It is obvious that much advantage can be gained from studying the accumulated experience of the past in addition to that current in our own day. To do this intelligently, the history of embroidery must be followed in order that the periods richest in the various kinds of work may be ascertained. Museums afford useful hunting-grounds for the study of past work; other sources are private collections, churches, costume in pictures or on engraved brasses, and manuscript inventories such as those of cathedral treasuries, which sometimes contain interesting detailed descriptions of their embroidered vestments and hangings.
Blind copying of old work is not of much value; it is not possible or desirable to imitate XIIIth century work now, but much can be learned by examining fine examples in an appreciative and analytical spirit. In what way the design has been built up can be discovered; the most complicated result may often be resolved into quite elementary lines. The student must find out wherein lie the attraction and interest, note good schemes of colour, and learn about stitches and methods of work by close examination of the embroidery, both front and back.
Every one knows what embroidery is, and a formal definition seems unnecessary. As a matter of fact, it would be a difficult task to give one, since weaving, lace-making, and embroidery are but subtle variations of the same art.
This art may be of the highest or the most homely character, and the latter is by no means to be despised. Simple unaffected work decorating the things of every-day use can give a great deal of pleasure in its way. This should surely be the accomplishment of every woman, for though she may not have the skill to attain to the highest branches, it would at least enable her to decorate her home with such things as the counterpanes, curtains, and other objects that set such a personal stamp upon the English domestic work of several centuries, and which nowadays can hardly be found except stored up in museums.
It is advisable as a general rule that the design be both made and carried out by the same person. From the worker's own point of view the interest must be much greater when working out her own ideas than when merely acting as amanuensis to another. The idea is more likely to be expressed with spirit; further there is the possibility of adding to or altering, and thereby improving, the work as it progresses. The designer must in any case be well acquainted with stitches and materials, for they play an important part in achieving good results. The individuality of the worker should be evident in her work; indeed it generally is, for even plain hems by two people bear quite different characters; the degree of individuality present, varies with each one, but in any case it will be much more marked if the design and stitching bear the stamp of the same personality.