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Church Embroidery Source: The Art Amateur, Vol. 17, No. 6 (Nov., 1887), p.

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also collar and band them in boldly and fearlessly, but takingcare that they The elbow and shoulder-puffs, may match theknee-breeches. of doublet, do not spread too far inito down thefront the lights. These tones are sure to Tequire retouching and The cap, belt, gloves, and top-bootsare a rich tan color. strengthening.When thishas been done and any part Use forthese yellowochre,burntSienna, and black. For THE SERMON-CA SE COVER. has been repainted that requiredmore modelling, turn the complexionmix a littleyellow ochrewith thediluted your attentionnext to theveining of the leaves,which is fleshtintto make itswarthy. Shade with raw umber and THE accompanying enlarged detail of the pomegran always found stronglymarked in a begonia, and is al neutral tint. Paint thehair andmoustache'black; forthis most invariablyred. Take some vermilionand dilute it purpose use raw umber and neutral tint. For the ate,which shows veryplainly themocle of working,will slightly, except for the deepest mtarkings, where itmay bow Vandyck brown and raw umber. The duck be founduseful in connectionwith the full-sizeddesign which it is to be used, be used pure. With an outlining brush paint in care of some effectivecoloring; for the sermon-case cover, for allows of the introduction fullythenetwork of veins. If thepainting is reallydry the breast and throatare gray,white and brown; use which is given in supplementplate 630. To complete this before this is done, the colorwill keep interestingseries of church-hangings with the pomegranate motive, Miss its purityand the effect will be charm ing. Sarah Wynfield Higgin will contribute an altar-frontalin the same a design for Figures chosen must not be too which will be published in our small, as this increases the difficulties. style, The compositions of Watteau and next issue. Perhaps itwould be more innatural sequence to have given it in Boucher both afford admirable designs. The Boucher panel given on the first the present number of The Art Ama page of thisdepartment will be found teur,but it seemed likely that some of a suitable companion to the many our readers might wish to embroider others by the same master which have the cover for the sermon-case in time been published in formernumbers of to use itas a Christmas present, so we The Art Amateur. That quaint yet have foujnditbest to give itnow. simple costume of a Marguerite would be effective, no less so than thedouble Y. LONG-S TITCH EMBROIDER page design of a mediaeval hunter with cross-bow, given in one of the supple THERE are different methods of pro ment sheets of the present issue. ceeding in long-stitchembroidery,al The Boucher design is well suited though thesecan hardly be called rules. for a wall decoration when enlarged Patterns to be represented in shades of to the proper dimensions. It can also floss mostly partake of florid and ir be used for a screen or portiire, if the regularoutlines, which may be wrought * ~ ~ ~ ~ ~ 0 0s*.w little group on the left-hand side is in as many ways as thereare needle omitted; but in this case the rope at women of taste and judgment to exert tached to thegoat's neck must also be theirskillupon them. A fewprinciples left out, and thebranch above his head to startupon may be stated, however, must not project nearly so much. If which will referto nearly every object adapted fora portifre,a scroll or floral for Mediaeval embroidery: bordermust be added top and bottom The upper side, uponwhich the light to make it the required length. The BY SARAH WYNFIELD DETAIL OF SERMON-CASE, falls, of any floweror form,should be HIGGIN (PLATE 630), ENLARGED lower border should be somewhat the TO SHOW THE WORKING. always worked in the lightestshade. wider. Designs suited for thepurpose Stems should be of a light ormedium may be found in the back numbers of shade. but never verydark. The Art Amateur. For executing thispanel, commence raw umber and neutral tint separate and diluted for The shades in scrolls, leaves, and conventional forms by making a careful tracingof theenlargement. Trans these and the fluffy underpart of thewings and tail; should be few and arbitrary,i. e., clearly distinct from fer this to the canvas according to my directions last leave the high lights almost white. The fect are a each other. month. Fine wool canvas will be most