A.D. 500 or 600
Part of a Medallion of a Tunic. From Ancient Tombs in Upper Egypt.
V. & A. Museum, S. Kensington (No. 124—1891).
In the last chapter, when speaking of appliqué, I had occasion to mention how well it lends itself to representation of the human form, to be worked on a fairly large scale. I consider it eminently suitable for this because of the slight amount of stitchery required to produce the desired effect, the features being merely outlined, with the exception perhaps of the eyes and lips, which might be worked solid.
Large masses of drapery, &c., are tedious to work and may very well be represented by a piece of beautiful woven material; while the features and limbs, if well-drawn to start with, may be outlined accurately by skilful fingers without calling for a greater knowledge of anatomy or artistic expression than the average embroidress may be expected to possess.
But now we have come to figure-work as a special branch of Church embroidery. My own opinion may be briefly stated that only those who can draw correctly ought to attempt it, because, of all methods of representation, needlework is one of the least direct, and therefore one of the most difficult.
It is possible, perhaps, to get a fairly satisfactory figure worked by a person who cannot draw, if the principal lines and shading are distinctly marked out on the material to be worked, as well as a fully coloured drawing provided by the designer. But stitching is not, so to speak, a natural medium for expressing ideas, and the slightest deviation from what is intended by the artist may result in something entirely different in character—approaching, possibly, very near the grotesque on the one hand, or frivolity on the other. And as we seem in these days of general but superficial education of the masses, to have almost lost the feeling of reverence for religious effigies, looked upon as symbols only, irrespective of any æsthetic properties they may or may not possess, it is more than ever necessary to do the best things in the best way we know of. This is why I would strongly urge all who wish to enrich their embroideries with the human figure to practise drawing first. I would further suggest that the drawing should be chiefly from the antique, and the study altogether more with regard to typical than individual forms, as this training is not for the painting of ‘pictures,’ but for the sake of knowing what are the elements of human beauty and how they ought to be applied or modified. Neither am I including the study of design, which, as I have before remarked, is a study in itself. I am suggesting only such a practice of drawing as shall enable the needlewoman to know what is required of her in following out the idea and intention of her design, and to be able to carry out the same intelligently; she will not then place an eye on the cheek-bone or an ear on the jaw, or allow the fold of a garment to suggest a dislocated limb.
It is taken for granted that the embroidress is already quite dexterous and proficient in the use of the finest floss-silks and has had a good deal of practice in the usual stitches. Her mind should be unencumbered with any thought of technique, and the hand should respond without effort.
There is no new stitch to learn for this work, but there are several ways of employing the old ones.
Each method being usually associated with some distinct style or date, it is well to be conversant with the various standards, and then the worker is able to choose that which appeals to her most, or which seems the right one for any special requirement.