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CHAPTER XV.

Canvas Work.

"The threaded steel

Flies swiftly, and unfelt the task proceeds."

COWPER.

"In needleworks and embroideries, it is more pleasing to have a lively work upon a sad and solemn ground, than to have a dark and melancholy work upon a lightsome ground."

BACON.

[graphic]

HE reason for comprising the various subjects included in this chapter under one head, is, that they are so intimately connected one with the other, that the rules relating to them, if any exist (a point on which we are ourselves sceptical), are of so general a nature as to apply partly to all. Certain it is, as has been elsewhere observed, that "there is a right and a wrong way of doing everything;" yet as we have so often seen beautiful effects produced without attention to rules, we feel extremely diffident in pronouncing any as imperatively necessary, except that of observing the right way of the

stitch. Beautiful groundings, both in cross and tent stitch, have been executed diagonally, as well as in straight lines; as also, when in cross stitch, where the whole piece has been half stitched one way before it has been crossed. The following rules and observations, therefore, are intended rather to show one certain and easy plan for attaining success in this branch of needlework, than to be considered as exclusive of all others. They are founded on observation, and the experience of those who have spent the greater part of what may be termed long lives in the practical part of each department. Every day shows how much there is still to improve and to learn in the art; and past days have often taught us how much we have been indebted to the superior taste and elegance of idea of those with whom our vocation has brought us in contact.

It is obvious that all Berlin patterns are intended for tent or single stitch, the checks on the pattern corresponding with the squares in the canvas, excepting designs where the faces and hands are drawn on a smaller scale; these can only be worked either in cross or Gobelin stitch. Some Berlin patterns, when closely shaded, and of a general uniformity of tint, lose none of their effect when enlarged by working in cross stitch, and even if copied on a gigantic scale, please from their boldness, whilst others, less calculated to be enlarged, are deprived of all grace, and become mere distorted masses of colouring. When it is intended to increase the scale of a pattern by working in cross stitch on a coarse canvas, the colours should be selected from the middle tints, avoiding very strong lights and shades, a rule to be observed whether the ground be light or dark. German wools may be used for working flower pieces; but English wool will be found smoothest and best for the grounding, or real German worsted perhaps is even preferable, and, in very large

pieces, both durability and economy, besides comfort in working, will be attained by the use of either.

In cross stitch, when the size of the pattern is not increased above one third, the design will not be essentially altered, and the taste and fancy of the needlewoman may be pleased in the choice of her subject, regardless of the difference in size. Cross stitch on one thread, is generally much admired, but it is not calculated for a canvas finer than twenty threads to the inch; coarser than that, all sizes are equally suitable. Cross stitch on one thread appears finer than cross stitch when worked the same size on two threads; it is more raised, and where it is fine greatly adds to the facility of working on a comparatively coarse canvas. When the human figure is worked in cross stitch, the face and hands should certainly be executed in the same; but Berlin patterns having these parts drawn on a smaller scale, must thus be copied, unless we attempt the very difficult task of alteration. This, however, may be a matter of taste, as designs thus worked are, by many persons, greatly admired: nevertheless we cannot approve of the plan of sinking these portions of the picture, by making four stitches in the place of one.

commence all patterns

As a general rule, it is better to which are to form a centre, whether for chair seats, cushions, bags, or other articles, on the middle stitch, either on Berlin canvas, cloth, or on canvas intended to be grounded; but for figure pieces and historical subjects there are obvious reasons why it is preferable to begin at the bottom. The stitches are easier to work upwards, and they better accommodate themselves to each other; and as the lower part is generally less observed than the upper, the sky, which is the most delicate, is worked last, and does not require to be rolled, nor is the work SO likely to be uneven when taken out of the frame.

It is curious that the grounding, one of the most particular parts of the work, should generally be deemed of such minor importance. Although a tedious and uninteresting process, yet when properly accomplished, it fully repays the trouble bestowed. To ground well, requires great practice and experience. It is fully appreciated by many persons, as the first observation on seeing a fine specimen of canvas work is—" the beautiful grounding!"

In grounding, it is advisable to begin at the bottom of the canvas, in the left hand corner. Above all things, the wool should be suited to the size of the canvas, the threads of which it should perfectly conceal. The needleful of wool should be short, both on account of soiling and impoverishing as it passes through the canvas, and a very small portion only should be passed through the eye of the needle. Finishing off on the same spot should always be avoided; and, instead of making knots, the wool should be brought up and worked over. When grounding is done on the hand, run the wool through a few stitches at the back of the work. Although not impossible, it is extremely dif ficult to ground fine canvas with pale blue, buff, straw, salmon, or grey; complaints are made against the worker and the wool, when the colour is an almost insurmountable obstacle. A white or light coloured ground should never be attempted on any but the whitest canvas, nor should subjects where a sky is to be depicted ever be worked on any other. Delicate scarlet, smalt blue, various drabs, dark purple, Spanish brown, gold colour, chrysophas green, claret, and marron, if well chosen, are all both durable and good colours for grounding. There is so much difficulty with black, on account of its sometimes soiling the fingers and work, that it is not, generally speaking, advisable, and at all times, except for gem patterns, it has a decidedly harsh appearance. Many of the neutral tints, which appear very beautiful as grounds

by daylight, mix with the greens and olives by candle-light, and completely destroy their effect. It is at all times important to secure at one time a sufficient quantity of the colour for grounding a piece of work, or it may otherwise be impossible afterwards exactly to match it.

Gobelin, or tapestry stitch, to look well should be worked on a fine or moderately fine canvas; it is prettiest with single wool;— on a very fine canvas it is beautiful. A canvas was made about four years since, expressly for this stitch, but it has not been much used in England, as Berlin patterns could not be worked upon it, the threads of the warp and woof being unequal in size. For patterns drawn on the canvas it is decidedly good, although not adapted for count work. In Gobelin stitch, the colours should be chosen as close as possible, but bright lights and dark shades may nevertheless be introduced. Silk should not be used, or only when the work is very fine.

A good eye for colours is a natural gift,* and though this, like every other faculty, may be greatly improved by cultivation and practice, yet quick discernment and natural good taste will cause some to excel in the adaptation of colours more than others; but to the most talented, length of time and patience are necessary to a perfect knowledge of colouring-hence the difficulty of sorting Berlin patterns. The numberless tints of greys, buffs, browns, maizes, salmons, esterhazys, lilacs, and greens,† not to mention the

* According to the views of phrenologists, the eyes, although affected agreeably or disagreeably by the different modifications of the beams of light, or of colours, yet do not conceive the relations of different colours, their harmony or discord, and have no memory of them. Certain individuals are almost destitute of the power of perceiving colours, who yet have the power of vision acute.Vide Gall, Sur les Fonctions du Cerveau, tom. v.

To the artist, the names of some of the colours employed in needlework may appear curious, but he must remember that wools and silks cannot be laid

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