CHAPTER XVIII
THE TECHNIQUE OF WEAVING
Weaving--Commencing and Fastening Off--The Interlocking Stitch--Fine Drawing--Shading--Added After-stitches.
The way in which the woof threading in and out of the warp makes the web is shown at C, fig. 179. Here the woof has been taken once to and fro; a movement called a weft or a course, one way only, goes by the name of a half pass or a shoot. By the use of the cross stave for one direction, and of the coats for the other, the tediousness of the process of darning in and out and so picking up the right threads is avoided. It is not always practical to make use of these appliances; for instance, in working over only two or three threads it may not be worth while, but when they can be made use of the work is done twice as rapidly by their help.
The bobbin enters the loom rather high up, for there the division of threads is greatest. One hand starts the bobbin upon its journey, the other hand, entering between the divided warp-threads, takes it on and out as required. Sometimes the bobbin has to go the entire way between the leaves, and at others it may be only over two or three threads, this depending upon the pattern. To enable the bobbin to make the return passage, the warp must be redivided, the threads that are at the back must be brought to the front; this is managed by the help of the coats--a bunch of them is taken in the hand in order to pull forward the threads to which they are attached. This can be done by sections all along the line, or just in one part of it if it be so required.
The weft is almost always taken in horizontal lines to and fro. The exceptions to this rule occur when it is very evident that to run up and down a narrow slanting line from end to end is far simpler than to work up in a horizontal zigzag fashion along it.
About an inch of thread is left at the end and at the commencement of each length of weft; these are secured by the tight packing down of the threads above them, so there is as a rule no need for any knot or fastening off, which would be necessary only in the case of commencing or ending off round a single thread, but it is important for the future durability of the work to see that the ends are secured. Sometimes a commencement or a finish is made just where a natural division of the fabric occurs; in this case, the end of thread would not be secure, for it might work loose or appear upon the right side. This can usually be avoided by commencing a little further along the line. The few times that fastening off or on is necessary, the thread can be run into the part already woven with a smaller needle, or else be knotted on to a loose end of wool.
The bobbins not actually in use hang down fixed as in lace work by a half-hitch. Fig. 181 shows this in process of making; the loop is passed from the finger on to the bobbin; it will unwind as wanted and yet hold firm whilst hanging down. The thread is always carried, if practicable, from one place to where it is next required, in order to avoid unnecessary breaking off. Tapestry is sometimes woven with both sides alike, which means only that all the ends must be cut close off. It is said that work so treated is quite durable.
[Illustration: Fig. 181.]
Special care must be taken that the weft is turned neatly round at the margins, because if it is at all loose there the work has a ragged, untidy appearance. This applies also to any turnings that may occur in other parts due to the carrying out of the pattern; if in these places the thread is too loose upon the warp, the fabric will be uneven and pushed out of place; if on the other hand the thread there is too tight, the slits will gape, and if these are afterwards closed by stitching, the entire material will be drawn in. A new thread is never commenced actually at the margin, for it would then be seen upon the right side; it is quite easy to avoid this happening by commencing an inch further in. This may entail beginning in a direction which is apparently wrong for picking up the proper threads, that is, those not picked up in the row below; but this must happen at times, and the work packs down and quite prevents the warp showing, as it might be inclined to do in such a case. It is sometimes at the margin a good plan to pick up two warp-threads together, for this emphasises the edge rather pleasantly; this might be advisable in carrying out a long ribbon-like border of any kind.
After each shoot, the point of the bobbin, the comb, or maybe the fingers, should press down the woof to make it lie close upon the row before, and so entirely cover up the warp. Fig. 182 shows the comb in
## action, and also the bobbins hanging. The weft must be left a little
slack along the line for this purpose, and some experience is required in order to leave just the right slackness. The turn at the edge is arranged first, and then the thread eased evenly along its length in readiness for being pressed down; it must have the appearance not of running straight across the warp-strings, but of lying loosely round them. For packing down a long line, much more play of weft is required than for a short one.
[Illustration: Fig. 182.]
