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diff --git a/old/20776-h/chapter_15.html b/old/20776-h/chapter_15.html new file mode 100644 index 0000000..b0afcde --- /dev/null +++ b/old/20776-h/chapter_15.html @@ -0,0 +1,1295 @@ +<!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_517" id="Page_517"></a></p> + + + + +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 600px;"> +<img src="images/843.jpg" alt="APPLIQUÉ WORK ON SATIN SET WITH FINE CORD." title="" /> +<span class="caption smcap">Appliqué work on satin set with fine cord.</span> +</div> +<hr style="width: 15%;" /> + +<h2><a name="Miscellaneous_fancy_work" id="Miscellaneous_fancy_work"></a>Miscellaneous fancy work.</h2> +<hr style="width: 15%;" /> + + +<p>As the plan on which this book was constructed rendered +a systematic classification of the different subjects it treats of +necessary, a certain amount of miscellaneous fancy work, +which does not come under any of the previous headings +remains to be dealt with in the present chapter. In most +cases the illustrations and the accompanying directions are but +an application to a practical use of the different kinds of stitches +already described in previous chapters and those who are +familiar with all these various branches of needlework will have +no difficulty in understanding what follows.</p> + +<p><b><a name="Knotted_cord" id="Knotted_cord"></a>Knotted cord</b> (figs. <a href="#fig_831">831</a>, <a href="#fig_832">832</a>, <a href="#fig_833">833</a>, <a href="#fig_834">834</a>, <a href="#fig_835">835</a>).—The knotted +cord referred to in the letter press belonging to figs. <a href="./chapter_13.html#fig_772">772</a> and +<a href="./chapter_13.html#fig_773">773</a> in the chapter on <a href="./chapter_13.html">Irish lace</a>, comes under the present +heading: in making it, the fingers take the place of a crochet +needle.</p> + +<p>You tie two ends of thread or braid together, take one +thread in the left hand fig. <a href="#fig_831">831</a>, and with the forefinger of the +right, pull out a loop long enough for the left forefinger to +pass through and hold the end of the thread tight with the +little finger of the right hand.</p> + +<p>Then draw the left forefinger backwards through the loop +and behind the thread that is round the loop and lies in the +left hand, fig. <a href="#fig_832">832</a>. As you lay the thread round the left fore<a name="Page_518" id="Page_518"></a>finger, +you must pass the knot and the ends of thread as well, +over into the left hand, and with the right hand pull the +thread that lies on the right and draw up the loop, fig. <a href="#fig_833">833</a>.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/844.jpg" alt="FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS." title="" /> +<a name="fig_831" id="fig_831"></a><span class="caption smcap">Fig. 831. Knotted cord. First position of the hands.</span> +</div> + +<div class="figcenter" style="width: 500px;"> +<img src="images/845.jpg" alt="FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS." title="" /> +<a name="fig_832" id="fig_832"></a><span class="caption smcap">Fig. 832. Knotted cord. Second position of the hands.</span> +</div> + +<div class="figcenter" style="width: 550px;"> +<img src="images/846.jpg" alt="FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS." title="" /> +<a name="fig_833" id="fig_833"></a><span class="caption smcap">Fig. 833. Knotted cord. Third position of the hands.</span> +</div> + +<p>In fig. <a href="#fig_834">834</a>, representing the fourth position of the hands, +you are shown how the forefinger of the right hand lifts up the +thread and passes through the loop on the left hand; the end +will consequently also pass immediately into the right hand +and the left hand will tighten the knot.</p><p><a name="Page_519" id="Page_519"></a></p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/847.jpg" alt="FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS." title="" /> +<a name="fig_834" id="fig_834"></a><span class="caption smcap">Fig. 834. Knotted cord. Fourth position of the hands.</span> +</div> + +<p>It is by thus drawing up first a loop on the right and then +one on the left that this pretty cord is produced.</p> + +<p>Skilful hands will soon learn to make a cord of the same +kind with four threads, as follows: knot the four ends of thread +together, make a few knots, using two threads as one, then +dropping the loop on your forefinger, put the next one upon +it and draw up the knot, passing however the +threads over those that you dropped. Then +drop the loop you have on your finger again +and take up the first loops.