ENCYCLOPEDIA
OF
NEEDLEWORK
BY THERESE DE DILIMONT
Art Needlework and Scotch Yarn Warehouse
THOMAS HUNTER
74, Northumberland Street - NEWCASTLE-ON-TYHE
Branch .110 Heaton Road
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Digitized by the Internet Archive
in 2012 with funding from
Sterling and Francine Clark Art Institute Library
http://archive.org/details/encyclopediaofneOOdill
ENCYCLOPEDIA
OF
NEEDLEWORK
BY
THERESE de DILLMONT
ENGLISH EDITION
ALL RIGHTS RESERVED
To be had :
of Th. de Dili. mom, Dornach, Alsace,
and at all booksellers, and embroidery shops.
Price, English bound with gilt edges :
English edition Sh. 3. —
French edition Fr. 3.75
German edition Mk. 3.
Preface.
The absolute want of any comprehensive book on needlework — such an one, as contains both verbal and pictorial descriptions of everything included under the name of needlework — has led me to put into the ser- viceable form of an Encyclopedia, all the knowledge and experience, which years of unceasing study and practice have enabled me to accumulate on the subject, with the hope that diligent female workers of all ages, may be able, by its means to instruct themselves in every branch of plain and fancy needlework.
All the patterns given, even the most insignificant, were worked afresh for the purpose, and thus, not merely faithful representations, but also lucid and intelligible explanations of the same, are secured.
In order that my readers may have something besides the dull theory, the work is enlivened by a number of useful patterns, some new, some derived from the artistic productions of such countries and epochs as have become famous by special excellence in the domain of needlework.
Though, at first sight, the reproduction of many of these patterns may seem to present insuperable difficulties,
PREFACE
they will, after a careful study of the text, and exact atten- tion to the directions given, prove easy to carry out.
Many of these interesting designs are drawn from private collections, whose owners, with great kindness, placed their treasures at my disposal, to copy and borrow from at discretion, for which I desire to take the present opportunity, of tendering them my warmest thanks.
The choice of colours and material — a difficult matter to many — my readers will rind rendered comparatively easy to them by the notes affixed to the illustrations ; and I mav point out, that most of the patterns were worked with D.M.C cottons, which enjoy the well-earned reputa- tion of being, the very best of their kind, in the market of the world.
Experience has convinced me that, in many instances, these cottons may with advantage take the place of wool, linen thread, and even silk.
It this work meet with indulgent judges, and prove really useful, I shall find ample reward in that fact for the trouble and difficulties that have unavoidably attended its completion.
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Stripe showing running, stitching, button-holing, and herring-boning.
Plain Sewing.
Many, on opening the Encyclopedia of needlework will be disposed to exclaim as they read the heading of this first section : What is the use of describing all the old well-known stitches, when machines have so nearly superseded the slower process of hand-sewing ? To this our reply is that, of all kinds of needlework, Plain Sewing needs to be most tho- roughly learned, as being the foundation of all. Those who are able to employ others to work for them, should at least know how to distinguish good work from bad, and those who are in less fortunate circumstances, have to be taught how to work for themselves.
Position of the body and hands. — Before describing the different kinds of stitches, a word should be said as to the position of the body and hands when at work. Long expe- rience has convinced me that no kind of needlework necessi- tates a stooping or cramped attitude. To obviate which, see that your chair and table suit each other in height, and that you so hold your work as hardly to need to bend your head at all. The practice of fastening the work to the knee, besides being ungraceful, is injurious to the health.
Needles. — These should be of the best quality. To test a needle, try to break it; if it resist, and then break clean in
2 PLAINS E W IM;
two, the steel is good; if it bend without breaking, or break without any resistance, it is bad. Never use a bent needle, it makes ugly and irregular stitches, and see that the eye, whe- ther round or egg-shaped, be well-drilled, that it may not fray or cut the thread. Long or half-long needles are the best for white work, long ones for dress-making, and longer ones still, with long eyes, for darning. A stock of each, from N" 5 to 12, is advertised. The needle should always be a little thicker than the thread, to make an easy passage for it through the stuff.
To keep needles from rusting, strew a ittle stone alum in the packets, and workers whose hands are apt to get damp, should have a small box of it hand}-, to powder their fingers with. Blackened needles can be made quite bright again by drawing them through an emery cushion.
Scissors. — Scissors are a very important accessory of the work-table, and two varieties are indispensable ; a pair of large ones for cutting-out, with one point blunt and the other sharp, the latter to be always held downwards; and a pair of smaller ones with two sharp points. The handles should be large and round; if at all tight, they tire and disfigure the hand.
Thimble. — Steel thimbles are the best; bone are very liable to break, and silver ones are not deeply enough pitted, to hold the needle. A thimble should be light, with a rounded top and flat rim.
The thread. — Except for tacking, your thread should never be more than from 40 to 5o c/m. long. (*) If the thread is in skeins, it does not matter which end you begin with, but if you use reeled cotton, thread your needle with the end that points to the reel, when you cut it ; as the other end will split, and unravel, when twisted from left to right, which is generally done, to facilitate the process of threading. The cotton should always be cut, as it is weakened by breaking.
Knotting: the thread into the needle (fig. 1). — When the thread becomes inconveniently short, and you do not want to take a fresh one, it may be knotted into the needle, thus ; bring it round the forefinger close to the needle, cross it on the inside next to the finger, hold the crossed threads fast, with the
(*) Our readers should be provided with a French metre, with the English yard marked on the back for purposes of comparison.
Fig. i . Knotting the thread into the needle
PLAIN SEWING 3
thumb, draw the needle out through the loop thus formed, and tighten the loop round both ends.
Materials. — For tacking, use Goton a coudre D.M.C qualite superieure (black and gold stamp) Nos. 2 to 6. (*) For hand-sewing, Fil d'Alsace D.M.C Nos. 3o to 700, (*) and Fil a dentelle D.M.C, balls or reels, Nos. 25 to 100 (*) will be found most useful. For machine-work: Cable 6 fils pour machines D.M.C, Nos. 3o to 3oo,(*) black and white, or white and blue stamp. These can also be used for hand- work.
Both these, and the lace- thread (Fil a den- telle) on reels, are superfine in qua- lity. The medium sizes are the most useful ; but the only suitable ones for very fine and delicate fabrics are the Fil a dentelle D.M.C, and Fil d'Alsace, and the latter only is ma- nufactured in the higher numbers.
All these threads are to be had, wound in balls, or on reels, the buyer may make his own choice ; balls are apt to get tangled, but the cotton preserves its roundness better than when it is wound on reels. Linen is generally sewn with linen-thread, but Fil a dentelle and the Fil d'Alsace are very good substitutes.
Fig. 2. Position of the hands.
' See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
4 PLAIN SEWING
Position of the hands (fig. 2). — The stuff, fastened to a cushion, must be held with the left hand, which should neither rest on the table, nor on the cushion, the needle must be held between the thumb and forefinger, of the right hand, and the middle finger, armed with the thimble, pushes the needle tar enough through the stuff, for the other fingers to take hold of it and draw it out ; the thread then comes to lie between the fourth and fifth fingers in the form of a loop, which must be tightened gradually to avoid its knotting.
Position of the hands without cushion (fig. 3). — When
the work cannot be
fastened to a cush-
^_^_j^~&2', I „ [ ion it should be
•^.ILCJ- ' _^— — "*Q§ ne^ between the
forefinger and the
VAP thumb and left
\ hanging down, over
the other fingers.
v~ ' If it need to be
Fig. 3. Position of the hands without cushion. firmlv hplri
draw7 it between the fourth and fifth fingers, which will pre- vent it from getting puckered or dragged.
Stitches. — Plain-Sewing comprises 4 varieties of stitches, (1) running, (2) back-stitching, (3) hemming and (4) top or over-sewing.
(1) Running-stitch (fig. 4). — This is the simplest and easiest of all. Pass the needle in and out of the material, at
regular intervals, in a horizontal direction, taking up three or four threads at a time. If the stuff allow, several stitches may- be taken on the needle at once, before the thread is drawn out. Running-stitch is used Fig. 4. for piain Seams, for joining light materials,
Running-stitch. for making gathers and for hems.
(2) Back-stitch (fig. 5). — Insert the needle, and draw it out six threads further on, carry your thread back, from left to right, and insert the needle three threads back from the point at which it was last drawn out, and bring it out six threads
PLAIN SEWING
Fig. 5. Back-stitch.
Fig. 6. Stitching.
beyond. Stitching and back-stitching are better and more quickly done b}T machine than by hand. Stitching (fig. 6). — The production of a row of back-stitches, that exactly meet one another, constitutes what is called stitching. Only one stitch can be made at a time, and the needle must be put in, exactly at the point where it was drawn out to form the preceding back- stitch, and brought out as many threads further on as were covered by the last back- stitch. The beauty of stitching depends on the uniform length of the stitches, and the straightness of the line formed, to ensure which it is necessary to count the threads for each stitch, and to draw a thread to mark the line. If you have to stitch in a slanting line across the stuff, Fig. 7. Stitched hem. or the stuff be such as to render the drawing of a thread impossible, a coloured tacking thread should be run in first, to serve as a guide.
Stitched hem (fig. 7). — Make a double turning, as for a hem, draw a thread FlG> 8- Hemm"^stitc"- two or three threads above the edge of the first turning, and do your stitching through all three layers of stuff; the right side will be that on which you' form your stitches.
(3) Hemming-stitch (fig. 8). — To make a good hem, your stuff must be cut in the line of the thread. Highly dressed stuffs, such as linen and calico, should be rubbed in the hand, to soften them, before the hem is laid. Your first turning should not be more than 2 m/m. wide ; turn down the whole length of your hem, and then make the second turning of the same width, so that the raw edge is enclosed between two layers of stuff.
Narrow hems do not need to be tacked, but wide ones, where the first turning should only be just wide enough to prevent the edge from fraying, ought always to be. In hemming you
O PLAIN SEW I \ G
insert the needle and thread directed in a slanting position towards you, just below the edge of the hem, and push it out two threads above, and so on to the end, setting the stitches, two or three threads apart, in a continuous straight line. To ensure the hem being straight, a thread may be drawn to mark the line for the second turning, but it is not a good plan, especially in shirt-making, as the edge of the stuff, too apt in any case, to cut and fray, is, thereby, still further weakened. Hems in woollen materials, which will not take a bend, can only be laid and tacked, bit by bit. In making, what are called rolled hems, the needle must be slipped in, so as only to pierce the first turning, in order that the stitches may not be visible on the outside.
Flat seam (fig. 9). — Lay your two edges, whether straight or slanting, exactly even, tack them together with stitches 2 c/m. long, distant 1 to 2 c/m. from the edge, and then back- stitch them by machine or by hand, follow- ing the tacking-thread. Gut off half the inner edge, turn the outer one in, as for a hem and sew it down with hemming-stitches. Smooth the seam underneath with the Fig. 9. Flat seam. forefinger as you go, to make it lie quite flat. Beginners should flatten down the seam with their thimbles, or with the handle of the scissors, before they begin to hem, as the outer and wider edge is very apt to get pushed up and bulge over, in the sewing, which hides the stitches.
Hounded seam. — Back-stitch your two edges together, as above directed, then cut off the inner edge to a width of four threads, and roll the outer one in, with the left thumb, till the raw edge is quite hidden, hemming as you roll. This kind of seam, on the wrong side, looks like a fine cord, laid on, and is used ki making the finer qualities of under- clothing.
Fastening threads off, and on (fig. 10). — Knots should be avoided in white work. To fasten on, in hemming, turn the needle backwards with the point up, take one stitch, and stroke and work the end of the thread in, underneath the turning.
PLAIN SEWING
Fig. io.
ng threads off
AND ON.
To fasten on, in back-stitching or running, make one stitch with the new thread, then take both ends and lay them down together to the left, and work over them, so that they wind in, and out of the next few stitches.
(4) Top or over-sewing stitch (fig. 11). — This stitch is used for joining selvedges together. To keep the two pieces even, it is better, either to tack or pin them together first. Insert the needle, from right to left, under the first thread of the selvedge, and through both edges, and sew from right to left, setting your stitches fasteni not more than three threads apart. The thread must not be drawn too tightly, so that when the seam is finished and flat- tened with the thimble, the selvedges may lie, side by side.
Another kind of sewing-stitch (fig. 12). — For dress-seams and patching; sew from left to right, tacking or pinning the edges together first, and holding them tightly with the thumb and finger, to keep them perfectly even.
Antique or old-German seam (figs. i3
and 14). — Tack or pin the selvedges toge- ther as above, then, pointing your needle upwards from below, insert it, two threads from the selvedge, first on the wrong side, then on the right, first through one sel- vedge, then through the other, setting the stitches two threads apart. In this manner, the thread crosses itself, between the two selvedges, and a perfectly flat seam is pro- duced. Seams of this kind occur in old em- broidered linen articles, where the stuff was too narrow to allow for any other. A similar stitch, fig. 14, only slanting, instead of quite straight, as in fig. i3, is used in making sheets.
Fig. 1 1. Top or over-sewing
STITCH.
Fig. 12.
Another kind of
sewing-stitch.
Fig. i3. Antique or old- German seam.
8
PLAIN SEWING
French double seam (fig. i5). — For joining such stuffs as fray, use the so-called French-seam.
Run your two pieces of stuff together, the wrong sides touching, and the edges perfectly even, then turn them round just at the seam, so that the right sides come together inside,
and the two raw edges arc enclosed between, and run them together again. See that no threads are visible on the outside. This seam is used chiefly in dress -making, for joining slight materials together which cannot be kept from fraying by any other means.
Hemmed double- seam (figs. 1 6 and 17). — Turn in the two raw edges, and lay them one upon the other, so that
Fig. 14.
Antique or old
German seam.
Fig. i5. French double- seam.
Fig. 16. Hemmed double- seam.
Fig. 17. Open hemmed double- seam.
the one next the forefinger, lies slightly higher than the one next the thumb. Insert the needle, not upwards from below but first into the upper edge, and then, slightly slanting, into
the lower one. This seam is used in dress-making , for fastening down linings. Fig. 17 shows another kind of double seam, where the two edges are laid together, turned in twice, and hemmed in the ordinary manner, with the sole difference, that the needle has to pass through a sixfold layer of stuff". Gathering (fig. 18). — Gathers are made with running- stitches of perfectly equal length; take up and leave three or four threads, alternately, and instead of holding the stuff fast with your thumb, push it on to the needle as you go, and draw up your thread after every four or five stitches.
Fig. 18. Gathering.
PLAIN SEWING
Stroking gathers (fig. 19). — When you have run in your gathering thread, draw it up tight, and make it fast round the forefinger of your left hand, and then stroke down the gathers
Fig. 19. Stroking gathers.
with a strong needle, so that they lie evenly side by side, pushing each gather, in strok- ing it, under your left thumb, whilst you support the stuff at the back with your other fingers.
Running in a second gathering thread (fig. 20). — This is to fix the gathers after they have been stroked, and should be run in 1 or 2 c/m. belowthe first thread, according to the kind of stuff, and the purpose it is in- tended for : take up five or six gathers at a time, and draw your two threads perfectly even, that the gathers may be straight to the line of the thread.
Sewing on gathers (fig. 21). — To distribute the fulness equally, divide the gathered portion of ma-
FlG. 20.
Running in a second gathering-thread.
Fig. 21. Sewing on gathers.
IO
PLAIN SEWING
Fig. 22. Whipping.
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terial, and the band, or plain piece, on to which it is to be sewn, into equal parts, and pin the two together at corre- sponding distances, the gathered portion under the plain, and hem each gather to the band or plain piece, sloping the needle to make the thread slant, and slipping it through the upper threads only of the gathers.
Whipping (fig. 22). — Whipping is another form of gathe- ring, used for fine materials. With the thumb and fore- finger of the left hand, roll the edge over towards you, into a very tight thin roll, insert the needle on the inside of the roll next the thumb, and bring it out on the outside next the forefinger, at very regular dis- tances, and draw up the thread slightly, from time to time, to form the gathers.
Ornamental hem (fig. 2 3 ). For an ornamental hem, make a turning, 2 or 3 c/m. deep, and run in a thread, with small running-stitches up and down, as shown in fig. 23. By slightly drawing the thread, the straight edge will be made to look as if it were scalloped.
Sewing" on cord (fig. 24). — For sewing on cord, use strong thread, either Fil d'Alsace D.M.C, Fil a dentelle D.M.C or
Fig. 24. Sewing on cord, q^ g filg DMmQ No> ^ 3o? 35 or ^ f)
Be careful not to stretch the cord, but to hold it in, as
you sew it,. as it invariably shrinks more than the stuff in the first washing- Fasten it with hemming stitches to the edge of the turning, taking care that it does not get twisted.
(*) See at the enfl of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
Fig. 23. Ornamental hem.
Fig. 25. Sewing on flaps.
PLAIN SEWING
I I
|
Sewing on flaps (fig. 25). — These should be back-stitched on to the right side of the article they are to be affixed to, quite close to the edge, then folded over in half, and hemmed down on the wrong side. Like the cord, the flap must, in the process, be held in very firmly with the left hand. Though the back- stitching could be more quickly done by machine, hand-work is here pre- ferable, as the holding in cannot be done by machine.
Sewing on tape-loops (figs. 26 and 27). — These, in the case of the coarser articles of household linen, are generally fastened to the corners. Lay the ends of your piece of tape, which should be from, i5 to 17 c/m. long, side by side, turn in and hem them down, on three sides: the loop should be so folded as to form a three-cornered point, as shewn in the illustration. Join the two edges of the tape together in the middle wTith a few cross- stitches, and stitch the edge of _.
the hem Of the article tO the loop, Fig. 27. Sewing on tape-loops i
on the right side THE MIDDLE 0F THE article.
Fig. 27 shows how to sew on a loop in the middle of an article, the two ends separately, one on one side, the other on the other.
Strings and loops for fine under-linen (fig. 28). — Sew these on, likewise, on the wrong side of the article, hemming down the ends, and fastening them on the right side, with two rows of stitch- ing crossing each other, and a third row along the edge.
Button-holes in linen (fig. 29). — Cut your hole perfectly straight, and of exactly, the diameter of the button, having
— " : £3
Fig. 26. Sewing on tape-loops to the corner.
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Fig. 28.
Strings and loops on fine
under-linen.
12
PLAIN SEWING
previously marked out the place for it, with two rows of running- stitches, two or three threads apart. Put in your needle at the
back of the slit, and take up about three threads, bring the working thread round, from right to left, under the point of the needle, and draw the needle out through the loop, so that the little knot comes at the edge of the slit, and so on to the end, working from the lower left-hand corner to the right. Then make a bar of but- ton-hole stitching across each end, the
Fig. 29. Button-hoi.es in linen.
knotted edge towards the slit.
Fig. 3o. Button-holes in dress- materials.
Button holes in dress materials
(fig. 3o). — Mark out and cut them as above described; if however, the mate- rial be liable to fray, wet the slit as soon as you have cut it, with liquid gum, and lay a strand of strong thread along the edge to make your stitches over; one end of dress button-holes must be round, the stitches diverging like rays from the centre, and when you have worked the second side, thread the needle with the loose strand, and pull it slightly, to straighten the edges ; then fasten off, and close the button-hole with a straight bar of stitches across the other end, as in fig. 29. Sewing on buttons (figs. 3i and 32). — To sew linen, or webbed buttons on to under- clothing, fasten in your thread with a stitch or two, at the place where the button is to be; bring the needle out through the middle of the button, and make eight stitches, diver- ging from the centre like a star, and if you like, encircle them by a row of stitch- ing, as in fig. 32. This done, bring the needle out between the stuff and the button, and twist the
i
Fig. 3i. Sewing on
linen buttons.
