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diff --git a/old/20776-h/chapter_1.html b/old/20776-h/chapter_1.html new file mode 100644 index 0000000..080d237 --- /dev/null +++ b/old/20776-h/chapter_1.html @@ -0,0 +1,959 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + clear: both; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .br {border-right: solid 2px;} + .caption {font-weight: bold; + text-align: center} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align:baseline; + position: relative; + bottom: 0.33em; + font-size: .8em; + text-decoration: none;} + + --> + /* XML end ]]>*/ + </style> + </head> +<body> +<p><a name="Page_1" id="Page_1"></a></p> + + +<hr style="width: 65%;" /> + +<div class="figcenter" style="width: 100%;"> +<img src="images/002.jpg" alt="STRIPE SHOWING RUNNING, STITCHING, BUTTON-HOLING, AND HERRING-BONING." title="" /> +</div> +<p class="center"><span class="caption smcap">Stripe showing running, stitching, button-holing, and herring-boning.</span></p> + + + + +<hr style="width: 65%;" /> +<h2><a name="Plain_Sewing" id="Plain_Sewing"></a>Plain Sewing.</h2> + + +<p>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 thoroughly +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.</p> + +<p><b>Position of the body and hands.</b>—Before describing +different kinds of stitches, a word should be said as to +the position of the body and hands when at work. Long experience +has convinced me that no kind of needlework necessitates +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.</p> + +<p><b>Needles.</b>—These should be of the best quality. To test +a needle, try to break it; if it resist, and then break clean in +<a name="Page_2" id="Page_2"></a>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, whether +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 No 5 to 12, +is advised. The needle should always be a little thicker than +the thread, to make an easy passage for it through the stuff.</p> + +<p>To keep needles from rusting, strew a little stone alum in +the packets, and workers whose hands are apt to get damp, +should have a small box of it handy, to powder their fingers +with. Blackened needles can be made quite bright again by +drawing them through an emery cushion.</p> + +<p><b>Scissors</b>.—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.</p> + +<p><b>Thimble</b>.—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.</p> + +<p><b>The thread</b>.—Except for tacking, your thread should never +be more than from 40 to 50 c/m. long.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> 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.</p> + +<p><b>Knotting the thread into the needle</b> (fig. <a href="#fig_1">1</a>).—When the +thread becomes inconveniently short, and you do not want +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<a name="Page_3" id="Page_3"></a> +thumb draw the needle out through the loop thus formed, +and tighten the loop round both ends.</p> + +<div class="figcenter" style="width: 500px;"> +<a name="fig_1" id="fig_1"></a> +<img src="images/003.jpg" alt="FIG. 1. KNOTTING THE THREAD INTO THE NEEDLE." title="" /> +<span class="caption smcap">Fig. 1. Knotting the thread into the needle.</span> +</div> + +<p><b>Materials</b>.—For tacking, use Coton à coudre D.M.C qualité +supérieure (black and gold stamp) Nos. 2 to 6.<a href="#Footnote_A" class="fnanchor">[A]</a> For hand-sewing, +Fil d'Alsace D.M.C Nos. 30 to 700,<a href="#Footnote_A" class="fnanchor">[A]</a> and Fil à dentelle D.M.C, +balls or reels, Nos. 25 to 100<a href="#Footnote_A" class="fnanchor">[A]</a> will be found most useful. For +machine-work: Câblé 6 fils pour machines D.M.C, Nos. 30 to +300,<a href="#Footnote_A" class="fnanchor">[A]</a> black and +white, or white +and blue stamp. +These can also be +used for hand-work. +Both these +and the lace-thread +(Fil à dentelle) on reels, are +superfine in quality. +The medium +sizes are the most +useful; but the +only suitable ones +for very fine and +delicate fabrics are +the Fil à dentelle +D.M.C, and Fil +d'Alsace, and the +latter only is manufactured +in the +higher numbers.