</p> + +<p>For the cord made with double threads, +represented in fig. <a href="#fig_835">835</a> on a magnified scale, +use Cordonnet 6 fils D.M.C or one of the other +materials mentioned at the foot of the illustration. +Soutache D.M.C will always be found to +be very suitable for this purpose.</p> + +<div class="figcenter" style="width: 125px;"> +<img src="images/848.jpg" alt="FIG. 835. KNOTTED CORD." title="" /> +<a name="fig_835" id="fig_835"></a><span class="caption"><span class="smcap">Fig. 835. Knotted cord.<br /> +Materials</span>: Fil à +pointer D.M.C Nos. +10 to 30, Coton à tricoter +D.M.C Nos. 6 to +12, Cordonnet 6 fils +D.M.C Nos. 3 to 25 +or Soutache D.M.C +Nos. 1 to 3.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b><a name="Balls_for_trimmings" id="Balls_for_trimmings"></a>Balls for trimmings</b> (figs. <a href="#fig_836">836</a>, <a href="#fig_837">837</a>, <a href="#fig_838">838</a>, +<a href="#fig_839">839</a>, <a href="#fig_840">840</a>, <a href="#fig_841">841</a>).—Amongst the crochet patterns +are two that are finished off with balls; to +make these, begin by cutting a number of +rounds of cardboard, two for every ball, with +holes in the middle, fig. <a href="#fig_836">836</a>.</p> + +<p>If you have a great many balls to make +<a name="Page_520" id="Page_520"></a>it is well worth your while providing yourself with a metal +die of the proper size, to cut the rounds with.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/849.jpg" alt="FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD." title="" /> +<a name="fig_836" id="fig_836"></a><span class="caption smcap">Fig. 836. Balls for trimmings. Circle of cardboard.</span> +</div> + +<div class="figcenter" style="width: 350px;"> +<img src="images/850.jpg" alt="FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF CARDBOARD." title="" /> +<a name="fig_837" id="fig_837"></a><span class="caption smcap">Fig. 837. Balls for trimmings. Overcasting the circle of cardboard.</span> +</div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/851.jpg" alt="FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND THE EDGE." title="" /> +<a name="fig_838" id="fig_838"></a><span class="caption smcap">Fig. 838. Balls for trimmings. Cutting the stitches round the edge.</span> +</div> + +<div class="figcenter" style="width: 150px;"> +<img src="images/852.jpg" alt="FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP." title="" /> +<a name="fig_839" id="fig_839"></a><span class="caption smcap">Fig. 839. Balls for trimmings. Putting in the loop.</span> +</div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/853.jpg" alt="FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE CARDBOARD." title="" /> +<a name="fig_840" id="fig_840"></a><span class="caption smcap">Fig. 840. Balls for trimmings. Cutting out the cardboard.</span> +</div> + +<div class="figcenter" style="width: 200px;"> +<img src="images/854.jpg" alt="FIG. 841. BALL COMPLETED WITH LOOP ATTACHED." title="" /> +<a name="fig_841" id="fig_841"></a><span class="caption smcap">Fig. 841. Ball completed with loop attached.</span> +</div> + +<p>Lay two of these rounds together and cover them closely +with stitches, fig. <a href="#fig_837">837</a>, using for this purpose Coton à tricoter<a name="Page_521" id="Page_521"></a> +D.M.C (knitting cotton) or Coton à repriser D.M.C (darning +cotton).<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<p>When the round is entirely covered, put the scissors in +between the two circles of cardboard and cut open the stitches +all round the outer edge, fig. <a href="#fig_838">838</a>; then draw a piece of thread +between the two circles and knot it firmly round the stitches +that meet in the centre hole, fig. <a href="#fig_839">839</a>; leave sufficiently long +ends of thread hanging to form a loop by which the ball can +afterwards be fastened to the heading of the fringe; when the +stitches are knotted together you cut and pull out the cardboard, +fig. <a href="#fig_840">840</a>, and snip the thread with your scissors until it +becomes quite fluffy and the ball is perfectly round, as shown +in fig. <a href="#fig_841">841</a>.</p> + +<p><b><a name="Tambour_work" id="Tambour_work"></a>Tambour work</b> (figs. <a href="#fig_842">842</a>, <a href="#fig_843">843</a>, <a href="#fig_844">844</a>, <a href="#fig_845">845</a>).—Since the +introduction of the sewing machine, by means of which this +charming kind of embroidery can be so quickly and +easily executed, it has somewhat gone out of favour. +As however, the fine patterns with a good deal +of shading in them, can be far more accurately +worked by hand than by machine, tambouring, which +is in point of fact merely a form of crochet, has lately +been revived. The piece of stuff on which the tambour +work is to be done must be mounted on a frame.