Fig. 32. Sewing on webbed buttons.
PLAIN SEWING
i3
Fig. 34. Binding slits with piece on cross.
cotton six or seven times round it, then push the needle through to the wrong side, and fasten off.
Binding slits (figs. 33, 34, 35, 36). — Nothing is more apt to tear than a slit whether it be hemmed or merely- bound. To prevent this, make a semicircle of but- ton-hole stitches at the bottom of the slit, and above that, to connect the two sides, a bridge of several threads, covered with button-hole stitch- ing.
In fig. 33, we show a hemmed slit, and in figs. 34 and 35, are two slits backed the one with a narrow, the other, with a broad piece of the mate- rial, cut on the cross.
In under-linen, it oft- en so happens that two selvedges meet at the slit, which renders binding unnecessary; in that case take a small square of stuff, turn in the raw edges, top-sew it into the slit on two sides, turn in the other two, fold over on the bias, and hem them down over the top-sewing, as shewn in fig. 36. Such little squares of material, inserted into a slit or seam, to prevent its tearing, are called gussets.
Sewing On piping (fig. 37). FlG- 37- Sewing on piping.
Piping is a border, consisting of a cord or bobbin, folded into
Fig. 33. Binding slits
WITH HEM.
Fig. 35. Binding slits with broad eand.
Fig. 36. Strength- ening slits with gusset.
i4
PLAIN SEWING
a stripe of material, cut on the cross, and affixed to the edge of an article to give it more strength and finish. It is a — good substitute for a hem or binding on a >g!^j bias edge, which by means of the cord, can be held in, and prevented from stretching. Cut your stripes diagonally, across the web of the stuff, and very even ; run them together, lay the cord or bobbin along the stripe, on the wrong side, 5 m/m. from the edge, fold the edge over, and tack the cord lightly in. Then lay it on the raw edge of the article, with the cord towards you, and with all the raw edges turned away from you. Back-stitch the piping to the edge, keeping close to the cord. Then turn the article round, fold in the raw outside edge over the others, and hem it down like an ordinary hem.
Fixing whale-bones (fig. 38). — Before
slipping the whale-bone into its case or fold
of stuff, pierce holes in it, top and bottom,
with a red-hot stiletto. Through these holes,
make your stitches, diverging like
Fig. 38. Fixing whale- bones
rays
or crossing each other as
Fig. 39. Herring-boning.
shown in fig. 38.
Herring - boning (fig. 39). — This stitch is chiefly used for seams in flannel, and for over- casting dress-seams, and takes the place of hemming, for fastening down the rawT edges of a seam that has been run or stitched, without turning them in. Herring-boning is done from left to right, and forms two rows of stitches. Insert the needle from right to left, and make a stitch first above, and then below the edge, the threads cross- ing each other diagonally, as shewm in fig. 3g.
; .. ■
Specimens of pattern darns.
E^s^^^^^^&SK"*'
Mending.
The mending of wearing-apparel and house-linen, though often an ungrateful task, is yet a very necessary one, to which every female hand ought to be carefully trained. How best to disguise and repair the wear and tear of use or accident is quite as valuable an art, as that of making new things.
Under the head of mending, we include the strengthening and replacing of the worn and broken threads of a fabric, and the fitting in of new stuff in the place of that which is torn or damaged. The former is called darning, the latter, patching.
Darning'. — When only a few of the warp or woof threads are torn or missing, a darn will repair the mischief, provided the surrounding parts be sound. When the damage is more extensive, the piece must be cut out.
In some cases the warp of the stuff itself can be used for darning, otherwise thread as much like the stuff as possible should be chosen.
Materials suitable for mending". — Cotonarepriser D.M.G is used for most kinds of darning. It can be had in 18 diffe- rent sizes, from Nos. 8 to ioo, white and unbleached, and in all the colours of the D.M.C colour-card in Nos. 12, 25 and 5o.
It is but very slightly twisted and can be split or used double, if necessary, according to the material. For all the coarser articles of house-linen, unbleached cotton is the best,
i6
MENDING
and for the finer white fabrics, Coton surfin D.M.C Nos. 110, 120 and i5o (*). This cotton, which is not the least twisted, and is to be had both white and unbleached, can be used, by subdividing it, for darning the finest cambric.
Varieties of darning. — These are four, (i) Linen darning, (2) Damask darning, (3) Satin or Twill darning, and (4) Invisible darning, called also, Fine-drawing.
(1) Linen Darning (tigs. 40 and 41). — All darns should be made on the wrong side of the stuff, excepting fig. 54, which it is sometimes better to make on the right side. The longitu- dinal running, to form the warp, must be made first. The thread must not be drawn tightly in running your stitches backwards and forwards, and be careful to leave loops at each turning, to allow for the shrinking of the thread in the washing, without its pulling the darn together.
ll 4>bU
" 1 ^ 1 ^ 1 3
a J J g ° a A
t_
] i "I J "1 J .'I j r, J ,, \i T U , t
Kip
Fig. 40.
Linen darning. Drawing in the
warp threads.
Fig. 41 .
Linen darning. Drawing in the woof threads.
Run your needle in, about one c/m. above the damaged part, take up one or two threads of the stuff and miss the same number, working straight to a thread ; on reaching the hole, carry your cotton straight across it, take up alternate threads beyond, and proceed as before. Continue the rows backwards and forwards, taking up in each row, the threads left in the
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
MENDING
*7
preceding one. Turn the work round and do the same for the woof ; alternately taking up and leaving the warp threads, where the cotton crosses the hole. The threads must lie so close both ways, that the darn, when completed, replaces the original web. The threads are only drawn so far apart in the illustrations, for the sake of clearness.
When the material to be darned does not admit of a fleecy thread, such as Coton a repriser D.M.C, one that as nearly as possible matches the material, should be chosen from amongst the D.M.C cottons. (*)
Diagonal linen darning (fig. 42). — Darns are sometimes begun from the corner, so as to form a diagonal web, but they are then much more visible than when they are worked straight to a thread, and therefore not advisable.
Fig. 42. Diagonal linen darning.
Fig. 4'3. Satin or twill darning.
(2] Satin or twill darning (fig. 43). — By twill darning, the damaged web of any twilled or diagonal material can be restored. It would be impossible to enumerate all the varieties of twilled stuffs, but the illustrations and accompanying directions will enable the worker to imitate them all.
Begin, as in ordinary darning by running in the warp threads, then take up one thread, and miss three. In every succeeding row, advance one thread in the same direction. Or, miss one thread of the stuff and take up two, and as before,
* See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
l8 MENDING
advance, one thread in the same direction, every succeeding
ii^;::::::: mi :::::::
Fig. 44. Damask darning. Wrong side.
Fig. 45. Damask darning. Right side.
Fig. 46.
Damask darning. Covered
ground.
Fig. 47. Damask darning on needle-made ground.
Fig. 48. Damask darning on needle-made ground.
535*53 row. The order in which threads
ffipH should be missed and taken up,
IH| must depend on the web which
Ifjpg the darn is intended to imitate.
SIP When the original is a coloured
§5|| stuff, it is advisable to make a
"§ specimen darn first, on a larger
:H§i scale, so that you may be more
mll 1 -_^. sure of obtaining a correct copy of
BBBHpBBHB^SiSiBtfsi the original web.
fig. 49. Damask darning with (3) Damask darning (figs. 44)
coloured thread. 45, 46, 47, 48, 49). —A damask darn
MENDING
i<9
is begun in the same way as all other darns are ;-j the pattern is formed by the cross-runnings and will vary with the number of warp threads taken up and missed, in each successive running. The woven design which you are to copy with your needle must therefore be carefully examined first, i
Figs. 44 and 45 show the wrong and right sides of a damask darn, in process of being made.
Fig. 46 represents a completed one. In the case of coloured webs, a light shade of cotton is generally used for the warp, and one that matches the stuff, for the shot or woof.
Figs. 47 and 48, illustrate two specimens of darning, formerly done in the convents, from which it will be seen, that the warp and the woof were first drawn in with rather fine thread, and the pattern then worked into this foundation with coarser, or else, coloured thread. When this kind of darn is made in two colours, take, for the darker shade, Coton a broder D.M.C, or Coton a repriser D.M.C, which are both of them to be had in all the bright and faded shades, to match alike both old and new
Fig. 5o. Darning lost in the ground.
linen.
Fig. 49, which is executed in two colours, and is likewise copied from an old work on darning, shows you the manner in which a dice-pattern is to be reproduced.
(4) Darning", lost in the ground (fig. 5o). — A kind of darn used for repairing rents, the edges of which fit exactly into one another. Neither the torn threads of the material nor the rough edges must be cut off; the torn part is to be tacked upon a piece of oilcloth, wrong side uppermost, and the edges, drawn together by a thread, run in backwards, and forwards, across them. The stitches must be set as closely together as possible, and regularly inverted, as in every other
Fig. 5i. Fine drawing.
20 MENDING
darn. A much finer thread relatively than that of which the material is composed should, in all cases be used for darning. In this instance also, for the sake of greater distinctness, the size of the thread has been magnified in the illustration. Coton surfin D.M.C, will be found the best for darning both calico and linen.
Fine drawing (fig. 5i). — The art of making invisible darns in cloth, though such a useful one, is all but unknown. It is a tedious process and one which, though easy enough to under- stand, requires great care in the execution.
Use as fine a needle as possible and thread it with hair, instead of silk, or any other kind of fibre. Red and white hair is the strongest, and stronger than the ravellings of the stuff. Of course the hair has first to be carefully cleansed from grease. Pare the edges of the rent, on the right sides, quite clean and even, with a razor, so that both rent and stitches may be lost in the hairy surface of the cloth. Scissors do not cut so closely, and are liable moreover, to disturb the nap, and render the darn more visible. When this is done, fit the edges exactly together, and overcast them. Then thread a needle with a hair by the root, and slip it in, 2 or 3 m/m. from the one edge and back again pointed towards you, through the other, so that, neither needle nor hair, are visible on either side. The stitches should be set slightly slanting and must be quite lost in the thickness of the cloth. The needle must always be put in, exactly at the place where it came out, and the hair not be too tightly drawn.
When the darn is finished, lay the article on a bare table, or ironing-board, cover it with a damp cloth, and iron it. The sharpest eye will fail to detect a rent, when carefully darned in this manner.
Patching. — As we have already said, when the defective part is past darning, it must be cut out, and a new piece of stuff inserted in its place. If the garment be no longer new, it should be patched with a slighter material than that of w?hich it was originally made. The patch should be of the same shape, and cut the same way of the stuff, as the piece it is to replace, it should also be, just so much larger, as to allow for
MENDING
21
3 G=> O ^ o fisi C3 & '-^> l±3a ti>
Fig. 52. Back-stitching and felling in a patch.
.-sV*V^Vfc^^VVV^V^^VV;^!1<VVV*<V!»V>i.
the turnings in, and can either be top-sewn, or else, run and felled in.
Back-stitching and felling in a patch (fig. 52). — Tack
in the new piece , so that its ,
edges over-lap the edges of the hole. The back-stitching must be done on the article itself, as this renders it easier to do the cor- ners neatly. The hem is turned down on to the patch. Make a little snip at the corners with your scissors to prevent pucker- ing. The back-stitching should form a right angle at each corner.
Top-sewing in a patch (fig. 53). — To do this, the edges of the hole and of the patch, must first be turned in, and either over- cast or hemmed, to prevent their fraying, after which, sew the two edges together. The raw edges may also be turned in with her- ring-boning as in fig. 3g, putting the needle, only through one layer of stuff.
Drawing in a patch (fig.
54). — Take a square piece of the original stuff, 5 or 6 c/m. larger each way, than the hole it is to fill, draw out threads on all the four sides, till the piece exactly matches the hole, and tack it into its place. Thread a very fine needle with the two ends of a thread of silk or Fil d'Alsace
^ ,_ .-, ,, . Fig. 34. Drawing in a patch.
D.M.L No. 700, run it in at the
corner of the stuff, and draw it out, leaving a loop behind.
Fig. 53. Top-sewing in a patch.
22 MENDING
Into this loop, slip the first of the threads, which as it were, form a fringe to the patch, and tighten the loop round it, and so on with each thread, alternately taking up and leaving threads in the stuff, as in ordinary darning.
To put a patch into a thin material, in this manner, you must darn in the threads, a good long way, into the material, in order that the double layer of threads may be less visible.
Stripe of cut open-work on white linen.
Single and cut Open-work.
The above heading comprises every sort of needle-work, to which the drawing out of threads is a preliminary. By sewing over the single threads that remain, and drawing them together in different ways, an infinite variety of patterns can be pro- duced. Many pretty combinations also, can be made of open- work, cross-stitch, and other kinds of embroidery.
Materials suitable for open-work. — For all the coarser stuffs, such as Holbein-linen, Java and linen-canvas and the like, now in such favour for the imitation of old needlework, it will be best to use: Fil a pointer D.M.C, No. 3o (*) and Cor- donnet 6 fils D.M.C, Nos. 10 to 20, (*) and for the finer stuffs, such as antique-linen and linen-gauze ; Cordonnet 6 fils D.M.C Nos. 5o to i5o, (*)Fild'Alsace D.M.C, Nos. 20 to 100, and Fil a dentelle D.M.C, Nos. 25 to 80.
Coloured patterns can also be executed in open-work, with Coton a broder D.M.C Nos. 16 to 35, and Coton a repriser D.M.C, Nos. 25 to 5o (*).
The two different kinds of open-work. — The one is called, single open-work, the Italian Punto tirato, in which the first step is to draw out one layer of threads ; the other,
(*) Sec, at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
24
SINGLE AND CUT OPEN-WORK
Fig. 55. Singl
HEM-STITCH.
cut open-work, the Italian Punto tagliato, for which, both the warp, and the woof threads, have to be drawn out.
Single open -work (Punto tirato). — This, in its simplest form, is the ornamental latticed hem, in common use where something rather more decorative than an ordinary hem (fig. 8) is required, and consists in drawing out one layer of threads, either the warp or the woof.
Single hem-stitch (fig. 55). — Draw out, according to the coarseness of the stuff, two or four threads, below the edge of the turning, and tack your hem down to the line thus
drawn. Fasten your thread in to the left, and work your hem from right to left, taking up three or four cross-threads at a time, and inserting your needle, immediately above, into the folded hem, three or four threads from the edge, and then drawing it out.
The same stitch is used for preventing the fringes, that serve as a finish to so many articles of house-linen, from ravelling.
Second hem-stitch (fig. 56). — Prepare, your hem as for fig. 55, and work from left to right ; with this difference, that after
drawing two or three cross- threads together, from right to left, you skip the same number of perpendicular threads you took up below, and insert )^our needle downwards from above, bringing it out at the bottom edge of the hem.
These stitches, which can be used for the right side also, 1 form a kind of little tress, along Sj3§ the edge of the hem.
Ladder stitch hem (fig. 57). Complete the hem, as already directed in fig. 55, then draw out three or five threads more, turn the work round, and repeat the process, taking up the
Fig. 56. Second hem-stitch.
Fig. 5y. Ladder stitch hem.
SINGLE AND CUT OPEN-WORK
2D
Fig. 58. Double hem-stitch.
rfcn^H--. - .-
Fig. 5g.
Antique hem-stitch.
Wrong side.
same clusters of threads which you took up in the first row of stitches, thus forming little perpendicular bars.
Double hem-stitch (fig. 58). Begin as in fig. 55, forming your clusters of an even number of threads ; and then, in making your second row of stitches, draw half the threads of one cluster, and half of the next together, thereby making them slant, first one way and then the other.
Antique hem-stitch (figs. 59 and 60). — In the old, elaborate, linen needlework, we often meet with two kinds of hem-stitch- ing, seldom found in modern books on needle-work. Figs. 59 to 62 are magnified represen- tations of the same. At the necessary depth for forming a narrow hem, a thread is drawn, except in the case of very fine textures, where the edge is rolled, not laid ; then fasten in the working thread at the left, and work the stitches from left to right. Passing your needle, from right to left, under three or four threads, draw the thread round the cluster and carry your needle on, through as many threads of the upper layer of stuff, as you took up below, so that the stitch may always emerge from the middle of the cluster.
Antique hem-stitch (figs. 6 1 and 62). — These show, the right
Fig. 60.
Antique hem-stitch. Right side.
Fig. 61.
Antique hem-stitch.
Wrong side.
|
-J-X--'-----r"-~' -'^iffll |
|
|
^:-?~" |
_ |
Fig. 62.
Antique hem-stitch.
Right side.
26
SINGLE AND CUT OPEN-WORK
Fig. 63.
Slanting hem-stitch.
Wrong side.
1'lG. O4.
Slantinc hem-stitch. Right side.
Fig. 65.
Double-rowed ornamental seam. Wrong side.
Fig. 66.
Double-rowed ornamental seam.
Wrong side.
Fig. 67.
Double-rowed ornamental seam.
Right side.
this second line together, as sh right side the stitch is straig
and wrong sides of the hem ; here the rolled hem is prepared as above, but the stitches are worked from right to left, and the thread is carried round the little roll, so that, as shown in fig. 62, it is visible on both sides of the hem. The needle does not enter the stuff, but is carried back at once, from the outside, and put in again be- tween two clusters of threads.
Slanting hem-stitch (figs. 63 and 64). — Bring out your needle and thread, two or three threads above the edge of the turning, between the first and secondofthe three cross-threads that compose the cluster, and then slip it under the cluster, from right to left. The loop must lie in front of the needle, ^'hen you have drawn up the stitch, put the needle in, one thread further on, and take up two threads. Fig. 64 shows the stitch on the right side.
Double-rowed ornamen- tal seam (figs. 65, 66, 67). — Begin with any one of the hems already described, then counting as many threads downwards, as are clustered together in the first row, draw out a second thread, and cluster the perpendicular threads in own in figs. 65 and 66. On the ht (fig. 67). Coloured cottons
SINGLE AND CUT OPEN-WORK
27
should be used for all the above patterns of hem-stitch, when they are to be introduced into coloured embroideries.
Single three-rowed open-work (fig. 68). — This, and the following patterns, are suitable for the headings of hems, and for connecting stripes of embroidery, and are also often used instead of lace, and lace insertion.
Fig. 68 will be found specially useful, in cases where the object is, to produce a good deal of effect, at the cost of as little labour as possible. Make six rows of hem-stitching, as in fig. 55 ; the first and sixth rows to serve as a finish, above and below.
Fig. 68. Single three-rowed open-work.
The second and third, after drawing out six threads, the third and fourth after drawing out eight. The clusters must all con- sist of an even number of threads. The upper and the lower band of open-work is to be copied from fig. 58, the centre one, from fig. 57. Divide the threads of the perpendicular clusters in two ; insert the needle, from left to right, under- neath half the second cluster, turn the needle's eye, by a second movement, from left to right, and take up the second part of the first cluster, drawing it under, and at the same time, in front of the first half of the second cluster. Be careful not to draw your thread too tightly.
28
SINGLE AND CUT OPEN-WORK
Open-work with two threads drawn through (fig. 69). — One such wide lane of open-work, between two finishing rows of stitches, may have two threads drawn through it.
Fig. 6
THREADS D
Open-work with three threads drawn through (fig. 70). Overcast both edges with single stitches ; draw the clusters together in the middle, as in fig. 68 ; then above and below the middle thread, draw in first one thread and then a second, straight above it, securing the latter with back-stitches, to enclose the clusters between two threads.
It
"■rT
Fig. 70. Open-work with three threads drawn through.
