OF NEEDLEWORK

New Zealand Times, Volume XXXII, Issue 7292, 23 November 1910, Page 11

OF NEEDLEWORK

The needlework of the moment is at once so varied ami so exquisite in its choice of material that an anneal is made to every taste. The lover of colour, exquisite colour, iu which to create harmonies and contrasts may realise her fairest ideal, in silken embroideries or ribbon work. The white worker has her choice of Jiroderie Anqlaise and satin stitch with which to beautify her outer and inner garments, as well as her household linen. Indeed, personally, I really think—labour, expense, and result considered—it is much wiser to expend I

one’s dainty embroideries on our xinderlinen than our house linen. The cheapness o£ machine-made goods and the influx of Indian and foreign lace and embroideries from the various missionary depots have so reduced th® price of all the long list of latter-day needs that one may as well buy them. Except, of course, the few special pieces of work which it is a joy to possess for special occasions. Otherwise it seenn to me that one gains more by working the yokes and sleeves of . nightdresses, camisoles, etc., in Broderic Anglaise'and satin stitch in a good design than byexpending efforts on the d oylcys and traycloths which spend their troubled life in being recklessly soiled and as recklessly cleansed !■ The latest and cheapest form of the ready-made class in this direction is a certain imitation of Irish crochet known as Plancn lace. It is distractingly cheap, rather effective, and the sight of it makes my heart ache with the realisation of all its cheap imitation will mean to the poor Irish crochet workers. Continuing, however, the subject of white work, crochet, in quite new and really beautiful patterns, remains as popular as over, and is, moreover, combined with tatting in a most effective manner. In this combination of the two, tatting and crochet, ‘'Gibson” and coatcollars, ‘'motifs” for trimming linen dresses and the most beautiful square yokes and deen cuffs for demi-ovening toilette can be* made. Of course, one great advantage with tatting is that it forms wonderfully handsome decorations for or house gowns if carried out in coarse knitting silk. I have seen a most inexpensive delaine or voile blouse converted* into a thoroughly stylish little garment by the addition of “motifs” of coarse white silk tatting. Either of the two designs given today would, prove a charming Christmas gift; one- cannot have too many cushions. No. 10.209 has emerged from mere protiincss by the slight, conventionalising of the design, which renders it thoroughly artistic. The original directions claim that it was particularly pleasing developed on pale moss-green moire. The stems were outlined in a deep leaf-green, while the leaves were in two shades of green. The petals of daisy wore in Kensington stitch, white on the outer edges, with the slightest, touch of pale nile toward the centre of the daisy. The centre of the daisy was composed of a cluster of French knots in a bright shade of yellow. To make a French knot, bring the thread through to the right side, and holding it down on the material with the left thumb wind the thread around the point three or four times. Holding the left thumb on these coils, turn the needle so that the point goes into the materia] almost at the same hole through which it camo originally. Another pillow design, suitable for drawing-room or den, is No. 10,213. It was developed on a pale green mummy cloth. The three large conventional figures were worked in four shades of blue. In the left-hand figure the two outer twirls were ui darkest blue. The .

third was in a combination of the third shade* uiul second shade of blue, while the remaining few were in the first and. second shade. The crescents and dots were in three shades of brown and one shade of bright green. The bars were satin-stitched in two shades of h r own. The little squares at the end of the centre pendant were in maize yellow. 11l the largo centre motif a great deal more deep blue was used. The right-hand figure was shaded very much like the first. Filo silk was used, though lustre can bo substituted when expense has to be considered.

Charming as the bold conventional designs in solid satin stitch which are the fashion of the moment undoubtedly are I cannot help regretting a style which passed only tco quickly some years ago« That was the use of the black silk cord or couching which defined outlines in self-coloured embroideries. This style was eminently adapted to showing up the simple fine curves of a really good design, and was most useful in picking out the salient points in an involved pattern. It was no doubt due to the revival of many old needlework designs as undertaken hv the South Kensington and other Schools of Art. In manv of the most beautiful examples of ancient embroideries black is employed sparingly and with excellent effect. Sometimes (lie whole work was carried out in black and white, as, lor example, black crossstitch on white linen.

In Paulson Townsend’s fascinating book on ‘‘Embroidery” mention is made of a pair of linen pillow-shams worked thus and shown in the South Kensington Museum. They came from the Abruzzi, and arc entirely worked

■with cross-stitch in black silk on "fair white linen." An illustration of one worked in black worsted in a design of alternate stripes running the short way of the pillow gives a wonderful effect. This example comes from Trieste, where such pillow-cases were at one time in general use in the peasants' cottages. My book, however, gives no date for the work. How prodigal those old-time folk were of their labour! No mere embroidered corners with centred monogram—no , meagre border to fulfil the letter and evade the spirit of hand-embroidered " —no, the whole fabric of these wonderful old pillow-cases is involved in the labour that was evidently Jove, and. maybe, prayer. A wonderful example of this is shown in the illustration of a "linen pillowcase embroidered in black silk with vine leaves and fruit." This is English work of the sixteenth century, and is the property of the Viscountess Falkland. The design is an all-over one, the masses being very evenly distributed. The stitches used are button-hole, square chain, very closely worked, outline, ordinary chain, anil a variety of filling-in pattern-stitches which diaper the ground of tiic leaves. , This is an instance of how frequently in a design which is worked in one or two colours a variety of fancy stitches are. and can well be introduced, ■without spoiling the unity of effect. On th© other hand, if a large assortment of colours arc employed it is better to us© only a few stitches in order to ensure harmony. And here I should like fo say a few words on the subject of design and variety of stitches in our own needlework. Time and space, however, necessitate leaving that for another of our ’Wednesday needlework talks. —ZEALANDIA.

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