Chapter I: Preface

In the Preface to the "Handbook of Art Needlework," which I edited for the Royal School at South Kensington in 1880, I undertook to write a second part, to be devoted to design, colour, and the common-sense modes of treating decorative art, as applied especially to embroidered hangings, furniture, dress, and the smaller objects of luxury.

Circumstances have, since then, obliged me to reconsider this intention; and I have found it more practicable to cast the information which I have collected from Eastern and Western sources into the form of a separate work, which in no way supersedes or interferes with the technical instruction supposed to be conveyed in a handbook. I have found so much amusement in learning for myself the history of the art of embroidery, and in tracing the beginnings and the interchanges of national schools, that I cannot but hope that I may excite a similar interest in some of my readers, and so induce those who are capable, to help and lift it to a higher place than it has been allowed in these latter days to occupy. If I have given too important a position to the art of needlework, I would observe that while I have been writing, decorative embroidery has come to the front, and is at this moment one of the hobbies of the day; and I would point out that it contains in itself all the necessary elements of art; it may exercise the imagination and the fancy; it needs education in form, colour, and composition, as well as the craft of a practised hand, to express its language and perfect its beauty.

I confess that when I undertook this task, I did not anticipate the time I have had to spend in collecting and epitomizing the many notices to be found in German, French, and English authors, on what has been considered among us, at least in this century, as merely a secondary art, and therefore, as such, of little importance. Cursory notices of needlework are scattered through almost every book on art; and under the head of textiles it is usual to find embroidery acknowledged as being worthy of notice, though not to be named in company with sculpture, architecture, or painting, however beautifully or thoughtfully its works may be carried out. I have tried to show that it deserves higher estimation.

My first intention was simply to consider STYLE, good or bad, as it influences our embroidery of to-day, and to find some rules by which to guide that of the future in its next phase. But when we search into the fluctuations of style, and their causes, we find they have an historical succession, and that we must begin at the beginning and trace them through the life of mankind.

This led me to attempt a sketch of consecutive styles, their overlap and variations.

I then found that DESIGN, PATTERNS, STITCHES, MATERIALS, each require a separate study.

COLOUR, as applied to dyes, claims to be regarded as differing from pigments on the painter's palette.

HANGINGS, DRESS, and ECCLESIASTICAL EMBROIDERIES each require different rules, and the study of the best examples of past centuries. Finally, it seems natural to dwell on our own proficiency in decorative work. ENGLISH EMBROIDERY has always excelled; and, as we have again returned to this occupation, it is worth while to recollect what we have done of old.

In writing chapters on these subjects, I have found it most convenient to separate the historical and æsthetic questions from the technical rules, and the instruction which naturally belongs to a handbook, of which the purpose should be to teach the easiest and most orthodox manner of executing the simplest, and elaborating the finest works. Such questions ought not to be overlaid with archæological inquiries, or with the information which only profits the designer; though of course it is best that the knowledge of design should be part of the education of the craft.

Perhaps I may be found to have written a book too shallow for the learned, too deep for the frivolous, too technical for the general public, and too diffuse for the specialist of the craft.[1]

I must deprecate these criticisms by saying that I have written it for the benefit of those who know nothing of the art, and are too much engaged to seek information here and there; who yet, being women, have to select and to execute ornamental needlework; or, being artists, are vexed at the incongruities and want of intention in the decorations in daily domestic use; I have also sought to help the designer, that he or she may know something of the history of patterns and stitches.

If my readers should be aware of repetitions, they must forgive them; remembering that the same idea has to be looked at sometimes from a different point of view, according to the use to which it is to be fitted. The same material may be employed for wall-hangings and dress, and then the principles which have been formulated have to be varied. I do not shrink from repetitions if they make my meaning clear, remembering the Duke of Wellington's direction to his private secretary, "Never mind repetitions; and _dot_ your i's."

Portions of these chapters have been already published in No. 49 of the _Nineteenth Century_,[2] in 1881; and more was delivered in three unpublished lectures the same year.

I have acknowledged and noted on each page my authorities for the facts I have quoted. The illustrations that are not original, have been copied from other works by permission of authors and publishers. To all of these I wish to express my obligations and thanks, especially to Mr. Villiers Stuart, Dr. Anderson, Sir G. Birdwood, and Sir H. Layard, for their courtesy in allowing me the use of their plates. To my old and valued friend, Mr. Newton, I wish to express my gratitude for his unstinted gifts of time and trouble, bestowed in criticizing and correcting my book, encouraging me to give it to the public, and making it more worthy of publication.

