The article on the word “plumarius” in Hoffman’s Lexicon,[343] after describing two kinds of Plumarii, Phrygians and Babylonians, proceeds to say, “These latter, who wove garments and hangings of various colours, were called ‘Plumarii;’ but though this name was at first confined to craftsmen who wove patterns in the shape of feathers, in course of time the name was extended to those artists who, with the needle or by painting, embellished robes.”[344]
The “opus plumarium” included, as I before said, all flat stitches; and I repeat that “feather application” was certainly its first motive; and next came the stitches that conveyed the same desired effect, though a new material was employed, fitted for the needle, which, having served its apprenticeship in “plain work,” now came to the front as a decorative agent.
Painting with the needle began with an attempt to model with it; the lay of stitches being so arranged as to give the whole effect of light and shadow, so as to delineate the forms without changing the shades of the material used. I give on the opposite page some Japanese birds, which will explain what I mean. The stitches are so intelligently placed as absolutely to give the forms of the birds imitated. They represent plumage, and a more artistic representation cannot be imagined. (Pl. [43].)
The same stitch which we find prevailing in China and Japan as plumage work, is employed in embroidering flowers. Here satin, stem, and plumage stitches are blended together, and excellent decorative effects are produced; but the texture of flowers is not to be imitated, as is that of the plumage of birds. “Satin” stitch is a more restricted form of plumage stitch; and “stem” is another variety of these flat stitches, very useful in its place. I therefore have assigned the name of “plumage stitch” to that hitherto called “embroidery” or “long and short” stitches; and I give the term “plumage work” to include all the “flat” stitches.
Practically, it is allowed that these flat stitches, especially the plumage stitch, give most scope for freedom in needlework, as they are laid on at once, and according to the inspiration of the worker, and may cover the outline and efface it. The stitches are not counted, and have more of the nature of touch than any others, as their length, thickness, and closeness may be varied at will. The artist’s design thus admits of interpretation according to the taste and feeling of the needlewoman.
Pl. 43.
Japanese Opus Plumarium.