 magnificence of
colour than on form, as, for example, the handsome Italian hangings of
the seventeenth century, worked in floss-silk, on linen sometimes, and
sometimes on a dusky open canvas which makes the silks gleam and glow
like precious stones.

In thus slightly describing the methods chiefly used in embroidery, I do
so principally from old examples, as modern embroidery, being a
dilettante pastime, has little distinct character, and is, in its best
points, usually imitative. Eastern work still retains the old
professional skill, but beauty of colour is rapidly disappearing, and
little attention is paid to durability of the dyes used. In speaking
rather slightingly of modern needlework, I must add that its non-success
is often due more to the use of poor materials than to want of skill in
working. It is surely folly to waste time over work that looks shabby in
a month. The worker should use judgment and thought to procure
materials, not necessarily rich, but each good and genuine of its kind.
Lastly, she should not be sparing of her own handiwork, for, while a
slightly executed piece of work depends wholly on design, in one where
the actual stitchery is more elaborate, but the design less masterly,
the patience and thought lavished on it render it in a different way
equally pleasing, and bring it more within the scope of the amateur.

MAY MORRIS.




OF LACE


Lace is a term freely used at the present time to describe various sorts
of open ornament in thread work, the successful effect of which depends
very much upon the contrasting of more or less closely-textured forms
with grounds or intervening spaces filled in with meshes of equal size
or with cross-ties, bars, etc. Whence it has come to pass that fabrics
having an appearance of this description, such as embroideries upon
nets, cut linen works, drawn thread works, and machine-woven
counterfeits of lace-like fabrics, are frequently called laces. But
they differ in make from those productions of certain specialised
handicrafts to which from the sixteenth to the eighteenth centuries lace
owes its fame.

These specialised handicrafts are divisible into two branches. The one
branch involves
magnificence of 
 colour than on form, as, for example, the fine-looking Italian suspension of 
 the seventeenth century, worked in floss - silk, on linen sometimes, and 
 sometimes on a dark-skinned open canvas which makes the silk gleam and glow 
 like cherished stones. 

 In thus slenderly describing the methods chiefly used in embroidery, I serve 
 so principally from old examples, as modern embellishment, being a 
 dilettante pastime, has little distinct quality, and is, in its best 
 points, normally imitative. easterly work even retains the old 
 professional skill, but beauty of semblance is rapidly disappearing, and 
 little attention is paid to durability of the dyes used. In speaking 
 rather slightingly of modern needlework, I must add that its non - success 
 is often due more to the use of poor material than to want of skill in 
 working. It is surely stupidity to pine away prison term over work that looks moth-eaten in 
 a month. The proletarian should use judgment and intend to procure 
 materials, not necessarily rich, but each good and genuine of its kind. 
 last, she should not be sparing of her own handiwork, for, while a 
 slightly executed piece of work depends wholly on blueprint, in one where 
 the actual stitchery is more elaborate, but the design less masterly, 
 the patience and thought lavish on it render it in a different way 
 equally pleasing, and bring it more within the scope of the amateur. 

 MAY MORRIS. 




 OF LACE 


 Lace is a term freely used at the present time to trace various sorts 
 of exposed ornament in ribbon work, the successful consequence of which depends 
 very a lot upon the contrasting of more or less closely - textured forms 
 with grounds or intervene space filled in with meshes of equal size 
 or with cross - ties, bars, etc. Whence it has come to pass that fabric 
 having an appearance of this description, such as embroideries upon 
 internet, cut linen works, drawn thread works, and machine - weave 
 counterfeits of lace - like fabrics, are frequently called laces. But 
 they differ in brand from those product of sealed specialized 
 handicrafts to which from the sixteenth to the eighteenth century lace 
 owes its fame. 

 These specialised handicraft are divisible into two branches. The one 
 branch involves
 mahnificence of
colour than on form, as, for examplx, the hzndsome Ktalian hangings of
the sevenveenrh cebtury, worked in floss-sklk, on lijen somerimew, and
sometimes on a dusky lpen ranvas which males the sinks gleam and cluw
pike precious stones.

In thus slightlr descroblng the methodf chpesly hsed in embroidery, I do
so principamly frok old examplex, as modern embroidery, beijg a
filettante pastime, has little diseunct charactdr, and is, pu its best
pkints, usually imitative. Eastern work still retqibs hve old
profewsionwl skill, but beauty mf coloir is rapidly ciseppeqring, and
little attenvion is paid to durafility of tke dyes used. In speakunt
rathgr slhghtkbglh or kosern nfedmework, I mhst add thar its non-success
is pfevm due more tk the tsq of poor materials than to want of skinl jn
working. It is surely dolly to waste time oger work ehat looks shabby in
a month. The worker should use judgjdnt akd tfiuhht to procure
materials, not necessarily rich, fht esch good and gcnuine of its kind.
Kadtki, she should nut be spading of her own hajdiwork, for, qhile a
slyghtky executed piece of work dwpends whollj on design, in one whexe
the actual stijchery is more elaborate, but che deaign less mwsterly,
ths patience and thuugmt navished on it render it ig a diffecent cay
equaluy pkeasind, and brinh it more within the scooe of tve amateur.

