Church Needlework: A manual of practical instruction

by Hinda M. Hands

There is practically no limit to the number of shades available in the present day, and without a cultivated ‘colour-sense’ an embroiderer can run riot among an embarras de richesse with most disastrous results!

A good colour-scheme is even more necessary in embroidery design than in any other (except, perhaps, stained glass) because of the brilliance of its possibilities—at once its highest merit and its greatest danger.

The colour-scheme, then, being an essential part of the design, must be decided upon in accordance with it; and the actual materials with which the work is to be carried out should be chosen all at the same time if possible.

It is necessary for the designer of Church needlework to have a very clear idea of the capabilities and the limitations both of the methods and the materials by which the design is to be completed as a work of art, and also a fair knowledge of the traditions of ecclesiastical art from early times up to the present day.

It is equally necessary for the embroiderer to be able to enter into the ideas and intentions of the designer. It adds considerably to the interest of the work when it is carried out by the person who designed it, but I must protest against the notion gaining ground largely in certain educational circles, that the embroiderer ought to design her own work. There are very many women capable of executing perfect stitchery and of entering into the highest ideals of beauty and devotion who are not fitted by nature or training to artistic design. The designer for ecclesiastical art may be compared to the composer of sacred oratorios—he needs the co-operation of many minds, hearts, and hands to perfect the realisation of his idea, and the many count it a joy to be led by him. The more entire the sympathy throughout, the more perfect will be the result. And they will consider their time and labour well-spent in practising for this. Even so the embroiderer with patient stitches will endeavour to express the ideal set before her by a master of the craft and will meet with a like reward. This is the utmost that the majority of us can hope to attain, and I cannot insist too strongly upon the statement that it is better to work from the designs of good artists, and to do again and again what has been proved excellent, than to attempt an originality which may be attractive only by its novelty.

Whether the worker be her own designer or not, too much care and attention can hardly be bestowed on the choice and arrangement of the design. The principal requirements to be fulfilled are Beauty, Fitness, and Practicability.

Beauty comes first as it is simply the raison d’être of embroidery. If decoration does not really add to the artistic value of the thing it is applied to, it is worse than useless as it destroys a certain real kind of beauty which exists in simplicity.

Fitness comes next, as it almost amounts to an axiom that without fitness a thing which is beautiful in one place may be quite ridiculous or improper in another.

And Practicability is essential because it is in vain to draw a beautiful design which cannot be carried out by the needle and thread. In embroidery the finished work ought always to be more, not less, beautiful than the coloured drawing.

Then there is the position it is to occupy—the style of architecture, method of lighting and amount of light, size of the church, &c. A large church and a dark chancel, for instance, require bolder design and brighter colour than would be suitable for a small church or one so lighted that every detail is evident at a glance.