 stitch is
familiar to us in the well-known Cretan and Turkish cloths: the stitch
here is used mechanically in parallel lines, and simulates weaving, so
that these handsome borders in a deep rich red might as well have come
from the loom as from the needle. Another method of darning is looser
and coarser, and suitable only for cloths and hangings not subject to
much wear and rubbing; the stitches follow the curves of the design,
which the needle paints, as it were, shading and blending the colours.
It is necessary to use this facility for shading temperately, however,
or the flatness essential to decorative work is lost.

The foregoing is a rough list of stitches which could be copiously
supplemented, but that I am obliged to pass on to another important
point, that of design. If needlework is to be looked upon seriously, it
is necessary to secure appropriate and practicable designs. Where the
worker does not invent for herself, she should at least interpret her
designer, just as the designer interprets and does not attempt to
imitate nature. It follows from this, that it is better to avoid using
designs of artists who know nothing of the capacities of needlework, and
design beautiful and intricate forms without reference to the execution,
the result being unsatisfactory and incomplete. Regarding the design
itself, broad bold lines should be chosen, and broad harmonious colour
(which should be roughly planned before setting to work), with as much
minute work, and stitches introducing play of colour, as befits the
purpose of the work and humour of the worker; there should be no
scratching, no indefiniteness of form or colour, no vagueness that
allows the eye to puzzle over the design--beyond that indefinable sense
of mystery which arrests the attention and withholds the full charm of
the work for a moment, to unfold it to those who stop to give it more
than a glance. But there are so many different stitches and so many
different modes of setting to work, that it will soon be seen that these
few hints do not apply to all of them. One method, for instance,
consists of trusting entirely to design, and leaves colour out of
account: white work on white linen, white on dark ground, or black or
dark blue upon white. Again, some work depends more on
stitch is 
 familiar to us in the well - known Cretan and Turkish cloths: the stitch 
 here is used mechanically in parallel occupation, and simulate weaving, so 
 that these handsome borders in a deep deep red might as well have fall 
 from the loom as from the phonograph needle. Another method of darning is loose 
 and coarser, and suitable only for fabric and hangings not subject to 
 much wear and rubbing; the stitch follow the curves of the design, 
 which the needle paints, as it were, shadow and blending the colours. 
 It is necessary to use this adeptness for shading temperately, however, 
 or the two-dimensionality essential to cosmetic work is misplace. 

 The foregoing is a rough list of stitches which could be abundantly 
 supplemented, but that I am obliged to pass on to another important 
 point, that of design. If needlework is to be look upon seriously, it 
 is necessary to secure appropriate and practicable designs. Where the 
 worker does not invent for herself, she should at least interpret her 
 designer, just as the designer interpret and does not attempt to 
 imitate nature. It follows from this, that it is well to invalidate using 
 designs of artists who acknowledge nothing of the capacities of needlework, and 
 design beautiful and intricate forms without reference to the performance, 
 the result being unsatisfactory and incomplete. Regarding the design 
 itself, broad bold lines should be choose, and broad harmonious colour 
 (which should be roughly planned before typeset to work), with equally much 
 hour work, and stitches introducing play of semblance, as befits the 
 purpose of the work and humor of the worker; there should be no 
 scratching, no indefiniteness of form or colour, no vagueness that 
 allow the eye to puzzle over the design -- beyond that indefinable sense 
 of mystery which arrests the care and withholds the full charm of 
 the work for a consequence, to unfold it to those who stop to give it more 
 than a glance. But there are so many unlike stitches and so many 
 different mode of setting to work, that it will soon be seen that these 
 few hints do not apply to all of them. One method acting, for instance, 
 consists of entrust entirely to design, and leaves colour out of 
 account: white work on ashen linen, white on dark ground, or black or 
 dark blue upon blank. Again, some workplace depend more on
 stltch is
familiar to us in the well-known Eeetan end Turiish cloghs: the stitch
here is used mxchabicaloy in parallel lines, avd simulanes weavibg, si
rhat these handsomc borscrs iu e deep rich red might as fell have come
xrum the loom as from the needle. Anothew methoc lf darning is joostr
agd ckarser, and suitable only for clotha and hengings not subkect to
much wear and rubbijg; tje stitches follow the curves of eye design,
whizh the needle paints, aa it were, shading and blending ghe cplours.
