“Plain work” is that which is necessary. As soon as textiles are needed for covering and clothing, the means are invented for drawing the cut edges together, and for preventing the fraying where the material is lacerated by the shaping process. Hence the “seam,” the “hem,” and all the forms of stitches that bind and plait. These necessary stitches constitute plain needlework, and are closely followed by decorative stitches, which in gradation cover the space between plain needlework and embroidery.
Semper has given us his archæological theories for the origin of needlework and its stitches.
These are his arguments, if not always his words. He says: “The seam is one of the first human successful efforts to conquer difficulties.”[319]
A string, a ribbon, a band, may serve to keep together several loose things; but by means of the seam, small things actually become large ones. For example: a full-grown man can, by its help, cover himself with a garment made of the skins of many small animals. When Eve sewed fig-leaves together, she made of these small pieces a garment of patchwork.
Acting on the principle of making a virtue of necessity, accepting and adorning the severe facts of life, seams came to be an important vehicle of ornament. The Gauls and Britons embroidered the seams of their fur garments. “We may judge of the antiquity of the seam by its universal and mythological meaning. The seam, the tie, the knot, the plait, and the mesh are the earliest symbols of fate uniting events.”[320]
We find but little mention of plain work in mediæval writings. When linen was worked for some honourable purpose, such as a gift to a friend or a royal personage, it was generally embroidered or stitched in some fancy fashion. Queen Elizabeth presented Edward VI., on his second birthday, with a smock made by herself. Fine linen was about this time constantly edged with bone laces.
Mrs. Floyer has written so well, and given us so much practical information on plain needlework, that I feel it unnecessary to enter at any length into the principles of plain sewing, as my theme is needlework as decorative art.
Mrs. Floyer has, as it were, unpicked and unravelled every stitch in plain work, till she has discovered and laid bare its intention, its construction, and effect. She, has also given us rules made clear to the dullest understanding, instructing us how to teach the young and ignorant. She shows us the quickest and most perfect way of working different materials for different purposes, and tells us how to select them. I will, therefore, refer my readers to her most useful and instructive books,[321] and pass on at once from the craft of plain needlework, to stitches as the art of embroidery.
The link between plain and decorative work deserves attention. This link is “white embroidery.” I imagine it was not a very ancient form of the art, and was practised first in mediæval days; when we begin to have constant notices of it. The first white laces appear to have followed close upon the first white embroideries.
There is a tomb of the fourteenth century in the Church of the Ara Cœli at Rome, where the effigy of a knight lies on his bed, draped with a sheet and a coverlet, both embroidered. These are evidently of linen worked in white.[322] I give a drawing of them in illustration (pl. [39]).