Chapter V: Preface (5)

That designer and worker should be one and the same person is an ideal, but one only very occasionally fulfilled. When that happens (Illustrations 61 and 88) it is well. But the attempt to realise it commonly works out in one of two ways: either a good design is spoilt in the working for want of executive skill on the part of the designer, or good workmanship is spent on poor design, as good, perhaps, as one has any right to expect of a skilled needleworker.

The fact is, you can only make out all the world to be designers by reducing design to what all the world can do. And that is not much. There is a point of view from which it does not amount to design at all.

The study of design forms part of the education of an embroidress, not so much that she may design what she works, but that she may know in the first place what good design is, and, in the second, be equal to the ever-recurring occasion when a design has to be modified or adapted. If, in thus manipulating design not hers, she should discover a faculty of invention, she will want no telling to exercise it. A designer wants no encouragement to design--she designs.

There would be no occasion to insist upon this, were it not for the prevalence at the present moment of the idea that a worker, in whatever art or handicraft, is in artistic duty bound to design whatever she puts hand to do. That is a theory as false as it is unkind; let no embroidress be discouraged by it. Let her, unless she is inwardly impelled to invent, remain content to do good needlework. That is her art. Her business as an artist is to make beautiful things. Co-operation in the making of them is no crime.

And what, then, about originality? Originality is a gift beyond price. But it is not a thing which even the designer should struggle after. It comes, if it is there. There is a revengeful consolation for the pain we suffer from design about us writhing to be up-to-date, in the thought that its contortions tell what pain it cost to do. The birth of beauty is a less agonising travail; and the thing to seek is beauty, not novelty. Whoever planned the lines of the border in Illustration 91, or treated the leafage in Illustration 92, was not trying to be original, but determined to do his best. Artists and workers of individuality and character are themselves, without being so much as aware that originality has gone out of them.

To assume, then, that every needlewoman is, or can ever be, competent to design what she embroiders, is to make very small account of design. How is it possible to take design seriously and yet think it is to be mastered without years of patient study, which few workwomen can or will devote to it? Any cultivated woman may for herself invent (if it is to be called invention) something better worth working than is to be bought ready to work. And that may do for many purposes, so long as it does not claim to be more than it is; but in the case of really important work, to be executed at considerable cost not only of material, but of patient labour, surely it is worth giving serious thought to its design. The scant consideration commonly given to it shows how little the worker is in earnest. Or has she thought? And is she persuaded that her artless spray of flowers, or the ironed-off pattern she has bought, is all that art could be? It would be rude to tell her she was wasting silk! How should she know?

The only way of knowing is to study, to look at good work, old work by preference; it is worth no one's while to praise that unduly. And if in all that is now so readily accessible she finds nothing to admire, nothing which appeals to her, nothing which inspires her, then her case is hopeless. If, on the other hand, she finds only so much as one style of work sympathetic to her, studies that, lets its spirit sink into her, tries to do something worthy of it, then she is on the right road. Measure yourself with the best, not with the common run of work; and if that should put you out of conceit with your own work, no great harm is done; sooner or later you have got to come to a modest opinion of yourself, if ever you are to do even moderate things.

But the "best" above referred to does not necessarily mean the most masterly. The best of a simple kind is not calculated to discourage anyone--rather, it looks as if it must be easy to do that; and in trying to do it you learn how much goes to the doing it. Good design need not be of any great importance or pretensions. It may be quite simple, if only it is right; if the lines are true, the colour harmonious; if it is adapted to its place, to its use and purpose, to execution not only with the needle but in the particular kind of needlework to be employed.

There has of late years been something of a revival of needlework design in schools of art, and some very promising and even most accomplished work has been done; but in many instances, as it seems to me, it is rather design which has been translated into needlework, than design clearly made for execution with the needle. A really appropriate and practical design for embroidery should be schemed not merely with a view to its execution with the needle, but with a view to its execution in a particular stitch or stitches--and possibly by a particular embroidress. To be safe in designing work so minute as that on Illustration 93, one must be sure of the needlewoman who is to execute it.

My reference to old work must not be taken to imply that design should be in imitation of what has been done, or that it should follow on those lines. Design was once upon a time traditional; but the chain of tradition has snapped, and now conscious design must be eclectic--that is to say, one must study old work to see what has been done, and how it has been done, and then do one's own in one's own way. It is at least as foolish to break quite away from what has been done as to tether yourself to it. And in what has been done you will see, not only what is worth doing, but what is not. That, each must judge for herself. For my part, it seems to me the thing best worth doing is ornament. Any way, this much is certain (and you have only to go to a museum to prove it), that there is no need for needleworkers, unless their instinct draws them that way, to take to needle painting, to pictures in silk, or even to flower stitching.

The limitations of embroidery are not so rigidly marked as the boundaries of many another craft. There is little technical difficulty in representing flowers, for example, very naturally--too naturally for any dignified decorative purpose. Embroiderer or embroidery designer will, as a matter of fact, be constantly inspired by flower forms, and silk gives the pure colour of their petals as nearly as may be. But, though the pattern be a veritable flower garden, the embroidress will not forget, to use the happy phrase of William Morris, that she is gardening with silks and gold threads.

Let the needleworker study the work of the needle in preference to that of the brush; let her aim at what stuff and threads will give her, and give more readily than would something else. Let her work according to the needle: take that for her guide, not be misled by what some other tool can do better; do what the needle can do best, and be content with that. That is the way to Art in Needlework, and the surest way.

EMBROIDERY MATERIALS.

Embroidery is not among the things which have to be done, and must be done, therefore, as best one can do them. It is in the nature of a superfluity: the excuse for it is that it is beautiful. It is not worth doing unless it is done well, and in material worth the work done on it. If you are going to spend the time you must spend to do good work, it is worth while using good stuff, foolish to use anything else. The stuff need not be costly, but it should be the best of its kind; and it should be chosen with reference to the work to be done on it, and _vice versa_. A mean ground-stuff suggests, if it does not necessitate, its being embroidered all over, ground-work as well as pattern; a worthier one, that it should not be hidden altogether from view; a really beautiful one, that enough of it should be left bare of ornament that its quality may be appreciated.

[Sidenote: STUFFS.]

It goes without saying, that for big, bold stitching a proportionately coarse ground-stuff should be used, and for delicate work, one of finer texture; whether it be linen, woollen cloth, or silk, your purpose will determine.

Linen is a worthy ground-stuff, which may be worked on with flax thread, crewel, or silk, but they should not be mixed. Cotton is hardly worth embroidering. Of woollen stuffs, good plain cloth is an excellent ground for work in wool or silk, but it is not pleasant to the touch in working. Serge, if not too loose, may serve for curtains and the like, but it is not so well worth working upon. Felt is beneath contempt.