The usual fault with beginners is to draw the web too tight here and there. This is a fault to be specially avoided, for it causes the fabric to be drawn in, and to vary in width, spoiling its appearance and making the threads difficult to work upon; also the packing down of the weft could not be properly done, which would cause the warp-threads to be exposed in parts.
The thoroughness of this packing down of the weft is for several reasons very important. The durability of the work is much affected by it, both for the securing of the ends of wool already mentioned, and for the making of a strong, well-knit piece of fabric. Another reason is, that the drawing of the various forms in the design may be made incorrect, in this way: suppose an apple were woven in, apparently correctly, but the wefts were not pressed down thoroughly, the weaving and packing down of the wefts above it would be sure to press the part underneath closer together, and the effect of this would be to make the round apple assume a flattened oval shape, and cause similar changes throughout the work.
It has already been mentioned that wherever a change of colour occurs vertically, that is, in the direction of the warp-threads, there results of necessity a division or slit in the web; the slit, which may be of any length, if noticeable, must be closed. This can be done whilst the weaving is in progress by a method of interlocking the two wefts as they meet, or else by stitching up at the back when the work is finished. The latter way is called fine drawing, and must be very carefully done, especially with large tapestries.
Both methods are used; the first takes longer, but is the most durable. Old and worn tapestries will usually be seen to have given way where this stitching up at the back has taken place. In small pieces of work, however, there is not much likelihood of strain, so the oversewing at the back answers fairly well. The two ways can be used in conjunction. Supposing a border, owing to its being of a different colour, had to be joined the entire length of the work, the interlocking stitches might be made at intervals of about half an inch, and when the work was finished the oversewing at the back might be taken the entire length.
[Illustration: Fig. 183.]
Fig. 183 is a diagram illustrating the way in which the wefts may be interlocked whilst the weaving goes on. Examination of the drawing will probably be sufficient explanation; however, interlocking is effected thus: Commencing at the base, run a weft of the darker wool to and fro, leaving it slack at the turning point. A half pass of the lighter-coloured woof is then run through, it is threaded in an upward direction through the slack loop of the darker wool, waits there whilst another weft of the darker colour is worked, and then is threaded down through the second loop that has been formed, and returns to the starting-point. It then comes back again and is threaded upwards through this same loop, and waits, as before, for another to be formed, and returns back through it--and so on. If this is done properly, no change is visible on the right side. The joined weft will last as long as any other part of the weaving.
The process of stitching up at the back is simply an oversewing with silk or other strong thread. The stitches must be rather close, drawing the edges just sufficiently together, and they must not show through to the right side. The stitching together should be done while the work is on the loom, since the web would then be in less danger of pulling out of shape.
[Illustration: Fig. 184.]
Shading in tapestry weaving is carried out by a hatching process which is most simply explained by a diagram (fig. 184). The difficulty is not in the working, but in getting the form of the shadow or light correctly expressed. There is no need for fine gradation of colour and tone, for the shading looks best when carried out simply and boldly, but the drawing of it should be decided and good. The above figure gives but one intermediary tone in shading from one colour to another, which is the ancient method of working; at the present day the weavers in the _Manufacture des Gobelins_ employ several other intermediary tones, thus allowing of finer gradation; possibly however these fine gradations are not of such great importance, and so need not have an unnecessary amount of attention and time devoted to their accomplishment.
The student will do well to examine fine examples and make careful drawings from them, since this will teach the right way of going to work better than anything else can. Fig. 185 is simply a shaded leaf taken at random from a piece of weaving; the same leaf was shown in outline in fig. 180, so the two show the commencement and completion of the same piece. It will be noticed upon studying tapestry that usually all the light parts of a work are hatched with the same colour, often a buff shade, those of rich tapestries with gold thread. This sameness of colour throughout gives unity to the work.
[Illustration: Fig. 185.]
Sometimes after the weaving is completed a few finishing touches can be satisfactorily put in by means of single stitches taken through the fabric with a sharp-pointed embroidery needle. The dots representing the seeds upon a strawberry could be stitched in afterwards in this way, for to insert them while the work is going on would be very tedious. This kind of thing must not be overdone, however, for the stitches are apt, unless very deftly treated, to have a laid-on look, and care must be taken not to mar the evenly ribbed effect, which is one of the characteristics of tapestry.