</p> + +<p>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 à dentelle and the Fil d'Alsace are very +good substitutes.</p> +<p><a name="Page_4" id="Page_4"></a></p> +<p><b>Position of the hands</b> (fig. <a href="#fig_2">2</a>).—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 +far 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.</p> + +<div class="figcenter" style="width: 500px;"> +<a name="fig_2" id="fig_2"></a> +<img src="images/004.jpg" alt="FIG. 2. POSITION OF THE HANDS." title="" /> +<span class="caption smcap">Fig. 2. Position of the hands.</span> +</div> + +<p><b>Position of the hands without cushion</b> (fig. <a href="#fig_3">3</a>).—When +the work cannot be +fastened to a cushion +it should be +held between the +forefinger and the +thumb, and left +hanging down, over +the other fingers. +If it need to be +more firmly held, +draw it between the fourth and fifth fingers, which will prevent +it from getting puckered or dragged.</p> + +<div class="figcenter" style="width: 500px;"> +<a name="fig_3" id="fig_3"></a> +<img src="images/005.jpg" alt="FIG. 3. POSITION OF THE HANDS WITHOUT CUSHION." title="" /> +<span class="caption smcap">Fig. 3. Position of the hands without cushion.</span> +</div> + +<p><a name="stitches" id="stitches"></a><b>Stitches</b>.—Plain-Sewing comprises 4 varieties of stitches, +(1) running, (2) back-stitching, (3) hemming and (4) top or +over-sewing.</p> + +<p>(1) <b>Running-stitch</b> (fig. <a href="#fig_4">4</a>).—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 +for plain seams, for joining light materials, +for making gathers and for hems.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_4" id="fig_4"></a> +<img src="images/006.jpg" alt="FIG. 4. RUNNING-STITCH." title="" /> +<span class="caption smcap">Fig. 4. Running-stitch.</span> +</div> + + +<p>(2) <b>Back-stitch</b> (fig. <a href="#fig_5">5</a>).—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 +<a name="Page_5" id="Page_5"></a>beyond. Stitching and back-stitching are better and more +quickly done by machine than by hand.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_5" id="fig_5"></a> +<img src="images/007.jpg" alt="FIG. 5. BACK-STITCH." title="" /> +<span class="caption smcap">Fig. 5. Back-stitch.</span> +</div> + +<p><b>Stitching</b> (fig. <a href="#fig_6">6</a>).—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, +or the stuff be such as to render the +drawing of a thread impossible, a coloured +tacking thread should be run in first, to +as a guide.</p> + + +<div class="figcenter" style="width: 300px;"> +<a name="fig_6" id="fig_6"></a> +<img src="images/008.jpg" alt="FIG. 6. STITCHING." title="" /> +<span class="caption smcap">Fig. 6. Stitching.</span> +</div> + + +<p><b>Stitched hem</b> (fig. <a href="#fig_7">7</a>).—Make a double +turning, as for a hem, draw a thread +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.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_7" id="fig_7"></a> +<img src="images/009.jpg" alt="FIG. 7. STITCHED HEM." title="" /> +<span class="caption smcap">Fig. 7. Stitched hem.</span> +</div> + + + +<p>(3) <b>Hemming-stitch</b> (fig. <a href="#fig_8">8</a>).—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.</p> + + +<div class="figcenter" style="width: 300px;"> +<a name="fig_8" id="fig_8"></a> +<img src="images/010.jpg" alt="FIG. 8. HEMMING-STITCH." title="" /> +<span class="caption smcap">Fig. 8. Hemming-stitch.</span> +</div> + + + +<p>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 +<a name="Page_6" id="Page_6"></a>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.</p> + + +<p><a name="seams" id="seams"></a><b>Flat seam</b> (fig. <a href="#fig_9">9</a>).—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, following +the tacking-thread. Cut off half the inner +edge, turn the outer one in, as for a hem +and sew it down with hemming-stitches.</p> + + +<div class="figcenter" style="width: 300px;"> +<a name="fig_9" id="fig_9"></a> +<img src="images/011.jpg" alt="FIG. 9. FLAT SEAM." title="" /> +<span class="caption smcap">Fig. 9. Flat seam.