The nobler the material, the more essential it is that it should be of the best. Poor satin is not "good enough to work on;" it looks poorer than ever when it is embroidered.

Satin should be stretched upon the frame the way of the stuff, and it should not be forgotten that it has a right and a wrong way up. If it is backed, the linen should be fine and smooth: on a coarse backing, the satin gets quickly worn away, as you may see in many a piece of old work that has gone ragged.

"Roman satin" and what is called "_satin de luxe_" (perhaps because it is not so luxurious as it pretends to be) are effective ground-stuffs easy to work upon; but there is an odour of pretence about satin-faced cotton.

A corded silk is not good to embroider; the work on it looks hard; but a close twill answers very well. Silk damask makes an admirable ground beautifully broken in colour, if only it is simple and broad enough in pattern. Generally speaking, you can hardly choose a design too big and flat; but something depends upon the work to be done on it. In any case, the pattern of the damask ought not to assert itself, and if you can't make out its details, so much the better.

Brocade asserts itself too much to form a good background. There is a practice of embroidering the outlines, or certain details only, of damask and brocade patterns. That is a fair way of further enriching a rich stuff; but it is embroidery merely in the sense that it is literally embroidered: the needlework is only supplementary to weaving.

Tussah silk of the finer sort is easy to work in the hand. The thinner and looser quality needs to be worked in a frame, and with smooth silk not tightly twisted.

[Sidenote: THREAD.]

With regard to the thread to work with: The coarser kinds of flax are best waxed before using. The crewel to be preferred is that not too tightly twisted. Filoselle is well adapted to couching, and may be laid double (24 threads). French floss is smooth, and does well for laid work; for fine work bobbin floss, or what is called "church floss," is better; the slight twist in filo-floss is against it; very thick floss may be used for French knots.

For couching gold, a very fine twisted silk does well. Purse silk, thick and twisted, lends itself perfectly to basket work. Working in coloured silks, one should take advantage of the quality of pure transparent colour which silk takes in the dyeing. The palette of the embroiderer in silk is superlatively rich.

[Sidenote: GOLD.]

The purest gold is generally made on a foundation of _red_ silk. Japanese gold does not tarnish so readily as "passing," which is in some respects superior to it. For stitching through, there is a finer thread, called "tambour." Flat gold wire is known by the name of "plate," and various twisted threads by the name of "purl."

[Sidenote: CHENILLE.]

A not very promising substance to embroider with is chenille. It came into use in the latter half of the 17th century, and was still in fashion in the time of Marie Antoinette. The use of it is shown in Illustration 75, where the darker touches of the roses are worked in it. Chenille seems to have been used instead of smooth silk, much as in certain old-fashioned water-colour paintings gum was used with the paint, or over it, to deepen the shadows. The material is used again in the wreath on Illustration 76. It is worked there in chain-stitch with the tambour needle: it may also be worked in satin-stitch; but the more obvious way of using it is to couch it, cord by cord, with fine silk thread. There is this against chenille, that its texture is not sympathetic to the touch, and that there is a stuffy look about it always. Nor does it seem ever quite to belong to the smooth satin ground on which it is worked.

[Sidenote: RIBBON.]

[Sidenote: SHADED SILK.]

There is less objection to embroidery in ribbon, which also had its day in the 18th century. It was very much the fashion for court dresses under Louis Seize--"_Broderie de faveur_," as it was called, whence our "lady's favour"--_faveur_ being a narrow ribbon. Some beautiful work of its kind was done in ribbon, sometimes _shaded_. Shaded silk, by the way, may be used to artistic purpose. There is, for example, in the treasury of Seville Cathedral a piece of work on velvet, 13th century, it is said, rather Persian in character, in which the forms of certain nondescript animals are at first sight puzzlingly prismatic in colour. They turn out to be roughly worked in short stitches of parti-coloured silk thread. The result is not altogether beautiful, but it is extremely suggestive.

[Sidenote: RIBBON.]

The effect of ribbon work is happiest when it is not sewn through the stuff after the manner of satin stitch, but lies on the surface of the satin ground, and is only just caught down at the ends of the loops which go to make leaves and petals. The twist of the ribbon where it turns gives interest to the surface of the embroidery, which is always more or less in relief upon the stuff, easy to crush, and of limited use therefore.

An effect of ribbon work, but of a harder kind, was produced by onlaying narrow strips of card or parchment upon a silken ground, twisted about after the fashion of ribbon. These, having been stitched in place, were worked over in satin-stitch. The work has the merit of looking just like what it is. But neither it nor ribbon embroidery is of any very serious account.

Passing reference has been made to other materials to embroider with than thread. Gold wire, for example, and spangles, coral and pearls, which have been used with admirable discretion, as well as to vulgar purpose. Jewels also were lavished upon the embroidery of bishops' mitres, gloves and other significant apparel, and in default of real stones, imitations in glass, and eventually beads (or pearls) of glass, in which we have possibly the origin of knots. Bead embroidery is at least as old as ancient Egypt. Even atoms of looking-glass, sewn round with silk, have been used to really beautiful effect (barbaric though it may be) in Indian work. The question almost occurs: with what can one not embroider? In Madras they produce most brilliant embroidery upon muslin with the cases of beetles' wings. In the Mauritius they use fish-scales; in North America, porcupine quills; and everywhere savage tribes use seeds, shells, feathers, and the teeth and claws of animals.

To return to more civilised work, there is embroidery in gold and silver wire, allied to the art of the goldsmith, and on leather (Illustration 94), allied to the art of the saddler. It would be difficult to set any limit to the directions in which embroidery may branch out, impossible to describe them all. Happily, it is not necessary. A skilled worker adapts herself to new conditions, and the conditions themselves dictate the necessary modification of the familiar way.

A WORD TO THE WORKER.

A good workwoman will not encumber herself with too many tools; but she will not shirk the expense of necessary implements, the simplest by preference, and the best that are made.

[Sidenote: NEEDLES.]

Embroidery needles should have large eyes; the silk is not rubbed in threading them, and they make way for the thread to pass smoothly through the stuff. For working in twisted silk, the eye should be roundish; for flat silk, long; for surface stitching or interlacing, a blunt "tapestry needle" is best; for carrying cord or gold thread through the stuff, a "rug needle."

[Sidenote: THIMBLE.]

For a thimble, choose an old one that has been worn quite smooth.

[Sidenote: SCISSORS.]

For scissors, be sure and have a strong, short, sharp and pointed pair--the surgical instrument, not the fancy article. Nail scissors would not be amiss but for the roughness of the file on the blades.

[Sidenote: PINS.]

For pins, use always steel ones; and for tacks, those which have been tinned; or they will leave their mark behind them.