Clustered open-work (fig. 71). — Draw out from sixteen to eighteen threads, between two hem-stitched edges. Fasten your thread in, 3 m/m. above the seam-edge, and wind it three times round every two clusters, passing the needle, the third time, under the two first rounds, to fasten the thread. The thread, thus drawn through, must be left rather slack. A se- cond row of stitches, similar to the first, and at the same distance from the bottom edge, completes this pattern To
SINGLE AND GUT OPEN-WORK
29
give it greater strength, you may if you like, work back over the first thread, with a second, taking care to pass it under the knot, which was formed by the first.
Fig. 71. Clustered open-work
\:// lii kU II
H
Iff V W
Fig. 72. Double-rowed cluster-open-work.
0
Double-rowed cluster-open-work (fig. 72). — A very good effect can be obtained by making the above stitch in such a manner, as to form groups of three clusters each, between hem- stitched bands of the stuff.
Turkish cluster open-work (fig. 73). — After portioning off, and sewing up the clusters on one side, draw out twelve or fourteen threads, and make your connecting-stitch and hem, all in one, as follows : bring out the thread before the cluster, and pass it round it, then from right to left, over three horizontal and under four perpendicular threads, again from left to right, over the four threads just passed over, and out at the second cluster ; laying it over this, you bring it out behind the first
3o
SINGLE AND CUT OPEN-WORK
cluster, wind it round the middle of them both, and pass it through, between the over-casting stitches, back to the hem ; encircle the second cluster with a loop-stitch, and carry your thread again over three horizontal and four perpendicular threads, and upwards, slanting underneath the stulf, out in front of the next cluster.
^Hh-!--T-V-'~ -Jr.
■ ^^:^-\-:-v;\
Fig. 73. Turkish cluster open-wori
Fig. 74. Open-work with darning stitch.
Open-work -with darning stitch (fig. 74). — Draw out from eight to twelve threads, according to the quality of the stuff. Insert your needle and thread between two clusters, and pass it, as if you were darning, backwards and forwards over them, until they are encased half way down with stitches. In so doing, work with the eye of the needle for- ward, and the point towards your thimble. To pass to the next cluster, take one stitch back, under the one just darned, and bring your thread underneath the threads of the stuff, to the second cluster.
Open-work in three colours (fig. j5). — This pattern which is to be done in the same way as fig. 74, requires the drawing out of, at least, eighteen threads. Every cross- line of three clusters is to be worked in one colour. The
SINGLE AND CUT OPEN-WORK
3l
colours may all be different, or. you may if you prefer, take three shades of the same colour.
fir-' - r —
Fig. y5. Open-work in three colours.
Colours : Bleu-Indigo 3n, 322, 334, Brun-Caroubier 354, 3o3, 357, or
Rouge-Geranium 349, 35 1, 352. (*)
Fig. 76. Open-work insertion.
Fig. 77. Open-work insertion.
Open-work insertion (figs. 76 and 77). — For both these,
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
32
SINGLE AND CUT OPEN-WORK
the edges are to be overcast, and the darning-stitches packed sufficiently closely together, for the threads of the stuff to be entirely covered.
Fig. 76 requires the drawing out of eighteen threads, fig. 77, of thirty. Both admit of several colours being used.
Fig. 78. Oi'en-work insertion.
Fig. 7Q- Oi
Open-work insertion (fig. 78). — After drawing out sixteen or eighteen threads, bind both sides with stitches made over four horizontal and four perpendicular threads, as follows ; make one back-stitch over four disengaged threads, then bring up your thread from right to left, over four horizontal and under four perpendicular threads, back over the four last threads, and draw it out beside the next cluster. The clusters, as they now stand, are bound together in the middle, three by three, with darning-stitches. The thread must be fastened in and cut off, after each group is finished.
Open-work insertion (fig. 79). — First bind the two edges with stitches, in the ordinary way. At the last stitch intro-
SINGLE AND CUT OPEN-WORK
33
duce the thread slanting, according to the dotted line, pass it under four horizontal and three perpendicular threads of the stuff and draw it out ; then over three threads from right to left, and back under the same, from left to right, and out again ; over four horizontal threads, and under and again over, three perpendicular ones; for the next stitch, you again follow the dotted slanting line.
Then make the darning stitch over nine threads, or three clusters. At half their length, you leave out three threads, first on the right, then on the left, whilst in the other half, you, in a similar manner, take in three ; so that you have two darned and two undarned clusters, standing opposite each other. Finally, you overcast the single clusters, and connect every two with a lock-stitch, as shown in the accompanying illustration.
Fig. 80. Open-work insertion
Open-work insertion (fig. 80). — Draw out twenty threads, overcast both edges with stitches, made over three threads. Then, make slanting stitches, proceeding out from these, over three, six and nine threads respectively, all three terminating in a perpendicular line, one below the other.
For the open-work, twist the thread five times, quite tightly round and round one cluster, bring it to the edge, between the second and third clusters, and connect these by means of six darning-stitches to and fro : join the first and second clusters in the same way by twelve stitches, and finish, by twisting the thread five times round the remaining length of the first cluster. The second half of the open-work figure is
34
SINGLE AND CUT OPEN-WORK
carried out in a similar manner over the third and fourth clusters.
Fig. 8i. Open-work insertion in folk colours.
Materials : Coton a broder D.M.C No. 20, or Cordonner G (ilsD.M.C Nos. i5 to 3o.(*)
Colours: Rouge-Turc 3 j 1 , Blcu-Indigo 3 1 2, 334, Noir grand Teint 3io.(*)
Open-work insertion in four colours (fig. 81). — Draw out, from twenty-five to thirty threads. The outside figures are executed over six clusters, of three threads each, in a dark and light shade alternately of the same colour. Each of the middle figures combines three clusters of the two figures above it, and may be executed, either in a different colour altogether,
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
SINGLE AND CUT OPEN-WORK
35
or in a lighter shade of the one employed in the top row. The little star in the centre should be worked in dark red, or black.
Open-work insertions (figs. 82, 83, 84). — For each of
Fig. 83. Open-work insertion.
■^y^^m^
sife
Fig. 84. Open-work insertion.
these draw out forty threads. Fig. 82 worked in white, and Rouge-Grenat clair 3og, comprises fourteen clusters, of four threads each. Begin at the top of the big pyramid, so that the threads which you run in, can be more closely crowded together.
In fig. 83, the two rows of short clusters are worked in
36
SINGLE AND CUT OPEN-WORK
Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 33o ; (*) the pyramid of steps, in Brun-Chamois moyen, 324; (*) the three inner clusters in Brun-Chamois tres clair, 418. One figure consists of fourteen clusters, of three threads each.
Fig. 84 also is to be worked in three colours; the light squares in unbleached cotton, the middle figure in Bleu- Indigo tres clair, 334, tric large squares on either side in Brun-Cuir clair 432. Each figure contains eighteen clusters, of three threads each.
Fig. 86. Three-rowed open-work.
Open-work insertion with spiders (fig. 85). — The edges are to be herring-boned, as described in fig. 39. In the middle, the so-called spiders are made, over every group of four clusters. The thread that runs out from the spider, passes
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
SINGLE AND CUT OPEN-WORK
3?
over two clusters and under one, and then three or four times, over and under the clusters, as in darning, and so back, under the spider, at the place at which it was drawn in, and then on, to the next four strands of thread.
Three-rowed open-work (fig. 86). — Draw out five threads for the narrow stripe, and from fourteen to sixteen for the wide one. Each Cluster should consist of four threads. The narrow bands between, are to be herring-boned on either side. The dotted line shows the course of the thread, on the wrong side. Then unite each separate cluster in the middle, with a back-stitch, as shown in the illustration, and finally, join every group of four clusters together, with three stitches, and make a spider in the middle of the open-work, at the point where the threads intersect each other.
Fig. 87. Open-work insertion with rings.
Open-work insertion with rings (fig. 87). — ' Bind the edges on both sides, with straight, two-sided, stitches. Take, for this, Coton a broder D.M.G, No. 3o, (embroidery cotton), using it double. Draw out, from twenty-four to thirty threads. Wind your thread six or seven times round the middle of each cluster of nine threads, and then make darning-stitches, above and below, to a length of 3 m/m. When you have completed two clusters, join them together, by four interlocked stitches ; wind your thread three times round the jingle thread, and sew it over with close stitches.
Open-work insertion with spiders (fig. 88). — Draw out twenty-four threads. Ornament the two edges with half-spiders.
38
SINGLE AND CUT OPEN-WORK
You begin these over two threads, and go on taking in others, to the number of eight. The whole spider in the middle, is made as above described.
f.'iST'.'U L-.'ljfrl.'-Jil
t^^MMim^
Fig. 88. Open-work insertion with spiders.
Fig. 89. Open-work insertion.
Open-work insertion (figs. 89 and 90). — The beauty of this otherwise simple pattern, lies in the peculiar knot, with which the edges of the stuff are ornamented.
Carry the working thread, .as shown in fig. 90, from right to left, (see the description of the right side) over and under four threads ; then bring the needle back, under the thread which lies slanting, form a loop with the forefinger of the left hand, slip it on to the needle, and draw it up close to the first stitch ; pull the needle through the knot, and proceed to the next stitch.
The illustration explains how the open-work in the middle should be carried out.
Open-work with winding stitch (fig. 91). — For this pattern, which is a very laborious one to work, draw out twenty-eight threads. Bind the edges with two-sided stitches,
SINGLE AND CUT OPEN-WORK
39
over two, three, four and five threads, respectively. For the middle figures, you must reckon four threads for the clusters, round which the working thread is tightly twisted, eight for the darned clusters, ornamented with picots (see fig. i65), and sixteen for the rectangular rosettes, in two colours.
Make a loose spider over the threads, as a background for the rosette. Work the picots in a different colour from the cluster, and the rosettes, likewise, in two colours. The connect- ing loops between the figures should be made as you go along, the thread being always carried back into the loop just made.
5tK
■J ■!—. fcti* i— HM ~ h t**S
Fig. qo. Explanation of the stitch for fig. 8q.
WITH WINDING STITCH.
Cutting out threads at the corners (figs. 92, 93, 94, 95). If you want to carry a latticed-hem or a simple open-work pattern, round a corner, you must cut and loosen the threads, on both sides, about one c/m. from the edge of the hem, as seen in fig. 92. The loose threads can be pushed into the turning, and the edge button-holed, as in fig. 93.
If however, on the other hand, the stitching be continued without interruption, as indicated in the upper part of fig. 94, the loose threads must be brought to the wrong side, and
4o
SINGLE AND CUT OPHN-WORK
as represented in the lower part of fig. 94, fastened down with a few stitches.
mm
-
Fi<
The cutting and loosening of the threads at the
CORNERS.
Fig. 94.
Bordering the disengaged edge with
hem-stitching, the threads being
turned oyer
.TJ-i^-LS?-
1 1 1 • 1
~-!l.'-|-l-rJ_-l
-- i- i_ i_ L i_ '*■■
i_ l_ i_
L, i_ i_ L 1 LTL
- 1_ i — <_ i — 1 — i_ •_ i_ i_ i_ i_l _ i_ i_ i-TZJ - I_ c_ U I- L, l__ 1_ i_ L I-
Fig. g3.
The over casting of the disengaged
edge at the corner, the threads being
turned in within the hem.
/ A
wwmm
Fig. 95.
Filling in the corner with a spider, and continuation of the lattice- work thence.
Cut open-work (Punto tagliato). — For cut open-work, threads have to be drawn out both ways, the number of course to depend on the pattern. Threads, left between others that have been cut out, serve as a foundation on which a great variety of stitches can be worked. Stuffs, equally coarse in the warp and wroof, should be chosen for all cut open-work, for
SINGLE AND CUT OPEN-WORK
41
then the empty spaces that remain, where threads have been drawn out both ways, will be perfectly square.
Drawing out threads both ways (fig. 96). — The same number of threads must be drawn out each way; most patterns require the same number of threads to be left as are drawn out. In fig. 96, three threads have been drawn out and three left.
Fig. 96.
Drawing out threads both ways,
without regard to the edges.
Fig. 97. p
Cutting out threads,
in the middle of the stuff.
Cutting out threads (fig. 97). — We often meet with cut open-work patterns, set in another kind of embroidery. In such cases, the threads that are to be cut out, must be cut
Fig.
button-holing the raw edges of cut open-work.
Fig. 99. Overcasting the raw edges of cut open-work.
a few millimetres within the edge, and then drawn out, so that there may be a frame of the stuff left intact outside. Button-holing1 the raw edges (fig. 98). — In very fine
42
SINGLE AND CUT OPEN-WORK
linen textures, the threads can simply be cut out, but in the case of coarser stuffs, and when a pattern ends in steps as in figs. io3, 104, io5, the raw edges must be button-holed as in fig. 98, or 99.
Overcasting- the raw edges (fig. 99). — Cording the raw edges, is even better than button-holing them. Count the number of threads carefully that have to be cut out, run in a thread to mark the pattern, and then only, cut the threads through, at least two threads within the line.
Overcasting the trellised ground (fig. 100). — If you only have a small surface to embroider, you can draw out all
the threads at once. But in the case of a large piece of work it is better to begin by removing the threads in one direction only, and completing all the little bars, one way first ; after which you draw out the threads the other way and embroider those you leave. In this way you will secure greater equality and finish in your work.
Ground for square, fig. 105 (figs. 101 and 102). — Finish the first row of bars along the edge completely, to begin with. In the second row, over- cast the bar, down to half its length, then carry your thread over two empty spaces, see the letter a, come back to the bar, overcasting the thread which you threw across first, and passing the needle under the bars of the stuff. In the second rows that intersect the first, marked by letter b, the threads meet in the middle of the empty space.
In fig. 102, finish the bars, overcast both ways first, and then fill in the ground with interlaced threads, worked row by row, throwing the thread from one square to the other as you go, and doubling it, as you return. For the bars, see, the chapters on net embroidery, and Irish lace.
Lattice-ground and damask stitch for square, fig. 105
(fig. io3). — Our illustration shows a third kind of open-
FlG. 100.
Overcasting the trellised ground.
SINGLE AND CUT OPEN-WORK
43
■■■■
ffinHB
BBBBI- JgBKSff®**
m
Fig. 10 i. Lattice-ground for square
in fig. i05, showing the course
of the stitches.
Fig. 102. Lattice-ground for square in fig. io5.
Fig. io3. Lattice-ground with a portion of square, fig. io5.
44
SINGLE AND CUT OPEN-WORK
work ground with one corner in damask stitch, of the square represenied in fig. io5. The little bars which intersect each square crossways, are made in two divisions, by carrying the
thread to the opposite bar and back. In the same way, the second thread is carried over the first. The damask stitches are described in the next chapter, in figs. 143 and 144.
Lattice-ground and damask stitches for square, fig. 105 (fig. 104). — Damask, or gobelin stitches, are given in figs. 1 52, 1 53, 1 54. The ground of this part of the square (fig. 104) is adorned with narrow bars, worked in darning stitch. From the centre of one bar, pro- ceed three bars made on three foundation-threads, and a fourth made on two, on account of the passage to the next bar. Quarter of the square in single and cut open-work, and damask-stitch (fig. io5). — Original size 48 c/m. square. This handsome square is worked in unbleached cotton on a white ground; it may also be worked in colours. A very good effect is produced by using Chine d'or D.M.C (*) red, blue, or green for the gobelin stitch, and a uniform pale tint for the cut open-work.
Figs. 1 01, 102, io3, 104 illustrate in detail, one quarter of the square, which is represented here one third of the original
Fig. 104.
Lattice-ground and damask stitch for
square, fig. iod.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
SINGLE AND CUT OPEN-WORK
45
Fig. io5. Quarter of the square in single and cut open-work,
and damask stitch.
Original size 48 c/m. square.
Materials suitable for Holbein linen: Fil a pointer D.M.C No. i5 or 20, and Coton
a repriser D.M.C No. 25.(*)
For antique linen : Fil a dentelle D.M.C No. 25 or 3o, or Cordonnet 6 fills D.M.C
No. 5o, 60, or 70, and Coton a repriser D.M.C No. 5o or, in place of the latter,
Coton a broder surnn D.M.C No. 100. (*)
size. The centre piece (fig. 104) is bordered by four stripes, two long and two short ; the former containing two lozenge-
'* See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
46
SINGLE AND CUT OPEN-WORK
shaped open-work figures, separated and finished off by damask stitches; the latter, only one such figure. For the insertion in single open-work, that recurs three times, you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.-
Drawing in the pattern(fig. 106). — Darning in the threads, as you do into a net foundation is a slower process and one that requires greater skill than drawing them in. 1 he illustra-
(Explanation of fig. 108)
Xirat, ul,'.
Fig. 107. Darning in the threads (Explanation of fig. 109).
tion shows the proper order and direction of the stitches for fig. 108. In this case likewise, the little bars must be finished, before the actual pat- tern is filled in. Darning in the threads (fig. 107). — In old needle-work we often find the pattern reserved, that is, left blank and outlined by the grounding. As it is difficult, o^feiJ^^E J especially in exe- cuting minute, and delicate fig- ures, to withdraw the threads par- tially, without in- juring the linen foundation, they
are withdrawn throughout, and new ones drawn in, to form the pattern. To explain this more clearly, the original threads of the material are represented in a lighter shade than the newr
SINGLE AND CUT OPEN-WORK BB
47
Fig. ioS. Broad insertion in cut open-work, with pattern drawn in.
Fig. 109. Insertion in cut open-work, with pattern darned in.
Materials — For Holbein linen : Fil a pointer D.M.C No. 1 5 or 20, Cordonnet 6 fils D.M.C No. 8, 10 or i5 for the bars. — Coton a tricoter D.M.C No. 16 or Coton a
repriser D.M.C No. 12 or 25 for darning or drawing in the pattern. For finer linens: Fil a dentelle D.M.C Nos. 25 to 3o, or Cordonnet 6 fils D.M.C Nos. 25 to 40 for the bars and Coton a repriser D.M.C No. 5o for darning or
drawing in the pattern.
48
SINGLE AND CUT OPEN-WORK
ones that are drawn in ; the course of the stitches is indicated in a darker shade.
Broad insertion in cut open-work, with the pattern drawn in (tig. 108). — This insertion, suitable according to the foundation it is worked on, for the decoration either of curtains, table-covers, bed-linen or underclothing, is made as shown in fig. 1 06. If intended for the decoration of any article made
of white linen, we recommend unbleached materials for the lattice- work, and bleached for the pattern, to bring it out in strong relief.
Insertion in cut open- work, with pattern darned
in (fig. 109). — This inser- tion can be introduced into p any kind of linen material, and used for ornamenting towels, aprons, bed-linen and table-linen. When it is used to connect bands of cross-stitch embroidery, the open-work should be of the same colour as the embroi- dery, and the pattern worked in white or unbleached cot- ton, to correspond with the foundation. In fig. 109, the pattern is half as large again as in the original. Cut open-work pattern (figs. 1 1 o and 1 1 1). — This pattern, more of the nature of lace than any of the former, is well adapted for trimming, not only household articles but also church furniture, altar-cloths and the like, which are required to wash, as it can be worked in any width.
Fig. no, a magnified representation of the work in process of execution, shows alternately, ten threads withdrawn each way and six left, with open spaces between. The arcs are
Fig. 1 10.
Cut open-work pattern.
Fig. 1 1 1 in process of execution.
SINGLE AND CUT OPEN-WORK
49
Fig. iii. Cut open-work pattern.
Materials : Fil a pointer D.M.C No. 20 or 3o, Cordonnet 6 fils D.M.C Nos. i5 to
5o or Fil a dentelle D.M.C Nos. 25 to 5o.