[Illustration: Fig. 186.]
This weaving is a most fascinating kind of work, as will be found upon a trial. The simplest patterns look very interesting when woven, and, on the other hand, the work can be carried to any degree of complexity that the worker desires. For a first trial a piece might be done with no attempt at shading; even one such as that illustrated at fig. 186 would be suitable. This example happens to be a form particularly easy for carrying out in weaving. The worker should begin at the lower right-hand corner and work the successive flights of steps diagonally, as shown by the unfinished portion of the diagram.
In the way of actual technique there is in the art of tapestry weaving not nearly as much to be learnt as there is in embroidery, for there are no varieties of methods and of stitch to be acquired; still for a person to become a skilled weaver, capable of carrying out large wall hangings, is a thing very difficult of attainment--indeed it is said that it takes as long as fifteen years of constant application to acquire the necessary knowledge and skill. To carry out designs of less magnitude and intricacy is a very different matter; success in this smaller way is far more easily attained, and is well within the reach of unprofessional people.
NOTES ON THE COLLOTYPE PLATES
PLATE I.--_A Detail from a XIVth Century English Cope._--The figure of Christ which is shown in this plate is taken from a central group, representing the coronation of the Virgin, in a famous cope in the possession of Colonel J. E. Butler-Bowdon. The ground is of rich red silk velvet; the face, hands, and linings of the draperies are worked in silk in split stitch; the drapery, crown, and surrounding architectural decoration are in gold thread couched by the early method. The twisted column with oak leaves and the five lobed arch are both characteristic of English work of this period. Note the use of pearls in the lion's head and in the acorns, also the charmingly drawn bird. An interesting technical point displayed in this example is that the work is done directly on to the velvet ground, instead of being first worked upon linen and afterwards as a completed piece of embroidery applied to the velvet. The method in use here, if at all possible, is always the most satisfactory.
Size of detail, about eleven inches by six.
PLATE II.--_Two Heads from a XIVth Century English Cope preserved at Steeple Aston, Oxfordshire._--The cope is not now in its original state, for it has been divided into two parts and used for the decoration of the altar. The background is composed of a thin greyish white silk backed with a stronger material. The white may have been originally some other colour; it is, however, in its present state, very beautiful and harmonious. The drawing of the features in this cope is remarkably refined and true to nature (the reproduction does not do full justice to the original). The ancient method, of working the faces in split stitch commencing with the middle of the cheek and continuing spirally round, then afterwards pressing the centre down by some mechanical means, is plainly to be observed here. The effective drawing of the tresses of hair in alternate lines of two colours is well seen in the left-hand example. The gold thread which is freely made use of all over the cope, upon the draperies, nimbi, and surrounding foliage, is marvellously bright and sparkling, although nearly six hundred years old. The manufacture of untarnishable gold for embroidery purposes seems beyond present day enterprise.
Width of nimbus, two and a half inches.
PLATE III.--_A small portion of a Quilted Coverlet, probably of Sicilian work. Date about 1400._--In this interesting example of quilting, which is exhibited in the Victoria and Albert Museum, the ground is composed of a buff-coloured linen. The raised effect is obtained by an interpadding of wool. The background is run over irregularly with white thread, in order to keep it more or less flat, and the design, which is in fairly high relief, is outlined with brown thread. The entire coverlet is embroidered with scenes from the life of Tristan. Tristan frequently engaged in battle against King Languis, the oppressor of his country. This detail represents "How King Languis (of Ireland) sent to Cornwall for the tribute."
Size of detail, two feet by three.
PLATE IV.--_A portion of an Altar Cloth Band, embroidered in coloured silk threads upon a white linen ground._--This is a piece of German XVth century work exhibited in the Victoria and Albert Museum. It is embroidered almost entirely in one stitch, which might be described as a variety of herring-bone. The design is made up of two motives which repeat alternately along the band--a square shaped tree and a circle, the latter decorated with floral sprays and, in the centre of it, a group of emblems. Down the middle of the design runs a series of names in fine Gothic lettering--"Ursula" and "Augustinus" being the two that occur in this plate.
Width of embroidered band, four and a half inches.