</span> +</div> + +<p>Smooth the seam underneath with the +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.</p> + +<p><b>Rounded seam</b>.—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 in making the finer qualities of underclothing.</p> + +<p><b>Fastening threads off, and on</b> (fig. <a href="#fig_10">10</a>).—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.<a name="Page_7" id="Page_7"></a> +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.</p> + + +<div class="figcenter" style="width: 300px;"> +<a name="fig_10" id="fig_10"></a> +<img src="images/012.jpg" alt="FIG. 10. +FASTENING THREADS OFF +AND ON." title="" /> +<span class="caption smcap">Fig. 10. +Fastening threads off +and on.</span> +</div> + + +<p>(4) <b>Top or over-sewing stitch</b> (fig. <a href="#fig_11">11</a>).—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 +not more than three threads apart. The +thread must not be drawn too tightly, so +that when the seam is finished and flattened +with the thimble, the selvedges may +lie, side by side.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_11" id="fig_11"></a> +<img src="images/013.jpg" alt="FIG. 11. +TOP OR OVER-SEWING +STITCH." title="" /> +<span class="caption smcap">Fig. 11. +Top or over-sewing +stitch.</span> +</div> + +<p><b>Another kind of sewing-stitch</b> (fig. +<a href="#fig_12">12</a>)—For dress-seams and patching; sew +left to right, tacking or pinning the +edges together first, and holding them +tightly with the thumb and finger, to keep +perfectly even.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_12" id="fig_12"></a> +<img src="images/014.jpg" alt="FIG. 12. +ANOTHER KIND OF +SEWING-STITCH." title="" /> +<span class="caption smcap">Fig. 12. +Another kind of +sewing-stitch.</span> +</div> + +<p><b>Antique or old-German seam</b> (figs. <a href="#fig_13">13</a> +and <a href="#fig_14">14</a>).—Tack or pin the selvedges together +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 selvedge, +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 produced. +Seams of this kind occur in old embroidered +linen articles, where the stuff was +too narrow to allow for any other. A +similar stitch, fig. <a href="#fig_14">14</a>, only slanting, +instead of quite straight, as in fig. <a href="#fig_13">13</a>, is used in making +sheets.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="fig_13" id="fig_13"></a><a name="fig_14" id="fig_14"></a> +<div class="figleft" style="width: 107px;"> +<img src="images/015.jpg" alt="FIG. 13. +ANTIQUE OR OLD-GERMAN +SEAM." title="" /> +<span class="caption smcap">Fig. 13. +Antique or old-german +seam.</span> +</div> + +<div class="figright" style="width: 150px;"> +<img src="images/016.jpg" alt="FIG. 14. +ANTIQUE OR OLD +GERMAN SEAM." title="" /> +<span class="caption smcap">Fig. 14. +Antique or old +german seam.</span> +</div> +</div> +<p><a name="Page_8" id="Page_8"></a></p> + + +<p><b>French double seam</b> (fig. <a href="#fig_15">15</a>).—For joining such stuffs +as fray, use the so-called French-seam.</p> + +<p>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 +are 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.</p> + +<div class="figcenter" style="width: 150px;"> +<a name="fig_15" id="fig_15"></a> +<img src="images/017.jpg" alt="FIG. 15. +FRENCH DOUBLE-SEAM." title="" /> +<span class="caption smcap">Fig. 15. +French double-seam.</span> +</div> + +<p><b>Hemmed double +seam</b> (figs. <a href="#fig_16">16</a> and <a href="#fig_17">17</a>).—Turn +in the two raw +edges, and lay them one +upon the other, so that +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. <a href="#fig_17">17</a> 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.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="fig_16" id="fig_16"></a> +<div class="figleft" style="width: 150px;"> +<img src="images/018.jpg" alt="FIG. 16. +HEMMED DOUBLE-SEAM." title="" /> +<span class="caption smcap">Fig. 16. +Hemmed double-seam.