Fig. 1 1 2. Greek cut open-work pattern.
Materials: Cordonnet 6 fils D.M.C Nos. 25 to 5o, Fil d'Alsace D.M.C Nos. 20 to
100 or Fil a dentelle D.M.C Nos. 25 to 5o.
5o single! and cut open-work
worked over three carefully laid threads, carried across from the middle of one bar to the middle of the bar at right angles to it, the wheels on the other hand are begun and finished at the same corner. Overcast the cut edges, and hem-stitch the outside layer of stuff (figs. 61 and 62).
Greek cut open-work pattern (fig. 1 12). — After the fore- going explanations, no difficulty will be found in copying the beautiful Greek cut open-work pattern, illustrated in fig. 112. Here, we have in the original, 48 threads drawn out in the middle, both ways, from one straight bar to another, (these bars being darned) with open spaces between ; and in the lower and narrower division, 21 threads drawn out each way. The cut edges, from bar to bar, are hem-stitched on both sides, leaving four threads of the stuff between.
The long bars, in the second figure, are button holed on both sides, those with the picots, on one side only.
Net stripe, in imitation of Brussels lace.
Net and damask stitches.
Many net embroidery patterns and damask stitches consist of a combination of ordinary running and darning, others of chain, stem and cross stitch.
Net embroidery. — All these kinds of stitches can be worked on the coarse Greek net, as it is called, as well as on the finest quality of real Brussels net.
Stripes of net, finished off with button-hole edging, and ornamented with one or other of the following patterns, make very pretty washing laces and the like ; net laid upon Irish point and converted by needlework into a lace ground, makes an excellent substitute for a hand-made ground, which demands much labour and time.
Materials suitable for net embroidery. — The choice of material must be determined by the quality of the net and the effect to be produced. For a coarse make of net and a very marked pattern, the lowest numbers of D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. i, 2, 3 should be used ; if the net be fine and the pattern a delicate one, then the higher numbers of the following are preferable : Goton a tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 to 70, Coton a broder D.M.C Nos. 16 to 5o, Fil a dentelle D.M.C Nos. 25 to 5o, Coton a broder surfin D.M.C Nos. 100, « 20, i5o. The latter must be adjusted to the required size
52
NET AND DAMASK STITCHES
before being used, that is to say as many strands of it removed, as is necessary in order to reduce it to the proper thickness.
Tracing -with running stitches (fig. ii3). — Have your pattern traced on linen or paper; tack the net upon it, and copy it carefully on the net with running stitches. As in darning,
Fig. i i 3. Tracing with running STITCHES.
the stitches must run first above and then beneath, alternating in each succeeding row. At the turn of the lines, the stitches
cross each other, as shown in the illustration.
Net pattern (fig. 114). — Here too the pattern is traced with running stitches, which are run in on both sides of each row of meshes. The thread is carried first to the right , and then to the left, under every alternate bar of the net and out again. Between the first and second rows, one thread of the foundation must be left uncovered. In the next row, the thread is carried back again, so that it encircles each mesh. In the third row, the thread passes under the same bar
Fig. 114. Net pattern.
NET AND DAMASK STITCHES
53
of net as in the second, the threads touching each other. The fourth row is a repetition of the first.
Net pattern (fig. ii3). — This consists of two rows of stitches. In the first, the single stitches run diagonally from left to right, over and under a mesh ; in the second row the triple stitches, also carried diagonally across a mesh, lie from right to left.
Net pattern (fig. 116). — Begin with a double row, as in fig. 114; this is followed by a row of cross-stitch, touching the others, for which the thread has to be carried, first under
Fig. 1 1 5. Net pattern.
one of the straight bars of the mesh and then diagonally, across it. A second, similar row of stitches backwards , com- pletes the crosses. This can be further varied by the introduc- tion of a row of triple stitches, after the double row, as in fig. 1 1 5, and the repetition of the two first only.
These rows can also be worked in two colours, or in white thread and washing gold.
Fig. 116. Net pattern.
17. Net pattern.
Net pattern (fig. 117). — Begin at the top, carrying the
54
NET AND DAMASK STITCHES
thread, first under and then over two bars and a mesh, and then underneath as before. In the second as in the first row, the threads must be drawn in, so that 4 threads always meet in one mesh, and two run parallel to each other through the same mesh.
Net pattern (fig. 118). — This pattern, which resembles fig. 117 in the execution, is thickened by triple stitches. Above, where in the preceding row three threads were laid, the thread should be single.
Very pretty varieties are to be obtained by the introduction of several colours. Take white, for instance, for the first row and different shades of the same colour for the second, third, fourth and fifth rows ; such as, Bleu-Lapis 345, 344, 343, 333, 342, (*) or Rouge-Cardinal 348, 3o5, 304, 347, 346, (*) or Rouge-Geranium, Brun-Caroubier or any other colour that is absolutely fast.
|
MJ^J&JJ |
v^CsftL^^^w |
?:• |
|
MlN |
||
|
bjeM^ms |
i |
|
|
«^^f^*v5*feAft |
||
Fig. 118. Net pattern.
Fig. 119. Net pattern.
Net pattern (fig. 119). — After one row of cross-stitch, such as was described in fig. 116, add a second, carrying the thread under the bar that lies between the first stitches, so that the two rows only cover-three threads of the net. The close bands of cross-stitch must be divided from each other by one row of net bars.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
NET AND DAMASK STITCHES
55
Net pattern (tig. 120). — Draw the thread twice backwards and forwards, as in darning, through one row of meshes. In the next, make four stitches over one mesh and two bars. After the fourth stitch, the thread is carried forward under two bars to the next group. The meshes filled in thus are divided from each other by two double rows of darning
Fig. 120. Net pattern.
Fig. 121. Net pattern.
stitches. Here you may introduce a variety in the colour, using either white and unbleached, or unbleached and pale blue, or some other combination of the kind.
Net pattern (fig. 121). — Make three diagonal stitches over three bars and two meshes, then returning to the mesh out of which the first stitches come, make three more in the opposite direction. In the se- cond row, the stitches meet in the same mesh as those of the first.
Net pattern (fig. 122), — Carry the thread upwards from below, over a bar of the net, then pass it horizontally under another bar and carrying it downwards, pass it under a diago- nal bar and cover the other three. In the second row, your
Fig. 122. Net pattern.
56
NET AND DAMASK STITCHES
loops must be turned the opposite way. When the whole foundation is finished, run a thread over the whole surface and overcast it. A good elfcct is produced by using white and unbleached cottons, in alternate rows.
Net pattern (fig. i 23). — This pattern consists of one row of overcasting, one of stitches like those described in fig. 114, and one of cross-stitch, as in fig. 3q, running diagonally across the stufT. Besides the cottons already mentioned, washing gold thread (Or fin D.M.C pour la broderie), may be used for the overcasting. Dead gold introduced into simple needlework of this kind enlivens it extremely.
Fig. 123. Net pattern.
Fig. 124. Net pattern.
Net pattern (fig. 124J. — Three kinds of stitches are re- quired for this pattern. In the first row the stitch lies cros- sed underneath the net ; in the second, 3 stitches are made over one mesh, the first and the last of which are carried across three meshes. In the third row, button-hole stitches are carried from right to left over two diagonal bars, in such a manner that the thread is drawn through the mesh facing the loops, and the next stitch comes out under the loop of the preceding one.
Net pattern (fig. 125). — Fill in every other diagonal row of meshes with chain stitch, inserting the needle into the same mesh it came out of, so that the thread lies in front of the needle, in a loop. The rows of chain stitch may be made with two or
NET AND DAMASK STITCHES
5?
three rows of meshes between them. Even the diagonal lines by themselves, make a very pretty foundation for other stitches. Net pattern (fig. 126). — The first row worked from left to right, consists of three loop stitches upwards and three downwards, each over one bar. In the second rowr, divided
Fig. 12b. Net pattern.
Fig. 126. Net pattern.
Fig. 127. Net insertion.
Fig. 128. Net insertion.
from the first by one row of stitches, the inner loops must be turned towards each other; in the third, the outer ones. Any of the stitches, already described, can be introduced into this pattern to enliven it.
Net insertions figs. 127 and 128). — These two, as well as the subsequent patterns, are most of them worked in darning stitch and simple overcasting.
The scallops in fig. 127 are formed of darning stitches,
58
NET AND DAMASK STITCHKS
over 4, 3, 2 and i mesh, respectively. In the intervening space, which is five meshes wide, the stitch shown in fig. \ iS, may be introduced.
In repeating the pattern, the stitches forming the scallops, must be made to run in the opposite direction. Instead of the thread, simply drawn through the middle, little stars like those described in fig. 1 34, have a very pretty efl'ect.
In fig. 128, the thread is first carried round one mesh and then on to the next scallop. In the second scallop, which turns the opposite way, the thread is carried once more round
the last mesh after the pyramid is completed, and then on, to the next figure. Net pattern (fig. 129). — This checked pattern is also worked in darning stitch. Garry the thread, as in fig. 125, through every second row of meshes. When the bottom rows are all finished, the upper ones are worked across them in the same way. Here the stitches may, if preferred, be dis- tributed more sparingly. But if they are set wider apart, the spaces between should be filled up in some way. Little dots, made of Coton a re- repriser D.M.C, will answer the purpose best.
Net insertions (figs. 1 3o, 1 3 1 , 1 32). — These three patterns are specially suitable, for inser- tions, neck-tie lappets and the like, in the place of crochet, pillow, and other kinds of lace. Both design and stitch are clearly Fig. i3o. Net insertion. enough represented in the sub-
Fig. 129. Net pattern.
NET AND DAMASK STITCHES
59
joined figure for further explanation to be unnecessary. All three should be worked with rather coarse cotton, and Soutache D.M.C (*) (braid) drawn in, produces an excellent effect.
Fig. 1 33. Net pattern.
Fig. 134. Net pattern.
Net pattern (fig. 1 33). — These delicate little figures can be worked into a close pattern, or can be strewn singly over the surface. The closer you set the stitches, the more clear and distinct the stars will be. The thread must be drawn in to the centre mesh from without, so as to be invisible if possible, and then back again to the outside when the stitches are finished.
Net pattern (fig. 134). — These flowerets have a very pretty effect, set either singly, or in double or triple rows, and are very useful for filling up gaps or supplementing rows.
[*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
()0
NET AND DAMASK STITCHES
Net pattern (fig. 1 35). — These star-shaped figures, their longest stitch covering three straight bars and two meshes, the shortest, three diagonal bars and two meshes, may like the above fiowerets, be ranged closely together in rows, so that
four stitches, two horizontal
and two vertical ones, meet in one mesh. Cottons of two colours should be used, in order that the figures may be distinct from each other: white and unbleached are the in cases where bright
J
599 best ,
j 35. Net pattern.
MM colours would be unsuitable
Net insertion (fig. i 36). —
These diamonds make a very
pretty grounding either set se-
;I§§5S Parateb'> or in a continuous
i#VW pattern. The design is slight,
nevertheless, when it is worked in coarse cotton, the effect is ex- ceedingly handsome, especially if the inside, in addition to-the star here given, be enriched with or- dinary darning-stitch- es,worked in fine gold thread, as we have already mentioned.
Net tracery with border (fig. 1 37). — In order to bring out the pattern and the colours, use instead of cotton, Soutache D.M.C, or Lacets surfins D.M.C. Both
Fig. 1 36. Net insertion.
are to be had in all the colours, given in the list of colours of the D.M.C threads and cottons. The little border can be used in conjunction with any of the preceding patterns, but care must
NET AND DAMASK STITCHES
6l
Fig. 137. Net tracery with braids. Materials: Soutache D.M.C No. 2 in Bleu-Indigo 33.x and Rouge-Turc 32 1.
Fig. 1 38. Broad net lace tracery.
Materials : Coton a broder D.M.C No. 3o, 35 or 40. — Colours *. Rouge-Turc 32 1,
Rouge-Cardinal 346, Bleu-Indigo 322, Gris-Tilleul 3g3 and Vert-Pistache 36o,.
62
NET AND DAMASK STITCHES
be taken not to let it get twisted in the working. To prevent this, slip a coarse needle under the last stitch, and draw the braid flat over it.
Broad net lace tracery (tig. 1 38). — The pattern of this pretty lace must first be transferred to stout paper, or oil-cloth. All the leaves and stalks, and the buttonholing round the open centres of the flowers, are worked in a pale green, the two bottom flowers in Turkey red, the star-shaped one in blue, the calvx in which the stalks unite, in dark red, and the little bells, in the lightest green.
Net darning'. — We conclude with some directions for darning net, a valuable art, by means of which many a curious piece of old needlework is preserved. Coarse and fine net are all darned in the same way.
Fig. i3q. Net darning. Laying the first thread.
Fig. 140. Net darning. Laying the second thread.
Laying the first thread (fig. 139). — Tack the net which is to be darned, closely to the defective part, upon either oil-cloth or coloured paper and cut the edges straight to the thread. Your thread must be of exactly the same size, as that of which the net is made. It takes three rows of stitches to imitate the net ground ; in the first place, as shown in fig. 139, cross-threads must be laid from side to side, carried as in darning, a little beyond the edges of the hole and so as to surround each mesh with a slanting stitch.
NET AND DAMASK STITCHES
63
Laying the second thread (fig. 140). — Secondly, beginning from one corner, threads are laid diagonal^ across the first layer. The cross-threads of the foundation are encircled by a stitch, made from right to left, the needle is then carried under the next horizontal bar, and the first layer of threads is overcast with similar stitches.
Laying the third thread (fig. 141). — Thirdly, threads are carried across the second and first layers. They must start, far enough from the edge, for the second layer of threads to be overcast at the same time, so that there may be no loose threads left on the wrong side. In this third journey, every diagonal thread of the founda- tion is to be encircled with a stitch, taken upwards from below, the cut edges being strengthened in the same way. Then, to form the little cross in the fabric, the thread must be conducted by means of a second stitch, under the single hori- zontal thread, outwards, to the next diagonal thread.
In places where the net is worn, it can be strengthened in the same manner, the stitches being made the way of the stuff.
Damask stitches. — As a rule the pattern is simply out- lined with stem and cord stitch, and the inside spaces are left plain. In spite of the time this simple tracing takes to do, the effect is rather poor and scanty. If however, the inside of the leaves and flowers, be filled in with damask stitch, the result is very handsome.
Not only can the following stitches, which are suitable for any linen coarse or fine, be used for this kind of embroidery, but most of the net and lace patterns too, and these combined with buttonholing and flat stitch produce charming effects.
Materials suitable for damask stitches. — All the threads and cottons used for* net work can also be used for damask
Fig. 141. Net darning. Laying the third thread.
64
NET AND DAMASK STITCHES
stitches, according to the material and the kind of work. We will enumerate them once more: Coton a tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 to 70, Coton a broder D.M.C Nos. 16 to 5o, Fil a dentelle D.M.C Nos. 25 to 5o, Coton a broder surfin D.M.C Nos. 100, 120, i5o. (*)
This kind of embroidery is generally done with a very coarse needle, to press the threads of the stuff closely together and make the light spaces between, which appear in many of
the following illustrations.
First pattern (fig. 142). — Carry the needle in a slanting direction over three threads and bring it out, from right to left, under three perpendicular ones, then again slanting, over three threads, from left to right, and out again under- I neath three horizontal ones, I dowmwards from above.
n^liitrri'-B: un.na.i
Fig. 142.
H| Thus the first stitch lies
across, from right to left,
the second, lengthways. On
the wrong side, the stitch forms
a regular succession of steps.
Second pattern (fig. 143).
|P — This is worked exactly in the
m same manner as fig. 142, only
that the second row of stitches
I touches the first, so that two
I threads enter and issue from
ssM the same hole.
Third pattern (fig. 144). WS^^mPl — Though at first sight, this
Fig. 143. Second pattern.
stitch is very like the Holbein
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M C threads and cottons.
NET AND DAMASK STITCHES
65
or stroke stitch, it is very different in the execution. It is worked in two rows, to and fro ; in the first, you make all the vertical stitches side by side in the width of the stuff, drawing your thread very tightly ; in the second, coming back, you make the hori- zontal stitches in a straight line, at right angles to the first stitches. On the wrong side the stitches are cros- sed ; they in thin stuffs, show through, and quite alter the appearance of the right side.
Fourth pattern (fig. 145). — In the first row, the thread is carried slanting upwards from right to left, over two threads, then downwards under two. Coming back, the stitches must be set the opposite way, so that four threads meet in one hole.
Fig. 144. Third pattei
^^h^^r^pir:«^^lT^rll^
mm
iMmm
Fig. 145. Fourth pattern.
Fig. 146. Fifth pattern.
Fifth pattern (fig. 146). — This is worked like fig. only that the stitches must cover three threads each way the second row, you take up one thread on the right and on the left, to form your stitches.
145,
. In
two
66
NET AND DAMASK STITCHKS
Sixth pattern (tig. 147). — Here, the stitches form a chess-board pattern. You begin with a diagonal stitch over two threads and bring your needle up again into the same line it started from. The second stitch covers three threads, the third six, the fourth eight ; the next three decrease, succes- sively in length, in the same proportion.
Fig. 147. Sixth
Fig. 1 48. Seventh pattern.
Seventh pattern (tig. 148). — Two kinds of cotton have to be used for this pattern, one of them soft and flat, like Coton a repriser D.M.C (*) (darning cotton) or Coton a tricoter iffliraa^raimn-crs-nii^'-inn- ■■■mi- D.M.C (knitting cotton) (*) for H@MHMi ^ flat •*«** and the other
ll strongly twisted, like Cordonnet
ml
l!
j 6 fils D.M.C No. 8, 10, 12 or
p§| 1 5, (*) for the cross stitches.
The five flat stitches cover p three threads in width and six 2&g in height, and lie from right to i left and from left to right. In
jB^ltfiWr : ■ ;!iWfil»:3 the second row, which must be l;,;^vW41f:iiify?'i:liiil?3QSHs 1 j «• r 1
ti UWm 1 lW6^l;Ill*$y two threads distant from the
I first, the stitches must lie in the contrary direction. In the
Fig. 149. Eighth pattern.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
NET AND DAMASK STITCHES
67
lozenge-shaped space between, make four cross stitches, over four threads in height and two in diULIlLJLii width. So
Eighth pattern (figs. 149 and i5o). — Make five stitches over 8 horizontal threads, miss 6 threads and make another 5 stitches, ssf^ The groups of long stitches above and MIL beneath the first row, encroach over two T|j|HfaTr threads of the first group, so that a space FlG. l5o ExPLANATION of only four threads remains between two of the rococo groups. The stitch between these groups stitch in fig. 149. is generally known as the rococo Sf^^^pfSgi^^^H
stitch.
ft
w£M
Bring out your needle be- Si tween the third and fourth of SJ these threads, and insert it ||[; again above, drawing it out U afterwards between the second ^-; and third horizontal thread, |p and securing the first stitch §£; with a back stitch. Make the Ig; three remaining stitches, as ||| explained in fig. i5o. ^
Ninth pattern (fig. i5i). — This consists of straight bands of flat stitches, covering three threads each way, with spaces ] 8 threads wide between , orna- Is^T mented with a small pattern in fffjjffjg stroke stitch
see chapter on t||||jl|n Tapestry and Linen embroidery).
Damask stitch for figs. 103 and 105 (fig. i52). — The stitches, here represented on a large scale, form the border to the square in cut open-work in fig. io5. The long diagonal stitches, on either side, can be made to look fuller and more distinct, by using a soft, coarse cotton.
Fig. 1 52. Damask stitch for
FIGS. 103 AND Io5.
