Présentation de l'éditeur :
This book represents the first conscious and serious eflfort to take Needlecraft from its humble place as the Cinderella of Manual arts, and to show how it may become a means of general and even of higher education. The writers have faith that in taking the common things of life and walking truly among them they will find greatness and beauty at last. And this faith is justified. Through all the earlier chapters we are travelling step by step and by a narrow path towards a widening highway, along which at last the rapture of life and the vista of beauty greet the wayfarer. The Key of the whole work is A cceptance. The two authors take the little child as she is with her long-sighted child eye, lier hunger for bright colour, her small, undeveloped hand, her wandering desires (reflections of a brain where even the great connecting pathways are not yet beaten out). They do not ask from her what she cannot give Imagination without memories, fine or complex work ere yet any real power of fine co-ordination has been won. From the first the child walks with physiologists, who know where she is, physically, and also with artists, ,in short, with teachers who can understand and interpret her na Yve efforts. The knots she makes on her thread with long ends flying might, to some teachers, represent only clumsy method. To Miss Swanson and Miss Macbeth these flying ends are the origin of the fringe and tassel, and they appear on all the early specimens of their childrens work. (L ater, the fringes of even the commonest things, such as towels, are treated in very charming ways.) They do not even try to influence the little one in her choice of colour, but yield gladly to her selection of bright reds and blues and yellows. The large tacking stitch (which is the oldest of all) done in bright colour on a contrasting background imposes no strain on eye or hand. And thus, with
(Typographical errors above are due to OCR software and don't occur in the book.)
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