PLATE V.--_A portion of a late XVth century Orphrey, embroidered with the arms of Henry Stafford, Duke of Buckingham._--The ground is of red velvet, and is embroidered with gold thread and coloured silks. The two shields here represented bear the arms of the families of de Bohun and Fitzwalter. Each shield has for supporters two swans, and is surrounded by floral sprays. The Stafford knot unites the sprays between the shields. The chasuble upon which this orphrey is placed is made of a lovely brocaded silk decorated with falcons, peahens, and roses.
Width of embroidered orphrey, about eight inches.
PLATE VI.--_A detail of Foliage taken from a late XVIth century Embroidered Picture representing the story of Daphne._--The picture is worked in coloured wools and silks in cross stitch upon canvas, and is an admirable example of this kind of work, and this particular detail is a good illustration of a very satisfactory treatment of foliage. The whole panel measures about seven feet by two, and is exhibited in the Victoria and Albert Museum.
Height of detail, ten and a half inches.
PLATE VII.--_An Embroidered XVIIth or XVIIIth century Wool-work Curtain._--This curtain, the property of Miss Killick, is a pretty example of a small crewel-work hanging. The design is of a type that was often used upon hangings of that period. It is embroidered with brightly coloured wools upon a white linen ground, and is in a good state of preservation. Much ingenuity as well as variety of stitching are shown in the execution of the work.
Size of curtain, about five feet by three.
PLATE VIII.--_A portion of a large XVIIth century Linen Hanging embroidered with coloured wools._--In both design and execution this curtain is remarkably fine. The entire hanging is about eighteen feet in width by seven in height. It is embroidered with a conventional representation of a forest; in the branches of the trees lodge all kinds of birds and beasts. The type of design shown in this plate and in the last is derived from Eastern work; its introduction into England was due to the increase of trade with oriental nations, which developed about this time.
Size of detail, about six feet by four.
PLATE IX.--_Cutwork Lettering taken from a XVIIth century English Sampler._--The letters and surrounding decoration shown in this example of cut or open work are built up on a square network of warp and weft threads that were left at regular intervals throughout the space, when the unnecessary threads were withdrawn, and then covered with a kind of darning stitch. The letters are worked in buttonhole stitch, each fresh line being taken into the heading of the last one. The other parts of the work are carried out in either buttonhole or overcast stitch. The complete sampler is a long narrow strip of linen, across which run specimen bands of various kinds of work. It is exhibited in the Victoria and Albert Museum.
Width of cutwork detail, six inches.
PLATE X.--_An Embroidered Sampler._--The work is carried out in coloured silks in minute cross-stitch and occasional rows of satin stitch, upon a ground of fine single-thread canvas. It is dated 1798, and was worked by Alice Knight, the author's great-grandmother. The birds, trees, and flowers, the charming little border patterns, and the comical cats standing on either hillocks or housetops, are all characteristic of sampler work. Working the sampler was once the regular introduction to mending, marking, and embroidery, and one was done by almost every XVIIIth century child as a part of education, indeed the practice of working samplers was continued some decades into the XIXth century.
Actual size of original, eighteen inches by twelve.
PLATE XI.--_An Example of Persian Embroidery._--Formerly in the collection of Lord Leighton, and now in that of the London County Council's Central School of Arts and Crafts. The embroidery is carried out almost entirely in chain stitch with brilliantly coloured silks, upon a fine semi-transparent ground. The flowers that appear dark in the reproduction are worked in a bright rosy red, others are yellow and orange, and the leaves are in pale grey green outlined with a dark myrtle shade of the same.
Size of panel, about five feet by four.
PLATE XII.--_A Detail from an Embroidered Tablecloth._--The entire surface of this fine white linen cloth is strewn with a profusion of beautiful flowers, worked in floss silk in bright colours. The flowers were all drawn directly from nature by the worker, Mrs. W. R. Lethaby.
PLATE XIII.--_An Embroidered Altar Frontal, executed by Miss May Morris, designed by Mr. Philip Webb._--The work is carried out with floss silk in bright colours and gold thread, both background and pattern being embroidered. The five crosses, that are placed at regular intervals between the vine leaves, are couched in gold passing upon a silvery silk ground.
