The handkerchief sachet at [Fig. 2] is worked in brown, green, pink and light and dark blue. There is no couching here, but the chenille is used to make actual outline and satin stitches according to the necessities of the pattern. The velvet-like surface of the chenille is quite satisfactory, and the colour and substance of the canvas are repeated, or at least suggested, in the lace edging of the sachet. This is in reality crochet, worked with cream-coloured cotton of a rather coarse size.
Setting aside now such materials as felt and canvas, we come next to consider the suitability of chenille on richer backgrounds; silk, velvet, and so on. Here the finer qualities especially are to be seen to full advantage. One of the newest forms of the work has been introduced by Mrs. Brackett of 95, New Bond Street, W., and is remarkable as including imitations of ancient Roman coins. These are of various sizes and designs and found in two colours; gold and “vert-de-gris,” the latter suggesting the effect of centuries of ill usage. These “coins” are of course thin and light, and pierced with holes at the edges so as to be easily sewn to the background.
The designs of which they form a part are more or less in character with them and often suggest antique metal-work. For instance, [Fig. 3] shows a specimen of such Roman embroidery where the pattern bears a certain resemblance to a heavy hinge, the effect being lightened with a coiled spray of highly conventional foliage.
Attention is always paid to the colouring of this work. The foundation material is heavy cream-coloured, or rather dark ivory moire, shot with gold, and on this all the outlines of the pattern are followed with gilt tinsel varying from a fine cord to the most delicate passing. The main portions of the pattern are further emphasised within this boundary, with fine silk chenille of several shades of dull olive green sewn down with invisible stitches of filoselle or horse-tail. French knots in tinsel (passing) and in shades of green embroidery silk are employed as fillings, the silks being carefully chosen to assort with the tints of the chenilles. All the scroll-work is worked with the passing, the leaves being outlined with the green silks.
The subject chosen for illustration here is a cover for a blotter, which being raised displays the pad, while at the back of the embroidery, which is stiffened with stout cardboard, are pockets of pink and grey-green silk to hold letters, or paper and envelopes. The work is finally finished off with a border of dull gold cord.
Similar designs appear on various other articles. Blotters and book-covers form an appropriate background, and so also do small caskets with slightly domed tops.
The reticule at [Fig. 4] is made on quite a different principle throughout. The front and back are formed of shield-shaped panels of wood or strong card, covered with chenille embroidery and with brocade respectively. The front section only concerns us here. The fabric chosen is dark blue velvet, and on this is worked in tones of brighter blue a very conventional flower. Long and short stitch is used for the shading, the stitches being made, of course, with a large-eyed needle threaded with chenille. The colouring is darkest in the centre, round a pink circle, from which start three “stamens” of brown chenille edged with fine tinsel. Some of the same Japanese tinsel is used for veining the flower, and a few gilt sequins are introduced to give a little additional brightness. The stem is of green chenille.
To make up the reticule, the panel covered with embroidery as well as the opposite one of pale terra cotta, blue and gold brocade were lined with thin silk of a dull, brownish terra-cotta colour. A two-inch wide band of some of the same silk was sewn round the curves (but not along the tops) of both sections, thus forming the frame-work of the bag by hinging the two parts of it together. A similar band of some of the same silk was laid over the first one and gathered along both edges that it might set rather fully. Above the shields a strip nearly as high as they (four to five inches) of some of the same silk, was sewn on. This was made of double material, that it might not be too limp, and two lines of stitches two inches from the top formed a running for the blue suspension cords. These were finished off with a cluster of shaded-blue baby ribbons. Lastly an edging of gilt gimp edged the shields and concealed their junction to the silk beyond.
The three principal colours used, terra cotta, blue and gilt, proved more successful than a medley of many carelessly chosen tints such as an amateur embroideress is but too apt to display.
It cannot be too often repeated that materials to be used together should be first arranged and selected together, not merely worked up because each in itself is bright or pleasing.