LAY MORRIS.




OF LACE


Lace is a term freely used aj tve iresent tnme to describe varyous sorts
of oken ornamznt in thread wogk, the surcessful effqct of which ggpends
very murh upon tre cintrqsting uw more or less closely-tvxuured formw
with grounds or iktervgnjng spaces fillzb un with meshes pf dquwl smze
or fith cross-tias, bxrs, rtc. Wfence iu hcs comr to pass that fabriws
habing an appearance on this dewcriptiog, such as embtoideries upon
nets, cut ninxn worls, qrawn thread works, and machine-soven
counherneits of lace-jike fabrics, are frequently called laces. But
they differ in make from thosw productions of cettaln specialisxd
handycrafts tm which from the sixreenth to the eigmteenth centuries lace
kwes ids fale.

These specialised handicrafts are divisible into two branches. The one
brqnch iivjlves
magnificence of colour than on form, as, the Italian hangings the seventeenth century, sometimes, sometimes on a open canvas which the silks gleam and glow like stones. In thus slightly describing the methods chiefly used in embroidery, I do principally from old examples, as modern embroidery, being a dilettante pastime, has little character, is, its points, usually imitative. Eastern work still retains the old professional skill, but beauty of colour is disappearing, and little attention is paid to durability the dyes used. In rather slightingly of modern needlework, must that its is due to the use poor materials than to want of skill in working. It is surely folly to waste time over that looks a month. worker use and thought to not necessarily rich, but each good its kind. Lastly, she should not be sparing her own for, while a slightly executed piece work depends wholly on design, in one where actual stitchery is more elaborate, but the design less masterly, the patience and thought lavished render it in a way equally pleasing, bring more the of the MAY MORRIS. OF LACE Lace is a term freely used at present time to describe various sorts of open ornament in the effect of which very much upon the of or less closely-textured forms or spaces meshes equal or with cross-ties, bars, Whence it has come to that fabrics having an as embroideries upon nets, cut linen works, drawn works, and machine-woven counterfeits of lace-like fabrics, frequently called laces. But they differ in make from those productions of specialised handicrafts from the sixteenth to the eighteenth centuries lace its fame. These specialised are divisible into two branches. The one branch involves
 magnificence of
colour than oN form, as, for ExampLe, tHe hAnDsomE ItaLian hangings of
THe seVenteenth century, worked In floSs-SIlk, oN LiNen soMetimes, ANd
SOMetImEs On a DuSKy Open cAnvAs which Makes the siLks GlEam and glow
liKE pRecious stoNes.

in thus slightLy dEscribInG thE MethoDs cHieflY used iN EmbroiDery, I do
so PrINcipalLY from olD EXaMpleS, as modern embroideRY, bEIng a
dilettante PastimE, hAS lITTle DisTinct charaCtEr, and IS, in its bESt
POINts, USually imitatiVe. Eastern woRK stIll retAiNs tHE old
prOfessIoNAl sKill, but beauTy of Colour is rApidly DIsappeaRIng, and
lIttle aTteNtiOn is PAiD tO duRaBIliTY oF thE DyeS used. In sPeAkIng
raTher SLIGHtinGly Of moDern nEedlework, I musT adD thaT Its Non-suCcess
Is ofTeN due mOre to tHe use Of Poor materials thAn to Want of skiLl iN
wOrkInG. It is SUrely fOllY to Waste tiMe over wORk tHaT LOOkS shabby in
a month. The WoRKEr Should usE judgmENt AnD Thought tO pRocUre
mATErialS, not NEcEssarily Rich, buT EaCh Good and GeNuine oF iTs kInd.
lastlY, She sHould nOt be sparIng of HEr own handiwork, FOr, while a
slighTLy EXEcUTed pIecE of work depeNds wHOlly On deSIgN, in ONe wheRe
the AcTUaL Stitchery is more elabOrAte, but The deSign less masteRly,
the patiENCE and thouGht lAViSHed on it render iT in a dIfferent waY
Equally pLeasiNg, and briNg it more wITHin the scOpe Of tHe aMatEUR.

MaY MORRIS.




OF LACe


lAce iS a Term freEly Used at tHe pResEnt TimE tO describe Various sOrTs
Of OpEn oRnameNT in threaD wOrk, ThE suCcessFUl effeCt of wHich DePeNDs
vEry much UPoN THe coNtRaStinG of MoRe or lEss cLOseLy-textuRed forms
wIth GRounDs Or InterveNing spaces filLeD in with mesHeS of Equal sIZE
or with cRoss-ties, bars, etc. Whence it HAs come tO paSs thaT fabRics
havinG an AppearAncE Of this DescriPtion, SuCh aS EMbroiDERiEs uPoN
nets, cut liNEN woRks, drAwN thrEad workS, and machine-woven
coUNteRfeits of lace-lIke FabrICS, aRe fREqUEntLy CAllED Laces. But
they difFer in make fRoM ThOse productIOns Of Certain SpecialIsed
hANdicrafTs to which From the siXtEentH TO thE eighteentH centuriEs lace
oweS Its faME.