[Sidenote: FRAMES.]

For a frame, get the best you can afford; a cheap one is no economy; but a stand for it is not always necessary. It should be rather wider than might seem necessary, as the work should never extend to the full width of the webbing. A tambour frame is also useful, though you have no intention of doing tambour work.

[Sidenote: TO STRETCH SILK.]

In stretching silk (not backed with linen) upon a frame, some preliminary care is necessary. The stuff should first be bordered with strips of linen or strong tape, and into the two sides of this border which are to be laced up a stout string should be tacked, to prevent it from giving when the work is drawn tight.

[Sidenote: FRAMING.]

The way to put embroidery material (thus bordered or not) into a frame is: first to sew it to the webbing (top and bottom), then to put the laths or screws into the bars, tightening them evenly, and lastly to lace it to the sides with fine string and a packing needle.

[Sidenote: TRANSFERRING.]

The ordinary ways of transferring a design to embroidery material are well known: the outline may be traced down with a point over transfer paper; it may be pricked upon paper and pounced upon the stuff in chalk or charcoal, and then traced in with a brush or pen; or it (still the outline only) may be stencilled. In any case, the outline marked upon the stuff should be well within what is to be the actual outline of the embroidery when worked. Another way, more peculiarly adapted to needlework, is to trace the outline in ink upon fine tarlatan (leno muslin will do for very coarse work), and, having laid this down upon the stuff, to go over the lines again with a ruling pen and Indian ink or colour. On a light stuff it is possible to use, instead of a pen, a hard pencil. On a dark material one must use Chinese white, to which it is well to add, not only a little gum (arabic), but a trace of ox-gall, to make it work easily. One gets by this method naturally rather a rotten line upon the ground-stuff, but it is enough for all practical purposes.

[Sidenote: KEEPING CLEAN.]

Delicate work is easily rubbed and soiled in the working. It is only reasonable precaution to protect it by a veil or covering of thin, soft, white glazed lining, tacked round the edges on to the stuff. On this you mark the four lines inclosing the actual embroidery, and, cutting through three of them, you have a flap of lining, which you raise and turn back when you are at work. If the work is very delicate, you may make instead of one flap a succession of little ones; but you see then only a portion of your work at a time, and cannot so well judge its effect.

[Sidenote: STARTING AND FINISHING.]

In starting work, do not begin by making a knot in your thread; run a few stitches (presently to be worked over) on the right side of the stuff. In finishing, you run them at the back of the stuff; for greater security still, one may end with a buttonhole-stitch.

[Sidenote: PUCKERING.]

There is less danger of puckering the stuff if you hold it over two fingers (at least), keeping it taut and the thread loose.

Working without a frame, it often comes handiest to hold the stuff askew, and there is a natural inclination to pull it in that direction. This temptation must be resisted, or puckering is sure to result.

[Sidenote: DOUBLE THREAD.]

In working with double silk or wool, it is better not to double back a single thread, but to pass two separate threads through the eye of the needle. The four threads (where these are turned back near the eye) make way through the stuff for the double thread, which passes easily; moreover, the thread by this means is not pulled too tight, and the effect is richer.

The stitch wants always adaptation to the work it has to do. In working a curved line, for example, say in herring-bone-stitch, one is bound always to take up a larger piece of stuff on its outside than on its inner edge.

When a thread runs short, it is better not to go on working with it, but to take another; and in finishing off, remember to run the thread in the direction opposite to that from which you are going to run the new one. In starting the new stitch, you naturally bring your needle out as if it were a continuation of that last made.

[Sidenote: UNDOING.]

If your work is faulty, cut it out and do it again. Unpicking is not so satisfactory: it loosens the stuff to drag the thread back through it, and the thread saved is of no further use. Beginners find it hard to undo work once done; but a really good needlewoman never hesitates about it--her one thought is to get the thing right. Don't break your thread ever: that pulls it out of condition: cut it always.

In working, it is well to keep strictly to the stitch you have chosen, but not to the point of bigotry. One may finish off darning, for example, at the edges with a satin stitch. The thing to avoid is fudging. Moreover, stitches should be laid right at once; there should be no boggling and botching, no working-over with stitches to make good--that is not playing fair.

[Sidenote: SMOOTHING.]

When the needlework is done, do not finish it with a flat iron. That finishes it in more senses than one. But suppose it is puckered? In that case, stretch it and damp it. To do this, first tack on to it (as explained on page 251) a frame of strong tape. Then, on a drawing-board or other even wooden surface, lay a piece of clean calico, and on that, face downwards, the embroidery, and, slightly stretching it, nail it down by the tape with tin-tacks rather close together. If now you lay upon it a damp cloth, the embroidery will absorb the moisture from it, and when that is removed, should dry as flat as it is possible to get it.

A rather more daring plan is to damp the back of the stuff with a wet sponge. The work, instead of being nailed on to a board, may just as well be laced to a frame by the tape. In the case of raised embroidery there must be between it and the wood, not a cloth merely, but a layer of wadding.

The damping above described may take the form of a thin paste or stiffening, but upon silk or other such material this wants tenderly doing.

One last word as to thoroughness in needlework. Those who have really not time to do much, should be satisfied with simple work. The desire to make a great show with little work is a snare. Ladies make protest always, "There is too much work in that." Well, if they are not prepared to work, they may as well give themselves up to their play. There was no labour shirked in the old work illustrated in these pages; and nothing much worth doing was ever done without work, hard work, and plenty of it. Should that thought frighten folk away, they may as well be scared off at once. Art can do very well without them.

INDEX.

ADAPTATION of stitch, 103, 188, 253

ANTIQUE stitch, 66
(_See also Oriental-stitch_)