</span> +</div> + +<a name="fig_17" id="fig_17"></a> +<div class="figright" style="width: 150px;"> +<img src="images/019.jpg" alt="FIG. 17. +OPEN HEMMED DOUBLE-SEAM." title="" /> +<span class="caption smcap">Fig. 17. +Open hemmed double-seam.</span> +</div> +</div> + +<p><a name="gathering" id="gathering"></a><b>Gathering</b> (fig. <a href="#fig_18">18</a>).—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.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_18" id="fig_18"></a> +<img src="images/020.jpg" alt="FIG. 18. GATHERING." title="" /> +<span class="caption smcap">Fig. 18. Gathering.</span> +</div> + +<p><a name="Page_9" id="Page_9"></a></p> + +<p><b>Stroking gathers</b> (fig. <a href="#fig_19">19</a>).—When you have run in your +gathering thread, draw it up tight, and make it fast round the +finger of your left hand, and then stroke down the gathers +with a strong needle, so that they lie evenly side by side, +pushing each gather, in stroking +it, under your left thumb, +whilst you support the stuff +at the back with your other +fingers.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="fig_19" id="fig_19"></a> +<img src="images/021.jpg" alt="FIG. 19. STROKING GATHERS." title="" /> +<span class="caption smcap">Fig. 19. Stroking gathers.</span> +</div> + + +<p><b>Running in a second +gathering thread</b> (fig. <a href="#fig_20">20</a>).—This +is to fix the gathers after +they have been stroked, and +should be run in 1 or 2 c/m. +below the first thread, according to the +kind of stuff, and the purpose it is intended +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.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_20" id="fig_20"></a> +<img src="images/022.jpg" alt="FIG. 20. +RUNNING IN A SECOND GATHERING-THREAD." title="" /> +<span class="caption smcap">Fig. 20. +Running in a second gathering-thread.</span> +</div> + + +<p><b>Sewing on gathers</b> (fig. <a href="#fig_21">21</a>).—To +distribute the fulness equally, +divide the gathered portion of ma<a name="Page_10" id="Page_10"></a>terial, +and the band, or plain piece, on to which it is to be +sewn, into equal parts, and pin the two together at corresponding +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.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_21" id="fig_21"></a> +<img src="images/023.jpg" alt="FIG. 21. SEWING ON GATHERS." title="" /> +<span class="caption smcap">Fig. 21. Sewing on gathers.</span> +</div> + + +<p><b>Whipping</b> (fig. <a href="#fig_22">22</a>).—Whipping is another form of gathering, +used for fine materials. +With the thumb and forefinger +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 distances, +and draw up the thread +slightly, from time to time, to +form the gathers.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_22" id="fig_22"></a> +<img src="images/024.jpg" alt="FIG. 22. WHIPPING." title="" /> +<span class="caption smcap">Fig. 22. Whipping.</span> +</div> + + + +<p><b>Ornamental hem</b> (fig. <a href="#fig_23">23</a>). +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. <a href="#fig_23">23</a>. By slightly drawing +the thread, the straight edge will be made +to look as if it were scalloped.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_23" id="fig_23"></a> +<img src="images/025.jpg" alt="FIG. 23. ORNAMENTAL HEM." title="" /> +<span class="caption smcap">Fig. 23. Ornamental hem.</span> +</div> + + +<p><a name="sewing_on_cord" id="sewing_on_cord"></a><b>Sewing on cord</b> (fig. <a href="#fig_24">24</a>).—For sewing +on cord, use strong thread, either Fil +d'Alsace D.M.C, Fil à dentelle D.M.C or +Câblé 6 fils D.M.C No. 25, 30, 35 or 40.<sup><a href="#Footnote_A">[A]</a></sup> +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.</p> + +<div class="figcenter" style="width: 150px;"> +<a name="fig_24" id="fig_24"></a> +<img src="images/026.jpg" alt="FIG. 24. SEWING ON CORD." title="" /> +<span class="caption smcap">Fig. 24. Sewing on cord.</span> +</div> + + +<p><a name="Page_11" id="Page_11"></a></p> +<p><b>Sewing on flaps</b> (fig. <a href="#fig_25">25</a>).