and
have pointed out their applicability to different styles of work; we
have named the various materials which are best suited as grounds for
embroidery, and the silks, filoselles, crewels, &c., which are most
commonly employed, with practical rules for their use in the best and
most economical manner.

Also we have given such plain directions as to stretching, framing,
and cleaning the work as are possible in a limited space, and without
practical illustration. We venture to hope we have thus supplied a
want that has been long felt by those who interest themselves in the
art in which Englishwomen once excelled, but which had languished of
late years, and almost died out amongst us, though it has always been
taught in many continental cities, where embroideries have never
ceased to be required for church decoration.

We have abstained from giving any directions as to the tracing of
designs upon material, for two sufficient reasons: firstly, that the
Royal School of Art-Needlework has never supplied designs alone, or in
any other form than as prepared work; and secondly, that having made
experiments with all the systems that have been brought out for
"stamping," ironing from transfer-papers, or with tracing powder, it
has been found that designs can only be artistically and well traced
on material by hand painting. Those ladies who can design and paint
their own patterns for embroidery are independent of assistance, and
to those who are unable to do so we cannot recommend any of the
methods now advertised.

It has been thought unnecessary to enter into the subject of
ecclesiastical embroidery at present. This has been so thoroughly
revived in England, and practised in such perfection by
sisterhoods--both Anglican and Roman Catholic--as well as by some of
the leading firms of church decorators, that we have not felt
ourselves called upon to do more than include it in our course of
lessons.

The aesthetic side of our subject we have purposely avoided, as it
would lead us further than this purely technical guide-book pretends
to go. But we propose shortly to bring out a second part devoted to
design, composition, colour, and the common-sense mode of treating
decorative Art, as applied to wall-hanging, furniture, dress, and the
smaller objects of luxury.

We shall examine and try to define the principles which have guided
Eastern and Western embroideries at their best periods, hoping thus to
save the designers of t