APPLIQUE, 140, 144 _et seq._, 220, 222, 224

ARAB work, 152

ARTLESS art, 37, 236

ATTACHMENT of cord, 124

BACKSTITCH, 30, 37, 41, 53, 83, 86, 172, 226, 230

BASKET patterns, 134

BEADS, 248

BEGINNING & FINISHING, 252

BLANKET-STITCH, 56

BRAID-STITCH, 42, 43

BROAD surfaces (covering), 178

BROCADE, 244

BULLION, 165

BULLION-STITCH, 75, 76, 162, 165

BUTTONHOLE-STITCH, 8, 55 _et seq._, 69, 122, 145, 158, 178, 182

BUTTONHOLING (lace), 84, 86

BYZANTINE embroidery, 12, 24

CABLE-CHAIN, 42

CANVAS, 7, 25

CANVAS stitches, 12 _et seq._

CANVAS-STITCH embroidery, 22

CARD underlay, 162, 246

CASHMERE embroidery, 228

CASHMERE-STITCH, 18

CHAIN-STITCH, 38 _et seq._, 61, 83, 129, 145, 156, 158, 178, 182,
202, 226, 245

CHENILLE, 245

CHINESE embroidery, 78, 96, 129, 136, 140, 152

CHURCH work, 41, 136, 148, 166, 216 _et seq._

CLASSIFICATION of stitches, 9, 175 _et seq._

CLOTH, 125, 126, 159, 243

COLOUR, 110, 208

COLOUR gradation, 98, 114, 118

COLOUR and outline, 146, 185

COMBINATION of stitches, 182

COPTIC embroidery, 12, 226

" tapestry, 2

CORAL, 166, 248

CORD, 122

" (couched), 128, 144, 178, 182

" (attachment of), 124

COTTON, 243

COUCHED cord, 128, 144, 178, 182

" gold, 131 _et seq._, 182

" outline, 146

COUCHING, 22, 114, 120, 121, 122 _et seq._, 244

" (reverse), 130

COUNTERCHANGE, 154

CRETAN embroidery, 12

CRETAN-STITCH, 61
(_See also Ladder-stitch_)

CREWEL, 244

CREWEL-STITCH, 26 _et seq._, 83, 86, 103, 105, 178

" (surface), 86

CREWEL work, 26, 36, 37

CROSS-STITCH, 12, 14, 16

CROSSED buttonhole-stitch, 56

CUSHION-STITCH, 20, 21

CUT-WORK, 156

DAMASK, 243, 244

DAMPING, 254, 255

DARNING, 8, 22, 83, 90, 106 _et seq._, 178, 179

" (Japanese), 86

" (surface), 84

DESIGN, 150, 219, 233 _et seq._

" traditional, 238, 240

DESIGN and stitch, 10, 238

DESIGNER and embroiderer, 232, 233

DIAPERS, 87, 88, 108, 132, 134, 210

DIRECTION of stitch, 92, 95, 108, 114, 136, 190, 208 _et seq._

DOUBLE darning, 106

" thread, 253

DOVETAIL-STITCH, 103, 104
(_See also Embroidery and Plumage Stitches_)

DRAWING with the needle, 192, 194, 196, 199, 211

DRAWN work, 2, 4

EASTERN embroidery.
(_See Oriental_)

EFFECT and stitch, 36, 78

EIGHTEENTH century embroidery, 220, 246

EMBROIDERY and painting, 201, 202

EMBROIDERY-STITCH, 103
(_See also Plumage-stitch_)

ENGLISH embroidery, 34, 36, 169

FEATHER-STITCH, 62 _et seq._, 83, 100, 178

FELT, 243

FIFTEENTH century embroidery, 24, 164

FIGURE work, 116, 169, 190, 198 _et seq._

FILLING-IN patterns, 24

FILO-FLOSS, 164, 244

FILOSELLE, 124, 144, 244

FISHBONE, 21, 47, 51

FLAX thread, 164, 244

FLEMISH embroidery, 142, 200

FLESH, 204, 206

FLORENTINE-STITCH, 18, 21
(_See also Cushion stitch_)

FLOSS, 95, 114, 116, 118, 120, 244

FORM and stitch, 44, 47, 100, 118, 176, 211, 253

FRAMING work, 251

FRENCH embroidery, 88, 245

" floss, 244

" knots, 77, 129, 150, 178, 244

GEOMETRIC pattern, 225

GERMAN embroidery, 110, 125, 126, 156, 185, 226

GERMAN knot-stitch, 72

GOBELIN-STITCH, 18

GOLD, 210, 222, 245

" (couched), 131 _et seq._, 182

" (raised), 134, 136, 165

GOLD thread, 131, 245

" tinted by couching stitches, 142

" wire, 169, 248

HALF-CROSS-STITCH, 20

HERALDIC embroidery, 156

HERRINGBONE-STITCH, 8, 22, 47 _et seq._, 83, 178, 182

HILDESHEIM cope (the), 126

HUNGARIAN embroidery, 2

" stitch, 18

INDIAN embroidery, 41, 46, 61, 95, 98, 154, 169, 222, 248

INDIAN herring-bone, 48

INLAY, 153

INTERLACING stitches, 83

ITALIAN embroidery, 22, 24, 37, 46, 138

ITALIAN embroidery (Renaissance), 22, 41, 120, 142, 154, 199

JAPANESE darning, 86, 87

" embroidery, 80

" gold, 245

JEWELS, 165, 248

KNOT stitches, 72 _et seq._, 182

LACE, 1, 2

LACE stitches, 84 _et seq._

LADDER-STITCH, 59, 61, 182

LAID-WORK, 112 _et seq._, 162, 178

LEATHER, 248

LEATHER on velvet, 150

LENGTH of stitch, 96, 100

LIMITATIONS of embroidery, 240

LINE work, 176, 178

LINEN, 164, 243

" (embroidery on), 24

LONG-AND-SHORT-STITCH, 36, 98, 100, 178, 190, 192

MAGIC-STITCH, 41

MATERIAL (influence of on stitch), 12, 13, 16, 18, 24, 88, 91

MATERIALS, 242 _et seq._

MECHANICAL embroidery, 225

MEDIAEVAL work, 92, 136, 140, 190

MILANESE-STITCH, 18

MODELLING, 222

MODEST work, 230, 231

MOORISH-STITCH, 18, 21

MOROCCO embroidery, 152

NEEDLE (tambour), 38, 245

NEEDLE pictures, 201

NEEDLES, 250

NET passing, 86

OLD ENGLISH KNOT-STITCH, 75

OPUS Anglicanum, 9

ORIENTAL embroidery, 2, 22, 61, 92, 112, 136, 140, 153, 226

" stitch, 66 _et seq._, 83, 178, 182

ORIGINALITY, 234

OUTLINE, 22, 77, 108, 146, 158, 178, 184, 185 _et seq._

" (couched), 126, 128, 146

" (double), 146, 185, 186

" (stepped), 16, 24

" (voided), 96, 187

OUTLINE embroidery, 138

" stitch, 29, 30, 32, 86

PADDING, 159, 172

PAINTING, 201, 202

PARCHMENT, 160, 168, 246

PARISIAN-STITCH, 18

PATCHWORK, 156

PEARLS, 165, 166, 248

PEASANT work, 12, 13, 226

PERSIAN embroidery, 7, 24, 41, 174, 228

PICTORIAL effect, 198, 199, 201

PICTURES (tent-stitch), 14, 20

PIERCE, 132

PINS, 146, 250

PLAIT-STITCH, 21

PLATE, 245

PLUMAGE-STITCH, 62, 100, 103, 178, 179, 192, 212

PRECIOUSNESS, 198

PURL, 245

PURSE silk, 116, 162

QUILTING, 172 _et seq._

RAISED gold, 134, 136, 165 _et seq._

" work, 134, 136, 159 _et seq._

RELIEF, 159 _et seq._, 166, 168, 169, 172, 222

RENAISSANCE embroidery, 41, 92, 142, 154, 166

RENEWING ground, 126

REVERSE-couching, 130

RIBBON, 150, 246

RIBBON work, 246

ROLL-STITCH, 75
(_See also Bullion-stitch_)