suitable on ac richorange; use cadmium pure, and shade a little with The shades in draperies may be of any number, but count of the extreme delicacy of the figure-painting. raw umber. Use Prussian blue and emerald green for the high light should always be fullfourdegrees lzg-heer Outline the figures with a very finebrush in brown red. the wings; put themon separately toobtain the brilliant than the shade worked against it. Indicate the outline of the hair in raw umber. Now put sheen necessary fora good effect.EMMA HAYWOOD. As all thingsdescribe a wider space on the outer than in the sky-a verypale blue; use cobalt,much diluted, the innerside, it should be born inmind that the stitches and mix well with it a slight touch of emerald green. ONE frequently sees a fringesewn round the top edge in embroideryshould be taken fromthe outside edge, and Next put in the clouds; mix neutral tint with raw um of the altar-cloth where therehas been no superfrontal. directed toward the centre. ber, dilute and graduate according to copy. Near the This is altogether wrong. The origin of fringe was the If the figure be of equal sides, the firststitch should horizon line introducea very pale yel be taken in thevery centre of theedge, owish tint. Now put in the trees, and firstone side and then the other varying the tintsas much as possible; worked from this stitch. for the light parts spring-time green In working leaves and scrolls the and pale chrome, for the strong parts stitches should always be taken in a mix medium chrome and raw Sienna slantingdirection. with Prussian blue. Use also olive The edges of leaves are usually green and Italian earth; probably some worked first, and the dark shade filled Cassel earth in the deepest shadows in to the centrevein afterward-grace will be required. For the trunk and fully streakz>ngthe lzght, as we have branches you will need raw umber and before observed. To embroider shaded Vandyck brown. Use fleshtint diluted objects in straight stitches on the for the figures,and shade with raw satin-s/itch principle iswrong, and at umber and neutral tint; for the hair variance with the rules of nature as yellow ochre, raw umber, and a little well as art. black. The wings should be painted Veins of leaves,whether of gold or in prismatic colors. For thegrapes use silk,should always be worked last, and lake and Prussian blue mixed. The where a scroll of z5assing, or other goat should be tanandwhite, the white kind of gold, is carried through a leaf, part just tinted with a suspicion of yel as in the illustrated example justnamed, BOI low ochre dilutedwith a great deal of it should not be wrought till the silk water. The tan color can be made by EMBROIDERY FROM AN OLD VASE OF ROUEN MOTIVE, FAIENCE. embroidery is perfected. Edging the using raw Sienna, raw umber, and needlework should be thefinal opera. black. hp pvPr,,tPr with it shoild tion, and For the design of the Sportsman, choose a medium ravelling out of the material itself as a graceful pen great care, for a clumsy outline will seriously affect the ribbed linen canvas of an ecru shade. Make a careful dant to any drooping form. Fringe, therefore,cannot value of either the most elaborate couching or the outline of thewhole drawing in tintsapproximate to the be held consistent at the top edge of anything. The finest embroideryin long-stitchthat was ever done. coloring tobe enployed. Let the doublet be richdark same argument favors the necessity for employing the blue, the knee-breeches pale blue. Violet blue makes principal colors used in the ground and needlework MOST of our leading architects are adopting the an a good color for the doublet; to enrich it in thedarkest in the fringe, as it affects to be the untwisted threads cient styleof ornament in church decoration, and,where shadows add a littleburntSienna when theblue is quite of the whole cloth. Where there is no superfrontal, they are consulted in the matter of vestments, en dry. For the high lightsuse turquoiseblue; be careful and a finish is desirable at the upper edge of the courage, and very properly,a preference forworks of to blend the shades well. The knee-breeches should be cloth, it iswell for the embroidererto remember that a the needle which are in character with the building painted in turquoiseblue; dilute it for the lighterparts. thicksilk cord is theproper thing to sew round it. wherein it is intended that theyare to be used.

urpt m_IrolFro.

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