herald). The school’ was formed in 1872 by H.R.H Pri nc-ess Christian, but the fine building which now houses it was not opened till 1903. It is refreshing in these days, when so much is sacrificed to speed and cheapness, to find a school where the old ideals of apprenticeship—faithful teaching and work true in every detail —hold sway. The school is under Royal patronage, and the Queen is a frequent visitor. Far more to be dreaded are the visits of the London County Council inspectors. It seems odd in this year of grace, 1924, to have men to examine women’s sewing, but the work done at the evening classes, is inspected by them. They criticise the stitchery, colouring, and design with no regard for the feelings of the poor student who sits at her frame with downcast mien. At flic end of their inspection, however, they invariably express their satisfaction of tlie high standard of work which is maintained. The majority of the students take the three years’ course, at the end of which, if their work, is up to standard and they have gained a first-class pass in the plain needlework examination and the London City Guild’s certificate for drawing, they are granted a teaching diploma. For the first three months the student works in wool. All the work is done on a frame which is supported on adjustable trestles. The school rooms are verywell lighted, but it is often so dark in the winter in London that electric light has to be used all day. The lamps are arranged in such a way as to prevent eye strain. The first - sampler consists of a large conventional design worked on twilled linen it is-done in laid stitch, i.e., large stitches which lie mostly on the surface, and which are kept in place by auxiliary stitches crossing them at right angles. By the time this is finished the student, is fairly used to working with both hands; one is always kept above the frame and the other below—-a method which saves time,and eliminates muscular strain. A thimble is worn on each hand. Designs are traced on firm paper and pricked, then rubbed with a mixture of powdered charcoal and cuttlefish. The line thus obtained is gone over with oil paint or water-colour, according to the material. The next sampler goes by the name of “stitches.” Part of it is done on a frame, but most- of it is done in the hand. Examples of the chief stitches and their derivatives are worked. The designer takes care to introduce the maximum number of curves to harass the poor student. The stitches are taught by the most modern method, i.e., a short description of each is dictated, and a driving of each is made on a board, whence it is copied into a notebook; from these data the stitch has to be worked on to the samplerthus the eye and the mind are both trained. . .

The samplers in woo] include one which teaches the direction of stitches and shading necessary in reproducing natural fruit and flower forms, and one which deals with their conventional expressions. After working this wool for so long, the student is delighted to get on to her first silk sampler —a large design of flowe'rs and birds worked>in laid stitches in beautiful pastel shades of floss and floselle. Next comes white work, which is perhaps the most difficult of all. This has four different borders in drawn thread, two of which are in filet designs, a hemstitched border and n design carried out in satin stitch, Oriental and lace stitches. The design is drawn by the student, and may be original or an adaptation of one of the many exquisite pieces of work in the Victoria and Albert and Indian Museums.

The church work sampler which follows is made up of about fifteen units —a cross, Fleur delis, pomegranate, and a cross must appear on each, but the student is allowed to choose the other. The Agnes Dei, the chalice, the emblems of all the different saints and of the Passion, and the sacred flowers, the lily, the passion, and the grape, are worked in gold.and silver and lovely silks. Next comes an applique figure about 23 inches in length, suitable for a banner or screen. The student chooses her own subject. Burne Jones and Rossetti figures are very popular, as the simplicity of the drapery makes them suitable for applique, and there is plenty of scope for variety of colour" A sampler which takes a long time to complete is the silk shading. A vase or a basket of flowers is worked as'true to nature as possible, and the student finds she needs not only skilled hand and eye for colour, but a knowledge of drawing and botany. A second piece of white work is then done, this time on the finest cambric. Net is often inserted, and embroidered. Then follows a figure worked in long and short stitch, a saint is usually chosen, often one figure is taken from a famous sacred painting. This sampler requires the greatest care and patience, as one false stitch, especially in the face, will marr it. The student completes her course hv executing a design of her own in whatever medium she prefers. In addition to the embroidery, a most exhaustive colour in plain needlework has to be taken. For an examination The sludent has to make two garments —one of woollen material, by hand, and another b> maeliine —do numerous patches, darns, and gussets. At the practical examination .she has to draft patterns and rut out, and make on a set garment, or a' portion of one. The theoretical .paper may contain [Uestions dealing with, sewing machines, prices of materials, kinds of I rimming, uses to wlurli old garments may be put, etc. An examination in freehand drawilia; must he passed, in addition to which the student lias t<> attend two design classes a week, and must submit a certain number of original designs, designs copied from work ni various periods, and a heraldic design. Lectures are given on the histoty of needlework, and examples of the best work of each period and of each country are studied. Each student must spend three months learning to repair, [gist year a valuable old carpet and a lovely'Chinese, bedspread were skilfully mondetl. Various devices are resorted to to make the material used look old. The simplest being to lick the finger and rub your wool or silk with it.