ROMAN satin, 243

ROPE-STITCH, 71 _et seq._, 178

RUNNING, 83, 106, 179

SATIN, 243

" "de luxe", 243

" on velvet, 150

SATIN-STITCH, 24, 91 _et seq._, 103, 112, 128, 158, 160,
162, 175, 178, 182, 192, 206, 212, 245

SATIN-STITCH (surface), 98, 282

SATIN-STITCH in the making, 91

SCISSORS, 250

SERGE, 243

SEVENTEENTH century embroidery, 14, 166

SHADED silk, 246

SHADING, 34, 176, 188 _et seq._

SILK, 146, 243

" (tussah), 244

" (twisted), 95, 124, 125

" on silk, 150

SILKS, 244

SILVER, 135, 138, 166

SIMPLICITY, 180, 236, 238

" (a plea for), 225 _et seq._

SIXTEENTH century embroidery, 22, 120, 125, 142, 185, 199

SOLID chain-stitch, 43, 44

" crewel-stitch, 32, 34

SOUDANESE embroidery, 112

SPANGLES, 169, 248

SPANISH embroidery, 129, 142, 154, 166, 185

SPANISH-STITCH, 18, 22 (_See also Plait-stitch_)

SPLIT-STITCH, 38, 100, 105, 114, 179, 190, 196, 222

SPOT-STITCH, 30

STEM-STITCH, 32

STEMS, 95

STEPPED outline, 16, 24

STILETTO, 174

STITCH (definition of), 11

" adaptation, 103, 188, 253

" and effect, 36, 78

" and form, 44, 47, 100, 118, 176, 211, 253

" and stuff, 12, 13, 16, 18, 24, 88, 91

" groups, 9, 175 _et seq._

" names, 8, 9

" patterns, 87, 88

" and design, 10, 238

STITCHES, 7

STITCHING over stitching, 215

STRETCHING work, 251, 254

STRING, 159, 160, 162

STROKE-STITCH, 16

STUFFS, 242

SURFACE crewel-stitch, 86

" darning, 84

" satin-stitch, 98, 182

" stitches, 84

SYON COPE (the), 7, 130, 210

TAILORS' buttonhole, 56

TAMBOUR, 245

" frame, 44

" needle, 38, 245

" stitch, 38

" work, 44, 194

TAPESTRY, 1, 2, 4, 143, 220

TAPESTRY-STITCH, 53

TENDRILS, 130

TENT-STITCH, 14, 18

THIMBLE, 250

THREAD, 244

TRADITIONAL design, 238, 240

TRANSFERRING design, 251

TURKISH embroidery, 22

TUSSAH silk, 244

TWISTED silk, 95, 124, 125

UNDERLAY, 159, 160, 165

UNPICKING, 253

VANDYKE chain, 42

VARIETY of method, 148, 158

" of stitch, 180 _et seq._

VELVET, 150, 222

VENETIAN embroidery, 138

VOIDING, 96, 187

WEAVING, 2

WHITE on white, 162, 230

WOOL. (_See Crewel_)

WOOLLEN stuffs, 243

THE END.

BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE.

_A LIST OF STANDARD BOOKS_
ON
ORNAMENT & DECORATION,
INCLUDING
FURNITURE, WOOD-CARVING, METAL WORK, &c.,
PUBLISHED BY
_B. T. BATSFORD,
94, HIGH HOLBORN, LONDON, W.C._

WINDOWS.--A BOOK ABOUT STAINED AND PAINTED GLASS. By LEWIS F. DAY. Containing 410 pages, including 50 full-page Plates, and upwards of 200 Illustrations in the text, all of Old Examples. Large 8vo, cloth gilt. Price 21_s._ net.

"Contains a more complete popular account--technical and
historical--of stained and painted glass than has previously
appeared in this country."--_The Times._

"The book is a masterpiece in its way ... amply illustrated and
carefully printed; it will long remain an authority on its
subject."--_The Art Journal._

"All for whom the subject of stained glass possesses an interest and
a charm, will peruse these pages with pleasure and profit."--_The
Morning Post._

"Mr. Day has done a worthy piece of work in more than his usual
admirable manner ... the illustrations are all good and some the
best black-and-white drawings of stained glass yet produced."--_The
Studio._

_Now Published, the most handy, useful, and comprehensive work on the subject._

ALPHABETS, OLD AND NEW. Containing 150 complete Alphabets, 30 Series of Numerals, Numerous Facsimiles of Ancient Dates. Selected and arranged by LEWIS F. DAY. Preceded by a short account of the Development of the Alphabet. With Modern Examples specially Designed by _Walter Crane_, _Patten Wilson_, _A. Beresford Pite_, the Author, and others. Crown 8vo, art linen. Price 3_s._ 6_d._ net.

"Mr. Day's explanation of the growth of form in letters is
particularly valuable.... Many excellent alphabets are given in
illustration of his remarks."--_The Studio._

"Everyone who employs practical lettering will be grateful for
'Alphabets, Old and New.' Mr. Day has written a scholarly and pithy
introduction, and contributes some beautiful alphabets of his own
design."--_The Art Journal._

"A practical resume of all that is to be known on the subject,
concisely and clearly stated."--_St. James' Gazette._

"It goes without saying that whatever Mr. Batsford publishes and Mr.
Day has to do with is presented in a good artistic form, complete,
and wherever that is possible, graceful."--_The Athenaeum._

ARCHITECTURE AMONG THE POETS. By H. HEATHCOTE STATHAM. With 13 Illustrations. Square 8vo, artistically bound. Price 3_s._ 6_d._ net.

"This little work does for architecture in relation to English
poetry what Mr. Phil Robinson has done for the birds and beasts. The
poet's appreciation of architecture is a delightful subject with
which Mr. Statham has become infected, not only illustrating his
points with quotations and his judgments with his reasons, but the
whole with a series of fanciful or suggestive sketches which add
considerably to the attractiveness of the book."--_The Magazine of
Art._

THE DECORATION OF HOUSES. By EDITH WHARTON and OGDEN CODMAN, Architect. 204 pages of text, with 56 full-page Photographic Plates of Views of Rooms, Doors, Ceilings, Fireplaces, various pieces of Furniture, &c., from the Renaissance period. Large square 8vo, cloth gilt, price 12_s._ 6_d._ net.

