CHAPTER IX. Berlin Patterns. "Learn hence to paint the parts that meet the view, In spheroid forms, of light and equal hue; DU FRESNOY. ERLIN patterns have contributed more towards the advancement of needlework of the present day, than any improvement that has of late years been introduced into the art,-not simply from the assistance they yield the needlewoman, but from the demand they have occasioned for improved and superior materials. Hence the beautiful wools we now possess, which would never probably have been manufactured, had they not been imperatively called for by the invention of these designs. We are indebted to Germany, for both these advantages; and it is not a little singular, that the country which produces them appears to be the least capable of appreciating their value, as is evident from the greater portion of the needlework exposed for sale throughout Germany. The work of German ladies is of course an exception to this, as when taste and talent direct the needle, it will be equally beautiful wherever it may be found. England, and next to her, perhaps Russia, have profited most by these auxiliaries. The ladies of Sweden and Denmark work a great deal from them; the French, as yet, have used them but little, the old method of drawing the subject on canvas being still much in vogue. Great numbers of these patterns are exported to America, and to the various countries of the Continent.* Berlin patterns, although a production of recent date, have become an article of considerable commerce in Germany, where a large amount of capital is employed in their manufacture. They are either copied from celebrated pictures, or (as is more frequently the case) from the newest and most favourite engravings published either in England, France, or Germany. Many subjects, such as flowers and arabesques, are designed expressly. They are first drawn in colours on quadrille or point paper,† and as the excellence of the pattern depends principally on the first design, it may readily be imagined that artists of considerable talent are required for their execution. From this drawing, an engraving or etching is made on a copper-plate, which has previously been ruled in squares of the required size, corresponding to the threads of the canvas: various marks and hieroglyphics are engraved on each check or square, which are to serve as guides * The proportionate demand in other countries may be stated according to the following order of their respective names:-Holland, Belgium, Switzerland, Italy, Spain, and Portugal. + Paper marked out into squares of a regular size. for those who afterwards colour the impressions on paper; the part for each colour, or separate shade of colour, being marked with a different figure. The pattern, when in this state, bears a very great resemblance to those published in old books on needlework, above two centuries since; the present mode being, in fact, merely an improvement on the designs which have for years been used by weavers for their figured stuffs.* The process of colouring these patterns is curious; the various tints are quickly laid on, commencing with each separate colour on several patterns at the same time, each check, or continuous line of checks, according to the engraved figures, being coloured by one stroke of the pencil, the point of which is kept very square, and of a size adapted to that of the check of the engraving. Practice alone renders the touch perfect; and it is surprising to see with what rapidity and exactness each tint after another is laid on. If we for a moment reflect on these different processes, and the time they must necessarily occupy, the expense of the design and the engraving, and that each square is coloured by hand, we cannot fail to be surprised at the small cost at which they are to be procured; and our wonder will not be diminished when we are told, that in some of these patterns there are considerably above half a million of small squares, like those of a mosaic, to be separately coloured. All Berlin patterns are equally adapted for working either in cross or tent stitch, though great judgment is requisite in choosing them. Patterns intended to be enlarged by the working, should be closely shaded, or the colouring, being dispersed, will appear meagre. Difficulties frequently arise from working these designs * We have several impressions of the patterns in this first stage, which have been kindly presented to us by the various manufacturers. without previously fixing on the colour of the grounding; this should always be done in the first instance, as a pattern, to work well, must always be shaded, or sorted, with strict attention to the colour of the ground,-a maxim which is but too frequently neglected. Most of the figure patterns may, with a fair knowledge of painting, and a just idea of light and shade, be much improved, as many of them are extremely correct in the outlines, although the colouring of most is harsh and glaring in the extreme, —a defect which it is the province of the expert needlewoman to overcome; in this respect, however, there is frequently a great difference even in the colouring of the same design. In sorting the wools for working historical subjects, attention to a few of the common rules of painting will be found useful in correcting some of the more gross of these errors, such, as for instance, the back and foreground being of the same depth of shade.— "Know first, that light displays and shade destroys Refulgent Nature's variegated dyes. Thus bodies near the light distinctly shine With rays direct, and as it fades decline."* Black should never be used next a high light: one-eighth of every object has a high light upon it, one-eighth is darkest shadow, and six parts light and half tint. No objects in nature, are positively blue, red, or yellow, owing to two causes the one, that most objects reflect the sky; the other, that the atmosphere between the eye of the observer and the object, causes the brightness of the tints to be deadened: it hence arises, that care must be taken to avoid the immediate contact of bright colours with each other, where any attempt is made to imitate nature,—the * Du Fresnoy, translated by Mason. contrary of which, it would appear, was the point to be arrived at in some of the Berlin patterns. "Chose such judicious force of shade and light Whose hues are social, whose effect is grace."* In some patterns, when harmony of colour alone is to be sought, it is easier to avoid these defects; but a few of the more necessary rules to be observed, independent of the guidance of taste, may not be unacceptable. Scarlets and yellows assort very ill, and browns and lilacs are also lost upon a scarlet ground; blues and greens are bad together, as well as yellow and green; on the contrary, almost all the class of drabs and fawns (called by the French ecrus, and used by them with such exquisite taste), are good with blue; the colder and greener shades with lilacs; the deep rich brown-toned drabs are beautiful with yellow; pinks and greys are good; scarlets and slates; greens and red browns; greens and maize, with some shades of salmon colour; blue with maize; lilac with green; and blue with claret,-will all be found generally to please the eye. The greatest difficulty which we have to encounter in selecting the colours for figure patterns, is the face; so many totally dif ferent colours and shades are here required to produce, when worked, what should appear to be almost but as one-and here the skill of the needlewoman will be fairly put to the trial. The skies and clouds are also difficult to manage; the greatest nicety * Du Fresnoy, translated by Mason. |