DETAIL of above coverlet.
The commercial development of embroidery in this country has been in the direction of embroidery upon linen, and in this line each and every society of decorative art has been a center of valuable teaching. At the Columbian Exposition, to which all prominent societies contributed, the perfection of design, color and method, the general level of excellence, was on the highest possible plane. In its line nothing could be better, and it was encouraging to see that it was not amateur work, not a thing to be taken up and laid down according to moods and circumstances, but an educated profession or occupation for women, the acquirement of a knowledge which might develop indefinitely.
Of course the trend of the decorative needlework was almost entirely in the direction of stitchery pure and simple, devoted to table linen and luxurious household uses, and this grew to a point of absolute perfection. Table-centers and doilies embroidered in colors on pure white linen reached a point of beauty which was amazing. When I saw, at the World's Columbian Exposition, the napery of the world, wrought by all races of women, I was delighted to see that the line of linen embroidery which was the direction of the common effort did not in the least surpass the work sent by the Decorative Art societies of most of our American cities.
CHAPTER VII
AMERICAN TAPESTRY
The Society of Decorative Art, has proved itself a means for the accomplishment of the two ends for which it was founded—namely, the fostering and incitement of good taste in needlework and artistic production, and the encouragement of talent in women, as well as providing a means of remunerative employment for their gifts in this direction.
While the success of this Society was a source of great satisfaction to me, I had in my mind larger ambitions, which, by its very philanthropic purposes, could not be satisfied, ambitions toward a truly great American effort in a lasting direction.
I therefore allied myself with a newly formed group of men, all well-known in their own lines of art, Louis Tiffany, famed for his Stained Glass, Mr. Coleman for color decoration and the use of textiles, and Mr. De Forest for carved and ornamental woodwork. My interests lay in the direction and execution of embroideries. I can speak authoritatively as to the effect upon it of the other arts, and I can hardly imagine better conditions for its development. The kindred arts of weaving and embroidery were carried on with those of stained glass, mural painting, illustration, and the other expressions of art peculiar to the different members. The association of different forms of art stimulated and developed and was the means of producing very important examples both in embroidery, needle-woven tapestries and loom weaving.
As I was the woman member of this association of artists, it rested with me to adapt the feminine art, which was a part of its activities, to the requirements of the association. This was no small task. It meant the fitting of any and every textile used in the furnishing of a house to its use and place, whether it might be curtains, portieres, or wall coverings. I drew designs which would give my draperies a framing which carried out the woodwork, and served as backgrounds for the desired wreaths and garlands of embroidered flowers. I learned many valuable lessons of adaptation for the beautiful embroideries we produced. The net holding roses was a triumph of picturesque stitchery, and most acceptable as placed in the house of the man whose fortunes depended upon fish, and many another of like character.