—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 preferable, +as the holding in cannot be +done by machine.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_25" id="fig_25"></a> +<img src="images/027.jpg" alt="FIG. 25. SEWING ON FLAPS." title="" /> +<span class="caption smcap">Fig. 25. Sewing on flaps.</span> +</div> + + + +<p><b>Sewing on tape-loops</b> (figs. <a href="#fig_26">26</a> +and <a href="#fig_27">27</a>).—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 15 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, +shewn in the illustration. Join +the two edges of the tape together +in the middle with a few cross-stitches, +and stitch the edge of +the hem of the article to the loop, +on the right side.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="fig_26" id="fig_26"></a><a name="fig_27" id="fig_27"></a> +<div class="figleft" style="width: 150px;"> +<img src="images/028.jpg" alt="FIG. 26. SEWING ON +TAPE-LOOPS TO THE CORNER." title="" /> +<span class="caption smcap">Fig. 26. Sewing on +tape-loops to the corner.</span></div> + +<div class="figright" style="width: 150px;"> +<img src="images/029.jpg" alt="FIG. 27. SEWING ON TAPE-LOOPS IN +THE MIDDLE OF THE ARTICLE." title="" /> +<span class="caption smcap">Fig. 27. Sewing on tape-loops in +the middle of the article.</span></div> +</div> + + +<p>Fig. <a href="#fig_27">27</a> 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.</p> + +<p><b>Strings and loops for fine +under-linen</b> (fig. <a href="#fig_28">28</a>).—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 stitching +crossing each other, and a third row along the edge.</p> + +<div class="figcenter" style="width: 150px;"> +<a name="fig_28" id="fig_28"></a> +<img src="images/030.jpg" alt="FIG. 28. +STRINGS AND LOOPS ON FINE +UNDER-LINEN." title="" /> +<span class="caption smcap">Fig. 28. +Strings and loops on fine +under-linen.</span> +</div> + + +<p><a name="button_holes" id="button_holes"></a><b>Button-holes in linen</b> (fig. <a href="#fig_29">29</a>).—Cut your hole perfectly +straight, and of exactly, the diameter of the button, having +<a name="Page_12" id="Page_12"></a>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 button-hole +stitching across each end, the +knotted edge towards the slit.</p> + +<div class="figcenter" style="width: 150px;"> +<a name="fig_29" id="fig_29"></a> +<img src="images/031.jpg" alt="FIG. 29. +BUTTON-HOLES IN LINEN." title="" /> +<span class="caption smcap">Fig. 29. +Button-holes in linen.</span> +</div> + + +<p><b>Button holes in dress materials</b> +(fig. <a href="#fig_30">30</a>).—Mark out and cut them as +above described; if however, the material +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. <a href="#fig_29">29</a>.</p> + +<div class="figcenter" style="width: 150px;"> +<a name="fig_30" id="fig_30"></a> +<img src="images/032.jpg" alt="FIG. 30. +BUTTON-HOLES IN DRESS-MATERIALS." title="" /> +<span class="caption smcap">Fig. 30. +Button-holes in dress-materials.</span> +</div> + +<p><a name="sewing_on_buttons" id="sewing_on_buttons"></a><b>Sewing on buttons</b> (figs. <a href="#fig_31">31</a> and <a href="#fig_32">32</a>).—To +sew linen, or webbed buttons on to underclothing, +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, diverging +from the centre like a star, and if +you like, encircle them by a row of stitching, +as in fig. <a href="#fig_32">32</a>. This done, bring the +needle out between the stuff and the button, and twist the +<a name="Page_13" id="Page_13"></a>cotton six or seven times round it, then push the needle through +to the wrong side, and fasten off.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="fig_31" id="fig_31"></a> +<div class="figleft" style="width: 150px;"> +<img src="images/033.jpg" alt="FIG. 31. SEWING ON +LINEN BUTTONS." title="" /> +<span class="caption smcap">Fig. 31. Sewing on +linen buttons.</span></div> + +<a name="fig_32" id="fig_32"></a> +<div class="figright" style="width: 150px;"> +<img src="images/034.jpg" alt="FIG. 32. SEWING ON +WEBBED BUTTONS." title="" /> +<span class="caption smcap">Fig. 32. Sewing on +webbed buttons.