The banner is laid face downward on the table and the interlining (previously cut exactly to right size and shape) tacked down to it through the centre and near the edges. The dotted lines show how the material of the banner is to be cut to make the turnings lie flat. It is then to be laid face upwards and all the edges turned and tacked closely over the interlining. The outer lining may then be laid upon it, the corners cut and the edges turned, making it about one-eighth inch smaller than the other; the two are then placed together, tacked once more and then firmly sewn all round. If the fringe has an ornamental heading it should be put on last of all, but if not it should be inserted and firmly stitched in place before the outer lining is sewn down. All the edges may be evenly pressed with a warm iron after the tacking-threads are removed.
Next to the plain rectangular shape, the single point at the bottom is the easiest to make up. Proportion in size and shape is the great thing to aim at. A square and a half is a fair one for a rectangle. Variations should be rather in favour of additional length than additional width, but no exact rule can be given, as so much depends on the design.
It should be borne in mind that lines going parallel with the long side tend to lengthen, and parallel with the short side to shorten, the apparent size of any figure.
A banner should not be too large and heavy, in consideration for the person who has to carry it, neither should it be too small, or it will look poor and insignificant, however good both material and workmanship may be. If possible it should be worked on both sides, as the expanse of lining which is displayed when it is in use is not very interesting to look upon, and is in evidence for quite as long a time as the front during a procession. Vasari says that Botticelli invented the method of work I have described as Inlay for the use of church banners, considering it more effective than any other kind of work and having the advantage of being equally visible on both sides of the banner. Botticelli drew beautiful designs for needlework of this kind, but it had been actually in use for other purposes many centuries before.
Pall, belonging to the Saddlers’ Company
Some of the finest specimens of early English Church embroidery which have survived to our time are to be seen in the funeral PALLS or herse-cloths belonging to the old guilds and companies. It seems to me that it would be a good thing if each parish church had now such a decent and seemly covering for her departed as was customary in earlier days.
The pall is still used at the burial of great persons. Those of us who were present at the funeral of Queen Victoria will not have forgotten the beautiful one worked for that occasion by the ladies of the Royal School of Art Needlework.
The terrible masses of black velvet, &c., used in the last century seem to have left a sense of recoil in the minds of many against the use of the pall altogether, but if it were once realised that black is altogether unnecessary (white or red or blue and gold being quite as often used in former times in the English Church) I think that the idea would be generally approved of having one beautiful covering for the use of rich and poor alike.