PLATE 21
These two leaves are of a bold, simple character that is easy to suggest, and proves a great relief in a design that is somewhat over-detailed. The large one is carried out in browns and greens. The turned over serrated edge is in satin st.i.tch of graduating shade. The heavy veining is somewhat unusual in that it is carried out in laid st.i.tch, dark green in the centre and light green outside. The stars are worked in dark green. The outline to the lower leaf is in two shades of green, the palest continuing to outline the remainder of the large leaf.
The small leaf is worked solid in shading st.i.tch in blue with brown satin st.i.tch edge, the veining is brown as is also the contour of the upper point.
[Ill.u.s.tration: PLATE 21]
PLATE 22
We have here a large leaf very characteristic of the complicated detail introduced by the conventional treatment of foliage in early English work.
The curved point of the leaf is outlined in rope st.i.tch in a dark shade of soft bronze green, the heavy double cross lines are in crewel st.i.tch and of a lighter shade of bronze in which the square lattice is also carried out, the French knots in the centres are of a dark olive green.
The round medallion is outlined similarly to the above but in darker shade, the centre being worked solid in slanting satin st.i.tches set in rows, each row taken at the opposite angle to its neighbour; the next leaf is outlined inside, in two rows of chain, the turnover of the leaf being solid satin st.i.tch in three shades of green. The stem is double back st.i.tch, and the other leaves are worked solid in shading st.i.tch in graduated shades of green.
The two small leaves, I & II example: 1st, rope st.i.tch with alternate fillings of darning and outline st.i.tch, and 2nd, rows of outline st.i.tch for one-half the back leaves and one-half grey knot st.i.tch and blue snail trail in alternative, the end leaf being in rows of outline of brown colour.
[Ill.u.s.tration: PLATE 22]
PLATE 23
A portion of the terra firma of the curtain.
The strawberries and clear parts of the ground are worked in French knots.
The plants are very useful in breaking up the solid ma.s.ses of dark colour, and the stag serves to introduce into the base of the work the colouring of the acorns above (on plates 1 and 2).
As a rule this base of a design repeats all the colourings used throughout.
[Ill.u.s.tration: PLATE 23]
PLATE 24
Example of a bird introduced into the late 17th century work.
It is executed in simple feather st.i.tch for the tail feathers and satin st.i.tch very evenly shaded. The dark centres of the short feathers are in crimson, the rest in shades of buff, the breast feathers also worked in satin st.i.tch are in putty colour, legs and beak are brown and the crest in crimson.
[Ill.u.s.tration: PLATE 24]
PLATE 25
Quaint early example of a parrot, head in knot st.i.tch, breast feathers block st.i.tch, and wings in shaded single feather st.i.tching.
The b.u.t.terfly and grub are found in all early examples.
[Ill.u.s.tration: PLATE 25]
PLATE 26
Group of animals usually disporting on the terra-firma at base of large designs.
Worked always in long and short st.i.tch.
[Ill.u.s.tration: PLATE 26]
PLATE 27
Squirrel in rich brown colour, with cream chest worked in shading st.i.tch, tail in overcasting for the centre and furry part in single feather st.i.tch with stem st.i.tch outline.
[Ill.u.s.tration: PLATE 27]
PRINTED BY W. W. CURTIS LTD., CHEYLESMORE PRESS, COVENTRY
A COMPANION VOLUME TO "JACOBEAN EMBROIDERY"
ENGLISH SECULAR EMBROIDERY
By M. Jourdain. With Fifty-seven Ill.u.s.trations and a Frontispiece in colour. Cloth, foolscap 4to, 10s. 6d. net.
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