BERLIN WOOLWORK

It surprises us in these latter days of demand for the best conditions in the prosecution of decorative work, that it should have lived at all through the days of existence in one-roomed log cabins of early settlers and the conflicting demands of pioneer life. It survived them all, and the little, fast-arriving Puritan children were taught their stitches as religiously as their commandments; and so American embroidery grew to be an art which has enriched the past and future of its executants.

After the two periods of French and Spanish needlework passed by, there appeared what was known as Berlin woolwork. Those who in earlier times were devoted to fine embroidery solaced their idleness with this new work-certainly a poor substitute for the beautiful embroidery of the preceding generation, but answering the purpose of traditional employment for the leisure class. This came into vogue and was rather extensively used for coverings of screens, chairs, sofas, footstools and the various specimens of household furniture made by workmen who had served with Adam, Chippendale and Sheraton, and who had brought books of patterns with them to the prosperous, growing market of the New World. Berlin woolwork was a method of cross-stitch upon canvas in colored wools or silks-in fact, an extension of sampler methods into pictures and screens, or the more utilitarian chair and sofa covers. It was sometimes varied by using broadcloth or velvet as a foundation, the canvas threads being drawn out after the picture was complete. We occasionally find entire sets of beautiful old mahogany chairs, with cushions of cross-stitch embroidery, the subjects ranging over everything in the animal or vegetable world, so that one might sit in turn upon horses, bead-eyed and curled lap dogs, or wreaths of lilies and roses.

Occasionally, also, a glassed and framed picture of elaborate design and beautiful workmanship is seen, but as a rule it must be confessed that in America this method of embroidery, as an art, failed to achieve dignity. This was not in the least owing to the actual technique of the process, since beautiful tapestries have been accomplished, taking canvas as a medium and foundation for a dexterous use of design and color.

The square blocks of the canvas stitch are no more objectionable in an art process than the block of enamel of which priceless mosaics are made, but one can easily see that if every design for mosaic work could be indefinitely reproduced and sold by the thousands, with numbered and colored blocks of glass, something-we hardly know what-would be lost in even the most exact reproductions.

Original design, however simple, is the expression of a thought, and passes directly from the mind of the originator to the material upon which it is expressed; but when the design becomes an article of commercial supply it loses in interest, and if the process of production is simple, requiring little thought and skill, the work also fails to call out in us the reverence we willingly accord to skillful and painstaking embroidery.

Yet we must acknowledge there are many examples of Berlin woolwork which possess the merits of beautiful color and exact and even workmanship. Some of them are done upon the finest of canvas with silks of exquisite shadings, and where figures are represented the faces are worked with silk in “single stitch,” which means one crossing of the canvas instead of two, as in ordinary cross-stitch. The latter was of course better suited for furniture coverings, both in strength and quality of surface, while the method of single stitch succeeded in presenting a smooth and well-shaded surface, sufficiently like a painted one to stand for a picture. Indeed, veritable pictures were produced in this method and were effective and interesting. In these specimens the faces and hands, while worked in the same cross-stitch, were varied by being done on a single crossing of the canvas with one stitch, while the costumes and accessories of the picture were done over the larger square of two threads of the canvas, with the double crossing of the stitch.

The faces were, in some cases, still further differentiated by being wrought in silk instead of wool threads.

The embroidered chair and sofa covers had quite the effect of tapestries, and were far better than a not uncommon variation of the same needlework, where the broadcloth or velvet background held the embroidery.

The designs were copied from patterns printed in color upon cross-ruled paper, and consisted of bunches of flowers of various sorts, or pictures of dogs, and horses, and birds. A white lap dog worked upon a dark background was the favorite design for a footstool, and this small object tapered out the existence of decorative cross-stitch, until it grew to be in use only as a decoration for toilet slippers. The final end of this style of work was long deferred on account of the fact that a pair of cloth slippers, embroidered by the hands of some affectionate girl or doting woman, was a token which was not too unusual to carry inconvenient significance. It might mean much or little, much tenderness or affection, or a work of idleness tinctured with sentiment.

The mechanical and commercial effect of this stitchery discouraged its use; its printed patterns and the regularity of its counted stitches giving neither provocation nor scope to originality of thought or design. This was not the fault of the stitch itself, since “cross-stitch” was the first form of needle decoration. It is, in fact, the A B C of all decorative stitchery, the method evolved by all primitive races except the American Indian. It followed, more or less closely, the development of the art of weaving. When this had passed from the weaving together of osiers into mats or baskets, and had reached the stage of the weaving of hair and vegetable fiber into cloth, the decoration of such cloth with independent colored fiber was the next step in the creation of values, and, naturally, the form of decorative stitches followed the lines of weaving. Simple as was its evolution, and its preliminary use, cross-stitch has a past which entitles it to reverence. With many races it has remained a habitual form of expression, and, as in Moorish and Algerian work, is carried to a refinement of beauty which would seem beyond so simple a method. It has given form to a lasting style of design, to geometrical borders, which have survived races and periods of history, and still remain an underlying part of the world of decorative linens.

It is interesting to note that it had no place in aboriginal embroidery, and marks its creation as following the art of weaving. It is a long step from this traditional past of its origin to the short past of the stitchery of America, where the little fingers of small Puritan maids followed the lines evolved by the generations of the earlier world.