68
NET AND DAMASK STITCHES
Tenth and eleventh patterns (figs. 1 53 and 154). — The former of these is used for filling in the shott stripe in fig. io5, the second for the long inside one. Fig. 1 53 is clear
enough to need no explanation ; with reference to fig. 154, it is however as well to point out that the shortest stitch should cover 4 threads and the longest 12, the rest is easily learnt from the illustration. This is a very suitable design for the decoration of large surfaces and combines well with any running diagonal pattern, when it can be made to form a Fig. i53. large star which can be worked
Tenth pattern. Damask stitch for as a separate figure.
FIGS. IOA AND 105. m ,„,- ,c -C\
Twelfth pattern fig. 1 55). — gi^;::::- |§ In cases where this and the
following stitches are to be executed on alight, transparent stuff, it is best to use a very strongly twisted thread, such as Fil d'Alsace D.M.C f) or, Fil a dentelle D.M.C (*) instead of a softer and looser material. A stiff thread compresses the threads of the stuff better and the open spaces, thus made in it, are rendered more visible. Count 6 threads vertically, put in the needle and draw it through from right to left, underneath 3 diagonal threads. For the next stitch, carry it upwards over 6 threads, and back under 3. The second row is worked back over the first in the same way. Leave 6 threads between each row.
IMP
Fig. 154.
Eleventh pattern. Damask stitch
for fig. io5.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
NET AND DAMASK STITCHES
69
Thirteenth pattern (fig. i56). — Carry the thread, from right to left over four vertical threads, and under the same number of horizontal ones. The second row of stitches touches the first, so that the thread it is worked with seems to be drawn through under the same threads of the stuff, as the one the first row was worked with.
f-x^W- -2R *>r. <r ~h ?h Jf. JJe: m
cm 'M
Twelfth pattern
Fig. 1 56. Thirteenth pattern.
Fig. 07. Fourteenth pattern.
Fig. 1 58. Fifteenth pattern.
Fourteenth pattern (fig. 157). — Here, the stitches, con- trary to those in fig. 147, are set vertically. The first stitch covers 2 threads, the second 6, the third 10, the fourth 14, the fifth 18. The longest stitches of two checks always meet in the bame hole.
70 NET AND DAMASK STITCHES
Fifteenth pattern (fig. i58). — Cover the whole expanse with rows of stitches, such as are described in fig. i 55, with intervals of 12 threads between them.
These rows are intersected by others, to which the thread is passed, from between the sixth and seventh of the 12 threads between the first rows. Where the stitches of the two rows meet, the working thread of the second row must be drawn through, under that of the first.
Fig. i5g. Sixteenth pattern. Seventeenth pattern.
Sixteenth pattern (fig. i5g). — Between every two rows of cross-stitch, leave an interval of 6 threads, counting those on each side of the rows. Over these 6 threads work 2 rows, as shown in fig. 148, but so, that in the second, the lower stitch of the first row and the upper one of the second, cover the same threads.
Seventeenth pattern (fig. 160). — This consists of stripes, 4 stitches wide, like those of fig. 1 55, with 3 threads between, which are overcast in the ordinary manner.
Eighteenth pattern (fig. 161). — Small squares of 7 stitches, inclined alternately, to the right and left, and so formed, that the longest stitch of one square is crossed by the first short stitch of the next, so that a space only 6 threads wide and 4 long, remains uncovered. The intervening stripes are filled with 3 rows of overcasting stitches, covering 2 threads each way.
NET AND DAMASK STITCHES
71
Nineteenth pattern (fig. 162). — The steps formed by this pattern are 1 1 stitches high, and 1 1 wide, and each stitch covers 4 threads.
Eight threads intervene between each row of steps, which are covered at the bend, by a square of stitches, from the last of which, the thread is carried on at once, to the four single stitches.
yV
Fig. 161. Eighteenth pattern.
Fig. 162. Nineteenth pattern.
Fig. 10:. Twentieth pattern.
Fig. 104.. Twenty-first pattern.
Twentieth pattern (fig. i63). — The 4 squares set opposite to each other, with 2 threads between, are edged all round by 3 rows of overcasting.
Twenty-first pattern (fig. 1 64). — Begin by rows of stitches,
72
NET AND DAMASK STITCHES
like those described in fig. 1 55, over 4 and 2 threads, with 4 threads between, not counting those covered with cross- stitch. Between the two rows of cross-stitch, join 6 threads together by a back-stitch, and carry your thread over the two last of the 6, to the 2 first of the next cluster. The narrow diagonal stripes are separated by 24 threads, exclusive of those covered by the cross-stitches. These spaces are filled in with squares, 10 threads wide and 10 long, formed by back-stitches
crossed on the wrong side.
mmmmim
> m* >#• h'k ->■ s y
4m whm^
Fig. i 65. Twenty-second pattern.
"'."■•'.' - '••' '■.'.' '.';; >"> '[!'■"' 1 L ■, 1'\ ■'
>:^
S'S&'t ?'*£
Fig. 166. Twenty-third pattern.
Fig. 167. Twenty-fourth pattern. Fig. 168. Twenty-fifth pattern.
Twenty-second pattern (fig. i65). — In the closer stuffs, of a coarse texture, the threads of which do not admit of being drawn together, as you can those, of a loose thin stuff, where,
NET AND DAMASK STITCHES
73
by simply pulling your thread a little tighter you get open
spaces, you must begin by cutting out every fourth or fifth
thread. After which, you overcast all the rows, first one way,
and then the other, with stitches
covering 4 threads, each way.
On this foundation with strong,
loosely-twisted cotton, Coton
a broder D.M.G or Coton a
tricoter D.M.C No. 25, 3o, 35,
or 40, make long stitches, as
indicated in the illustration.
Twenty-third pattern (fig. 166.) — From the point where || the thread comes out of the stuff, make 16 stitches, four Hi
times Over, all Coming OUt of FlG" l69- Twenty-sixth pattern.
the same hole, over 8, 6, 4 and 6 threads, thus forming a
Fig. 170. Twenty-seventh pattern.
star. Leave an interval of four threads between the stars, and unite the intervening threads by cross-stitches one way, and whip-stitches, the other.
74 NET AND DAMASK STITCH I s
Twenty-fourth pattern (fig. 167). — Make a succession of diagonal stitches, increasing in length, and advancing one thread at a time, until the seventh stitch covers seven threads, and completes the triangle. Then begin a second triangle on the nearest, adjacent thread.
Twenty-fifth pattern (fig. 168). — Cover your whole sur- face with squares of 10 stitches, as in fig. 147, and fill in the intervening squares with 23 stitches, all radiating from one- centre.
Twenty-sixth pattern (fig. 169). — Diagonal trellised stripes, made as indicated in fig. i65, and overcast, form the ground. Twelve threads are to be left between the stripes, upon which, work six-cornered, lozenge-shaped groups of stitches, set at right angles to each other, in diagonal rows.
Twenty- seventh pattern (fig. 170). — We conclude our chapter with a circular design, which combines a variety of stitches, and introduces our workers to two new patterns, as well as to an advantageous way of hiding the junction of several kinds of stitches by semicircles of button-hole stitching.
Stripe in flat and raised satin stitch, and madeira embroidery.
White Embroidery.
We have retained the familiar term, white embroidery, for this kind of needlewoork, for convenience sake, in spite of its inaccuracy, now that coloured materials are quite as much used for it as white.
It is executed, either on a backing of oil-cloth, or in an embroidery frame, called « tambour-frame ». Only skilful workers can dispense with these, for an untrained hand can hardly avoid puckering. If you work without a foundation, the material must be held, quite smoothly over the forefinger, so that the threads lie perfectly straight, otherwise, the pattern is very apt to get pulled out of shape in the working. With your three other fingers you hold the material fast, the thumb resting on the work itself, beyond the outline of the pattern, which must be turned towards the worker. It is always the outside line of a pattern that is drawn in double lines, that should be turned towards the palm of the hand.
Tracing patterns. — Patterns are generally to be had ready traced, but as it is often necessary to repeat, enlarge, or reduce them, descriptions of several modes of doing so, will be found at the end of the concluding chapter.
Materials. — A loose, soft make of cotton, the looser the better, and very little twisted, is the best material for embroi- dery. We recommend for white embroidery in general, Coton
76
WHITE EMBROIDERY
a broder D.M.G Nos. 16 to i5o; for monograms on cambric, Coton a broder surfin D.M.C Nos. ioo, 120, i5o; (*) and for English or Madeira embroidery , Coton Madeira D.M.C Nos. 40, 5o, 60; (*) for padding, or raising the embroidery, all the different kinds of Coton a repriser D.M.C (*) can be used. Outlining: and padding:. — The outlining of a pattern is a very important preliminary. A want of precision in the ulti- mate effect is often due, merely to careless outlining. This part of the work should be done with rather a coarser cotton than the embroidery itself. Fasten in the thread by a few running stitches, never with a knot, a rule to be observed also in embroidering, except in very rare cases. Finish off your thread by drawing it through the tracing stitches, or through some part of the pattern that is already finished. Fill in the spaces between the lines with a padding of run threads, run loosely, and so that they lie thickly and solidly in the centre,
and shade off on both sides. The full- ness, and roundness of embroidery, depends on the firmness of this sub- stratum of threads. The outlining and the padding of the different rounded and pointed scallops, as well as of other figures that occur in white embroidery, are illustrated in figs. 181, 182, 1 83, 184, i85, 187, 189, 190 and 191.
Blanket, or button-hole stitch (fig. 171). — Work from left to right; run in a foundation line, hold down the working thread below the run line with the right thumb ; insert the needle above and bring it out below the run line but above the working thread ; tighten the loop thus formed, without drawing up the stuff, and continue in this manner, setting your stitches closely and regularly, side by side.
Fig. 171. Blanket, or button-hole stitch.
Fig. 172. Straight stem stitch.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.G threads and cottons.
Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sh.
WHITE EMBROIDERY
77
^SSSSSSSi^SSSSii
Fig. 173. Sloping stem stitch.
y
Fig.
174.
SACK-STITCHING.
Straight stem stitch (fig. 172). — Work from left to right. The needle must always be inserted above the run thread and brought out underneath it. In the case of a very delicate pattern, take up only just as much stuff as the run thread covers.
Sloping stem stitch (fig. 173). — Work without a run thread ; insert the needle from right to left in a slanting direction, under 1 or 2 horizontal threads, and 5 or 6 perpendicular ones ; so that each stitch reaches half-way back to the last.
This kind of stem stitch is chiefly used for the fine up-strokes of letters and numbers, and for linen embroidery.
Back - stitching (fig. 174). — Back-stitching, that is small, even stitches set closely together, is done from right to left, along a straight line, and is chiefly used for filling in the centres of letters, leaves and flowers.
Crossed back-stitch (figs. 175 and 176). — Used, generally speak- ing, only for very transparent ma- terials ; it forms a close seam of cross- stitch, on the wrong side, and two straight rows of back-stitching on the right. To work, insert the needle as if for an ordinary back- stitch , pass it under the stuff, sloping it a little towards the se- cond outline of the pattern, and draw it out almost in front of the
first stitch. After making a back-stitch, pass the needle up again under the stuff and bring it out at the spot where the next stitch is to be.
Fig.
75. Crossed back-stitch. Right side.
Si
■f \
w
Fig. 176. Crossed back-stitch. Wrong side.
78
WHITE EMBROIDERY
Fig. 177.
SlNPLE KNOT STITCH.
Fig. 178. Twisted knot stitch.
Fig. 176 shows the interlacing of the stitches on the wrong side, and the way in which this stitch, when it is used for
filling in centres, can be worked on the right side.
Simple knot stitch fig. 177). This consists of two back-stitches, side by side, covering the same threads ; it is chiefly used for filling in leaves, embroidered on very thin materials, or in conjunc- tion with flat stitch.
Twisted knot stitch, (fig. 178). To work hold the working thread down with the thumb close to the spot where you first brought it out, twist it twice round the needle, turn the needle round from left to right, following the direction in- dicated by the arrow, pass it through the fabric at the place which is marked by a dot, and draw it out at the place where the next stitch is to be.
Post stitch (fig. 179). — Some- thing like knot stitch and much used for patterns, composed of small HLML ^^^ \\J^ I flowers and leaves, where it often
takes the place of raised satin stitch. The illustration represents five leaves finished, and the sixth in process of being worked. To work, bring the needle up from the back and twist the thread round it as many times as the length of the stitch requires, hold the left thumb on the species of curl thus formed, and passing the needle and thread through it, insert it at the end of the leaf where it first came out, and draw- it out at the right place for the next stitch.
Button-hole bars (fig. 180).— When a pattern is orna-
J
|
Fig. |
179. Post stitch. |
|
|
^ |
?m-n^^ |
tea eTrrr* tnTP* ^ \\\ \ | j7TuTjlV4\ grr^- |
|
-rr,..^ |
Fig. 180. Button-hole bars.
WHITE EMBROIDERY
79
merited with open-work bars, begin by tracing the outside parallel lines. Then button-hole the whole lower line and the upper one, till you come to the place where the first bar is to be; then you carry your thread across and bring up the needle from below through one of the loops, as shown in the figure ; lay three threads in this manner, inserting your needle the third time one loop further on. Then cover the three threads thickly with button-holing.
Fig. 181. Round, button-holed scallops.
Different kinds of scallops (figs. 181, 182, 1 83). — The outlining, padding and button-holing of these scallops is exe- cuted in the manner already described. Be careful to adapt the length of the stitches to the shape and size of the scallops. If they are pointed (figs. 182, i83), the stitches will have to be set very closely together on the inner line, and a little play allowed them on the outer, to come exactly to the FlG- ^2. Larc
point, which should p — ~
be very sharply de- .:" fined.
Rose scallops figs. 184 and i85). — These are, large button-holed
,, • 1 • 1 1 Fig. 1 83. Small, pointed, button-holed scallops.
scallops with indented
edges, in the one case, rounded at the top and sharply pointed at the join ; in the other, pointed at the top, and joined at the bottom by a straight bar of button-holing.
jtton-hol
It 1
8o
WHITE EMBROIDERY
Eyelet holes (figs. 186,187, 188). — Outline the eyelet holes very carefully first by running a thread round them, then cut out the enclosed stuff with a sharp pair of finely pointed scissors, and edge the hole with plain overcasting stitches, worked from left to right.
When you have a long row of eyelet holes to make, outline the upper and lower halves alternately, first on one side and
Fig. 184. Rounded rose scallops.
Fig. i85. Pointed rose scallops.
then on the other, using two threads, and then overcast them in the same wTay. The double crossing of the working threads between the eyelet holes makes them much stronger, than if each hole were finished off separately, and the thread passed
underneath from one to the other.
The lower halves of shaded eyelet holes, (see figs. 187 and 188), are worked with very short stitches, and the upper halves with long ones ; they may be edged entirely, either with button-holing or overcasting, or half with one and half with the other.
Six leaves in raised satin stitch (fig. 189). — Raised satin stitch is chiefly used for wrorking flowers, leaves, petals, dots,
Fig. 186. Overcast eyelet holes.
WHITE EMBROIDERY 8l
initials and monograms. After tracing the outline of the design, fill in the centres with a padding of long, close stitches for which you can again take Coton a repriser D.M.G (*) and then, beginning always at the point of the leaf, see letter A, cover it with flat, perfectly even stitches, worked from right to left. B illustrates a leaf, divided through the middle by a line of overcasting ; C, one with a corded vein ; D, a divided leaf worked in sloping satin stitch ; E, a leaf, with a corded vein and framed in sloping satin stitch ; F, a leaf worked half in satin stitch, half in back-stitch and straight stem stitch.
Leaves and flowers of all descriptions, can be executed in any of these stitches, and in different combinations of the same.
Fig. 187. Button-holed shaded eyelet holes.
Fig. 188. Shaded eyelet holes half overcast, half button-holed.
Six ways of making dots (fig. 190). — Dots, when they are well made, are exceedingly effective in white embroi- dery, particularly if they are worked in a variety of stitches. Dot A is worked in raised satin stitch ; B, in raised satin stitch, framed in back stitch ; C, in raised satin stitch, framed in twisted knot stitch ; D is composed of several post stitches of different lengths, set in a frame of stem stitches ; E is wor-
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
Si
WHITE EMBROIDERY
ked in back-stitch, and F consists of a small eyelet hole, with a corded setting, which forms the centre.
Venetian embroidery (fig. 191). — Scallops, worked in very high relief, called Venetian embroidery, are an imitation on stuff of Venetian lace.
Real Venetian point is entirely needle-made ; in the em- broidered imitations of it, the stuff takes the place of the needle-made lace foundation. To make it more like the original, however, the ground is seldom left plain, but is covered with fancy stitches, such as are represented in the illustration, or with one or other of the damask stitches in figs. 145 to 170.
b c d E
Fig. 180. Six leaves in raised satin stitch.
C D
Fig. 190. Six ways of making dots.
The button-hole bars may be made with or without picots. A full description of the latter will be found in the chapters on net embroidery, and Irish lace. The space to be button- holed, must be well padded, for thereon depends the roundness of the embroidery. For this purpose take 6 or 8 threads of Goton a repriser D.M.C No. 25, (*) and fasten them down on to the pattern with loose stitches, laying on extra threads, and cutting them gradually away, according to the width the line
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
WHITE EMBROIDERY
83
Fig. 191. Venetian embroidery.
Fir-. uj2. Renaissance embroidery.
84
WHITE EMBROIDERY
is to be. The stuff underneath the bars should only be cut away when the embroidery is quite finished.
Renaissance embroidery (figs. 192 and io,3). — This is the term applied, more especially in France, to embroidery
Fig. 194. Richelieu embroidery.
patterns, which are worked entirely in button-holing, and connected by button-hole bars without picots, as shewn in the two accompanying figures. The outside edge in fig. io,3, is em- bellished with picots, described in the chapters just referred to.
WHITE EMBROIDERY 85
Richelieu embroidery (fig. 194). — The name given to embroidery of a similar kind to the former, but in which the connecting bars, instead of being left plain as they are in the Renaissance embroidery, are ornamented with picots.
Fig. 195. Madeira work.
Fig. 196. Madeira work.
Materials : Coton Madeira D.M.C No. 40, 5o or 60. (Special cotton
for Madeira work) (*)
Madeira work (figs. 195, 196, 197). — This kind of embroi- dery, which consists chiefly of eyelet holes, and is distin-
' See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
86
WHITE EMBROIDERY
guished for the excellence of its workmanship used to be known as English, but is now generally called Madeira work, from the island where it originated. The scallops in figs. io,5 and 197, are bordered with shaded eyelet holes, worked half in button-hole stitch, half in overcasting; the finely scalloped edge, in fig. 196, is entirely button-holed. In working eyelet holes, the material must always be turned in, up to the inside line, and completely worked in, underneath the stitches, in order that no loose threads may be visible on the wrong side.
|
B" ^w. wB y& Vf .^ |
s |
||
|
K ^8iP^ |
^•^•^ A |
»^i 4&.Qr<f!b toh»%m ^8 |
|
Fig. 197. Madeira-work. Materials : Colon Madeira D.M.C No. 40, 5o or 60. (Special cotton for
Madeira-work).
Swiss embroidery frame (fig. 198). — Letters, mono- grams, coronets and the like, require extreme care in the working, and can only be really well done in a frame. The round Swiss frame , or tambour frame , is the one most commonly used. It consists of two wooden hoops , fitting loosely into each other ; the inner one, fastened to a support with a wooden screw let into the lower part of it, with which to fasten the frame to the table. The outside hoop is loose.
Place the fabric to be embroidered over the smaller hoop, the pattern in the middle, and press the other down over it so that it is tightly stretched and fixed between the two hoops.