PLATE XIV.--_Two Pieces of Ancient Weaving taken from Tombs in Egypt._--These are exhibited in the Victoria and Albert Museum. The upper example is about five inches square, dated IIIrd to VIIth century, Egypto-Roman work, and is said to have decorated a child's tunic. It is woven in coloured silks upon a green ground; the colours are still wonderfully fresh and bright. Weavers may see various interesting technical as well as other points in this early work. For instance, how the difficulty of the narrow detached vertical lines, necessitated by change of colour in the weft, has been overcome by using surface stitching instead, the easier horizontal lines being woven in the usual way. A good deal of this surface stitching can be seen in the ancient weaving; sometimes an entire pattern is picked out by this method, the ground having been first woven all over in some plain colour.
The lower border pattern is a band of weaving about two inches in width, Saracenic work. It is woven in coloured silks and linen thread upon the actual warp threads of the garment that it decorates. The weft threads were probably omitted for the space of one and a half inches when the fabric was being made in order that some ornamentation might be put in, in this way. Some of the weft threads have perished, leaving the warp exposed to sight; this enables the student to understand better the manner in which it was carried out.
PLATE XV.--_An Example of a Tapestry Field strewn with Flowers._--This kind of decoration is characteristic of many tapestry grounds, for the style is particularly suited to the method of work, and very happy in result. The detail shown in this plate is taken from a piece of late XVIth century Flemish work; it carries on, however, a much earlier tradition. The ground is of a dark blue colour, and the flowers varied as in nature.
PLATE XVI.--_A Tapestry Bag, woven in coloured silk and gold thread by the Author._--The ground is woven with black silk, decorated with gold at the top and base. The centre panel is carried out in brightly coloured silks and gold thread. The various compartments are filled with representations of flowers, birds, and fishes, upon an alternating purple and blue background. The dividing lines are of gold thread.
Size of bag, ten inches by six.
THE COLLOTYPE PLATES
[Illustration: Plate I.--A detail from a XIVth Century English Cope.]
[Illustration: Plate II.--Two Heads from a XIVth Century English Cope preserved at Steeple Aston, Oxfordshire.]
[Illustration: Plate III.--A small portion of a Quilted Coverlet, probably of Sicilian work. Date about 1400.]
[Illustration: Plate IV.--A portion of an Altar Cloth Band, embroidered in coloured silk threads upon a white linen ground.]
[Illustration: Plate V.--A portion of a late XVth Century Orphrey, embroidered with the arms of Henry Stafford, Duke of Buckingham.]
[Illustration: Plate VI.--A detail of Foliage taken from a late XVIth Century Embroidered Picture, representing the story of Daphne.]
[Illustration: Plate VII.--An Embroidered XVIIth or XVIIIth Century Wool-work Curtain.]
[Illustration: Plate VIII.--A portion of a large XVIIth Century Linen Hanging, embroidered with coloured wools.]
[Illustration: Plate IX.--Cutwork Lettering taken from a XVIIth Century English Sampler.]
[Illustration: Plate X.--An Embroidered Sampler.]
[Illustration: Plate XI.--An example of Persian Embroidery.]
[Illustration: Plate XII.--A detail from an Embroidered Tablecloth. Designed and executed by Mrs. W. R. Lethaby.]
[Illustration: Plate XIII.--An Embroidered Altar Frontal, executed by Miss May Morris, designed by Mr. Philip Webb.]
[Illustration: Plate XIV.--Two pieces of Ancient Weaving taken from Tombs in Egypt.]
[Illustration: Plate XV.--An example of a Tapestry Field strewn with Flowers.]
[Illustration: Plate XVI.--A Tapestry Bag, woven in coloured silk and gold thread by the Author.]
INDEX
Altar-cloth band (Plate IV.)
Altar frontal (Plate XIII.)
Appliances, 34
Appliances and materials for tapestry weaving, 315
Applied embroidery, 174
Applied work, 172
Background, the, 46
Bag, tapestry (Plate XVI.)
