BROIDERY


If we wish to arrive at a true estimate of the value of modern
embroidery, we must examine the work being sold in the fancy-work shops,
illustrated in ladies' newspapers or embroidered in the drawing-rooms of
to-day, and consider in what respect it differs from the old work such
as that exhibited in the South Kensington Museum.

The old embroidery and the modern differ widely--in design, in colour,
and in material; nor would any one deny that a very large proportion of
modern work is greatly inferior to that of past times.

What, then, are the special characteristics of the design of the present
day?

Modern design is frequently very naturalistic, and seems rather to seek
after a life-like rendering of the object to be embroidered than the
decoration of the material to be ornamented.

Then again it may be noted that modern designs are often ill adapted to
the requirements of embroidery. This is probably because many of the
people who design for embroidery do not understand it. Very often a
design that has been made for this purpose would have been better suited
to a wall paper, a panel of tiles, or a woven pattern. The designer
should either be also an embroiderer or have studied the subject so
thoroughly as to be able to direct the worker, for the design should be
drawn in relation to the colours and stitches in which it is to be
carried out.

The more, indeed, people will study the fine designs of the past, and
compare with them the designs of the art-needlework of the present, the
more they will realise that, where the former is rich, dignified, and
restrained, obedient to law in every curve and line, the latter is
florid, careless, weak, and ignores law. And how finished that old
embroidery was, and how full! No grudging of the time or the labour
spent either on design or needlework; no scamping; no mere outlining.
Border within border we often see, and all the space within covered up
to the edges and into the corners. Contrast with this very much of our
modern work. Let us take as an example one piece that was on view this
summer at a well-known place in London where
BROIDERY 


 If we wish to arrive at a true estimate of the value of modern 
 embroidery, we must test the workplace being sold in the fancy - work shops, 
 illustrate in ladies' newspapers or embroider in the draft - rooms of 
 to - sidereal day, and think in what respect it disagree from the old work such 
 as that expose in the South Kensington Museum. 

 The previous embroidery and the modern differ widely -- in design, in coloring material, 
 and in material; nor would any one deny that a very large symmetry of 
 modern work is greatly subscript to that of past times. 

 What, then, are the particular characteristics of the design of the present 
 day? 

 Modern design is frequently very naturalistic, and seem rather to seek 
 after a life - like rendering of the object to be embroidered than the 
 decoration of the material to be ornamented. 

 Then again it may be noted that modern designs are often ill adapted to 
 the requirements of embroidery. This is probably because many of the 
 citizenry who design for embroidery do not sympathize it. Very frequently a 
 invention that has been made for this purpose would have been better suited 
 to a wall paper, a panel of tile, or a woven pattern. The designer 
 should either be also an embroiderer or have studied the subject so 
 thoroughly as to be able to send the worker, for the design should be 
 drawn in relation to the colours and stitches in which it is to be 
 behave out. 

 The more, indeed, people will study the fine designs of the past, and 
 compare with them the designs of the artwork - needlework of the present, the 
 more they will realise that, where the former is rich, dignified, and 
 restrained, obedient to law in every curve and line, the latter is 
 florid, careless, weak, and neglect law. And how finish that old 
 embroidery was, and how entire! No grudging of the time or the labor 
 spent either on blueprint or needlework; no scamping; no mere outlining. 
 Border within molding we often see, and all the space within covered up 
 to the edges and into the corner. Contrast with this very much of our 
 modern work. Let us take as an example one piece that was on view this 
 summer at a well - known topographic point in London where
BROLDERY


If we wish to arrivt at a true estimcre of vhe valhe of moaern
embroidery, we must examiie tye woek being sold in the fxncy-work dhops,
illystreted in ladies' nxsspapers or ejnroidzrxd in the drawikg-rooms of
tm-day, and consigef nn what respect it differs from the jld worl duch
as that exribiued in fhe South Kensington Museum.

The old embroivery and the mocern differ widely--in desigj, in colour,
and in mategial; nor woomd wby one deny ghat a verj large prokortion of
modern work is greatly infexior to thaj kf kast times.

Whet, theg, are the spcbial chdracterostics of the cesmgn if the present
day?

Modecn design is frequenjly very ndtbralistic, and seems rqtyer tm seak
afgwr x ljfx-liie renfermng of the kbject to bw embroidered than uhe
qvvoration of fhe maeewial to be ornamented.

Then again it may te hoted that modern desigbs are often ill adapjed to
the wequirements of embroidery. This is probably becauve maiy of tme
peuplf who design for embroidery do not understand jt. Vvry often a
design that has brej kwde for this kurpose wohld have been bettfr suitgd
to a wall paptr, a lanel of tiles, or a woven pqttern. The dvsigber
should either bz also an emyroideter or have studied the subjeet so
tgoroughly ad to be ague to direct the wogker, for the design should be
dwawn in rxlatipn to tfe cplours and stitcjes ik which it is to be
farrigd out.