A leathern strap with holes and a buckle, sometimes takes the place of the second hoop.
WHITE EMBROIDERY
8?
Ordinary embroidery frame (fig. 199). — Tambour frames can only be used for embroidering pocket-handkerchiefs, and other small articles ; all larger work has to be done in an ordinary frame. Sew a piece of strong stuff into the
Fig. 199. Ordinary embroidery frame.
frame, stretch it as tightly and evenly as possible, and cut out a square in the middle to the size of the pattern. Then tack your work in underneath, straight to the thread, dividing it out carefully with pins first, to ensure its being set in perfectly evenly. Roll or fold up the rest of the stuff over the
WHITE EMBROIDERY
Fig. 200. Alphabets for monograms. Outside letters A to H.
WHITE EMBROIDERY
Fig. 201. Alphabets for monograms. Outside letters J to Q.
<)0
WHITE EMBROIDERY
Fig. 202. Alphabets for monograms. Outside letters R to Y.
WHITE EMBROIDERY
91
Fig. 2o3. Alphabets for monograms. Inside letters A to L.
92
WHITE EMBROIDERY
Fig. 204. Alphabets for monograms. Inside letters M to X.
WHITE EMBROIDERY
93
Fig. 2o5. Alphabets for monograms. Last inside and outside letters.
edges of the frame, and secure it with a few stitches or pins, to keep it out of the way of your hand as you work.
Alphabets for monograms (figs. 200 to 2o5). — On account of the difficulty of devising a good monogram for marking under- linen, we subjoin two alphabets, by the aid of which our workers will be able to compose their own.
The letters are of a good medium size, which can be magni- fied or reduced according to the worker's own taste.
For any such modifications, we would again draw our reader's attention to the directions given in the concluding chapter. The three first plates represent large wide letters, intended to contain or encompass the more elongated ones, represented in the fourth and fifth plates, figs. 2o3 and 204.
The interlacing of the letters requires to be carefully done, and our workers should study the following specimens, so as to learn the stitches also, which are most suitable for this branch of embroidery.
Monogram composed of letters A and D (fig. 206).— Here, letter A is worked in flat satin stitch, in Bleu-Indigo 3 12, and set in stem stitch, worked in Rouge-Turc 021. D as a con- trast to A, is embroidered in transverse bars, the left part in pale blue and white, the right in pale blue and dark blue. The
94
WHITE EMBROIDERY
little ornaments may be worked according to fancy, either in white, or in one of the given colours.
•a
Fig. 206. Monogram composed of letters A and
D DRAWN FROM THE ALPHABKTS OF MONOGRAMS.
Materials : Coton a broder D.M.C Nos. 100 to i5o. Colours : Bleu-Indigo 334, Rouge-Turc 32i and white. *
Fig. 207.
Monogram composed of letters V wi>
S DRAWN FROM THE ALPHABETS OF MONOGRAMS.
Materials: Coton a broder D.M.C No 120. Colours : White and Rouge- Cardinal 3o5. '
Fig. 208.
Monogram composed of letters R and
C drawn from the alphabets of
monograms.
Materials . Fil a dentelle D.M.C
No- i5o.
Colours : Gris-Cendre 3i8 and Noir
grand Teint 3 10.
Fig. 209. Monogram composed of letters G and-
E DRAWN FROM THE ALPHABETS OF MONOGRAMS.
Materials : Coton a broder D.M.C No. 120 white and Coton surfin D.M.C N° 120, unbleached.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
WHITE EMBROIDERY
95
Monogram composed of letters V and S (fig. 207). — The flat satin stitch in both letters is worked in white ; the setting, is in red, in short stem stitch, or if preferred, in knotted back stitch.
Monogram composed of letters R and C (fig. 208). — These are worked in black and grey, for mourning ; the way C is divided, admits of a variety in the stitch ; for in- stance, the back-stitches, in the illustration, may be replaced by very small eyelet holes.
Monogram composed of letters G and E (fig. 209). — The flat satin stitching and back-stitching in E, and the stem- stitched edges of G are worked in white Coton a broder D.M.C ; the inside of G in ivory white Coton surfin D.M.C.
Fig. 210. Border in Gobelin stitch.
Materials : Coton a broder D.M.C No. 35 in two different colours such as :
Bleu-Indigo 3i2 and Rouge-Cardinal 304, Rouge-Grenat 358 and 3og or,
Gris-Tilleul 3g3 and Rouge-Cardinal 3o5. (*)
Border in Gobelin stitch (fig. 210). — Gobelin embroidery is merely raised satin stitch, worked directly upon the pattern, without any foundation, or padding. The effectiveness of this kind of embroidery, which appears so complicated and is really so easy, and the many ways in which it can be utilised, soon brought it into favour. It can be worked on the article itself, or on stripes, laid on afterwards, with a hem-stitch bordering. The original of fig. 210 was in blue and red; Bleu
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
g6
WHITE EMBROIDERY
Indigo 3 12 for the grounding, Rouge-Turc 32 1, for the setting in stem-stitch. The herringboning along the edges of the pattern, top and bottom, is also in red. /
Should a different selection of colours be made, it is im-
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Fig. 2ii. Alphabet left blank and outlined by the grounding. Letters A to N.
WHITE EMBROIDERY
97
portant to remember that in all cases a sharp contrast is desirable.
Alphabet and numerals, left blank, and outlined by the grounding, worked in Gobelin stitch (figs. 211 to 21 5).
Fig. 212. Alphabet left blantc and outlined by the grounding. Letters O to Z.
98
WHITE EMBROIDERY
The border worked in Go- belin stitch, illustrated in fig. 210, suggested to us the idea of an alphabet and numerals, to be executed in a similar style, left blank, that is to say, and outlined by a grounding in Gobelin stitch, which are better suit- ed to embroideries of the kind than those generally used. Our limited space pre- vents us from giving all the letters in the diagonal posi- tion they are intended to
Fig. 214. Numerals left blank and outlined by the grounding.
occupy on the article itself. O and W only, are repre- sented in the right position. No difficulty will be found in copying the other letters, in giving them the proper direction.
In order to economize room, J and H are represent- ed in one square, but they are easily distinguishable from each other.
Fig. 214 represents the
Fig. 21 5. Letter W, from the alphabet , , . ,
given in fig. 2ii and 212. numerals, executed in the
WHITE EMBROIDERY
Fig. 216. Border, outlined by the grounding worked in Gobelin B
and stem stitch. First part.
B Fig. 216. Second part.
Materials: Coton a broder D.M.C No. 5o. — Colours: Rouge-Turc 32i and Noir
grand Teint 3io. {* )
'*, See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C. threads and cottons.
lOO
WHITE E M B R O I D E R V
Fig. 217. Flo\vi:r-garland in different kinds of stitches. First part. B
Fig. 217. Second part.
Materials : Coton a broder D.M.C No. 40.
Colours: Rouge-Grenat 326 and 335, Bleu-Indigo 3i2 and 334, Vert-Pistachc
319 and 32o, Vert-de-gris 474 and 475, Brun-Acajou 3oi, Jaune-Citron 446.
WHITE EMBROIDERY
101
same way. We should like to draw our readers attention to a few other ways in which letters and numerals may be outlined by the back-ground; for example, the solid parts can be worked either in plain or twisted knot stitch (figs. 177 and 178); in very fine chain stitch ; in old German knot or bead stitch (fig. 873), or even in pique embroidery (fig- 877).
Border, outlined by grounding, work- ed in Gobelin and stem stitch (fig. 2 1 6). The grounding of this pattern is worked on stiff white linen, and entirely in Rouge- Turc 32i, and the outlining in Noir grand Teint 3 10. The same
Fig. 218. Showing the working of the outside stitches in fig. 217.
Fig. 219. Insertion in Gobelin and stem stitch.
Materials : Coton a broder D.M.C No. 35. — Colours : Rouge-Cardinal 347 and
Rouge-Geranium 352 with Gris-Tilleul 3g2 and 33i, or Bleu-Indigo 3i2 and
334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
Jaune-Rouille 364 and 365. (*)
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C. threads and cottons.
102 WHITE EMBROIDERY
pattern can equally well be worked on gauzes and other trans- parent stuffs, but with Coton a repriser, instead of Goton a broder D.M.C, tor the solid parts. Two shades of Rouge-Grenat, one dark and one very light, may be taken instead, or two of Jaune-Rouille, or of Violet-Mauve, employing always the lighter shade for the grounding and the darker for the setting.
Be careful, in the grounding, not to make the red stitches near the edge, longer than they are represented in the illustra- tion and to set the black stem stitches as close as possible to the grounding.
The pattern, which could only be reproduced in the ori- ginal size, had to be divided in two, to fit the page. In copying it, join the A and B of the first part to the A and B of the second; the same in fig. 217, each time the pattern is repeated, the flowers are to droop from the -\- as seen from the posi- tion of the buds in the first part, at the beginning of the drawing.
Flower garland in different kinds of stitches (figs. 217 and 218). — Most of the stitches, described at the beginning of this chapter, will be found in this graceful garland, in the exe- cution of which a considerable variety of colours can be intro- duced. The rose-buds may be worked in two shades of Vert- Pistache and of Rouge-Grenat, in the stitches described in figs. 173, 177, 189 A; the forget-me-nots, in two or even three shades of Bleu-Indigo, in raised satin stitch and knotted stitch ; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.
The border that completes this charming pattern, consists of four rows of button holing, worked in four colours. The first row in our illustration is worked in pale pink, followed by three shades of green, the palest of which is used for the second row of stitches.
When these rows are worked upon a satine or cambric foun- dation, it is advisable to begin by making a small drawing, in which the height of the stitches and the distance between them is accurately marked out, then prick the pattern through and pounce it upon the material beneath.
WHITE EMBROIDERY
io3
Fig. 220. Stripes of embroidery with insertion between.
When they are worked on a material, the threads of which can be counted no such precaution is necessary.
Insertion in Gobelin and stem stitch (fig. 219). — Owing to the shortness of the stitches, this pattern is easier to work than the foregoing ones. The little flowers are embroidered alternately in dark and light red ; the setting varies to corres- pond, the light red flower being set in dark red, and vice versa. The interior of the leaves is in light green and the setting, as well as the connecting bars, in dark green.
104 WHITE EMBROIDERY
Stripes of embroidery with lace insertion between (fig. ■220 . — We conclude this chapter, by showing how stripes of embroidery can be used alone, or in conjunction, either with bands of open-work, or lace, crochet, or net insertion. Such combinations are useful for ornamenting aprons, table-cloths, curtains etc. , every description in short of household linen and of children's garments. One great advantage, moreover, which stripes of this kind, have over larger pieces of embroi- dery is that they require neither frame nor pillow, nor weari- some counting of stitches, but can be worked in the hand, at all times and places.
Stripe of gold embroidery in gold thread, purl, and flattened gold wire.
Flat stitch and Gold embroidery.
The terms, flat stitch and gold embroidery, suggest as a rule, needle-work upon rich materials, such as velvet, brocade, plush and the like.
Nevertheless, a great deal of beautiful embroidery is to be met with, in silk and gold thread upon quite common stuffs ; Persian and Moorish embroidery for instance, both remarkable for their delicacy and minuteness, and executed upon ordinary linen, or cotton fabrics.
As a fact, the material is quite a secondary matter; almost any will do equally well as a foundation, for the stitches described in these pages. Flat stitch, and some of the other stitches used in gold embroidery, can be worked with any kind of thread, but best of all with the D.M.G cottons.
Flat stitch embroidery. — Decorative designs, and con- ventional flowers, are the most suitable for flat stitch embroidery ; a faithful representation of natural flowers should not be attempted, unless it be so well executed, as to produce the effect of a painting and thus possess real artistic merit.
Encroaching- flat stitch (fig. 221). — Small delicate flowers, leaves, and arabesques, should in preference, be worked either in straight flat stitch (figs. 189 and 190) or in encroaching flat stitch. The stitches should all be of equal length, the length
io6
FLAT STITCH AND GOLD EMBROIDERY
to be determined by the quality of the thread; a fine thread necessitating short, and a coarse one, long stitches. The stitches should run, one into the other, as shown in the illus- I . — -i tration. They are worked in
rows, those of the second i row encroaching on those of the first , and fitting into one another.
Work your tlowers and leaves from the point, never from the calyx or stalk. If they are to be shaded, begin by choosing the right shade for the outside edge, varying the depth according to the light in which the object is supposed to be placed. The stitches should always follow the direction of the drawing.
Fig. 221 . Encroaching satin stitch.
Fig. 222. Oriental stitch.
Fig. 223. Oriental stitch.
Oriental stitch (figs. 222, 223,224). — The three following stitches, which we have grouped under one heading, are known also, under the name of Renaissance or Arabic stitches. We have used the term Oriental, because thejr.are to be met with in almost all Oriental needlework and probably derive their origin from Asia, whose inhabitants have, at all times, been renowned for the beauty of their embroideries.
These kind of stitches are only suitable for large , bold designs. Draw in the vertical threads first; in working with a
Th. dk Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price: 3 sh.
FLAT STITCH AND' GOLD EMBROIDERY
IO7
soft, silky material, to economise thread, and prevent the em- broidery from becoming too heavy, you can begin your second stitch close to where the first ended.
But if the thread be one that is liable to twist, take it back underneath the stuff and begin your next stitch in a line with the first, so that all the stitches of the first layer, which
Fig. 224. Oriental stitch.
Fig. 225. Plaited stitch.
form the grounding, are carried from the top to the bottom The same directions apply to figs. 223, 224* and 226.
When you have laid your ver- tical threads, stretch threads jj|| horizontally across, and fasten I them down with isolated stitches, set six vertical threads apart. The position of these fastening stitches on the transverse threads must alternate in each row, as indicated in fig. 222.
For fig. 223, make a similar grounding to the one above de- scribed, laying the horizontal threads a little closer together, and making the fastening stitches over two threads.
In fig. 224, the second threads are carried diagonally across the foundation-threads, and the fastening stitches are given a similar direction.
For these stitches, use either one material only, a fleecy thread like Coton a repriser D.M.C for instance, or else two,
sxiwiiiiixioL
L'lIiU'UlL'tjijd^i
Fig. 226. Mosaic stitch.
ioS
FLAT STITCH AND GOLD EMBROIDERY
Colours
such as Coton a repriser D.M.C for the grounding, and a material with a strong twist like Cordonnet 6 fils D.M.C or Fil a pointer D.M.C for the stem stitch.
Plaited stitch (fig. 225). — When the vertical stitches are laid, a kind of plait is formed in the following way. Pass the thread three times, alternately under and over three foun- dation threads. To do this very accurately, you must take the thread back, underneath, to its starting-point ; and consequently, always make your stitch from right to left.
If you have chosen a washing material, and D.M.C cottons to work with, use one colour of cotton for the foundation , and Chine d'or D.M.C No. 3o, for the plaited stitch.
Mosaic stitch (fig. 226). — In old embroideries we often find this stitch, employed as a substitute for plush or other costly stuffs, appliqued on to the foundation. It is executed in the same manner as the four preceding stitches, but can only be done in thick twist, such as Cordonnet 6 fils D.M.C, or Ganse turque D.M.C.
Each stitch should be made se- parately, and must pass underneath the foundation, so that the threads which form the pattern are not flat, as they are in the preceding examples, but slightly rounded.
Fig. 227. Border in Persian stitch. Materials : Cordonnet 6 fils D.M.C No. 14, i5, 20 or 25. Noir grand Teint 3 10, Vert-Mousse 469 and 471, Rouge-Cardinal 346, Jaune-vieil-Or 680, Violet-Mauve 3i5 and 3 16.
FLAT STITCH AND GOLD EMBROIDERY
ioq
Border in Persian stitch (fig. 227). — This stitch, of Persian origin, resembles the one represented in fig. 175. Instead of bringing the needle out, however, as indicated in fig. 176, take it back as 3^011 see in the illustration, to the space between the outlines of the drawing, and behind the thread that forms the next stitch. Before filling in the pattern, outline it with short stem stitches, or a fine cord, laid on, and secured with invisible stitches.
This graceful design which can be utilised in various ways is formed of leaves of 7 lobes, worked alternately in dark and light green ; of flowers of 3 petals, worked in red and the centres in yellow, and of small leaves in violet. The setting, throughout, is worked either in black or in dark brown.
Fig. 228. Stripe worked in flat stitch.
Materials — According to the stuff : Fil a dentelle D.M.C, Cordonnet 6 nls
D.M.C or Coton a repriser D.M.C. (*)
Colours — For the flowers: Rouge-Geranium 35 1 and 352. — For the knot stitch: Jaune-Rouille 3o8. — For the foliage : Vert-de-gris 474 and 475. (*)
Stripe worked in flat stitch (fig. 228). — This pattern, simple as it is, will be found both useful and effective for the trimming of all kinds of articles of dress. The bottom edge should be finished off with rounded scallops or toothed van- dykes worked in button-hole stitch. The flowers in flat stitch,
[*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
I 10
FLAT STITCH AND GOLD EMBROIDERY
are worked alternately, in Rouge-Geranium 35 1 and 352, and the leaves alternately, in Vert-de-gris 474 and 475 ; the centres of the flowers are worked in knot stitch, in Jaune-Rouille 3oN. Bouquet in straight and encroaching* flat stitch (tig. 229). As we have already observed, it is by no means easy to arrange the colours in an embroidery of this kind, so as to obtain a really artistic effect. Whether the design be a conven- tional one or not, the great point is to put in the lights and shadows at the right place. If you want to make a faithful copy of a natural flower, take the flower itself, or a coloured
Fig. 229. Bouquet in straight and encroaching flat stitch.
Materials : Coton a repriser D.M.C No. 5o.
Colours — For the forget-me nots : Bleu-Indigo 3i2, 322 and 334. — For the
other flowers; Jaune-Rouille 365 and 366, Violet-Mauve 376, 3i6 and 377, Vert-
Pistache 36q. — For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471
and 472. — For the stalks : Brun-Havane 455 and 457. (*)
botanical drawing of it, and if possible, a good black and white drawing of the same, match the colours in 6 or 7 shades, by the
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
FLAT STITCH AND GOLD EMBROIDERY
I I I
flower itself, keeping them all rather paler in tone, and take the black and white drawing as a guide for the lights and shadows. The colours for the leaves and petals, which should always be worked from the outside, should be chosen with a view to their blending well together. The stamens and the centres of the flowers should be left to the last, but the veins and ribs of the leaves, should always be put in before the grounding.
For embroideries of this kind, suitable materials must be selected ; the more delicate and minute the design, and the more varied the colouring, the softer and finer should be the quality of the material employed. Specially to be recommended, as adapted to every form of stitch and as being each of them capable of being subdivided, \ ■ .
are Filoselle, Marseille, open Chinese silk and Coton a repriser D.M.C. (*)
Flowers embroidered in the Chinese manner (fig. 23o). — All Chinese embroi- ders* displays undoubted ori- ginality and wonderful skill and judgment in the choice of material and colour. It excels particularly, in the represen- tation of figures, flowers, and animals, but differs from Eu- ropean work in this, that instead ol using flat stitch and making the colours blend together as we do, the Chinese put them, side by side, without intermediate tones, or they some- times work the whole pattern in knot stitch. The little knots, formed by this stitch are generally set in gold thread.
Often too, instead of combining a number of colours, as we do, the Chinese fill in the whole leaf with long stitches and upon this foundation, draw the veins in a different stitch and colour. Even the flowers, they embroider in the same way, in
• See at the end of the concluding chapter, the table of numbers and sizes the list of colours of the D.M.C threads and cottons.
-i«l§
Fig. 23o. Flowers embroidered in the Chinese
MANNER.
