The best of these pictures were worked in fine floss silk, not quite like the floss silk of to-day, as it had more twist and body in it, with just a little fine chenille, and very tiny bits of silver thread to heighten the effect. The worst were worked in crewel wools of crude colours. Fortunately, the moth has a special predilection for these pictures, and they are slowly being eaten out of existence, in spite of being cherished as heirlooms and works of art.
Another pretty style which we seldom meet with was some part of the picture covered with the almost obsolete "ærophane," a kind of chiffon or crape which was much in request even up to fifty years ago. A certain part of the draperies was worked on the silk ground, without any attempt at finish. This was covered with ærophane, and outlined so as to attach it to the figure. This again was worked upon with very happy effects, very fine darning stitches making the requisite depth of shading. The illustration shows the use of this, but this cannot be said to be a very good specimen.
These painted face, silk-worked pictures are the only needlework examples the collector need to beware of, as they are being reproduced by the score. The method of working in the poorer specimens is very simple, and it pays the "faker" to sell for £2 or £3 what takes, perhaps, only half a day to produce. When a well-executed picture is produced it is worth money, but so far I have seen none, except at the Royal School of Needlework, where the copying of old pictures of the period is exceedingly well done, and not intended to deceive. The prices, however, are almost prohibitive, as no modern needlework picture is worth from £15 to £30. They are, after all, only copies, and in no sense of the word works of art.
During the eighteenth century, also, a fashion set in of adorning engravings with pieces of cloth, silk, and tinsel. At best it was a stupid fancy, and was responsible for the destruction of many fine old mezzotints and coloured prints. The hands, face, and background of an engraving were cut out, and pasted on a sheet of cardboard, pieces of some favourite brocaded gown, perhaps, were attached to the neck and shoulders, tiny lace tuckers were inserted, and gorgeous jewellery was simulated by wretched bits of tinsel trimming. The realism of the Stuart stump picture was never so atrocious as this baleful invention, which was as meretricious as a waxwork show.
Not so popular, but far better, were the pictures worked on white silk with black silk and hair. There were no artistic aspirations about these—they were copies in black and white of the engravings of the day, just as a pen-and-ink or pencil copy might be made. Very dainty stitchery was put in them, the stronger parts of the lines being in fine black silk, the finer and more distant being worked in human hair of various shades from black to brown. Occasionally golden and even white hair is used, and the effect is often that of a faded engraving. The silk ground on which these little pictures were worked is, however, often cracked with age, and many pretty specimens are ruined. The illustration shows an example of the type of picture, and depicts "Charlotte weeping over the Tomb of Werther."