Beads, 50
Bobbins, 321
Braid work, 166
_Broderie anglaise_, 222
Bullions, 235, 256
Canvas work, 147
Coat-stave, 333
Collotypes, descriptive notes on, 356
Colour, 72
Comb, 322, 344
Cope at Steeple Aston (Plate II.), 357
Cope, detail from XIVth century English (Plate I.), 356
Cord, 40, 271
Cord-making appliance, 39, 273
Cotton, 49
Couching, 164
Couching gold, ancient method of, 238
Couching gold, usual method, 250
Coverlet, quilted Sicilian (Plate III.), 358
Crewel work, 103
Curtain, XVIIth century (Plate VIII.), 361
Curtain, XVIIth century wool-work (Plate VII.), 361
Cutwork, 213, 221
Darned netting, 210
Darning, 196
Darning, pattern, 197
Design, 30, 51
Design for tapestry, 311
Designing, pattern, 51
Directions, practical, 292
Drawn thread work, 213
Dressing the coat-stave, 333
Egyptian weaving (Plate XIV.), 364
Emblems, 270
Embroidery frame used as a loom, 323
Embroidery, washing, 297
Embroidery with gold and silver threads, 229
Figure work, 69
Fine drawing, 346
Flax threads, 49
Foliage, detail of (Plate VI.), 360
Frames, embroidery, 35
Frame work, 301
Fringes, 280
Garniture of work, the, 271
Gold and silver threads, embroidery with, 229
Gold thread embroidery, 229
Heraldry, 268
Inlaid work, 180
Interlocking stitch, 347
Knife, 43
Knots, 118, 286
Knotted cord, 277
Knotted thread, 119
Laid work, 168
Lettering, 259
Lettering, cutwork, XVIIth century (Plate IX.), 362
Linen, 47
Loom, 315
Madeira work, 222
Marking, 262
Materials, 44
Materials and appliances for tapestry weaving, 315
Materials for gold work, 233
Methods of work, 164
Monograms, 259
Needles, 35, 322
Objects to work, 31, 314
Open-work fillings, 201
_Opus plumarium_, 101
Orphrey, XVth century (Plate V.), 359
Past work, study of, 28, 53
Paste, embroidery, 295
Patch work, 183
Pattern darning, 197
Pattern designing, 51
Pattern tracing, 328
Patterns, transference of, 42, 292
Persian embroidery (Plate XI.), 363
_Petit point_ pictures, 149
Picots, 143
Piercer, 43
Practical directions, 292
Precious stones, 50
Pricker, 42
Puckered work, cure of, 298
Purls, 256
Quilting, 189
Raised gold work, 253
Raised work, 192
Sampler, embroidered (Plate X.), 362
Samplers, 148
Satin, 48
Scissors, 35
Shading, 68, 348
Silk, 48, 327
Silk threads, 49
Silver and gold threads, embroidery with, 229
Spindle, 43
Stands, embroidery frame, 37
Stitches, 75
Stitch, back, 107
Stitch, basket, 131
Stitch, braid, 88
Stitch, bullion, 121
Stitch, buttonhole, 107
Stitch, cable chain, 90
Stitch, chain, 77
Stitch, chequered chain, 84
Stitch, Cretan, 134
Stitch, cross, 152
Stitch, double back stitch, 127
Stitch, feather stitch, 129
Stitch, fishbone, 131
Stitch, French knot, 120
Stitch, Gobelin, 154
Stitch, herring-bone, 126
Stitch, Holbein, 159
Stitch, insertion, various, 139
Stitch, interlocking, 347
Stitch, Irish, 155
Stitch, knot, 124
Stitch, knotted chain, 92
Stitch, long and short, 99
Stitch, open chain, 86
Stitch, overcast, 106
Stitch, plait, 156
Stitch, rococo, 162
Stitch, rope, 86
Stitch, Roumanian, 136
Stitch, satin, 95
Stitch, split, 94
Stitch, stem, 101
Stitch, stroke, 159
Stitch, tailor's buttonhole, 109
Stitch, tambour, 77
Stitch, tent, 153
Stitch, twisted chain, 85
Stitch, two-sided Italian, 156
Stitch, zigzag chain, 83
Tablecloth, embroidered (Plate XII.), 364
Tambour frame, 39
Tapestry bag (Plate XVI.), 365
Tapestry, example (Plate XV.), 366
Tapestry weaving, introduction to, 307
Tassels, 283
Tarnish of gold and silver threads, 237
Thimbles, 35
Threads, 49, 299, 327
Threads, gold and silver, 229
Tools, 34
Tools for tapestry weaving, 315
Tracing patterns, 42, 328
Tracing patterns on warp, 336
Transferring patterns, methods of, 292
Transferring patterns, requisites for, 42
Velvet, 48
Warp, 326
Warping the loom, 328
Washing embroidery, 297
Weaving, 339
Weaving, Egyptian (Plate XIV.), 364
Weaving, tapestry, 305
Work, garniture of, 271
Work, methods of, 164
Work, preparations for, 328
Work, protection and preservation of, 292
Wools, 49, 327
Printed by BALLANTYNE, HANSON & CO. Edinburgh & London
* * * * *
EMBROIDERY MATERIALS
GEORGE KENNING & SON, GOLDSMITHS, GOLD LACEMEN, AND EMBROIDERERS, are the actual manufacturers of all materials that are best for Embroidery of any and every description.