</p> + +<div class="figcenter" style="width: 100px;"> +<img src="images/855.jpg" alt="FIG. 842. THIMBLE FOR TAMBOURING." title="" /> +<a name="fig_842" id="fig_842"></a><span class="caption smcap">Fig. 842. Thimble for tambouring.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/856.jpg" alt="FIG. 843. TAMBOUR NEEDLE." title="" /> +<a name="fig_843" id="fig_843"></a><span class="caption smcap">Fig. 843. Tambour needle.</span> +</div> + +<p>The loops which are made with a small hook, +called a tambour needle, form a fine chain stitch and +must be regular and even; to facilitate this a sort of thimble, +fig. <a href="#fig_842">842</a>, is worn on the forefinger of the right hand, formed +of a small plate of sheet brass, rolled up but not joined, so +as to fit any finger; it is open at the top like a tailor's +thimble and has a little notch on the side which is placed +above the nail, and in which you lay the tambour needle whilst +<a name="Page_522" id="Page_522"></a>you work. From the thimble being cut slightly slanting at the +top, it follows that the inside where the two ends meet is a +little shorter than the outside.</p> + +<p>The thread is drawn through in a loop to the front of the +work by means of the hook, whilst it is held at the back in +the left hand, and when the needle is put downwards through +the stuff, laid round it. The needle in its downward and upward +passage, should be kept in the notch in the thimble and +the stuff pressed down with the thimble, as the needle is drawn +up to the surface of the work, fig. <a href="#fig_844">844</a>.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/857.jpg" alt="FIG. 844. POSITION OF THE HANDS IN TAMBOURING." title="" /> +<a name="fig_844" id="fig_844"></a><span class="caption smcap">Fig. 844. Position of the hands in tambouring.</span> +</div> + +<p>A little practice is necessary to acquire the right action of the +hands, there being always a tendency, the same as in tatting +and macramé, to confuse the movements of the two. As soon +as you realize that the upward drawing of the needle and the +downward pressure of the stuff with the thimble must be +<a name="Page_523" id="Page_523"></a>simultaneous, you will find that you can work with great rapidity +and with admirable results. Thread with a very strong +twist, which the hook will not split, is the only suitable kind +for tambouring. Of the D.M.C materials, Fil d'Alsace<a href="#Footnote_A" class="fnanchor">[A]</a> and +Fil à dentelle<a href="#Footnote_A" class="fnanchor">[A]</a> are the most to be recommended.</p> + +<p>Numbers of patterns, originally intended for other kinds of +embroidery can be executed in tambour work; amongst those +contained in this Encyclopedia, figs. <a href="./chapter_5.html#fig_192">192</a>, <a href="./chapter_5.html#fig_210">210</a>, <a href="./chapter_5.html#fig_216">216</a>, <a href="./chapter_5.html#fig_219">219</a>, and +<a href="./chapter_6.html#fig_227">227</a> are the ones that are best adapted to the purpose.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/858.jpg" alt="FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE." title="" /> +<a name="fig_845" id="fig_845"></a><span class="caption smcap">Fig. 845. Drawing out the thread with the needle.</span> +</div> + +<p><b><a name="Smyrna_stitch" id="Smyrna_stitch"></a>Smyrna stitch worked with a crochet-needle</b> (figs. <a href="#fig_846">846</a>, +<a href="#fig_847">847</a>, <a href="#fig_848">848</a>, <a href="#fig_849">849</a>).—In the chapter on tapestry, p. <a href="./chapter_7.html#Page_137">137</a> we remarked +that Oriental carpets and mats could be worked in +<a name="Page_524" id="Page_524"></a>different other ways, to be subsequently alluded to at greater +length.</p> + +<div class="figcenter" style="width: 550px;"> +<a name="fig_846" id="fig_846"></a><a name="fig_847" id="fig_847"></a> +<div class="figleft" style="width: 200px;"> +<img src="images/859.jpg" alt="FIG. 846. SMYRNA STITCH +WORKED WITH A CROCHET +NEEDLE. FIRST DETAIL." title="" /> +<span class="caption smcap">Fig. 846. Smyrna stitch +worked with a crochet +needle. First detail.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/860.jpg" alt="FIG. 847. +SMYRNA STITCH WORKED WITH A +CROCHET NEEDLE. SECOND DETAIL." title="" /> +<span class="caption smcap">Fig. 847. +Smyrna stitch worked with a +crochet needle. Second detail.