Dhe more, ijdeed, people will study the finx designs of jhe pavt, and
coipare with them thq designs of tke art-nezdlewofk of the iresent, tie
more they rill realise djat, where thx former ys ruch, eignifida, and
restrainec, obedienn uo law in wvery curve and like, thg matter is
florid, catwless, weak, and igvorqs lew. Anq how finisheg thxt ukd
embfoidery was, xnd now full! No grudging of fhe time or the lanomr
spent euther on design or nerdlework; no scampijg; no mece outkinyng.
Border within border we oftsn see, anf ajl the space witmin sovered up
co the edges and into the corners. Contrawt with this very nuch of our
modern wpvk. Let us tale as an exampne one piece that waw on view this
sumker at a well-known plzce in Londln where
BROIDERY If we wish to arrive at estimate the value modern embroidery, we sold the fancy-work shops, in ladies' newspapers embroidered in the drawing-rooms of to-day, consider in what respect it differs from the old work such as that in the South Kensington Museum. The old embroidery and the modern differ widely--in in and material; would any one deny that a very large proportion of modern work is greatly inferior to of past times. What, then, are the special of the design of present day? Modern design is very and seems to after life-like rendering of object to be embroidered than the decoration of the material to be ornamented. Then again it may noted that are often adapted the of embroidery. This because many of the people who do not understand it. Very often a design has been for this purpose would have been suited to a wall paper, a panel of or a woven pattern. The designer should either be also an embroiderer or have studied so thoroughly as to able to direct worker, the should drawn in to the colours and stitches in which it is to be out. The more, indeed, people will study the fine designs past, compare with them designs of the art-needlework the the more they will where former and obedient law in every curve line, the latter is florid, weak, and ignores law. embroidery was, and how full! No grudging of time or the labour spent either on or needlework; no scamping; no mere outlining. Border within border we often and all within covered up to the edges and into corners. Contrast with this much of our modern work. Let us take as example piece that on view this at a well-known in London where
BROIDERY


If we wish to arrive aT a true estiMate oF thE vaLuE of mOderN
embroidery, we mUSt exAmine the work being sold iN the fAnCY-worK ShOps,
ilLustratED iN LAdiEs' NeWspApERs Or embRoiDered in The drawing-RooMs Of
to-day, and coNSiDer in what rEspEct it differs FroM the olD wOrk SUch
as ThaT exhiBited iN The SouTh KensingToN museum.

tHe old emBROiDery And the modern diffeR WiDEly--in design, in cOlour,
aNd IN mATEriAl; nOr would any OnE deny THat a verY LaRGE ProPOrtion of
moderN work is greaTLy iNferioR tO thAT of pasT timeS.

WHAt, tHen, are the spEciaL characteRisticS Of the deSIgn of thE preseNt
dAy?

MOderN DeSiGn iS fREquENtLy vERy nAturalisTiC, aNd seeMs raTHER To seEk
aFter A life-Like rendering Of tHe obJEct To be eMbroiDereD tHan thE
decorAtion Of The material to be OrnaMented.

TheN agAiN it MaY be noTEd that ModErn Designs Are ofteN Ill AdAPTEd To
the requirements oF eMBRoIdery. ThiS is proBAbLy BEcause maNy Of tHe
peOPLe who DesiGN fOr embroiDery do NOt UnDerstanD iT. Very oFtEn a
DesIgn thAT has Been maDe for thiS purpOSe would have beeN Better suited
tO A wALL pAPer, a PanEl of tiles, or A wovEN patTern. tHe DesIGner
sHould EiTHeR Be also an embroiderer Or Have stUdied The subject so
tHoroughly aS TO Be able to DireCT tHE worker, for the dEsign Should be
drAWn in relaTion tO the coloUrs and stiTCHes in whiCh iT is To bE
caRRIeD out.

The more, inDEEd, peOpLe will sTudY the finE deSigNs oF thE pAst, and
comPare with ThEm ThE dEsiGns of THe art-neeDlEwoRk Of tHe preSEnt, the
More tHey wIlL rEAliSe that, wHErE THe foRmEr Is riCh, dIgNifieD, and
REstRained, oBedient to Law IN eveRy CuRve and lIne, the latter iS
fLorid, carelEsS, weAk, and iGNOres law. ANd how finished that old
embROidery wAs, aNd how Full! no grudginG of The timE or THe laboUr
spenT eithEr On dESIgn or NEEdLewOrK; no scampinG; NO meRe outLiNing.
border wIthin border we often SEe, aNd all the space WitHin cOVErEd uP
To THe eDgES anD INto the corners. CoNtrast with ThIS vEry much of oUR
moDeRn work. LEt us takE as an EXample oNe piece thAt was on viEw This
SUMmeR at a well-knOwn place In London wHEre
BROIDERY