This volume, written by an American Lady Artist, and an Architect, describes and illustrates in a very interesting way the Decorative treatment of Rooms during the Renaissance period, and deduces principles for the decoration, furnishing, and arrangements of Modern Houses.

"... has illustrations which are beautiful ... because they
illustrate the sound and simple principle of decoration which the
authors put forward.... The book is one which should be in the
library of every man and woman of means, for its advice is
characterised by so much common sense as well as by the best of
taste."--_The Queen._

THE HISTORIC STYLES OF ORNAMENT. Containing 1,500 examples from all countries and all periods, exhibited on 100 Plates, mostly printed in gold and colours. With historical and descriptive text translated from the German of H. DOLMETSCH. Folio, handsomely bound in cloth, gilt, price L1 5_s._ net.

This work has been designed to serve as a practical guide for the purpose of showing the development of Ornament, and the application of colour to it in various countries through the epochs of history. The work illustrates not only Flat Ornament, but also many Decorative Objects, such as METAL-WORK, POTTERY AND PORCELAIN, LACE, ENAMEL, MOSAIC, ILLUMINATION, STAINED GLASS, JEWELLERY, BOOKBINDING, &c., showing the application of Ornament to Industrial Art.

_Just Published._

A MANUAL OF HISTORIC ORNAMENT, being an Account of the Development of Architecture and the Historic Arts, for the use of Students and Craftsmen. By RICHARD GLAZIER, A.R.I.B.A., Headmaster of the Manchester School of Art. Containing 42 Plates and 100 Illustrations in the text. Demy 8vo, cloth. Price 5_s._

The object of this book is to furnish students with a concise account of Historic Ornament, in which the rise of each style is noted, and its characteristic features illustrated. It contains upwards of 400 subjects drawn by the author, and includes examples of Architectural Detail and Plastic Ornament, Pottery, Textile Fabrics, Glass, Metal-work, Mosaic, Painted Faience, &c., &c. of various countries.

A MANUAL OF PRACTICAL INSTRUCTION IN THE ART OF BRASS REPOUSSE FOR AMATEURS. By GAWTHORP (Art Metal Worker to H.R.H. the Prince of Wales). Second and enlarged Edition. With 32 Illustrations, many from photographs of executed designs. Crown 8vo, in wrapper. Price 1_s._ net.

OLD CLOCKS AND WATCHES AND THEIR MAKERS. By F. J. BRITTEN, Secretary of the Horological Institute. Being an Account of the History of Clocks and Watches, their Mechanism and Ornamentation, to which is appended a List of 8,000 Old Makers, with descriptive Notes. Containing over 400 Illustrations, many reproduced from photographs, of choice and curious examples, of Clocks and Watches of the past in England and abroad, including the finely-ornamented Bracket Clocks of the XVIIth Century, with their ingenious mechanism, and the tall and elegant cases of the XVIIIth Century, also a selection of Portraits of the most renowned Masters of the Clockmaker's Art. 512 pages. Demy 8vo, cloth, gilt. Price 10_s._ net.

KING RENE'S HONEYMOON CABINET. A Monograph. By _John P. Seddon_, Architect. Illustrated by 10 photographic reproductions of the Cabinet, and the Panels, painted by the late SIR E. BURNE JONES, _Dante Gabriel Rossetti_, and _Ford Madox Brown_. With a chapter on the Hereditary Earls of Anjou, by G. H. BIRCH, F.S.A. Large 8vo, cloth, price 5_s._ net.

This interesting little work has been issued by the author to make known and commemorate some early designs by the celebrated artists. Very few copies are printed for sale.

_A small remainder, just reduced in price._

ANIMALS IN ORNAMENT. By Professor G. STURM. Containing 30 large collotype plates, printed in tint, of designs suitable for Friezes, Panels, Borders, Wall-papers, Carving, and all kinds of Surface Decoration, &c. Large folio in portfolio, price 18_s._ net (published L1 10_s._).

A new and useful series of clever designs, showing how animal forms may be adapted to decorative purposes with good effect.

A HISTORY OF DESIGN IN PAINTED GLASS.--From the Earliest Times to the end of the Seventeenth Century. By N. H. J. WESTLAKE, F.S.A. Containing 467 illustrations with historical text. Four volumes, small folio, cloth, price L5 10_s._, net L4 8_s._

_Very few copies remain for sale of this valuable work._

MR. LEWIS F. DAY'S TEXT BOOKS OF ORNAMENTAL DESIGN.

SOME PRINCIPLES OF EVERY-DAY ART.--INTRODUCTORY CHAPTERS ON THE ARTS NOT FINE. Forming a Prefatory Volume to the Series of Text Books. Second Edition, revised, containing 70 Illustrations (Third Thousand). Crown 8vo, art linen, price 3_s._ 6_d._, net 3_s._

"Authoritative as coming from a writer whose mastery of the subjects
is not to be disputed, and who is generous in imparting the
knowledge he acquired with difficulty. Mr. Day has taken much
trouble with the new edition."--_Architect._

"A good artist, and a sound thinker, Mr. Day has produced a book of
sterling value."--_Magazine of Art._

THE ANATOMY OF PATTERN.--Containing: I. Introductory. II. Pattern Dissections. III. Practical Pattern Planning. IV. The "Drop" Pattern. V. Skeleton Plans. VI. Appropriate Pattern. Fourth Edition (Ninth Thousand), revised, with 41 full-page Illustrations. Crown 8vo, art linen, price 3_s._ 6_d._, net 3_s._

"... There are few men who know the science of their profession
better or can teach it as well as Mr. Lewis Day; few also who are
more gifted as practical decorators; and in anatomising pattern in
the way he has done in this manual--a way beautiful as well as
useful--he has performed a service not only to the students of his
profession, but also to the public."--_Academy._

THE PLANNING OF ORNAMENT.--Containing: I. Introductory. II. The Use of the Border. III. Within the Border. IV. Some Alternatives in Design. V. On the Filling of the Circle and other Shapes. VI. Order and Accident. Third Edition (Fifth Thousand), further revised, with 41 full-page Illustrations, many of which have been re-drawn. Crown 8vo, art linen, price 3_s._ 6_d._, net 3_s._

"Contains many apt and well-drawn illustrations; it is a highly
comprehensive, compact, and intelligent treatise on a subject which
is more difficult to treat than outsiders are likely to think. It is
a capital little book, from which no tyro (it is addressed to
improvable minds) can avoid gaining a good deal."--_Athenaeum._