It iw becfvsary to usx this facility fov shaditg temprrately, howevev,
or tie foatness essential to vecorative work is ljst.

The foseyoing is a rough list od stijches whizy cuuls ue dopioudly
aupplementsd, but that I am obliged to paxs in to another imporeagt
point, that of design. If needlework is to be looked upon seriousoy, it
is necessary to decure ap[ropriate and practicable designs. Where the
worker does vot ikveng flr herself, she should at least interpret her
dqaibnvr, just as the defigner intetpgeyf and does noj attem'f fo
imitate nature. Ih follors frim this, trat ot is better to avoid using
eesigns of agtisrs who know nothiny of the capccitiex of meedlework, and
design becutifum and intrifate forma without referenze no tve execuukon,
the result beigg unsatiwfaccory and incpmpletq. Regardinh the design
itself, broad bold lhnes shoulf be chosen, and broad harmonious colour
(which xhmulg be rouyhly pkanned before setting to wotk), with af mucf
minute wogk, and stmtches introqucing play ox colour, as bxfits the
[urpise if the durk and humour of the worker; therw should be no
scrabchine, no indefinitenzrw of form or cokouf, nj nagnenesf that
allows dhe dye yo puxzle ovtx tme aesibn--beyond that indefitabls sense
of mystery ehlch arresjs the ateention and wothholds the full fharm of
vhe wotk sor a moment, to unfold it to tgose who dtoi to give it iore
bhan a glance. Yut there are so many different stitches and so many
diffetent modes of setting uo work, that mt wilj soon be seen that these
few yints do not appln to all of them. One msthod, xor ijstance,
consists of trusting entirely to design, and leaves colour out of
acxount: xhyte work on whiye liteu, wkite on darn ground, or black or
dark blue upon white. Again, sume work dzpends more on
stitch is familiar to us in the and cloths: the here is used simulates so that these borders in a rich red might as well have from the loom as from the needle. Another method of darning is looser coarser, and suitable only for cloths and hangings not subject to much wear rubbing; stitches the of the design, which the needle paints, as it were, shading and blending the colours. It necessary to use this facility for shading temperately, or the flatness essential decorative work is lost. The is rough list stitches could copiously supplemented, but I am obliged to pass on to another important point, that of design. If needlework is to looked upon is necessary secure and designs. Where the not invent for herself, she should her designer, just as the designer interprets and not attempt imitate nature. It follows from this, it is better to avoid using designs of who know nothing of the capacities of needlework, and design beautiful and intricate forms without the execution, the result unsatisfactory and incomplete. the itself, bold should be and broad harmonious colour (which should be roughly planned before setting work), with as much minute work, and stitches introducing play as the purpose of work and humour of worker; should be no scratching, of or that the to puzzle over the that indefinable sense of mystery arrests the attention and the work for a moment, to unfold it those who stop to give it more a glance. But there are so many different stitches and so many modes of work, that it will soon be seen that few hints do not to all of them. One method, for instance, consists trusting to design, leaves colour out account: white work white linen, white ground, or or blue some work depends more on
 stitch is
familiar to us in the Well-known CRetan And turKiSh clOths: The stitch
here iS Used Mechanically in parallel Lines, AnD SimuLAtEs weaVing, so
tHAt THEse HaNdSomE bORdErs in A deEp rich rEd might as wEll HaVe come
from thE LoOm as from thE neEdle. Another mEthOd of daRnIng IS loosEr
aNd coaRser, anD SuitabLe only for ClOThs and HAngings NOT sUbjeCt to
much wear and ruBBiNG; the stitches foLlow thE cURvES Of tHe dEsign,
which ThE needLE paints, AS iT WERe, sHAding and blendIng the colouRS.
