ed in with stem
stitching or couching, and the leaves enriched by large veinings of
crewel or silk work, or in conventional designs, with some of the many
varieties of herringboning.

* * * * *

_Gold Embroidery_ on velvet or satin grounds requires to be worked on
a strong even linen, and then cut out and applied in the same manner
as ordinary applique. Where a particularly rich and raised effect is
required any embroidery may be treated in this manner. It is of course
more troublesome, but quite repays the labour spent upon it by the
increased beauty of the work.

The transfer of old embroideries on to a new ground is usually done by
applique, although we have already described a better process at page
39.

In transferring old needlework it is necessary to cut away the ground
close to the edge of the embroidery. It is then placed on the new
material, which has been previously framed, and the outline tacked
down. The best way of finishing is then to work in the edges with
silks _dyed exactly to match_ the colours in the old work. If properly
done, it is impossible to discover which are old and which new
stitches, and only by examining the back, that the work has been
transferred at all.

We used the words "_dyed to match_" advisedly, as it is impossible
otherwise to procure new silks which will correspond with the old.

Embroidery transferred in this manner is as good as it was in its
first days, and in many cases is much better, for time often has the
same mellowing and beautifying effect in embroideries as in paintings.

A less expensive, but also a much less charming, method is to edge
the old embroidery after applying it to the new ground with a cord or
line of couching.

With this treatment it is, however, always easy to perceive that the
work has been transferred.

For almost all kinds of applique it is necessary to back the material;
and it is done in this manner:--

A piece of thin cotton or linen fabric is stretched tightly on to a
board with tacks or drawing-pins. It is then covered smoothly, and
completely, with paste. The wrong side of the velvet, satin, serge, or
whatever is to be used in the work, is then pressed firmly down on the
pasted surface with the hands, and then left to dry.

In giving the foregoing account of the most typical stitches, we hope
we have succeeded in showing the principle on which each should be
worked. They form the basis of all embroid