THE APPLICATION OF ORNAMENT.--Containing: I. The Rationale of the Conventional. II. What is Implied by Repetition. III. Where to Stop in Ornament. IV. Style and Handicraft. V. The Teaching of the Tool. VI. Some Superstitions. Third Edition (Sixth Thousand), further revised, with 48 full-page Illustrations and 7 Woodcuts in the text. Crown 8vo, art linen, price 3_s._ 6_d._, net 3_s._

"A most worthy supplement to the former work, and a distinct gain to
the art student who has already applied his art knowledge in a
practical manner, or who hopes yet to do so."--_Science and Art._

ORNAMENTAL DESIGN.--Comprising the above Three Books, "ANATOMY OF PATTERN," "PLANNING OF ORNAMENT," and "APPLICATION OF ORNAMENT," handsomely bound in one volume, cloth gilt, price 10_s._ 6_d._, net 8_s._ 6_d._

NATURE IN ORNAMENT.--With 123 full-page Plates and 192 Illustrations in the text. Third Edition (Fifth Thousand). Thick crown 8vo, in handsome cloth binding, richly gilt, price 12_s._ 6_d._, net 10_s._

CONTENTS: I. Introductory. II. Ornament in Nature. III. Nature in Ornament. IV. The Simplification of Natural Forms. V. The Elaboration of Natural Forms. VI. Consistency in the Modification of Nature. VII. Parallel Renderings. VIII. More Parallels. IX. Tradition in Design. X. Treatment. XI. Animals in Ornament. XII. The Element of the Grotesque. XIII. Still Life in Ornament. XIV. Symbolic Ornament.

"Amongst the best of our few good ornamental designers is Mr. Lewis
F. Day, who is the author of several books on ornamental art.
'Nature in Ornament' is the latest of these, and is probably the
best. The treatise should be in the hands of every student of
ornamental design. It is profusely and admirably illustrated, and
well printed."--_Magazine of Art._

"A book more beautiful for its illustrations, or one more helpful to
Students of Art, can hardly be imagined."--_Queen._

A HANDBOOK OF ORNAMENT.--With 300 Plates, containing about 3,000 Illustrations of the Elements and Application of Decoration to Objects. By F. S. MEYER, Professor at the School of Applied Art, Karlsruhe. Third English Edition, revised by HUGH STANNUS, Lecturer on Applied Art at the Royal College of Art, South Kensington. Thick 8vo, cloth gilt, gilt top, price 12_s._ 6_d._, net 10_s._

"A Library, a Museum, an Encyclopaedia and an Art School in one. To
rival it as a book of reference, one must fill a bookcase. The
quality of the drawings is unusually high, the choice of examples is
singularly good.... The work is practically an epitome of a hundred
Works on Design."--_Studio._

"The author's acquaintance with ornament amazes, and his three
thousand subjects are gleaned from the finest which the world
affords. As a treasury of ornament drawn to scale in all styles, and
derived from genuine concrete objects, we have nothing in England
which will not appear as poverty-stricken as compared with Professor
Meyer's book."--_Architect._

"The book is a mine of wealth even to an ordinary reader, while to
the Student of Art and Archaeology it is simply indispensable as a
reference book. We know of no one work of its kind that approaches
it for comprehensiveness and historical accuracy."--_Science and
Art._

A HANDBOOK OF ART SMITHING.--For the use of Practical Smiths, Designers and others, and in Art and Technical Schools. By F. S. MEYER, Author of "A Handbook of Ornament." Translated from the Second German Edition. With an Introduction by J. STARKIE GARDNER. Containing 214 Illustrations. Demy 8vo, cloth, price 6_s._, net 5_s._

Both the Artistic and Practical Branches of the subject are dealt with, and the Illustrations give selected Examples of Ancient and Modern Ironwork. The Volume thus fills the long-existing want of a Manual on Ornamental Ironwork, and it is hoped will prove of value to all interested in the subject.

"Charmingly produced.... It is really a most excellent manual,
crowded with examples of ancient work, for the most part extremely
well selected."--_The Studio._

"Professor Meyer's work is a useful historical manual on art
smithing, based on a scientific classification of the subject, that
will be of service to all smiths, designers, and students of
technical and art schools. The illustrations are well drawn and
numerous."--_Building News._

_Published with the Sanction of the Science and Art Department._

FRENCH WOOD CARVINGS FROM THE NATIONAL MUSEUMS.--A Series of Examples printed in Collotype from Photographs specially taken from the Carvings direct. Edited by ELEANOR ROWE. Part I.: Late 15th and Early 16th Century Examples; Part II.: 16th Century Work; Part III.: 17th and 18th Centuries. The Three Series Complete, each containing 18 large folio Plates, with descriptive letterpress. Folio, in portfolios, price 12_s._ each net; or handsomely bound in one volume, L2 5_s._ net.

"Students of the Art of Wood Carving will find a mine of
inexhaustible treasures in this series of illustrations of French
Wood Carvings.... Each plate is a work of art in itself; the
distribution of light and shade is admirably managed, and the
differences in relief are faithfully indicated, while every detail
is reproduced with a clearness that will prove invaluable to the
student. Sections are given with several of the plates."--_The
Queen._

"Needs only to be seen to be purchased by all interested in the
craft, whether archaeologically or practically."--_The Studio._

HINTS ON WOOD CARVING FOR BEGINNERS.--By ELEANOR ROWE. Fourth Edition, revised and enlarged, Illustrated. 8vo, sewed, price 1_s._ in paper covers, or bound in cloth, price 1_s._ 6_d._

"The most useful and practical small book on wood-carving we know
of."--_Builder._

"... Is a useful little book, full of sound directions and good
suggestions."--_Magazine of Art._

HINTS ON CHIP CARVING.--(Class Teaching and other Northern Styles.) By ELEANOR ROWE. 40 Illustrations. 8vo, sewed, price 1_s._ in paper covers, or in cloth, price 1_s._ 6_d._

"A capital manual of instruction in a craft that ought to be most
popular."--_Saturday Review._

DETAILS OF GOTHIC WOOD CARVING.--Being a Series of Drawings from original work of the Fourteenth and Fifteenth Centuries. By FRANKLYN A. CRALLAN. Containing 34 large Photo-lithographic Plates, with introductory and descriptive text. Large 4to, in handsome cloth portfolio, or bound in cloth gilt, price 28_s._, net 22_s._

"The examples are carefully drawn to a large size ... well selected
and very well executed."--_The Builder._

PROGRESSIVE STUDIES AND DESIGNS FOR WOOD-CARVERS. By Miss E. R. PLOWDEN. With a Preface by Miss ROWE. Consisting of five large folding sheets of Illustrations (drawn full size), of a variety of objects suitable for Wood Carving. With descriptive text. Second Edition, enlarged. 4to, in portfolio. Price 5_s._ net.