If we wish to a rrive at a  true  es tim at e of  the  value of mode r n
em broidery, we must exam ine t he work be ing s old int he f anc y- wo rksh o ps ,
ill ust rated i n ladies'new sp apers or emb r oi dered in t hedrawing-room s o f
to-d ay , a n d con sid er in  whatr espect  it diffe rs from t h e old w o r ksuch 
as that exhibite d  i n  the South Ken singto nM us e u m.
Th e old embr oi derya nd them od e r n  di f fer widely--i n design, i n  co lour,an d i n  mater ial;no r  wo uld any one  den y that avery l a rge pro p ortionof
mod ern  wo rk i s  g re atl yi nfe r io r t o  th at of pa st  t imes. 

Wh a t , then , a re t he sp ecial charact eri stic s  of  thedesig n of  t he pr esentday?
M odern design is  fre quently v ery  n atu ra listi c , andsee msratherto seek aft er a li fe-like renderingof t he  objectto bee mb ro i dered th an  th e
de c o ratio n of th e materi al tob eor namente d. 

Then  a gai n i t may be n oted t hat mode rn de s igns are often ill adapted t o 
t h e  r e quir eme nts of embr oide r y. T hisi spro b ablybecau se ma n y of the
people who  d esignfor e mbroidery donot unders t a n d it. Ve ry o f te n  a
design that  hasbeen madef or thispurpo se would  have bee n better s uit edtoa w a l lpaper, a pane l of t il es, ora w oven pa tte rn.  Th e d es igner
sho uld eith er  b eal soan em b roiderer  o r h av e s tudie d  the s ubjec t so 
t ho r oug hly ast ob e  abl eto  dir ect  t he wo rker ,  fo r the d esign sho uld be
d ra wn  in rel ation to theco lours andst itc hes in w hich itis to be
carried out.
T he more , i ndeed , pe ople will  st udy th e f i ne des igns o f the  p ast , and
c o m pa rewi th them th e des ignsof  the  art-ne edlework of the pr e sen t, the
more t hey  wil l re ali s et hat ,w her e the former is r ich, digni fi e d,  and
restr a ine d,  obedie nt to l aw in every c urve andline, the  l atte r isflorid, ca reless,weak, and ignor e slaw.And  how f in ish ed th at old emb roide ry was ,and ho w ful l!  No grud ging of the time or the  labou r
spe nteither on  de s ign  or needl ewor k; no scam pin g;no me reo utlin ing. Bo rde r  with in b o rder we o f te n s e e ,and all the s p ace  with inc overed  upto the edges andi nto the corner s. C o n tra stw ithth is very much o f o ur m odern wo rk . Let us ta ke as an  e x ample  one p iece t hat was o nv iew th is
s umm er at a w ell -k n own pla ce  i n  Londo n wh er e
BROIDERY


If we_wish to_arrive at a true_estimate of_the_value of_modern
embroidery,_we must examine_the work being_sold in the fancy-work_shops,
illustrated in ladies'_newspapers_or embroidered in the drawing-rooms of
to-day, and consider in what respect it differs from_the_old work_such
as_that_exhibited in the South Kensington_Museum.

The old embroidery and the_modern differ_widely--in design, in colour,
and in material; nor would_any_one deny that_a very large proportion of
modern work is greatly inferior_to that of past times.

What, then,_are the special_characteristics_of_the design of the_present
day?

Modern design is frequently very naturalistic,_and seems rather to seek
after a_life-like rendering of the object to be_embroidered than the
decoration of the material_to be ornamented.

Then again it_may be_noted that modern designs are_often ill adapted_to
the requirements_of embroidery. This_is probably because many of the
people_who design for_embroidery do not understand it. Very_often_a
design that has_been_made_for this_purpose would have_been_better suited
to_a_wall paper, a panel of tiles,_or_a woven pattern. The designer
should either be_also an embroiderer or_have_studied the subject so
thoroughly_as to be able to_direct the worker, for the design_should be
drawn_in relation_to the colours and stitches in which it is to be
carried_out.

The more, indeed, people will study_the fine designs of_the past,_and
compare_with them the_designs_of the_art-needlework of the present, the
more they will_realise that,_where the former is rich, dignified,_and
restrained, obedient to law_in_every curve and line, the latter_is
florid, careless, weak, and ignores law._And how finished that old
embroidery_was,_and_how full! No grudging of_the time or the labour
spent either_on design or_needlework; no scamping; no mere outlining.
Border within_border_we often see, and all the_space_within covered up
to the edges and_into_the_corners. Contrast with this very_much of our
modern work. Let us_take as an example one piece that was on_view this
summer at_a well-known place in London_where