Corticelli Home Needlework, 1898: A Manual of Art, Embroidery and Knitting

by Unknown

By L. Barton Wilson.

The stitches used in modern embroidery are not productions of this age. They belong to the art of to-day through adaptation. They have a value because of their antiquity far above any value which new inventions in this line could possess. Their application has been tried without limit and the extent of expression and delineation through them is well known. The science of embroidery is established; its methods are perfected. The art is rich in its heritage.

With the revival of needlework has naturally come a demand for silks of such quality and durability as that possessed by the wonderful threads of centuries ago, which are found in a perfect state of preservation in many examples of old embroidery, and which seem even to grow more mellow and beautiful in color with age. What modern science has done to meet this demand is shown by the brilliancy and beauty of shading, and fastness of color, which such silks as the "Corticelli" are known to possess. This ought to be among the chief inspirations to best efforts in this line of decorative art.

The form of embroidery which is most truly artistic, and at the same time scientific, is that known as "Opus Plumarium"[3] or "Feather Stitch." (The so-called "seamstress feather stitch" should not be confounded with this.) The exceedingly beautiful 16th century examples of the embroidery still in existence prove what is its durability and how adequate the method. The "long and short" stitch, which is the constituent of the work, is widely used on linens. When this stitch is correctly laid the effect is very beautiful, and, like all primary things, its beauty lies in its simplicity and perfect adaptability. It is proposed to describe and illustrate the long and short stitch first, in order that in the light of a clear understanding of this first principle, the opus plumarium (which is considered the most difficult embroidery, but which is really an advanced use of this simple element) may become less formidable to amateurs.

Feather stitch should never be attempted on an unframed fabric. A certain degree of excellence may be attained in embroidery by working such fabrics as linen in the hand, but perfect stitch direction and proper tension cannot be secured unless the fabric is stretched.

Embroidery stitches hold a certain definite relation to each other and may therefore be classified into groups. A glance at the classification will give one a clear idea of the fundamental principles of the Art. A little study of it will furnish the key to the forms and styles of the embroideries of the different centuries and countries and so enable one fully to appreciate collections of antiques which are invaluable to the learner.

Classification of Embroidery Stitches.

I. Long and Short Stitches.		a. Simple Long and Short Stitch.
		b. Feather Stitch.
		c. Overlap Stitch.
		d. Tapestry Stitch.
II. Satin Stitches.		a. Simple Satin Stitch.
		b. French Laid Work.
III. Couching Stitches.		a. Simple Couching Stitch.
		b. Twisted Stitch.
		c. Brick Couching Stitch.
		d. Diaper Couching (Over Satin Stitch).
		e. Other Elaborate Couching Stitches.
IV. Outline Stitches.		a. Kensington Outline Stitch.
		b. Bulgarian Stitch.
		c. Split Stitch.
		d. Stem Stitch.
		e. Twisted Outline Stitch.
V. Wound Stitches.		a. Simple French Knot.
		b. French Knot, combined with Stem.
		c. Bullion Stitch.
VI. Buttonhole Stitches.		a. Simple Buttonhole Stitch.
		b. Blanket Stitch.
		c. Honeycomb Stitch.
		d. Double Buttonhole Stitch.
		e. Ladder Stitch.
		f. Cat, Brier, or Seamstress Feather Stitch.
VII. Chain Stitches.		a. Common Chain Stitch.
		b. Rope Stitch.
		c. Single Reverse Chain Stitch.
		d. Double Reverse Chain Stitch.
		e. Double Chain Stitch.
		f. Cable Stitch.
		g. Beading Stitch.
		h. Bird's Eye Stitch.
VIII. Darning Stitches.		a. Simple Darning Stitch.
		b. Brick Darning Stitch.
		c. Seed Stitch.
		d. Queen Anne Stitch.
IX. Fancy Stitches.		a. Herringbone Stitch.
		b. Ismit Stitch.
		c. Janina Stitch.
		d. Border Stitch.

The above table will be found of great value to beginners, enabling them easily to master the scientific or theoretical as well as the practical part of this article.

"Long and short" stitch as commonly used on linens is a border work. That is, the forms of the design are not filled in entirely; the stitches are carried round the outline and such space as they do not cover within the form is allowed to remain in a low relief. This is known as "half work," sometimes as "half solid Kensington," while the solid "opus plumarium" is often called "Kensington." While it is true that the Kensington school revived this ancient embroidery it is doubtful if this is sufficient reason why it should give to it the name. The history of art will be better preserved if we adhere to the old terms. The effect of the contrasted surfaces, through the half work, of the ground material and the embroidery, is very pleasing, and such a method is more suitable on linen than solid embroidery. It is less conventional and therefore is in harmony with the fabric. On the other hand solid embroidery is rich in itself and should be used to decorate rich fabrics. This is not an invariable rule but its restrictions are reasonable. Such exceptions as these may be noted,—tiny forms such as the fronds of maiden hair fern may be made solid to advantage, and the Bulgarian embroidery, fully described elsewhere in this book, is heavy and complete. Conversely, good effects are sometimes obtained with heavy silks in half work on rich fabrics. The artistic principle involved in the "half work" is suggestiveness. If the design is good to start with, a great deal of spirit may be put into it by the simple border embroidery.