ANCIENT WOOD AND IRONWORK IN CAMBRIDGE.--By W. B. REDFARN, the Letterpress by JOHN WILLIS CLARK. 29 folio Lithographed Plates drawn to a good scale. Cloth gilt, a handsome volume, price 10_s._ 6_d._, net 8_s._ 6_d._

This Work, giving an interesting and useful series of Examples, is but little known. Very few copies remain.

HEPPLEWHITE'S CABINET-MAKER AND UPHOLSTERER'S GUIDE; or Repository of Designs for every article of Household Furniture in the newest and most approved taste. A complete facsimile reproduction of this rare work, containing nearly 300 charming Designs on 128 Plates. Small folio, bound in speckled cloth, gilt, old style, price L2 10_s._ net. (1794.) _Original copies when met with fetch from L17 to L18._

"A beautiful replica, which every admirer of the author and period
should possess."--_Building News._

CHIPPENDALE'S THE GENTLEMAN AND CABINET-MAKER'S DIRECTOR.--A complete facsimile of the 3rd and rarest Edition, containing 200 Plates of Designs of Chairs, Sofas, Beds and Couches, Tables, Library Book Cases, Clock Cases, Stove Grates, &c., &c. Folio, strongly bound in half-cloth, price L3 15_s._ net. (1762.)

SHERATON'S CABINET-MAKER AND UPHOLSTERER'S DRAWING-BOOK.--A complete Facsimile Reproduction of the scarce Third Edition. With the rare Appendix and Accompaniment complete. Containing in all 434 pages and 122 Plates. 4to, cloth, price L2 10_s._ net.

EXAMPLES OF OLD FURNITURE, ENGLISH AND FOREIGN. Drawn and described by ALFRED ERNEST CHANCELLOR. Containing 40 Photo-lithographic Plates exhibiting some 100 examples of Elizabethan, Stuart, Queen Anne, Georgian and Chippendale furniture; and an interesting variety of Continental work. With historical and descriptive notes. Large 4to, gilt, price L1 5_s._, net L1 1_s._

"In publishing his admirable collection of drawings of old
furniture, Mr. Chancellor secures the gratitude of all admirers of
the consummate craftsmanship of the past. His examples are selected
from a variety of sources with fine discrimination, all having an
expression and individuality of their own--qualities that are so
conspicuously lacking in the furniture of our own day. It forms a
very acceptable work."--_The Morning Post._

FURNITURE AND DECORATION IN ENGLAND DURING THE XVIIITH CENTURY.--By J. ALDAM HEATON. Two volumes, each of two parts, bound in four, large folio, cloth, price L7 net. Containing upwards of 150 plates of photographic reproductions from the published designs of R. & J. Adam, Chippendale, Hepplewhite, Sheraton, Shearer, Pergolesi, Cipriani, Darly, Johnson, Richardson, and all great English designers and cabinet-makers of the period.

This work forms an encyclopaedic and almost inexhaustible treasury of reference for all Furniture Designers, Painters, Interior Decorators, Cabinet-makers, &c., since no artist of importance is unrepresented, and a fair selection is in every case given of his work.

REMAINS OF ECCLESIASTICAL WOOD-WORK.--A Series of Examples of Stalls, Screens, Book-Boards, Roofs, Pulpits, &c., containing 21 Plates beautifully engraved on Copper, from drawings by T. TALBOT BURY, Archt. 4to, half-bound, price 10_s._ 6_d._, net 8_s._ 6_d._

FLAT ORNAMENT: A PATTERN BOOK FOR DESIGNERS OF TEXTILES, EMBROIDERIES, WALL PAPERS, INLAYS, &C., &C.--150 Plates, some printed in Colours, exhibiting upwards of 500 Historical Examples of Textiles, Embroideries, Paper Hangings, Tile Pavements, Intarsia Work, &c. With some Designs by Dr. FISCHBACH. Imperial 4to boards, cloth back, price L1 5_s._, net 20_s._

EXAMPLES OF ENGLISH MEDIAEVAL FOLIAGE AND COLOURED DECORATION.--By JAS. K. COLLING, Architect, F.R.I.B.A. Taken from Buildings of the XIIth to the XVth Century. Containing 76 Lithographic Plates, and 79 Woodcut Illustrations, with Text. Royal 4to, cloth, gilt top, price 18_s._, net 15_s._ (published at L2 2_s._)

PLASTERING--PLAIN AND DECORATIVE. A Practical Treatise on the Art and Craft of Plastering and Modelling. Including full descriptions of the various Tools, Materials, Processes and Appliances employed. With over 50 full-page Plates, and about 500 smaller Illustrations in the Text. By WILLIAM MILLAR. With an Introduction, treating of the History of the Art, by G. T. ROBINSON, F.S.A. Thick 4to, cloth, containing 600 pages of text, price 18_s._ net.

"This new and in many senses remarkable treatise ... unquestionably
contains an immense amount of valuable first-hand information....
'Millar on Plastering' may be expected to be the standard authority
on the subject for many years to come.... A truly monumental
work."--_The Builder._

A GRAMMAR OF JAPANESE ORNAMENT AND DESIGN.--Illustrated by 65 Plates, many in Gold and Colours, representing all Classes of Natural and Conventional Forms, drawn from the Originals, with introductory, descriptive, and analytical text. By T. W. CUTLER, F.R.I.B.A. Imperial 4to, in elegant cloth binding, price L2 6_s._, L1 18_s._ net.

DECORATIVE WROUGHT IRONWORK OF THE 17TH AND 18TH CENTURIES.--By D. J. EBBETTS. Containing 16 large Lithographic Plates, illustrating 70 English examples of Screens, Grilles, Panels, Balustrades, &c. Folio, boards, cloth back, price 12_s._ 6_d._, net 10_s._

_A Facsimile reproduction of one of the rarest and most remarkable Books of Designs ever published in England._

A NEW BOOKE OF DRAWINGS OF IRONWORKE.--Invented and Desined by JOHN TIJOU. Containing severall sortes of Iron Worke, as Gates, Frontispieces, Balconies, Staircases, Pannells, &c., of which the most part hath been wrought at the Royall Building of Hampton Court, &c. ALL FOR THE USE OF THEM THAT WORKE IRON IN PERFECTION AND WITH ART. (Sold by the author in London, 1693.) Containing 20 folio Plates. With Introductory Note and Descriptions of the Plates by J. STARKIE GARDNER. Folio, bound in boards, old style, price 25_s._ net.

Only 150 copies were printed for England, and very few now remain. An original copy is priced at L48 by Mr. Quaritch, the renowned bookseller.

JAPANESE ENCYCLOPAEDIA OF DESIGN.