</span> +</div> +</div> + + +<p>Smyrna stitch requires only a crochet needle and is worked +on very coarse canvas or Java linen. You take a coarse mesh +of cotton, such as Nos. 6, 8 or 10 of Colon à tricoter D.M.C +(knitting cotton), cut it into lengths of 8 c/m., fold two lengths +together in half, stick in the crochet needle from above, under +two threads of the canvas, take hold of the loop with the hook, +<a name="Page_525" id="Page_525"></a>fig. <a href="#fig_846">846</a>, and draw it in; then push out the hook to seize the +ends of the cotton and draw them through the loop which is +on the needle, as indicated by the little arrow in fig. <a href="#fig_847">847</a>. The +stitches or tassels should be two or three double threads of +the canvas apart. As you finish each row, comb the ends of +the tassels out carefully with a fine metal comb. When the +whole piece of work is finished shear the entire surface, quite +even, with a pair of sharp scissors. Fig. <a href="#fig_849">849</a> shows a square +of the work completed, presenting that warm velvety appearance +which distinguishes the Smyrna carpets.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_848" id="fig_848"></a><a name="fig_849" id="fig_849"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/861.jpg" alt="FIG. 848. SMYRNA STITCH +WORKED WITH A CROCHET NEEDLE. +APPEARANCE OF THE KNOTS UNDERNEATH." title="" /> +<span class="caption smcap">Fig. 848. Smyrna stitch +worked with a crochet needle. +Appearance of the knots underneath.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/862.jpg" alt="FIG. 849. SMYRNA STITCH +WORKED WITH A CROCHET NEEDLE. +APPEARANCE OF THE WORK WHEN FINISHED." title="" /> +<span class="caption smcap">Fig. 849. Smyrna stitch +worked with a crochet needle. +Appearance of the work when finished.</span> +</div> +</div> + +<p><b><a name="Malta_stitch" id="Malta_stitch"></a>Malta stitch</b> (figs. <a href="#fig_850">850</a>, <a href="#fig_851">851</a>, <a href="#fig_852">852</a>, <a href="#fig_853">853</a>, <a href="#fig_854">854</a>).—This +<a name="Page_526" id="Page_526"></a>stitch is much used by the Maltese; it is the same as the «point +tricot» excepting that in the latter, the loops formed by the +return of the thread are open and the stitches packed very +closely together, whereas in the Maltese work there is always +one close loop and two open tassels.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_850" id="fig_850"></a><a name="fig_851" id="fig_851"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/863.jpg" alt="FIG. 850. MALTA STITCH. FIRST DETAIL." title="" /> +<span class="caption smcap">Fig. 850. Malta stitch. First detail.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/864.jpg" alt="FIG. 851. MALTA STITCH. SECOND DETAIL." title="" /> +<span class="caption smcap">Fig. 851. Malta stitch. Second detail.</span> +</div> +</div> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_852" id="fig_852"></a><a name="fig_853" id="fig_853"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/865.jpg" alt="FIG. 852. MALTA STITCH. THIRD DETAIL." title="" /> +<span class="caption smcap">Fig. 852. Malta stitch. Third detail.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/866.jpg" alt="FIG. 853. MALTA STITCH. FOURTH DETAIL." title="" /> +<span class="caption smcap">Fig. 853. Malta stitch. Fourth detail.</span> +</div> +</div> + + +<p>It is worked as follows: take a thick bunch of lengths of +Coton à repriser D.M.C, pass it under two vertical threads of +the stuff, from right to left, fig. <a href="#fig_850">850</a>, leaving an end, 1 or +2 c/m. long, lying on the surface of the work; put the needle +in again under the two threads that are in front of the first +stitch and leave the tassel, formed by the first stitch, above +<a name="Page_527" id="Page_527"></a>the one by which you bring the needle back between the +two stitches.</p> + +<p>The needle must now follow the same course it took for +the first stitch and the thread must be drawn out far enough +to form a loop as long as the tassel; you then repeat the +second stitch, carrying back the working thread however this +time above the loop, after which you cut the two open ends +the same length as the loop. In the Maltese work, three times +as many threads have to be left between the tassels as are +covered by the stitch.</p> + +<p>Thus if your stitch cover 4 threads of the foundation, you +should leave 12 threads between the tassels, and if it cover 6, +you should leave an interval of 18 threads, that the stuff may +always be visible between the little tassels or balls.</p> + +<p>Fig. <a href="#fig_854">854</a> represents a portion of a curtain, embroidered on +Flemish linen in the colours indicated at the foot of the engraving; +these may be arranged according to the taste of the worker.