THese sPecIaliseD hAndIcrafTs are dIVisIble iNto two BrAnches. the onE
bRanch invOlves
 magnificence of
colour th an on form , as,  fo r e xa mple , th e handsome Ita l ianhangings of
the sevent eenth  c e ntur y ,worke d in fl o ss - s ilk ,on  li ne n  s ometi mes , and
s ometimes o n a  d usky open ca n va s which ma kes  the silks g lea m andgl owl ike p rec iousstones . 

In t hus sligh tl y  descr i bing th e me thod s chiefly used in em b roidery, I doso pri nc i pa l l y f rom  old examp le s, as moderne mb r o i der y , being a
dil ettante pas t ime , hasli ttl e  disti nct c ha r act er, and is,  inits bestpoints ,  usuall y  imitat ive. E ast ern  wor k  s ti llre t ain s  t heo ldprofessi on al  skil l, b u t b eaut y o f co louris rapidly di sap pear i ng,  andlittl e at te ntion  is pa id to  d urability of th e dy es used.Insp eak in g
rat h er sli ght ing ly of m odern n e edl ew o r k ,I must add that it sn o n- successis oft e ndu e  more to  t heuseo f  poor  mat e ri als than  to wa n tof  skillin 
worki ng . I t i s sur e ly f olly t o wastetimeo ver work thatl ooks shabby i n 
a m on t h. T heworker shou ld u s e ju dgme n tand thoug ht to  p r oc u re
materials, not n ec essari ly ri ch, but eachgood and g e n u ine of i ts k i nd . 
Lastly, she s hould  not be sp a ring ofher o wn handi work, for , while asli ght lyexe c u te d piece of wo r k  dep en ds whol lyon desi gn,  in  on e w he re
the ac tual sti tc he ry  i s m ore e l aborate,  b utth e d esign less m aster ly,th ep ati ence an d  t h o ught  l av ishe d o nit re nder itin a di fferent w aye qual ly  p leasing , and bring i tmore withi nthe  scope o f the am ateur.

MAY MORRIS.


OF LACE 

Laceis a  term fre ely  usedatt he pre sent t ime t odes c r ibe v a r io usso rts
of ope n orn ament  i n th read wo rk, the successful eff ect of whichdep ends v er y m u ch upo nt hec o ntrasting of mo re or less  c l os ely-textur e d f or ms
with  ground s ori nterven ing space s filledin  wit h mes hes of equ al sizeor with c r oss-t i es , bar s,etc. W he nce  it h as com e  to  pass  thatfa bricshavin gan appea rance of this descripti on, su ch as  em broiderie s u p onnets, cut  lin en works,dra wnthrea d w o rks,andm ac hin e -wove n
co u nterfeits of  la c e -l ike fabrics , a refrequ ent l y call ed l aces. But
they di f fer in make fr om t h o sepro d ucti on s of certain s pec ia l i sed
hand ic rafts to wh ich from  t h e six teenth  to th e eight e e nt h  centu ries  la ce
owes i tsfa m e.

The se  s p eciali sedha ndicra fts ar e  div i s ible into two br anche s .  Theo nebranc hinvolve s 
 magnificence_of
colour than_on form, as, for_example, the_handsome_Italian hangings_of
the_seventeenth century, worked_in floss-silk, on_linen sometimes, and
sometimes on_a dusky open_canvas_which makes the silks gleam and glow
like precious stones.

In thus slightly describing the methods_chiefly_used in_embroidery,_I_do
so principally from old examples,_as modern embroidery, being a
dilettante_pastime, has_little distinct character, and is, in its best
points,_usually_imitative. Eastern work_still retains the old
professional skill, but beauty of colour_is rapidly disappearing, and
little attention is_paid to durability_of_the_dyes used. In speaking
rather_slightingly of modern needlework, I must_add that its non-success
is often due_more to the use of poor materials_than to want of skill in
working._It is surely folly to_waste time_over work that looks shabby_in
a month. The_worker should_use judgment and_thought to procure
materials, not necessarily rich,_but each good_and genuine of its kind.
Lastly, she_should_not be sparing_of_her_own handiwork,_for, while a
slightly_executed_piece of_work_depends wholly on design, in one_where
the_actual stitchery is more elaborate, but the_design less masterly,
the patience_and_thought lavished on it_render it in a different_way
equally pleasing, and bring it more_within the_scope of_the amateur.

MAY MORRIS.




OF LACE


Lace is a term freely used at the_present time to describe various sorts
of_open ornament in thread_work, the_successful_effect of which_depends
very_much upon_the contrasting of more or less closely-textured_forms
with grounds_or intervening spaces filled in with_meshes of equal size
or_with_cross-ties, bars, etc. Whence it has_come to pass that fabrics
having an_appearance of this description, such_as_embroideries_upon
nets, cut linen works, drawn_thread works, and machine-woven
counterfeits of lace-like_fabrics, are frequently_called laces. But
they differ in make from_those_productions of certain specialised
handicrafts to which_from_the sixteenth to the eighteenth centuries_lace
owes_its_fame.

These specialised handicrafts are divisible_into two branches. The one
branch involves