The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-12-05

The term embroidery is vaguely used to
denote all kinds OF needlework and some
with which the needle has nothing to do.
That is misleading, tho 1t is true that en-
bro1dery does touch, on the one side tap
estry, which may be described as a kind of
embroidery with the shuttle, and on the
other lace, which is needlework pure and
simple, construction In the air as the Ital-
ians have it.
The term is used in common parlance to
express any kind Of superficial ornamental.
ton. A poet Is said to embroider the
truth. But such metaphorical use Of the
work hints at the real nature Of the work
establishment, enrichment added. If
added, there must first of all be something
1t is added to-the material, that is to say,
on which the needlework is done. In weav-
ing, even tapestry weaving, the pattern
Is gotten by the interthreading Of warp and
welt. In lace, too, it is gotten out Of the
stuff that makes the threads. In embroid-
cry 1t Is gotten by the threads that are
worked on a fabric first Of all woven on
the loom, rit might be netted.
There is inevitably an overlapping Of the
crafts. For instance, take a. form of en-
broidery common in all countries, eastern,
Hungarian, or nearer home, in which GER
tain of the welt threads of the linen are
drawn out, and the. needle work is exc
cuted upon the very threads of the warp
thus revealed. This is, strictly speaking,
it was explained tapestry itself may be de-
scribed as a sort Of embroidery with the
shuttle.
Mount MeIIIck Embroidery.
The origin Of this style of embroidery is
not automatically known, but it is gener-
ally credited to the nuns Of Mount Carmel,
Ireland. Originally it was very crude
sort of work, done with common knitting
yarn, and adopted by those that wished for
a simple and effective stitchery, with but
little work. To-day there has been added
many Of the intricate lace stitches and it
is used among the most decorative of
modern embroideries, and no material is
too rich to be, decorated by the many
stitches used In the stitchery called Mount
Mellick. The simplest pieces of this work
are mostly cushion or table covers, done
on ecru or natural colored linens, In self
coluings or those Of the pastels.
HeraIdIc Work In StItchery
The designer for heraldic work was
called upon to treat his figures, animals
and symbolic ornament with severity. The
objects must be read clearly at once in a
firm, graphic manner; consequently, a rich
bold outline is necessary. To the prao-
teal artist In the different branches OF
heraldic decoration, an acquaintance Of
symbolism Is all important.
These old heraldic decorations are often
important to the genealogist in tracing ar
| obscure pedigree, or IN unravel1ng an en-
tangled point in family history. There
were -armorial shields that were embroid
cred which have curious value and extra
ordinary interest.
The heraldic designer emphasizes tn,
striking features Of the objects he repre-
sents; for instance, in animals the lion
mouth and tongue, it's tail and name and
particularly, its claws. He felt for dis
tinctness that bold characteristics had t.
ba empha sized; he was forced by cfrcum
stances to limit his representation Of tn
natural animal.
In medieval brasses, in stained glass
marble, stone woven fabrics and EN-