</p> +<div class="figcenter" style="width: 600px;"> +<img src="images/867.jpg" alt="FIG. 854. MALTA EMBROIDERY." title="" /> +<a name="fig_854" id="fig_854"></a><span class="caption"><span class="smcap">Fig. 854. Malta embroidery.<br /> +Materials</span>: Coton à repriser D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>: Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 311 and +Rouge-Cornouille 449.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>Malta embroidery is mostly done on coarse coloured linen +fabrics or on single thread canvas.</p> + +<p><b><a name="Triangular_Turkish_stitch" id="Triangular_Turkish_stitch"></a>Triangular Turkish stitch</b> (figs. <a href="#fig_855">855</a>, <a href="#fig_856">856</a>, <a href="#fig_857">857</a>, <a href="#fig_858">858</a>, <a href="#fig_859">859</a>). +Amongst the many pretty stitches for which Turkish embroideries +are distinguished, there is one in particular, which +though apparently very difficult, is in reality quite the reverse; +it resembles line stitch upon straight threads, only that in the +East it is generally worked in diagonal lines, each row requiring +two journeys to and fro.</p> + +<p>In the first, fig. <a href="#fig_855">855</a>, the needle must always be carried, +first over, then under two threads in a diagonal line and so on +to the end of the row.</p> + +<p>Coming back, you pass the needle under the stuff and the +stitch on the right side, and bring it out at the bottom of the +stitch; then you make a back stitch over two horizontal and +two vertical threads, pass the needle over two straight threads, +put it in behind the same, bring it out again near the upper +stitch and then insert it near the bottom vertical stitch; after +this you carry it to the second stitch lower down and pass it +over the same. Four threads should meet in every hole which +the needle makes. The third and fourth row should be worked +<a name="Page_528" id="Page_528"></a>in a colour that forms a sharp contrast with the one in which +the two first rows are worked and constitute with these one +complete row of stitches, fig. <a href="#fig_856">856</a>.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_855" id="fig_855"></a><a name="fig_856" id="fig_856"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/868.jpg" alt="FIG. 855. TRIANGULAR TURKISH STITCH +WORKED DIAGONALLY. +FIRST JOURNEY COMPLETED AND SECOND +BACK, BEGUN." title="" /> +<span class="caption smcap">Fig. 855. Triangular turkish stitch +worked diagonally. +First journey completed and second +back, begun.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/869.jpg" alt="FIG. 856. TRIANGULAR TURKISH STITCH +WORKED DIAGONALLY. +TWO JOURNEYS TO AND FRO FORMING THE +COMPLETE ROW." title="" /> +<span class="caption smcap">Fig. 856. Triangular turkish stitch +worked diagonally. +Two journeys to and fro forming the +complete row.</span> +</div> +</div> + +<p>Figs. <a href="#fig_857">857</a>, <a href="#fig_858">858</a> and <a href="#fig_859">859</a> show how the same stitch can be +worked in straight, instead of in diagonal rows.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_857" id="fig_857"></a><a name="fig_858" id="fig_858"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/870.jpg" alt="FIG. 857. TRIANGULAR TURKISH STITCH +WORKED HORIZONTALLY. +FIRST JOURNEY." title="" /> +<span class="caption smcap">Fig. 857. Triangular turkish stitch +worked horizontally. +First journey.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/871.jpg" alt="FIG. 858. TRIANGULAR TURKISH STITCH +WORKED HORIZONTALLY. +FIRST JOURNEY BACK." title="" /> +<span class="caption smcap">Fig. 858. Triangular turkish stitch +worked horizontally. +First journey back.</span> +</div> +</div> + +<p>The dark shade in fig. <a href="#fig_859">859</a> shows the first row of stitches, +the light, the second, or rather the third and fourth, as four +rows of stitches are required to make one complete row of triangular +Turkish stitch.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/872.jpg" alt="FIG. 859. TRIANGULAR TURKISH STITCH +WORKED HORIZONTALLY. +SECOND JOURNEY BACK." title="" /> +<a name="fig_859" id="fig_859"></a><span class="caption smcap">Fig. 859. Triangular turkish stitch +worked horizontally. +Second journey back.</span> +</div> + + +<p><b>Pattern worked in triangular Turkish stitch and +Gobelin stitch</b> (fig. <a href="#fig_860">860</a>).—The diagonal lines are all worked +with Chiné gold and blue, and gold and red. The stitch we +<a name="Page_529" id="Page_529"></a>have just described is most effective in conjunction with other +kinds of embroidery, as illustrated in fig. <a href="#fig_860">860</a>, where it is +combined with Gobelin stitch.