It Is neceSsAry TO use thIs facIlITy fOr shading teMperAtely, howeVer,
or tHE flatneSS essentIal to dEcoRatIve wORk Is LosT.

THE foREgOinG Is a Rough lisT oF sTitchEs whICH COuld Be cOpioUsly
sUpplemented, buT thAt I aM OblIged tO pass On to AnOther ImportAnt
poInT, that of design. If NeedLework is tO be LoOkeD uPon seRIously, It
iS neCessary To securE AppRoPRIAtE and practicable desIgNS. whEre the
woRker doES nOt INvent for HeRseLf, shE SHould At leASt InterpreT her
deSIgNeR, just as ThE desigNeR inTerPrets ANd doEs not aTtempt to
ImitaTE nature. It folloWS from this, that IT iS BEtTEr to AvoId using
desiGns oF ArtiSts wHO kNow NOthinG of thE cAPaCIties of needlework, anD
dEsign bEautiFul and intricaTe forms witHOUT referenCe to THe EXecution,
the resUlt beIng unsatisFActory anD incoMplete. ReGarding thE DEsign
itsElf, BroAd bOld LINeS should be chosEN, And bRoAd harmoNioUs colouR
(whIch ShoUld Be Roughly plAnned befOrE sEtTiNg tO work), WIth as mucH
mInuTe WorK, and sTItches IntroDuciNg PlAY of Colour, aS BeFITs thE
pUrPose Of tHe Work aNd huMOur Of the woRker; there ShoULd be No
ScRatchinG, no indefiniteNeSs of form or CoLouR, no vagUENess that
Allows the eye to puzzle oveR The desiGn--bEyond That IndefinabLe sEnse
of MysTEry whiCh arreSts thE aTteNTIon anD WItHhoLdS the full chARM of
The woRk For a Moment, tO unfold it to those whO StoP to give it more
ThaN a glANCe. but THeRE arE sO ManY DIfferent stitcheS and so many
DiFFeRent modes oF SetTiNg to worK, that it Will sOOn be seeN that thesE
few hints Do Not aPPLy tO all of them. one methoD, for instaNCe,
conSIsTs of tRusTing enTiRelY to deSign, anD LeaVes coLour ouT oF
accouNt: whiTe Work on whIte linen, white on dark grouNd, or blAck or
DarK blue upon WhiTE. AgAin, some woRk dePends more oN
 stitch is
familiar to usin the wel l-kno wnCre ta n an d Tu rkish cloths:t he s titch
here is used mec hanic al l y in pa ralle l lines ,  a n d  si mu la tes  w e av ing,sothat th ese handso mebo rders in a d e ep  rich redmig ht as well h ave  comefr omt he lo omas fr om the needle . Another  m e thod o f  darnin g is  loo ser
and coarser,a nd suitable onlyfor cl ot h sa n d h ang ings not s ub jectt o
muchw ea r a ndr ubbing; the s titches fol l owthe cu rv eso f thedesig n, whi ch the need le p aints, as  it we r e, shad i ng andblendi ngthe  col o ur s. 
It  i s  ne c es sar y  to  use thi sfa cilit y fo r s h adin g t empe ratel y, however,
o r t he f l atn ess e ssent ialto  deco rative  work  i s lost.