[Illustration]
[Illustration]
The following are a few articles from the great variety they manufacture: Threads, Tambours, Braids, Laces, and Cords in Gold, Silver, Tinsel, and Aluminium; also Spangles, Sequins, Ornaments, and Beads of every possible variety.
Please insist on your Draper or Fancy Warehouseman supplying only materials manufactured by GEORGE KENNING & SON.
MANUFACTORY: 1/4 LITTLE BRITAIN, E.C.
_And at Liverpool, Glasgow, and Manchester._
RIBBON WEAVING FACTORY, COVENTRY
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J. MAYGROVE & CO. LTD.
_MILLS_-- _WAREHOUSE_-- ST. ALBANS. 51 ALDERSGATE STREET, LONDON, E.C.
_Manufacturers of Silks for Weaving and Embroidery._
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MAYGROVE'S TWISTED EMBROIDERY.
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CHINA TRAM 1000 Shades. TUSSAH TRAM AND ORGANZINE 500 Shades. ORIENTAL FLOCHE 500 Shades. WORSTED YARNS--COTTON YARNS.
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* * * * *
PLASTER CASTS
LETTERING FOR LETTER CUTTERS BY A. E. R. GILL
Plaster Casts of the Stones shown on the Collotype Plates, numbers 13, 14, and 15, in the Portfolio, "Manuscript and Inscription Letters," by Edward Johnston, price 3s. 6d. net, are obtainable from the Publisher, or direct from Messrs. C. SMITH & SONS, Moulders, 15 Kentish Town Road, London, N.W., at the following prices:--
_Roman Capital Letters (Incised)._ } _"Lower-case" Italics, &c. (Incised)._ } 12s. _net per set of three._ _"Raised" Letters, Capitals, &c._ }
PACKED--DELIVERED FREE IN LONDON--CARRIAGE FORWARD FOR COUNTRY
These Casts being facsimiles of the actual stones make the best kind of models for Letter Cutters and Sculptors, and all who have to do with Inscriptions. Being small, they are easily handled.
The Portfolio, "Manuscript and Inscription Letters," by Edward Johnston, is intended as a working supplement to his handbook, "Writing and Illuminating, and Lettering," price 6s. 6d. net. It contains 16 plates in all, measuring 9-7/8 × 12-3/8 inches, with full descriptions and notes.
JOHN HOGG, _Publisher_, 13 PATERNOSTER ROW, LONDON, E.C.
* * * * *
ROBERT S. RONALD
Decorator and Upholsterer
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Loom Maker to the Royal School of Art, South Kensington
Table or Pedestal Looms to Order
Prices on Application
Office and Works-- ST. ANN'S HILL, WANDSWORTH, LONDON, S.W.
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THE ARTISTIC CRAFTS SERIES
BOOKBINDING AND THE CARE OF BOOKS. By DOUGLAS COCKERELL. Third Edition. 122 Drawings by NOEL ROOKE. 8 Pages Collotype Reproductions. 352 pp. 5s. net.
