Embroidery and lace: their manufacture and history from the remotest antiquity to the present dayA handbook for amateurs, collectors and general readers . h specimens ofMuseum of Decorative Arts). .... work most curious in their close resemblance to embroidery, and yet entirelymade without a single needle stitch. The methodof producing them seems to have been as follows :—Over an engraving, fixed to a card, a layer of trans-parent adhesive wax mixture was floated on with a card thus prepared was then placed upon the hotplate of a chafing-dish, so as to render the wax softand bring th
Embroidery and lace: their manufacture and history from the remotest antiquity to the present dayA handbook for amateurs, collectors and general readers . h specimens ofMuseum of Decorative Arts). .... work most curious in their close resemblance to embroidery, and yet entirelymade without a single needle stitch. The methodof producing them seems to have been as follows :—Over an engraving, fixed to a card, a layer of trans-parent adhesive wax mixture was floated on with a card thus prepared was then placed upon the hotplate of a chafing-dish, so as to render the wax softand bring the other adhesive ingredients into a gently FROM LOUIS XV. TO THE PRESENT TIME. 151 melting state. Flat silk threads could then be appliedto the lines of the engraving as seen through the trans-parent glue. By pressing them with a nail of the fingeror a small instrument the flat silk threads were madeto adhere to the surface, being carried backwards andforwards from right to left and left to right andlaid close to one another, over the portion to becovered with the same coloured silk. When care-fully done, the illusion is complete, and conveys the. Fig. 69.—Embroidered pocket of a satin waistcoat of the eighteenthcentury (in the Museum of Decorative Arts). impression of flat embroidery in fine silk. Skin textureswere obviously very difficult of treatment in thismanner, consequently, wherever they occurred in theengraving, blank spaces were as a rule left, which weresubsequently painted in water-colour. This process,as will have been seen, is fantastic and ingenious, butscarcely commendable as an artistic substitute forembroidery. A great deal of wool work on canvas (cross and tentstitch) was done in the eighteenth century. It is easy of 152 I. EMBROIDERY. execution, the stitches are counted and taken according tothe meshes, but the results of the work are rarely , which before Louis had generally but little stuffingin them or trimming on them,were co
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