In this inventive age, when new marvels are constantly being presented to the wondering world, it is rather refreshing to find that in one art, at any rate, we must depend upon the past for our inspirations. Needlework, in its various forms, owes little to the present, and the worker must seek old models and designs when desirous of finding the highest means of expression for the beautiful and artistic.
But in execution the old world, modern or ancient can, no longer, claim the distinction of unrivaled excellence, for many American women can display work of such delicacy and beauty as to rival that of the patient, skillful fingers that have been dust for many a year. Some of the ancient work is so marvelously wrought that it seems hopeless to make the attempt to reproduce it, so it is only left to treasure such with jealous care, and in case of need to repair with skill and patience; this need introduces us to the old art of transfer work, a perfect specimen being as truly a subject for admiration as the original, and the woman who successfully preserves from destruction such a treasure as the collar shown on this page well deserves the gratitude of posterity.
The contrasting cuts, Figs. 3 and 4, give a very clear idea of the value of this branch of the gentle art; although it cannot be considered a very ancient specimen, belonging as it does to the early Victorian period, the embroidery is extremely rich and handsome. When the present becoming fashion of "Dutch Collars" became the rage, one can imagine the chagrin with which the owner surveyed this frayed and battered specimen and the unskillful attempts to repair the mournful wreck only increased her despondency; but remembrance of this long dormant branch of needlework encouraged her to try heroic treatment, and she was richly rewarded by the delicate, lovely result.
FIGURE # SHOWS the collar in its original state; it was embroidered on book or Swiss muslin, very sheer and fine; constant use and age had left the heavy embroidery almost without a foundation. Fig. 4 shows it restored, transferred to a fine thread net foundation in its entirety. It was first carefully laundered and pressed; it was then soaped carefully and thoroughly on the wrong side with a piece of dry ivory or castile soap. If this part is neglected it spells much exasperation to the worker, as the embroidery is so close and hard it will otherwise break the very fine needle used in the work. It is now laid, face down, on a piece of stiff manila paper, and every flower, leaf, and eyelet basted to the paper with short stitches taken through the centre of each, fastening them firmly in place, so when the foundation is cut away, the design will be in the proper position on the paper. Detail Fig. 2 shows a flower at this stage of the work, a portion of the muslin being cut away; use a sharp pair of embroidery scissors and cut close to the embroidery, going carefully around the curves and indentations, and cutting it away wherever it shows between. Even the eyelet grapes on this collar were transferred, as they were so close together only the outer edges were cleared of the lawn. Always try, in transferring, to do it in its entirety, as it is very difficult to match the peculiar ivory tint that age gives to the old laces and embroideries. NOW IN 1997-I WOULD & DO BASTE THE WHOLE COLLAR ON A NEW BACKGROUND, THEN CAREFULLY STITCH IT TO THE NEW, THEN I WASH. WASHINGFIRST, OFTEN THE NEEDLEWORK WILL FALL APART. PRESS ON TERRYCLOTH TOWELS WITH A THIN CLOTH OR TOWEL OVER THE COLLAR, PRESS UNTIL DRY.
The work is now ready for the muslin or net to be basted on. An oblong piece is laid smoothly over the embroidery, and gently pressed with a moderately warm iron; it will; by this means, adhere to the soaped work, and remain firm while basting, first along the straight edges, and then close to the outer edge of the embroidery, and finally around each cluster and leaf.
There remains nothing now but the particular and tedious work of whipping the foundation to the edges of the embroidery with a fine needle about No. 11, and 200 thread. After all the outer edges are securely fastened, look it over carefully and wherever there is centre or veining of lace stitch, cut the net, turn under the edges and whip to the embroidery, leaving lace to show up clearly on the right side. The collar is now ripped from the paper, the bastings picked out, and lightly washed in warn water to rid it of the soap; press and cut the surplus material away, bind in the neck and your labors are over.:
It used to be, in old times, before this machine-ridden age, a fad with ladies to make collections for this work, and there was a keen rivalry amongst them as to who could show the handsomest. One canny old lady of my acquaintance was bitterly accused of having, in her ardor cut up a perfectly good cape-collar to get the flowers for her box. The flowers and leaves thus saved can be transferred to a suitable place on a stamped design, and the minor stem, etc., worked, thus finishing in a short time what is often a very handsome article.: The method of transferring sprays to a stamped design is different from the one just described. The transfers are basted where wanted on the article to be embroidered; it is then whipped securely to it on the wrong side. The stems must not only be worked close to it but a stitch taken actually in it so as to show no separation. If you cannot get thread the exact color of the transfers, try bleaching the latter with Javelle water. It is best to use net for this work, as then the difference in color hardly shows.
While it almost seemed at one time as if the finer forms of needlework were to become a lost art, at least in out own country, today we find an increasing interest in copying and preserving these old pieces. So far had this interest extended that several women who trace their ancestry back to these gentle needleworkers of long ago are saving every vestige of old lace obtainable and carefully basting it on some fabric that the design may be preserved even through all possibility of using it in any form is out of the question. The collection of rare old laces in the art museums in nearly every city is being enlarged as more and more interest is being shown, and these collections furnish rare examples of all periods.
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