DESIGN FOR BANNER
One of the simplest, much in use in the olden times, was the Banner of St. George, the patron Saint of England. It is suitable to nearly every place and occasion, and consists of a red cross on a white ground, and is of a plain rectangular shape with a fringe or border all round.
The choir banner generally has as its chief ornament the figure of the patron saint, or the emblems of the dedication of the church, or the coat-of-arms of the parish or see, with the name of the church on the upper border. It may have orphreys down the sides, or be ‘parsemé’ with flowers, or the whole of it may be treated more or less pictorially (within a border) with an incident in the life of the saint.
The other banners in general use are those belonging to the different Church guilds and societies working in the parish, such as Temperance societies (a favourite device for this is St. George and the Dragon), Sunday schools, Missionary societies, ‘C.B.S.’ Embroiderers’ Guilds, &c. &c.
Appliqué work, as I have before observed, is admirably suitable for banners, whether the design consists of figures or emblematical devices. The material should be good of whatever kind, and strong, and the work firmly and closely done to stand wear and tear, especially if used in outdoor processions. But a painted banner is really more suited to our climate than a worked one. I do not mean an imitation of embroidery. Nothing could be in worse taste than the pretence of such a thing, but a good painting on canvas or any suitable material, in oils or tempera, which will not be greatly affected by sunshine, rain, or fog, would answer all the requirements of an outdoor processional banner far better than a more delicate embroidered one. After painting I recommend Inlay, and thirdly Appliqué in suitable materials for banners. These methods are described in Chapter VI. But of course for use in a building ordinary embroidery in gold and silks is not out of place where funds permit.
A plain rectangular banner is made up in the same manner as an altar-frontal. But a less simple shape is not quite so easy to finish off neatly. I therefore give a diagram showing how to arrange the making up of a more intricate form.
Tackings
The black lines shew the edge of Inter-lining. The dotted lines, where turnings are cut. The fine lines shew the tacking.