EXTRACT FROM _The Times_.
"... A capital proof of the reasoned thoroughness in workmanship, which is the first article in the creed of those who ... are attempting to carry into practice the industrial teaching of Ruskin and William Morris."
SILVERWORK AND JEWELLERY. By H. WILSON. Second Edition. 280 Diagrams by the Author. 32 Pages of Collotype Reproductions. 500 pp. 6s. 6d. net.
Containing special chapters, fully illustrated, based on demonstrations and with notes by Professor UNNO BISEI and Professor T. KOBAYASHI, of the Imperial Fine Art College at Tokyo, giving the traditional method of Casting, Damascening, Incrustation, Inlaying, Engraving, and Metal Colouring still practised in Japan, also on Niello, the Making of Boxes and Card Cases, with chapters on Egyptian and Oriental methods of work.
WOODCARVING: DESIGN AND WORKMANSHIP. By GEORGE JACK. 79 Drawings by the Author. 16 Pages of Collotype Reproductions. 320 pp. 5s. net.
EXTRACT FROM _The Builders' Journal_.
"Undoubtedly the best guide to Woodcarving extant.... A practical work, written with clearness and literary power by a practical man ... of great artistic talent.... The illustrations are excellent."
STAINED GLASS WORK. By C. W. WHALL. 73 Diagrams by Two of His Apprentices. 16 Pages of Collotype Reproductions. 392 pp. 5s. net.
EXTRACT FROM _The Scotsman_.
"It provides an exposition at once instructive and interesting of the workshop practice of the craft ... of Stained Glass, animated throughout by an encouraging and cheerful sense of the dignity and the elevating influence of such an occupation."
EMBROIDERY AND TAPESTRY WEAVING. By Mrs. A. H. CHRISTIE. 178 Diagrams and Illustrations by the Author. 16 Pages of Collotype Reproductions. 320 pp. 6s. net. (_Third Edition._)
EXTRACT FROM _The Pall Mall Gazette_.
"Mrs. Christie has performed her task to admiration, ... and her lucid explanations of various kinds of stitches ... should be of value to all workers at embroidery or tapestry weaving and to novices anxious to learn."
WRITING AND ILLUMINATING, AND LETTERING. By EDWARD JOHNSTON. 227 Illustrations and Diagrams by the Author and NOEL ROOKE. 8 Pages of Examples in Red and Black. 24 Pages of Collotype Reproductions. 512 pp. (_Fifth Edition._)
EXTRACT FROM _The Athenæum_.
"... This book belongs to that extremely rare class in which every line bears the impress of complete mastery of the subject. We congratulate Mr. Johnston on having produced a work at once original and complete."
HAND-LOOM WEAVING. By LUTHER HOOPER. 125 Drawings by the Author and NOEL ROOKE. Coloured and Collotype Reproductions. 368 pp. 6s. net.
EXTRACT FROM _The Morning Post_.
"... Every phase and process in weaving is described with so clear and careful an exactitude, that, helped as the text is by the Author's sketches and diagrams, the reader should have no difficulty in conquering with its aid the rudiments of the craft."
PORTFOLIOS (in the Series) already issued.
SCHOOL COPIES AND EXAMPLES. Selected by W. R. LETHABY and A. H. CHRISTIE. 12 Drawing Copies (1 in colours), with Descriptive Letterpress. 3s. 6d. net.
MANUSCRIPT AND INSCRIPTION LETTERS. For Schools and Classes and the Use of Craftsmen. By EDWARD JOHNSTON. With 5 Plates by A. E. R. GILL, 16 Plates in all. Full Notes and Descriptions by the Author. 3s. 6d. net. (_Second Edition._)
NEW VOLUME IN THE PRESS
HERALDRY FOR CRAFTSMEN AND DESIGNERS
BY
W. H. ST. JOHN HOPE, M.A.
_Further Volumes and Portfolios in preparation._
ON WORKMANSHIP
A LECTURE BY H. WILSON
AUTHOR OF "SILVERWORK AND JEWELLERY"
1s. 6d. net
JOHN HOGG, 13 PATERNOSTER ROW, LONDON