I beg not riches, nor yet length of days’,” Miss Pesel finished. “Quite an old-fashioned sampler. Very popular. Who taught you?”
“My mother. She still misses Queen Victoria.”
Miss Pesel laughed.
“My sampler was not very good,” Violet added.
“Well, we shall have to teach you better. We’ll start with the main stitches we use for the kneelers and cushions: cross, long-armed cross, tent, rice, upright Gobelin, and eyelets. Though we are adding as we go, for variety. I am determined that we avoid the domestic look of a woodland scene in green and yellow and brown cross-stitch on a chair seat.”
Violet smiled: Miss Pesel had accurately described the dining room chairs in use in Mrs Speedwell’s house.
Gilda returned with a square of brown canvas and a similar piece with several different patches of stitching done in blue and yellow.
“Italian hemp,” Miss Pesel explained as she handed the square to Violet. “And this is a tapestry needle, with a big eye and a blunt end.” She held it out, along with a strand of mid-blue wool. “Let’s see you thread it … Good, you remember that. This morning I’ll teach you tent, Gobelin, cross, and long-armed cross.” She tapped at each stitch on the model. “This afternoon, rice and eyelets. If all goes well you may have finished your own model of stitches by the end of the day!”
Violet opened her mouth to protest that she’d only taken the morning off from work, but then thought the better of it. Who would even notice or care that she was gone? O and Mo? Mr Waterman? She could make up her work easily enough. And if Mr Waterman complained, she could get Mrs Biggins to scare him.
“Now, some rules,” Miss Pesel continued. “Never use a sharp needle as it will fray the canvas; only a blunt one. Don’t leave knots, they will come undone or make a bump; tie one, stitch over it, then cut the knot – I’ll show you. Make your stitches close – you are covering every bit of the canvas, so that it is entirely filled in and none of the canvas weave shows. Any gaps between stitches will make the cushion or kneeler weak and it will not last. These cushions and kneelers will be used every day – sometimes two or three times a day – for at least a hundred years, we hope. That is many thousands of times they will be sat on or knelt on. They must be robust to withstand such use for that long.
“Finally, don’t forget the back of the canvas. You want the reverse to look almost as neat as the front. You will make mistakes that you can correct back there, and no one will be the wiser. But if it’s a dismal tangle at the back, it can affect the front; for instance, you may catch loose threads with your needle and pull them through. A neat back means you’ve worked a neat front.”
Violet recalled the back of her childhood sampler, tangled with wool, the front a field of irregular crosses, her mother’s despair.
“Think of your work rather like the services at the Cathedral,” Louisa Pesel added. “You always see an orderly show of pageantry out in the presbytery or the choir, with the processions and the prayers and hymns and the sermon all beautifully choreographed, mostly thanks to the vergers who run it all, and keep things tidy and organised in the offices away from the public eye as well, so that the public show is smooth and seamless.”
Violet nodded.
“All right, let’s start with the tent stitch, which you will be using a great deal.” Miss Pesel tapped a patch of yellow stitches beading up and down the model. “It is strong, especially done on the diagonal, and fills gaps beautifully.”
Violet wrestled with handling the unfamiliar needle and wool and canvas. Miss Pesel was patient, but Violet was clumsy and uncertain, and panicked whenever she got to the end of a row and had to start back up the other way.
“One stitch on the diagonal, then two squares down,” Miss Pesel repeated several times. “Now going back up the row it’s one diagonal and two across. Vertical going down the row, horizontal going up. That’s right!” She clapped. “You’ve got it.”
Violet felt stupidly proud.
Miss Pesel left her to practise several rows of tent while she went to help others. The backlog of broderers impatient to see her was a pressure Miss Pesel did not seem to feel, and no one dared to complain to her, but they frowned at Violet over the teacher’s shoulder.
She checked back after twenty minutes. “Very good,” she said, studying Violet’s rows. “You have learned where the needle must go. Now unpick it all and start again.”
“What? Why?” Violet bleated. She’d thought she was doing well.
“The tension in each stitch must be the same or it will look uneven and unsightly. Don’t despair, Miss Speedwell,” she added, taking in Violet’s rueful expression. “I can guarantee that every woman in this room has done her share of unpicking. No one manages it straight off. Now, let’s sort out what you’re doing at the ends of the rows. Then I’ll teach you upright Gobelin. That’s rather like tent but more straightforward.”
It was more straightforward and easy to master, so that before lunch Miss Pesel was also able to show her cross-stitch and long-armed cross. “I’m pleased with your progress,” she declared as she handed back Violet’s canvas. “This afternoon we’ll go over rice and eyelets, and then you’ll be ready. We start again at half past two.”
Violet found herself lapping up the praise like a child.
AS THE BRODERERS GATHERED together their bits and pieces to go to lunch – some leaving for good, others going out to eat with the intention to return – Violet wondered for a moment what to do. She should go back to the office and ask Mr Waterman if she could take the afternoon off as well. Then Gilda was at her elbow. “Shall we eat on the Outer Close?” she suggested, as if they had been friends for years. “There’s a yew tree by Thetcher I like to sit under when it’s warm. Lets you see the comings and goings of the Cathedral, which is no end of entertainment.”
“Thetcher?”
“You don’t know? You’re in for a treat!” Gilda took her arm and began to lead her out. Violet was tempted to pull away: there was something in Gilda’s thin face, her prominent teeth, and the fine wrinkles around her eyes that telegraphed … not desperation, exactly, but an overpowering insistence.
“I’m meant to be back at work this afternoon,” she said as they descended the stairs. “I hadn’t realised I would be expected for the whole day. Mrs Biggins only mentioned the morning.”
Gilda grimaced. “Old Biggins probably didn’t want you for the day. Honestly, she acts as if a new volunteer is a burden God has placed at her feet, when actually we’re desperate for more broderers. Silly woman should be thanking you! Luckily you have Miss Pesel’s blessing. Anyway, couldn’t you take the afternoon off? Is your supervisor understanding? Where do you work?”
“Southern Counties Insurance.”
Gilda stopped in the middle of the Inner Close, the Cathedral looming behind her. A group of young scholars from Winchester College in their gowns and boaters parted in streams around them, clattering across the cobblestones on their way back to classes. “I suppose you know Olive Sanders,” she said, looking as if she had bitten into an anticipated apple and found it mushy.
“Yes, we’re both typists. We share an office.”
“Poor you! Oh, sorry, I shouldn’t have said that.” Gilda didn’t look sorry. “But really,” she added as they began walking again, “I can’t imagine being in a confined space with her. How do you cope?”
Violet thought of all the silly conversations she’d overheard between O and Mo, the shrieks, the braying laughter over nothing, the casual condescension, the over-sweet perfume, the half-filled teacups with cigarette butts floating in them.