I have largely quoted Charles Blanc ("Ornament in Dress," English translation), Von Bock ("Liturgische Gewänder"), Dr. Rock ("The Church of our Fathers" and "Introduction to Textiles"), Semper ("Der Stil"), Yates ("Textrinum Antiquorum"), and Yule ("Marco Polo"), besides many others. But these authorities often differ, and, after weighing their arguments, I have ventured to select for my use the facts and theories which accord with my own views. Facts are often so interdependent and closely linked, that it requires great care to distinguish where they have been shaped or coloured (however unintentionally) to fit each other or the writer's preconceived ideas. Certain it is that facts are but useless heaps till the thread of a theory is found on which to hang them. This process, like that of stringing pearls, has to be often repeated, till each occupies its right place. Only those who have adopted and cherished a theory can appreciate the pain of cutting the thread, to displace what appeared to be a pearl, but which, from its false position as to date or place, or its doubtful origin, has proved only an empty manufactured glass bead of error.

This has happened to me more than once; and since I read my lectures I have had to change my opinions in several instances. If, therefore, any of my readers should observe such changes, I hope they will give me credit for trying to convey _now_ what appears to me on each subject a correct impression.

FOOTNOTES:

[1] Besides the art, I have sought to give something of
the archæology of needlework. Now the qualifications for
being a teacher on such subjects are rarely to be met
with, all combined. Mr. Newton, in his "Essays on Art
and Archæology," p. 37, says that "the archæologist
should combine with the æsthetic culture of the artist,
and the trained judgment of the historian and the
philologist, that critical acumen, required for
classification and interpretation; nor should that
habitual suspicion which must ever attend the scrutiny
and precede the warranty of evidence, give too sceptical
a bias to his mind." Such authorities have been
interrogated on each part of my subject.

[2] Quoted by permission of the Editor.

CONTENTS.

PAGE
INTRODUCTION. 1

CHAPTER I.--STYLE.

Definition of style--Development of style--Primitive--
Archaic--Egyptian--Babylonian--Phœnician influences
on early Greek style--Decoration of hangings of the
Tabernacle in the wilderness--Aryan ideas--The Code of
Manu--Indian art--Celtic style--Greek art in dress and
embroideries--Homer's descriptions of embroideries--Pallas
Athene--Shield of Achilles--Roman art--Byzantine art--Art
of Central Asia--Its arrival in Europe--Art of China,
Japan, and Java--Christian art--Scandinavian art--The Dark
Ages--Sicilian textile art--Renaissance--Arabesque--
Grotesque--Spanish Plâteresque--Style of Queen Anne and the
Chippendales--Louis XV. style--Classical revival--Young
England's style--Nineteenth century style 14

CHAPTER II.--DESIGN.

Artist and artisan--Prehistoric design--Naturalistic
design--Egyptian immutability--Slow evolution of
design--Greek perfection--Necessity of following rules--M.
Blanc's laws of ornamentation--Laws of composition--
Repetition--Alternation--Symmetry--Progression--Confusion--
Designs for hangings and dress materials--Floral design--Design
for carpets--The conventional--First principles 54

CHAPTER III.--PATTERNS.

Ancestry of patterns--Classification--Their historical
value--Primitive patterns--The wave--Tartan--Prehistoric
African patterns--The naturalistic--Flowers--Shells--Indian
forms of naturalistic patterns--Egyptian--The lotus--
Sunflower--Celtic Zoomorphic patterns--The human figure on
Greek textiles--Animal forms in Oriental patterns--Symbolical
and conventional patterns--The wave patterns--The palm leaf--
The cone--Gothic--Arab--Moresque--The Sacred Hom--Egg and
tongue--The cross--Swastika--Fylfote--Gammadion--The
crenelated pattern--The Ninevite daisy--Emblematic
patterns--Bestiaria--Volucraria--Lapidaria--Byzantine
patterns--Gothic--Renaissance--The cloud pattern--The
fundata--Italian--French patterns--Radiated patterns--The
shell--Patterns by repetition--Balcony pattern--Chinese
wicker-work--Survival of a pattern--Opus
Alexandrinum--Quilting patterns 82