The fo rego ing is arou gh  li st  of s t itches  wh ich  couldbe copi o usl ys u p pl emented, but thatIa m  o bliged t o pass on  t o  another  i mpo rtan t point , th a tof desig n. Ifn ee dl ework i sto belo oke d u pon s e riou sly, i t
is nec essar y  to secure app r opriate and p r ac t i ca b le d esi gns. Wherethew orke r do e snot inven t for  h e rs e lf, she should at l ea st int erpre t her
designe r, just as t h e design er i n te r prets and does  notattempt to imitatenatur e. It fo llows fro m this, th atitisbet t e rto avoid usin g desi gn s of ar tis ts whokno w n oth ing  o f the cap acitiesof  n ee dl ewo rk, a n d
design  b eau ti ful  andi ntrica te fo rmswi th o utreferen c et o  the  e xe cuti on, 
t he re sult bei ng unsa tisfactor y a n d in co mp lete. R egarding thede sign
itsel f,  br oad bo l d  lines s hould be chosen, and br o ad harm oni ous c olou r
(whichsho uld be  ro u ghly p lanned  befo re  se t t ing t o wo rk) ,with as mu c h 
mi nutewo rk,and sti tches introducingp lay  of colour, a s b efit s th e
p u rp o seof the w ork and humourof the wor ke r ;there shou l d b eno
scra tching,  no i n definit eness ofform or c ol our, n o v agueness t hat
allo ws the ey e  to p u zz le ov erthe de si gn- -beyo nd tha t  in defin able s en se
ofmyste ry  which a rrests the attention an d with holds  th e full ch arm ofthe workfora moment,tounf old i t t o  thos e wh o  s top to gi ve i t  more
tha n  a  gl a n ce . But there a r e s o man y d i fferen t st itches and so man y 
different mod es o f set tin g  towo rk, that it wi llso o n  be seen  t hat these
f ew hints  d o  notapplyto all  of the m .  O n e meth od,for  instance ,
c on s ists of  t ru s ting e ntir el y to d esign, andl e aves colour outof
ac c o unt:w hit e wor kon whit e  lin en, whiteon dark gro und, o r bl ack o r
darkbl ue upo n w hi te. Again, some work  depe nds mor eon
 stitch_is
familiar to_us in the well-known_Cretan and_Turkish_cloths: the_stitch
here_is used mechanically_in parallel lines,_and simulates weaving, so
that_these handsome borders_in_a deep rich red might as well have come
from the loom as from the_needle._Another method_of_darning_is looser
and coarser, and suitable_only for cloths and hangings_not subject_to
much wear and rubbing; the stitches follow the_curves_of the design,
which_the needle paints, as it were, shading and blending_the colours.
It is necessary to use_this facility for_shading_temperately,_however,
or the flatness essential_to decorative work is lost.

The foregoing_is a rough list of stitches_which could be copiously
supplemented, but that I_am obliged to pass on to_another important
point, that of design._If needlework_is to be looked upon_seriously, it
is necessary_to secure_appropriate and practicable_designs. Where the
worker does not invent_for herself, she_should at least interpret her
designer, just_as_the designer interprets_and_does_not attempt_to
imitate nature. It_follows_from this,_that_it is better to avoid using
designs_of_artists who know nothing of the capacities_of needlework, and
design beautiful_and_intricate forms without reference_to the execution,
the result being_unsatisfactory and incomplete. Regarding the design
itself,_broad bold_lines should_be chosen, and broad harmonious colour
(which should be roughly planned before_setting to work), with as much
minute_work, and stitches introducing_play of_colour,_as befits the
purpose_of_the work_and humour of the worker; there should_be no
scratching,_no indefiniteness of form or colour,_no vagueness that
allows the_eye_to puzzle over the design--beyond that_indefinable sense
of mystery which arrests the_attention and withholds the full_charm_of
the_work for a moment, to_unfold it to those who stop_to give it_more
than a glance. But there are so_many_different stitches and so many
different modes_of_setting to work, that it will_soon_be_seen that these
few hints do_not apply to all of them._One method, for instance,
consists of trusting entirely to design,_and leaves colour_out of
account: white work on_white_linen,_white on dark ground, or black or
dark blue upon white._Again, some_work depends more_on