I 12
FLAT STITCH AND GOLD I.M KRoi DLK Y
very fine thread, rilling in the whole ground first, with stitches set very closely together and marking in the seed vessels after- wards, by very diminutive knots, wide apart.
Chinese encroaching1 flat stitch (fig. 23 i). — Another easy kind of embroidery, common in China, is done in encroaching flat stitch. The branch represented in our drawing, taken from a large design, is executed in three shades of yellow, resembling those of the Jaune-Rouille series on the D.M.C colour card. (*)
Fig. 2? i. Chinese encroaching flat stitch.
Materials ; Cordonnet 6 fils D.M.C Nos. 20 to 5o or Chine d'or D.M.C.
Colours — For the cotton: Jaune-Rouille 363, 3o8, 366. — For Chine d'or:
Red and gold, blue and gold, green and gold. (*)
The stitches of the different rows encroach upon one ano- ther, as the working detail shows, and the three shades alternate in regular succession. Flowers, butterflies and birds
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
FLAT STITCH AND GOLD EMBROIDERY
u3
are represented in Chinese embroidery, executed in this manner. It is a style, that is adapted to stuffs of all kinds, washing materials as well as others, and can be worked in the hand and with any of the D.M.G threads and cottons. (*)
Raised embroidery (figs. 232 and 233). — Raised embroi- dery worked in colours, must be stuffed or padded first, like the white embroidery in fig. 191. If you outline your design with a cord, secure it on the right side with invisible stitches, un- twisting the cord slightly as you insert your needle and thread, that the stitch may be hidden between the strands. Use Goton a repriser D.M.G No. 25, for the padding. These cottons are to be had in all the colours, indicated in the D.M.C colour card, and are the most suitable for the kind of work.
Use Coton a broder D.M.C for the transverse stitches and over the smooth surface which is thus for- med, work close lines of satin stitch in silk or cotton ; the effect produced, will bear more resemblance to applique work than to em- broidery. The centres of the flowers are filled in with knot stitches, which are either set directly on the stuff or on an embroidered ground.
Embroidery in the Turkish style (figs. 234 and 235). — This again is a style of embroidery different from any we are accustomed to. The solid raised parts are
Fig. 232. Raised embroidery. Preparatory work.
Fig. 233. Raised embroidery. Work completed.
', .->ee at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
ii4
FLAT STITCH AND GOLD EMBROIDERY
first padded with common coarse cotton and then worked over with gold, silver, or silk thread.
Contrary to what is noticeable in the real Turkish embroi- der)'', the preparatory work here is very carefully done, with several threads of Coton a repriser D.M.C used as one. A rope of five threads is laid down, and carried from right to left and from left to right, accross the width of the pattern. After laying it across to the right, as explained in fig. 234, bring the needle out a little beyond the space occupied by the threads, insert it behind them and passing it under the
stuff, draw it out at the spot indicated by the arrow. The stitch that secures the threads , should be suffi- ciently long to give them a little play, so that they may lie perfectly parallel, side by side, over the whole width of the pattern.
This kind of work can be done on wollen or cotton materials, and generally speaking, with D.M.C cot- tons, and gold thread shot with colour (Chine d'or D.M.C.)
Very pretty effects can be obtained, by a combi- nation of three shades of Rouge-Cardinal 347, 346 and 304, with Chine d'or gold and dark blue or with Chine d'or, gold and light blue. (*)
This kind of embroidery may be regarded as the transition from satin stitch to gold embroidery.
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Fig. 234. Embroidery in the Turkish style. Preparatory work.
Fig. 235. Embroidery in the Turkish style. Work completed..
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
FLAT STITCH AND GOLD EMBROIDERY
1 1 5
Gold embroidery. — Up to the present time, dating from the end of the eighteenth century, gold embroidery has been almost exclusively confined to those who made it a profession ; amateurs have seldom attempted what, it was commonly sup- posed, required an apprenticeship of nine years to attain any proficiency in.
But now, when it is the fashion to decorate every kind of fancy article, whether of leather, plush, or velvet, with mono- grams and ingenious devices of all descriptions, the art of gold embroidery has revived and is being taken up and prac- tised with success, even by those to whom needlework is nothing more than an agreable recreation.
We trust that the following directions and illustrations will enable our readers to dispense with the five years training, which even now, experts in the art consider necessar}''.
Fig- 236. Embroidery frame for gold embroidery.
Implements and materials. — The first and needful re- quisites for gold embroidery, are a strong frame, a spindle, two pressers, one flat and the other convex, a curved knife, a pricker or stiletto, and a tray, to contain the materials.
Ill)
FLAT STITCH AND GOLD EMBROIDERY
Embroidery frame (fig. 236). — The frame, represented here, is only suitable for small pieces of embroidery, for larger ones, which have to be done piece by piece, round bars on which to roll up the stutf, are desirable, as sharp wooden edges are so apt to mark the stuff.
Every gold embroidery, on whatever material it may be executed, requires a stout foundation, which has to be sewn into the frame, in doing which, hold the webbing loosely, almost in folds, and stretch the stuff very tightly. Sew on a
Fig. 238. Convex presser, for pressing the stuff on the wrong side.
Fig. 237. The spindle.
stout cord to the edges of the foundation, which are nearest the stretchers, setting the stitches, 3 or 4 c/m. apart. Then put the frame together and stretch the material laterally to its
fullest extent, by passing a piece of twine, in and out. through the cord at the edge and over the stretchers. Draw up the bracing until the foun- dation is strained evenly and tightly. Upon this firm foundation lay the stuff which you are going to embroi- der, and hem or herring- bone it down, taking care to keep it perfectly even with the thread of the foundation and, if pos- sible, more tightly stretch- ed, to prevent it from being wrinkled orpuckered when you come to take it off the backing. For directions how to transfer the pattern to your stuff, and prepare the paste with which the embroidery has to be stiffened before it is taken out of the frame, see the concluding chapter in the book.
The spindle (fig. 237). — The spindle to wind the gold thread upon, should be 20 c/m. long and made of hard wood. Cover the round stalk and part of the prongs with a double
Fig. 239. Flat presser for laying on the pattern.
FLAT STITCH AND GOLD EMBROIDERY
1I7
Fig. 240. The knife. Reduced scale.
thread of Coton a broder D.M.G No. 16, or pale yellow Cor- donnet D.M.C No. 25, and terminate this covering with a loop, to which you fasten the gold thread that you wind round the stalk.
The pressors (figs. 238 and 239). — • These, so called 'pres- sers', are small rectangular boards with a handle in the middle. The convex one, fig. 238, should be i5 c/m. long by 9 broad; the other, fig. 239, which is quite flat, should be 32 c/m. by 20.
Having cut out your pattern in cartridge paper, lay it down, on the wrong side, upon a board thinly spread with embroidery paste, let it get thoroughly impregnated with the paste and then transfer it carefully to its proper place on the stuff; press it closely down with the large presser, and with the little convex one rub the stuff firmly from be-
neath , to make \ it adhere closely | to the pasted < pattern ; small pointed leaves and < flowers will be found to need sew- ing down be- sides, as you will observe in fig. 242, where each point is secured by stitches. The embroidery should not be begun untill the paste is perfectly ■ehy, and the pattern adheres firmly to the stuff.
The knife (fig. 240). — Most gold embroideries require a foundation of stout cartridge paper, and, in the case of very delicate designs, the paper should further be covered with kid, pasted upon it.
Fig. 241. Tray to contain the materials.
n8
FLAT STITCH AND GOLD EMBROIDERY
Transfer the design on to the paper or kid, in the manner described in the concluding chapter, and cut it out with the knife. You can only make very
short incisions with this tool, which should be kept ex- tremely sharp and held, in cutting, with the point out- wards, and the rounded part towards you, as shown in the drawing.
Tray to contain the materials (fig.
241). — Cut out as many divisions in a thin board, or sheet of stout cardboard, as you will require materials for your embroidery ; these include not only gold thread of all kinds, but likewise beads and spangles of all sortsand sizes as well as bright and dead gold and silver purl, or bullion, as it is also called.
Fig. 243. Embroidery with gold purl.
For the pieces of purl alone, which should be cut ready to hand, you should have several divisions, in order that the different lengths may be kept separate.
FLAT STITCH AND GOLD EMBROIDERY
1 [Q
Use of the spindle (fig. 242). — Gold embroidery thread should be wound double upon the spindle. It is laid back- wards and forwards and secured with two stitches at each turn, as described in fig. 284. Small holes where the stitches are to come, have first to be pierced in the material with the pricker, from the right side,, for the needle to pass through. In soft stuffs, this is unnecessary, but in brocaded materials, and in plush and leather, where every prick shows and would often spoil the whole effect, it is indispensable.
Gold thread which is stiff and difficult to work with, can be rendered soft and pliable by putting it into the oven, or any other warm place, for a short time.
Embroidery with gold purl (fig. 243). — Embroidery with gold purl is the easiest kind of gold embroidery ; you have only to thread the little pieces of purl, cut into the required lengths beforehand, like beads on your needle, and fasten them down upon the foundation like the beads in bead- work. Smooth and crimped gold purl, or silver and gold purl used together, look exceedingly well, particularly where the pattern requires effects of light and shade to be reproduced.
Embroidery in diamond stitch (fig. 244). — The diamond stitch is a charming novelty in gold embroi- dery. Short lengths of purl, not more than 1 VJ m/m. long, are threaded on the needle, and the needle is pat in and drawn out at the same hole. These stitches which resemble knot stitches, form so many little glittering knots, turned alternately to the right and left, and look like seed-diamonds in appearance, more especially, when they are made in silver purl. The shorter the pieces are, and the more closely you set the knots together, the handsomer and richer the effect will be.
Chinese gold embroidery (figs. 245 and 246). — We recommend the imitation ot Chinese gold embroidery to our readers as an easy and grateful recreation. It consists simply in laying down a gold thread, on a deli-
Fig. 244. Diamond stitch.
120 FLAT STITCH AND GOLD EMBROIDERY
Fig. 243. Chinese gold embroidery. First part
Fig. 246. Chinese gold embroidery. First part.
FLAT STITCH AND GOLD EMBROIDERY
121
Fig. 246. Second pa
I 2 2
FLAT STITCH AND GOLD EN4BROIDERY
cately outlined pattern and securing it by stitches. It can be done on any material, washing or other, the costliest as well as the most ordinary.
For a washing material use, Or fin D.M.C pour la broderie,
No. 20, 3o or 40 (*), which, as it washes perfectly, is well adap- ted lor the embroidery of wearing apparel, and household linen. Plain gold thread and Hold thread with a thread of coloured silk twisted round it, are very effective used to- gether.
Thus in fig. 246, the trees, foliage and flowers, are worked in plain gold, the grasses, in gold shot with green, the butterflies in gold with red, the two birds in gold with dark blue, and gold with light blue. Two threads of gold should be laid down side by side and se- cured by small catching stitches, set at regular intervals from one an- other, and worked in Fil d'Alsace D.M.C No. 200, (*) of the same colour. Where the design requires it, you may separate the gold threads, and work with one alone.
The second specimen oi Chinese embroidery, fig. 246,
Fig. 247. Stripe worked in various stitches.
(*) See at the end of the concluding chapter, the table of numbers and sires and the list of colours of the D.M.C threads and cottons.
FLAT STITCH AND GOLD EMBROIDERY 123
resembles the first, as far as materials and execution are con- cerned, but the design is different. The grotesque animals, flowers and shells it represents, can be worked separately, or connected together so as to form a running pattern.
Stripe worked in various stitches (fig. 247). — All the designs described thus far, are worked in the same way, but the stripe now presented to our readers introduces them to several kinds of gold thread, and a variety of stitches. The small, turned-back petals of the flowers are worked in plain gold thread, and outlined with crimped; the rest of the petals are worked in darning stitch, with plain gold thread. The latticed leaves are edged with picots, worked with bright purl. The other parts of the design are all worked with a double gold thread, the stalks in dead gold, the leaves in crimped. The gold thread is secured by overcasting stitches in gold-coloured thread, Jaune d'or 667, but it looks very well if you use black or red thread for fastening the crimped gold and dark or light green for the leaves and tendrils.
Gold embroidery on a foundation of cords (fig. 248). — In the old ecclesiastical embroideries, especially those repre- senting the figures of saints, we often find thick whip cords used as a foundation, instead of cardboard, lor the good reason that the stiff cardboard does not give such soft and rounded con- tours as a cord foundation, which will readily take every bend and turn that you give to it. In the following illustrations, we have adhered strictly to the originals, as far as the manner of working the surface is concerned, but have substituted for the cord, which in their case has been used for the found- ation, Cordonnet 6 fils D.M.C No. 1, which is better for padding than the grey whip cord, as it can be had in white or yellow, according to whether it is intented to serve as a. foundation to silver or gold work.
Lay down as many cords as are necessary to give the design the requisite thickness, in many cases up to 8 or 10 m/m. in height, taking care to lay them closely and solidly in the centre, and graduate them down at the sides and ends. When you have finished the foundation, edge it with a thick gold cord, such as Cordonnet d'or D.M.C No. 6 and then only begin the
I24
' r STITCH AND GOLD KMBROIDERY
actual embroidery, all the directions just given, applying merely to the preparatory work.
Onlv four of the many stitches that are already in use and
Embroidery in flattened gold wire and purl.
FiG. 24<j.
Plaited stitch in gold purl on a cord foundation.
might be devised are described here. For the pattern, repre- sented in fig. 24b, flattened gold or silver wire is necessary, which should be cut into pieces, long enough to be turned in
at the ends so as to form a little loop through which the thread that fastens them down is passed. Over each length of gold or silver wire small lengths of purl are laid at regular intervals, close enough just to leave room for the next stitch, the pieces of one row, alternating in position with those of the preceding one.
Plaited stitch in gold purl on a cord foundation (fig. 249 .
— Distribute the stitches as in the previous figure, substituting purl, for the flattened gold wire, and covering the purl with short lengths of gold thread of the same kind. All these stitches may be worked in gold and silver thread, mixed or in the one, or the other alone.
Fig. 25o. Scale stitch m gold thread
AND PURL OS A CCRD FOUN- DATION.
FLAT STITCH AND GOLD EMBROIDERY
125
Scale stitch, worked in gold thread and purl on a cord foundation (fig. 25o). — Begin by covering the whole padded surface with gold or silver thread, then sew on short lengths of purl, long enough to cover six or eight threads, 2 or 3 m/m. apart, as shown in the engraving. These stitches in dead gold purl are then surrounded by shining or crimped purl.
You bring out the working thread to the left of the purl stitch, which you take on your needle, put the needle in on the other side, draw it out above the little stroke, and secure the crimped purl with an invisible stitch.
Conventional flower worked on a cord foundation 'rig. 2? 1). — The half finished flower, represented here, was
Fig. 25 1. Conventional flower worked on a cord foundation Materials. — For padding : Cordonnet 6 rils D.M.C Nos. i to 5 or Fil a pointer D.M.C No. 10. — For sewing on the gold thread and purl: Soie de coton D.M.C No. 5o or 70, Fil a dentelle D.M.C on reels Nos. 20 to 5o.
' See at the end of the concluding chapter, the table of numbers and - and the list of colours of the D.M.C threads and cottons.
126 FLAT STITCH AND GOLD EMBROIDERY
copied from a handsome piece of ecclesiastical embroidery enriched with ornament of this kind. The three foregoing stitches and a fourth, are employed in its composition. The finished portions on the left hand side, are executed in silver and gold purl, whilst the egg-shaped heart of the flower is tormed of transverse threads, carried over the first padding, and secured by a stitch between the two cords. In the subse- quent row, the catching stitch is set between the cords, over which the first gold threads were carried.
The heavier the design is, the thicker your padding should be, and cords a good deal thicker than those which are repre- sented in the drawing should be used, as the more light and shade you can introduce into embroidery of this kind, the greater will be its beauty and value.
Insertion in cross stitch, alike on both sides, the pattern left blank.
Tapestry and Linen Embroidery.
Tapestry is one of the oldest kinds ot needlework and one which has always been popular every where.
There are two distinct sorts of canvas in use for tapes- try, called respectively, 'plain (single thread) canvas', and 'Penelope (double thread) canvas'. The latter is generally pre- ferred, because it is easier to count the stitches upon it, but both make an equally good foundation for the embroidery, as the following examples will show.
Besides canvas, other fabrics bearing a close resemblance to it. are often used, especially Java linen, the close texture ol which renders grounding unnecessary.
Cloth, velvet or plush can also be overlaid writh canvas, the threads of which are pulled away after the pattern is finished. For work of this kind, wTe however prefer a material with less dressing, such as a twisted tammy, or Colbert linen, because the pulling out of the harsh rough threads of the can- vas is very apt to injure the material beneath.
Stitches, worked upon two stuffs, must be drawn very tight, or they will look loose and untidy when the auxiliary fabric is taken away.
Tapestry can be done either in a frame, or in the hand ; in the latter case, the ends of the piece of canvas should be weighted with stones or lead, to prevent its puckering.
128
TAPESTRY AND LINEN EMBROIDERY
The stitches, which ought completely to hide the canvas, should all lean one way and the underneath ones always from left to right, as the letters in writing.
Marking out the embroidery ground (fig. 252). — Before beginning a piece of canvas work and tacking on the auxiliary fabric, count how many stitches it will contain, and mark them out in tens, with a coloured thread, as shown in fig. 252, along two sides at least, in the length and breadth. Having ascertained the number of stitches both ways, divide them in two, and
starting each time from the middle stitch, trace two lines, one horizontal, the other vertical, right across the can- vas. The point ot intersection will be the centre. This sort of ground-plan will be found most useful, and should not be pulled out until, at least, half the work be finish- ed. If moreover, you have corners to work, or a pat- tern to reverse, in the angle of a piece of embroidery, trace a diagonal line besides, from the corner to the centre.
Materials suitable for tapestry. — Hitherto, wool and silk, were the materials chiefly used for canvas work ; a very thick wool for carpets, as being warmer and more durable. Silk is too delicate a fibre to resist much wear and tear, and cannot therefore be recommended for articles that are intended for constant use, and wool, though stronger, is subject to the destructive agency of moths ; whereas cotton, which is cheaper than both, and quite as brilliant, is free from all these disad- vantages and is extremely easy to clean.
Fig. 252. Marking out the embroidery ground.
Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sh.
TAPESTRY AND LINEN EMBROIDERY
I29
For most kinds of tapestry we can therefore with perfect confidence, recommend the use of Goton a tricoter D.M.C Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to i5, and even Coton a repriser D.M.C No. 25. (*)
Cross stitch (fig. 253). — Cross stitch is the foundation of every other stitch, and the one in most common use. It is also called marking-stitch, being used for marking linen. It is worked in two lines. In the first, the thread is carried diago- nally from left to right across a square of threads, and then, downwards, underneath the two horizontal threads ; in the
Fig. 253. Cross stitch.
Fig. 254. Half cross stitch.
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Fig. 255. Gobelin stitch.
Fig. 256.
Gobelin stitch on pene-
lope canvas.
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Fig. 257. Reps stitch.
Fig. 258. Tent stitch.
second, the stitches are carried from the right-hand lower corner of the square to the upper left-hand corner, so that the four points of the two stitches form a perfect square.
Half cross stitch, (fig. ,254). — If the cotton is too coarse, or the canvas too fine, to make the double stitch, carry the thread back along the whole line and make the half-stitches
" See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
i3o
TAPESTRY AND LINEN EMBROIDERY
across it, from left to right ; the same in the case of a piece of work, which you buy with a part of the pattern ready-worked. Gobelin stitch on plain canvas (fig. 2 55). — This is worked over two horizontal threads and one perpendicular. In a frame, you can -work the second row, from right to left, otherwise, you must turn the work round, and bring out your needle behind the last-made stitch.