</span></div> +</div> + +<p><a name="binding_slits" id="binding_slits"></a><b>Binding slits</b> (figs. <a href="#fig_33">33</a>, <a href="#fig_34">34</a>, <a href="#fig_35">35</a>, <a href="#fig_36">36</a>).—Nothing is more apt +to tear than a slit whether +it be hemmed or merely +bound. To prevent this, +make a semicircle of button-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 stitches.</p> + +<p>In fig. <a href="#fig_33">33</a>, we show a +hemmed slit, and in figs. +<a href="#fig_34">34</a> and <a href="#fig_35">35</a>, are two slits +backed the one with a +narrow, the other, with a +broad piece of the material, +cut on the cross.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="fig_33" id="fig_33"></a> +<div class="figleft" style="width: 106px;"> +<img src="images/035.jpg" alt="FIG. 33. BINDING SLITS +WITH HEM." title="" /> +<span class="caption smcap">Fig. 33. Binding slits +with hem.</span></div> + +<a name="fig_34" id="fig_34"></a> +<div class="figright" style="width: 111px;"> +<img src="images/036.jpg" alt="FIG. 34. BINDING SLITS +WITH PIECE ON CROSS." title="" /> +<span class="caption smcap">Fig. 34. Binding slits +with piece on cross.</span></div> +</div> + +<div class="figcenter" style="width: 350px;"> +<a name="fig_35" id="fig_35"></a> +<div class="figleft" style="width: 142px;"> +<img src="images/037.jpg" alt="FIG. 35. BINDING SLITS +WITH BROAD BAND." title="" /> +<span class="caption smcap">Fig. 35. Binding slits +with broad band.</span></div> + +<a name="fig_36" id="fig_36"></a> +<div class="figright" style="width: 105px;"> +<img src="images/038.jpg" alt="FIG. 36. STRENGTHENING +SLITS WITH +GUSSET." title="" /> +<span class="caption smcap">Fig. 36. Strengthening +slits with +gusset.</span></div> +</div> + + +<p>In under-linen, it often +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. <a href="#fig_36">36</a>. +Such little squares of material, +inserted into a slit or seam, to +prevent its tearing, are called +gussets.</p> + +<p><a name="sewing_on_piping" id="sewing_on_piping"></a><b>Sewing on piping</b> (fig. <a href="#fig_37">37</a>). +Piping is a border, consisting of a cord or bobbin, folded into +<a name="Page_14" id="Page_14"></a>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 +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.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_37" id="fig_37"></a> +<img src="images/039.jpg" alt="FIG. 37. SEWING ON PIPING." title="" /> +<span class="caption smcap">Fig. 37. Sewing on piping.</span> +</div> + +<p><a name="fixing_whale_bones" id="fixing_whale_bones"></a><b>Fixing whale-bones</b> (fig. <a href="#fig_38">38</a>).—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 +rays or crossing each other as +shown in fig. <a href="#fig_38">38</a>.</p> + +<div class="figcenter" style="width: 70px;"> +<a name="fig_38" id="fig_38"></a> +<img src="images/040.jpg" alt="FIG. 38. +FIXING WHALE-BONES." title="" /> +<span class="caption smcap">Fig. 38. +Fixing whale-bones.</span> +</div> + +<p><b>Herring-boning</b> (fig. <a href="#fig_39">39</a>).—This +stitch is chiefly used for +seams in flannel, and for overcasting +dress-seams, and takes +the place of hemming, for fastening down the raw 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 crossing +each other diagonally, as shewn in fig. <a href="#fig_39">39</a>.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_39" id="fig_39"></a> +<img src="images/041.jpg" alt="FIG. 39. HERRING-BONING" title="" /> +<span class="caption smcap">Fig. 39. Herring-boning</span> +</div> + +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_2.html">Next Chapter.</a></p> +<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents</a></p> + +<hr style='width: 45%;' /> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Our readers should be provided with a French metre, with the English +yard marked on the back for purposes of comparison.</p></div> + +<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> 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.</p></div> +</div> +</body> +</html> |