The Art and
when we could compete with other countries, when embroidery was almost the sole occupation of women of rank, as it was of the occupants of the convents. Green. If we were to use one of the primaries as a dominating colour, say green, a bluish-green, we might have as a background a deep pomegranate red, the design could be worked out in bluish-greens, grey-greens, soft blues and purples, with touches of pale chamois yellow here and there all the colours should have a tinge of bluish-green, the combining colour. Blue. Or we might choose blue, the pleasantest, simplest and most harmonious combining colour, and select as a background a warm white or cream. The decoration could be carried out in various tones of blue, deep rich blue, turquoise, deep and pale orange, and a blue grey much would depend on the tones used in combination and the manner in which they were employed. Always avoid a spotty effect, and do not contrast colours too suddenly in an endeavour to emphasise special points. Red. Red, when used as the predominant or combining colour, looks best on a dark blue or a cream background. With a dark blue ground, white or cream, bright greens and a touch of dull orange will work in well with the reds, the former combining to make the latter less assertive. With a white ground and the same colours, the work becomes suggestive of some of the beautiful Bokhara embroideries in which reds, greens 3
and yellows the latter used sparingly bined so gaily and instinctively.