Gobelin stitch on Penelope canvas (fig. 256). — For the same stitch on Penelope canvas, you need rather a coarse needle, which will make its way easily between the threads of the canvas.
Fig. 259. Wide Gobelin stitch.
1 — .- 1- 1- 1- 1-'- 1- 1- 1- 1
■-pi
Fig. 260. Broad cross stitch.
'I — I— I— F^H— RHI^f—
Fig. 261.
Double stitch.
Fig. 262. Rice stitch.
Fig. 263. Double stitch set two ways.
Fig. 264. Plait stitch.
Reps stitch (fig. 257). — Contrary to Gobelin stitch, this stitch which is an imitation of reps, is worked in vertical lines, over two vertical threads and one horizontal one.
Tent stitch (fig. 258). — This stitch is simply the first half of a cross or-marking stitch, worked over a single thread each way. The illustration shows the working of a row, from right to left, the thread being carried forwTard, underneath the verti- cal threads. Tent stitch is used for the most part, in con-
TAPESTRY AND LINEN EMBROIDERY I 3 1
junction with cross stitch, for the more delicate lines and the shaded parts of flowers and figures.
Wide Gobelin stitch (fig. 2 5g). — This stitch covers two vertical and two horizontal threads, and advances one thread at a time.
Broad cross stitch (fig. 260). — Worked over two vertical and four horizontal threads, and very useful for filling in large surfaces as it can be done twice as quickly as the ordinary cross stitch. It may be varied by turning the crosses first one way and then the other.
Double stitch (fig. 261). — Begin with a simple cross stitch over every alternate intersection of the threads then make a second row of stitches between those of the first, but in this case, over two and six threads, so that they extend beyond the first each way. In the subsequent rows, a square stitch should be opposed to a long one and a long stitch to a square one.
Rice stitch (fig. 262). — Fill in the whole ground first, with large cross stitches, over four threads each way, then upon these, make the so-called rice stitches. These cross the four points of the large cross stitches, and meet in the space be- tween, where they form another cross. The large cross stitches should be worked in rather coarse cotton, the rice stitches in one of a finer quality.
Double stitch, set two ways (fig. 263). — This consists oi diagonal and upright cross stitches, alternately. Work from left to right, and carry the thread over four vertical threads and downwards, under two horizontal ones, then diagonally up- wards, over four threads and downwards under two, then again over four vertical threads, and so on. Coming back, you cross the first threads, and pass the working thread each time in a straight line, underneath the two threads of the canvas. The stitches of the third and fourth rows are set, as the illustration shows, the opposite way to those of the two first, the thread being laid the contrary way. Gold thread is generally used for this second set of stitches ; Or fin D.M.C pour la broderie, or Chine' d'or D.M.C will be found to be the most suitable for the purpose.
132
TAPESTRY AND LINEN EMBROIDERY
Plait stitch (fig. 264). — It requires great attention to work this stitch, to and fro; the easier way is to carry the thread back each time, to the starting point.
Carry the thread from left to right, over two horizontal threads, and downwards under four perpendicular ones, then under two threads, from right to left, as the figure indicates.
Stem stitch (fig. 265). — Here, the stitches are worked in separate rows, over four threads each way. The working thread passes first under the two middle threads, from right to left, and then under the two upper ones.
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Fig. 265. Stem stitch.
Fig. 266. Leaf stitch.
Fig. 267. Fish-bone stitch.
Fig. 268. Diagonal web stitch.
Fig. 269. Cashmere stitch.
Fig. 270. Florentine stitch.
Leaf stitch (fig. 266). — Carry the thread diagonally over two double threads each way, and back under one double thread, to the row whence the stitch started. Make rows of back-stitches in a different colour between the rowrs of long ones.
Fish-bone stitch (fig. 267). — The difference between this and the preceding stitch is, that the working thread after
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
TAPESTRY AND LINEN EMBROIDERY 1 33
passing over three perpendicular and three horizontal threads, is secured by a back-stitch over the last intersection of the canvas threads. These back-stitches lean to the right or left, according to the direction of the long stitches.
Diagonal web stitch (fig. 268). — Stretch diagonal threads across the whole surface you are going to embroider, and secure them with rows of overcasting stitches, set, if you are working on Penelope canvas, between the double threads of the canvas. In the next rows the stitches must be set the opposite way, which produces the effect of diagonal or twilled cloth.
Cashmere stitch (fig. 269). — To imitate this texture in needlework, first make one stitch over one crossing of the canvas threads, and then two stitches over two crossings.
Florentine stitch (fig. 270). — Florentine stitch is worked in slanting lines, the thread being carried, diagonally first over one and then over two double threads of the canvas.
Mosaic stitch (fig. 271). — The first row consists of one short and one long stitch, alternately: the second, of short stitches only, set between the long stitches of the first row; the third row is a repetition of the first, and so on.
Knotted stitch (fig. 272). — Carry the working thread over two threads in width and six in height, bring the needle back, four threads lower down, in front of the double threads, and insert it behind the preceding stitch, and over the middle threads, and then carry it down to the line of the stitches. In the subsequent rows , the stitches extend over four threads and encroach on two of the previous row, so that the stitches of the second row lie between those of the first.
Star, or Smyrna stitch (fig. 273). — Make a plain cross stitch over four threads, each way, and then over that, another cross stitch, standing upright. The same stitch can be made over six or seven threads ; if you work over more than four threads, it follows that you increase the number of stitches accordingly.
Rococo stitch (rigs. 274, 276, 276,. — After fastening in your thread, lay it over four single or two double threads, as the case may be, and carry the needle through to the left, under one double thread ; then, as fig. 274 shows, bring it back over the
1 34
TAPESTRY AND LINEN EMBROIDERY
first stitch, put it in by the side of it, and bring it out below, under half the horizontal threads covered by the first stitch. Then make a stitch to the right, similar to the one just made to the left.
When you have finished one stitch, carry the needle under one thread, in an oblique line, to the next stitch, see fig. 273. The whole pattern is worked in diagonal lines.
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Fig. 271. Mosaic stitch.
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Fig. 272. Knotted stitch.
Fig. 273. Star, or Smyrna stitch.
Fig. 274.
Rococo stitch.
First stitches on the
wrong side.
Fig. 275.
Rococo stitch.
Stitches on the richt
side.
Fig. 276.
Rococo stitch. Completed.
Parisian stitch (fig. 277). — This stitch, though it is gene- rally worked on silk canvas, can also be worked on the different cotton and linen materials already referred to more than once in this Encyclopedia. It makes a very good grounding in cases where the material is not intended to be completely hidden. It consists of a long stitch over three threads, and a short stitch over one thread, alternately.
Greek stitch (fig. 278). — This, differs from the ordinary cross stitch, in the oblique inclination given to the threads, and the manner in which it is begun. Instead of taking up the two threads that follow the first stitch, you bring your needle back from right to left, under the vertical threads of the first stitch,
TAPESTRY AND LINEN EMBROIDERY
135
carry it downwards, and then from right to left, to a distance of four threads beyond the first stitch. The next stitch is made like the first. The rows may be joined together, either by the short or the long stitches, but }rou must follow one rule throughout. This stitch is much used in Slavonic countries, for the adorn- ment of linen garments, and there we have observed that the short stitches are generally made to encounter the long ones. A coarse material that covers the ground well, such as, Coton a tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch.
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Fig. 277. Parisian stitch.
Fig. 278. Greek stitch.
Fig. 279. Scotch stitch.
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Fig. 280. Moorish stitch.
Fig. 281. Oriental stitch.
Fig. 282. Shell stitch.
Scotch stitch, (fig. 279). — Squares, composed of slanting stitches, made over one, three, five, three threads respectively, and then again over one thread, and separated from each other by rows of Gobelin stitches, constitute what is ordinarily known by the name of Scotch stitch.
Moorish stitch (fig. 280). — For this stitch, instead of sur- rounding squares of stitches, made in the way we have just described, with Gobelin stitch, the squares are made to touch, rising like steps one above the other, and bordered only at the sides by Gobelin stitch.
1 36 TAPESTRY AND LINEN EMBROIDERY
Oriental stitch (fig. 281). — Here, you make four diagonal stitches over one, two, three and four double threads respec- tively ; which four stitches form so many triangles, one above the other. The empty spaces between are filled up with Gobelin stitches covering two threads.
Shell stitoh (fig. 282). — Carry your thread upwards over six horizontal threads, then from right to left, under one verti- cal thread and downwards over six horizontal ones. When you have made four vertical stitches in this way, bring the needle out behind the third double thread, counted lengthways, and between the third and fourth, counted across, and fasten the four long stitches together with a back-stitch, to the middle thread of the canvas. Draw a thread of a different colour twice through these back-stitches, so as to form small knots like shells, and then fill in the ground between the rows of long stitches, with back-stitches.
Jacquard stitch fig. 283). — If you have a large plain sur- face to cover, you should choose a stitch that forms a pattern in itself. Jacquard stitch and others which we shall describe later on, will be found to produce the effect of brocaded stuff. To work Jacquard stitch, make six stitches underneath one another, over two double threads, and six by the side of one another, from left to right, over twTo double threads. The second row consists of the same number of stitches , similarly worked downwards and to the side, but over one double thread only.
Byzantine stitch (fig. 284). — Here, you make the same number of stitches as in the preceding figure but with this difference, that the two rows of stitches are made either over two, or four threads.
Milanese stitch (fig. 285). — In the first row, the back-stitch is made alternately, first over four diagonal crosses and then over one ; in the second row, over three and two ; in the third, over two and three, in the fourth, over one and four. The last long stitches should come under the last short ones and the short ones, in the middle of the last long ones.
Plush stitch (fig. 286). — This stitch, also called Astrachan stitch, by means of which a very good imitation of an Oriental
TAPESTRY AND LINEN EMBROIDERY
I 87
rug can be produced, consists of loops, each secured by a cross stitch ; the best way to ensure these loops being even and regular is to make them over a narrow wooden ruler, or a piece of whalebone.
The effect can be varied by cutting the loops, which gives the surface the appearance of velvet.
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Fig. 283. Jacquard stitch.
Fig. 284. Byzantine stitch.
Fig. 285. Milanese stitch.
Fig. 286. Plush stitch.
The illustration represents the middle loops only, as cut, for the cut and the uncut stitch can both be introduced into the same piece of embroidery. For example, the borders in figs. 290, and 291, are worked in open or cut plush stitch, whilst in the centres, the stitch is left uncut. Two stitches of a similar kind, called Smyrna and Malta stitch, suitable for making rugs or carpets, are described in the last chapter but one in the book.
i38
TAPESTRY AND LINEN EMBROIDERY
Chain stitch (fig. 287). — Generally speaking, this stitch is only used for the adornment of under-linen or small articles of fancy-work but it can also be employed in copying cross stitch patterns. In old coMections we often meet with very interesting pieces of needlework, which were used for hangings or screens, where the figure-subjects, are executed in chain stitch. Patterns
in many colours, gain im- mensely by being work- ed in this stitch , the colours blend together better than in any other, and even the shape of the stitch contributes to soften the contrasts of colour.
Chain stitch cannot, like other stitches , be worked to and fro, nor can all the stitches of one row be finished first, as is generally possible in cross stitch work, each row must be begun separately, and always from the same side, and a different needle should be used for each colour, as the material has often to be changed.
The stitch is worked as follows; after fastening in your thread, insert the needle at the same hole it came out of, and bring it out two threads lower down. Keep the loop, formed by the working thread, under the point of the needle. The thread should not be drawn up tightly but left to form a rather loose, round loop. For the next stitches, insert the needle close to the thread that issues from the last loop. Pattern for borders or grounding (fig. 288). — This simple but most effective design, copied from one of the most beautiful of Oriental carpets, can be executed in, either cross stitch, plush stitch, or chain stitch. To make a wider border still, the diagonal lines that divide the figures shaped like an S, have only to be prolonged, and the figures repeated.
Fig. 287. Chain stitch.
TAPESTRY AND LINEN EMBROIDERY
i3q
The colours have been chosen with the view of reproducing as nearly as possible the subdued and faded tones, which time has imparted to the original.
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Materials : Coton a broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos.
3 to 1 5, Fil a pointer D.M.C Nos. 10 to 3o, or Coton a repriser D.M.C No. 25.
Explanation of the signs prefixed to the colours : h Rouge-Cardinal 346,
x Rouge-Cornouille 449, a Bleu-Indigo 3 1 1 , and n Bleu-Indigo 322,
B Gris-Cendre 414, & Bronze dore 585 and n Vert-Mousse 470. (*)
Pattern for grounding (fig. 289). — Diagonal lines, inter- sected by balls, serve here as a setting for quaintly shaped flowers and leaves. The outlines are all worked in cross stitch, and the solid parts, in either tent stitch or Gobelin stitch.
Part of a design, suitable for carpets (figs. 290 and 291). Our space will not admit of our reproducing more than a quarter of this design. Colours of the softest shades should be selected for it. A black line divides the pattern into four quarters. The upper quarter on the right, and the lower one, on the left, should be worked in blue, and the upper one on the left, copied from fig. 290.
The narrow border, in red, blue and green, is to be repeated
' See at the end of the concluding chapter, the table ot numbers and sizes and the list of colours of the D.M.C threads and cottons.
140
TAPESTRY AND LINEN EMBROIDERY
after the broad band, which is represented in fig. 291, has been added to the grounding. A very good effect is obtained, if in the broad border, fig. 291, you vary the background of the different subjects.
3 DO
■ :.: ;:: ■::■;::: <xaxxxxn
■:xxx ■ xd
a •■■ ■
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■ GXX>"
I GX
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|
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|
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■ ■ ■ . . . ■ ■ ■■■■ ■ ■ ■ ■ |
|
■ ■ ■ ■ |
1 I BBRvnyyyxn ax^xxxx-
■ ■■■ ■
Fig. 2^9. Pattern for grounding.
Materials : Coton a tricoter D.M.C Nos. 6 to 16, Cordonnct 6 tils D.M.C Nos. 5 to 1 5 or Coton a broder D.M.C No. 16. (*)
Explanation of the signs prefixed to the colours :«Noir grand Teint 3io, a Jaune
d'Ocre 676, s Violet-Mauve 3 1 5, £ Rouge-Geranium 349, 110 Rouge- Aurore 36o,
K Bleu-Indigo 3 12, h Bleu pale 668, □ Rouge-Cornouille 449, a Vert-de-gris 474,
E Vert-de-gris 475, a Grounding. (*)
Linen embroidery. — The stitches used in linen embroi- dery are very similar to those used in canvas work. The ordi- nary cross stitch, as represented in fig. 253, is the one most commonly used, but it is not so effective as the two-sided stitches, which in the beautiful old needlework of the i5th, 1 6th and 17th centuries, have always excited our wonder and admiration.
(*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
TAPESTRY AND LINEN EMBROIDERY
141
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Fig. 200. Part of a design suitable for carpets.
Materials : Fil a pointer D.M.C Nos. 10 to 3o, Coton a tricoter D.xVl.C Nos. G to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton a repriser D.M.C No. 12.
Explanation of the signs prefixed to the colours : ■ Noir grand Teint 3 10, Rouge-Grenat 358, s Rouge-Cornouille 45o, 5 Bleu-Indigo 3n and ^ Bleu- Indigo 322, d Vert rr.etallique 466, s Gris-Noiseue 424.
IO
!42
TAPESTRY AND LINEN EMBROIDERY
Stuffs suitable for linen embroidery. — Most embroidery of this kind, and more especially the Italian, is done on very fine linen. Such fine work however, requires more time and patience than people, in these days, are as a rule disposed to bestow on work intended merely for pleasure and recreation. To meet the requirements of the day, therefore, in addition to the finer kinds of linen, a great variety of textures, are now manufactured, the threads of which, being thick and round, can be easily counted. The cross stitches that are worked on Cuba, Ceylon or Batavia linen, are large and coarse, those on linen-canvas, Russian linen, twisted tammy, and Rhodes linen, small and fine.
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Fig. 291. Outer border of the design for carpets fig. 290. Materials: Fil a pointer D.M.C Nos. 10 to 3o, Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton a repriser D.M.C No. 12. (*)
Explanation of the signs prefixed to the colours : ■ Noir grand Teint 3 10,
s Rouge-Grenat 358, * Bleu-Indigo 3n, H Vert meiallique 465, a Jaune-vieil-Or
679, a Gris-Noisette 424, g Rouge-Cornouille 450. (*)
Linen fabrics are either white, unbleached or cream-colour- ed. All three are used for embroider}^ but the coloured cottons show up best on the cream ground ; on the white, they look hard and crude, and on the unbleached, dull and faded.
[*) See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.
TAPESTRY AND LINEN" EMBROIDERY 143
Materials suitable for linen embroidery — As most linen embroidery is executed on articles that are subjected to fre- quent washing, the D.M.C cottons, which are to be had in every shade and colour, are the best for the purpose. For coarse stuffs, coarse cotton should be used, such as knitting cotton, Coton a tricoter D.M.C Nos. 6, 8, 10, 12 and 14, (*) which will be found a very good substitute for wool ; or six- cord crochet cotton (Cordonnet 6 flls D.M.C) Nos. 3, 4, 5, 10 and 1 5, (*) which gives quite as full and brilliant a stitch, as silk-twist. Finer cottons should be used jb for the finer stuffs, such as embroidery cot- ton (CotonabroderD.M.C) Nos. 6to 200, (*) and lace thread Til a dentelle D.M.C Nos. Ippl^^&ip.'jt 3o to i5o.(*) In many cases, even darning PP-Efc^^^^Ep cotton (Coton a repriser D.M.C) can be ■ used, as like Algerian silk, it can be - split or taken double, to suit the stuff. FlG
Plain cross stitch on auxiliary can- Plaiv cross stitch on
in \ ni • ^'^ U AUXILIARY CANVAS.
vas (fig. 292;. — Plain cross stitch, com- monly called marking stitch, has already been described in fig. 2 53. But it may be well to observe, that when an auxiliary material is used, it should be most carefully tacked upon the stuff following the thread of the same, and a sufficient margin left to allow of the drawing out of the canvas threads, when the work is finished.
Two-3ided cross stitch, worked, in four rows of stitches (figs. 293, 294, 295). — Straight lines of cross stitch, alike on both sides, can be worked in two journeys to and fro. Working from left to right, begin by fastening in your thread, never with a knot, but by two or three little running stitches, which are hidden afterwards by your first cross stitch. Direct- ing your needle to the right, pass it diagonally over a double cross of the warp and woof of the canvas, and so on to the end of the line.
Having reached the last stitch, draw out your thread in the middle of it, make an auxiliary diagonal stitch downwards
* See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads aid cottons.
144
TAPESTRY AND LINEN EMBROIDERY
i±rJri±i±i±dxlxEr±r±drdxrL!^^
Fig. 2q3.
First half of the first journev and auxiliary stitch
for returning.
to the right, bring the needle up in the middle of the last stitch, take it thence, upwards to the left, across two threads, and begin the return journey, from right to left, crossing and thus completing the first rcw of stitches. In the auxiliary stitch with which you begin the backward journey, the thread
lies double on both sides. Fig. 295 shows how to pass down to the next row.
Two-sided, marking stitch
(figs. 296 and 297). The above mode of working two- sided cross stitch cannot be applied to letters, or pat- terns in broken lines, which both consist chiefly of isolated stitches. Figs. 296 and 297 ^-tfpj explain the course 1 01 the stitches in embroidery of this kind.
The working