Part 5

57. COUCHING IN VARIOUS DIAPER PATTERNS, OUTLINED IN PART WITH "PLATE." Silver on pale pink silk. (Coll. of Mrs. T. Buxton Morrish.)

58. GOLD COUCHING IN OPEN THREADS--A, The lines of gold which form a scale pattern on the dragon's body, are wide enough apart to let the red ground grin through. Elsewhere the couching, contrary to mediæval practice, follows the shapes, line within line until they are occupied. The floss embroidery, in white and colours, is in surface-satin-stitch. Chinese. B, The open lines of gold look somehow richer than if the metal had been worked solid upon the crimson ground. Old Venetian. (Mrs. L. F. D.)

59. COUCHED OUTLINE WORK; only an occasional detail worked solid; suggests damascening. The border is in gold, the filling in silver, thread on a greyish-green velvet. Part of an Italian housing or saddlecloth. 16th century. (V. & A. M.)

60. APPLIQUÉ--Satin upon velvet, outlined with two threads of gold couching.

61. APPLIQUÉ PANEL--Designed and executed by Miss Mabel Keighley, illustrating a poem by William Morris. (The property of the artist.)

62. A. COUNTER-CHANGE PATTERN, INLAY OR APPLIQUÉ.--Yellow satin and crimson velvet. The outline, which is in gold, falls chiefly upon the yellow, so as not to disturb the exact balance of light and dark, which it is essential to preserve in counter-change. Part of a stole. Spanish. 16th century (V. & A. M.)

B. APPLIQUÉ, of deep crimson velvet upon white satin, outlined with paler red cord. The outlines, meeting together, form a stem of double cord. Italian. 17th century. (V. & A. M.)

63. APPLIQUÉ, with couched outline, and stitching upon the appliqué band or ribbon. The dots in the centre of the grapes are French knots. The pattern is in satin of various colours, upon a figured green silk damask, outlined with yellow silk sewn down with yellow. Italian. (V. & A. M.)

64. INLAY IN COLOURED CLOTHS, outlined with chain stitch. Magic stitch also occurs. A characteristic example of the kind of work done at Retsht, in Persia. (Mrs. L. F. D.)

65. CUT-WORK IN LINEN--A fret of this kind was often outlined with coloured silk, and the detail within the fretted outline further embroidered in coloured silk. (Coll. of Mrs. Drake.)

66. SAMPLER OF RAISED WORK, showing underlays: A, of cloth; B, of twisted cords; C, of parchment; D, of cotton wool; E, first of cotton cord and then of cotton thread; F, of cord; G, of string; H, of sewing.

67. RAISED WORK, showing underlay of linen, and the way it is sewn down--The work is in flax thread, red, yellow, and white, upon a blue linen ground. The stem is dotted with white beads, the ground with gold spangles. Part of an altar frontal. German. 15th century. (V. & A. M.)

68. RAISED GOLD BASKET PATTERNS, &c., upon white satin. The stalk in flat wire. Spanish. 17th century. (Mrs. L. F. D.)

69. QUILT, WORKED IN CHAIN-STITCH from the back--which has precisely the effect of back-stitch. Yellow silk upon white linen. Old English. (V. & A. M.)

70. RAISED QUILTING, in black silk upon pale sea-green satin. Part of the border of a prayer cushion. Old Persian. (Mrs. L. F. D.)

71. DIAPER OF SATIN-STITCH IN THE MAKING--Something between canvas-stitch and satin-stitch. The leafage is in tent-stitch. Compare with Illustration 9. (V. & A. M.)

72. STITCHES IN COMBINATION--Among them Oriental, ladder, buttonhole, chain, crewel, satin, and herringbone stitches, worked in dark blue silk upon unbleached linen. Old Cretan, so called. (Mrs. L. F. D.)

73. FINE NEEDLEWORK UPON CAMBRIC--the substance of which is apparent upon the upper edge of the work. In the ground-work of the pattern generally the threads are drawn together to form an open net. The stitches occurring in the collar of which this is part are, buttonhole, satin, chain, herringbone, cross, and back stitches. The outline is mostly in fine cross-stitch. Nothing could exceed the delicacy of the workmanship, which is in its kind perfect. Old English. (Coll. of Col. Green, R.E.)

74. PART OF A DESIGN BY WALTER CRANE, cunningly adapted to execution in needlework. Shows the direction of the stitch, and the part it can be made to play in expressing form. Worked in coloured silks upon linen by Mrs. Walter Crane, whose property the work is.

75. SHADING IN CHAIN-STITCH in silk and chenille upon a satin ground. The shading very deliberately schemed by the designer. In natural colours upon white. French. Louis Seize. (V. & A. M.)

76. SHADING IN SHORT STITCHES; picturesque to the point of a touch of white in the glistening yellow of the dove's eye. Chenille, in chain-stitch, is used for the wreath and in the leaves of the flower sprigs. These are in colours, the birds are in silvery greys, all on a white satin ground. French. Louis Seize. (V. & A. M.)

77. SHADING IN LONG-AND-SHORT AND SPLIT STITCHES, with more regard to expression of form than to neatness of execution. German. 16th century. (V. & A. M.)

78. CHAIN-STITCH, showing in the figures of the little men what a draughtsman can express in a few stitches. Full size. Chinese. (Mrs. L. F. D.)

79. FIGURE WORK--The flesh in straight upright stitches, the drapery laid and couched. English. 15th century. (V. & A. M.)

80. CONSUMMATE FIGURE EMBROIDERY--Canvas ground entirely covered. Flesh in coloured silks, short-stitch; drapery coloured silks over gold, which only gleams through in the lighter parts. Architecture closely couched gold. Part of an orphrey. Florentine. 16th century. (V. & A. M.)

81. CHINESE FIGURES--The flesh in short satin-stitches, the rest in chain-stitch; chiefly in blue and white upon a figured white silk ground. About actual size. (Mrs. L. F. D.)

82. SATIN-STITCH, showing the influence of its direction upon the tone of colour. The pattern is all in one shade of yellow-brown floss upon white linen. The outline steps with the weaving, and so shows connection between satin and canvas stitches. Italian, 17th century. (V. & A. M.)

83. MEANINGLESS DIRECTION OF STITCH--Satin and herring-bone stitches. From an altar-cloth. German. 17th century. (V. & A. M.)