</p> + +<p>The running foundation is +divided into slanting squares; +the diagonal lines are all worked +in gold and red. The squares +number 9 stitches inside, these +are followed by a tenth which +is covered by the first stitch of +the next square. Where two +kinds of coloured gold thread +are used, one square will be +framed on all sides by one kind, say, gold and blue for instance, +the next by the other, gold and red.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/873.jpg" alt="FIG. 860. PATTERN WORKED IN TRIANGULAR TURKISH STITCH." title="" /> +<a name="fig_860" id="fig_860"></a><span class="caption"><span class="smcap">Fig. 860. Pattern worked in triangular turkish stitch.<br /> +Materials</span>: Chiné d'or D.M.C.<br /> +<span class="smcap">Colours</span>: Gold and red, gold and dark blue, gold and light blue, gold and green.</span> +</div> + +<p>The stalk that divides the two little leaves and has a small +<a name="Page_530" id="Page_530"></a>lozenge at the top, is begun above the fifth of the 9 stitches; +you make 5 stitches, but in such a manner as to end at the top +of these 5 with the stitch that runs in a diagonal direction +over the threads, turned to the inside of the stalk, so that the +last stitch of the first row may form with the first stitch of +the second row, a triangle at the top of the stalk, which is +surmounted by the aforesaid lozenge.</p> + +<p>The lozenges in Chiné gold and light blue, of which there +are three in each of the half squares, besides those that terminate +the stalk, consist of 9 stitches, the first, extending over +3 threads, the second over 5, the third over 7, the fourth over +9 and the fifth over 11; the four next decreasing in a similar +manner. The leaves in Chiné gold and green, on either side +of the stalk, also begin with a stitch over 3 threads of the +stuff, followed by 8, each increasing in length by one thread +on the side of the stalk, but all equal on the other, the last +extending over 12 threads of the stuff. After these 9, the subsequent +8 must decrease in the same manner by one thread +on the opposite side; +then you make 4 more +extending over only 3 +threads and set the +contrary way to the +others.</p> + +<p>The zig-zag border +and the small squares +of 5 stitches within it +are worked entirely in +Chiné gold and red.</p> + +<p><b><a name="Turkish_embroidery" id="Turkish_embroidery"></a>Turkish embroidery</b> +(fig. <a href="#fig_861">861</a>).—The +powdering of flowers +and also the border +are worked like the +preceding pattern in +two-sided Gobelin +<a name="Page_531" id="Page_531"></a>stitch. Embroidery of this kind looks best on Algerian linen, +which is exactly like the Turkish stuff. It is not absolutely +necessary to count the threads for the little flowers and stalks, +but it is as well to do so for the border, that you may be sure +to get the zig-zags perfectly regular.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/874.jpg" alt="FIG. 861. TURKISH EMBROIDERY." title="" /> +<a name="fig_861" id="fig_861"></a><span class="caption"><span class="smcap">Fig. 861. Turkish embroidery.<br /> +Materials</span>: Chiné d'or D.M.C No. 30 and Coton +à broder D.M.C No. 40.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>—For the Chiné: Gold and red, gold +and dark blue and gold and green. +For the Coton à broder: Noir grand-teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The petals of the flowers are worked alternately in Chiné +gold and red, and gold and blue, the centre in Or fin D.M.C +pour la broderie and the leaves and stalks in Chiné gold and +green. The petals are set with stem stitch in fine black Coton +à broder and if the embroidery is to be the same on both +sides this setting must be repeated at the back.</p> + +<p>The distribution of colours in the border is left to the taste +of the worker, but we should recommend for the zig-zags +Chiné gold and red, as being the most effective.</p> + +<p><b><a name="Appliqueacute_work" id="Appliqueacute_work"></a>Appliqué work</b> (fig. <a href="#fig_862">862</a>).—Appliqué work means the +laying on of pieces of one kind of stuff on to a foundation of a +different kind, so as to form a pattern—these pieces of stuff +of various shapes and sizes, taking the place of solid needlemade +embroidery.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_875.jpg"><img src="images/875.jpg" alt="FIG. 862. APPLIQUÉ WORK." title="" /></a> +<a name="fig_862" id="fig_862"></a><span class="caption smcap">Fig. 862. Appliqué work.</span> +</div> + +<p>Appliqué work may be done on linen, silk, velvet, plush +and leather. The stuff out of which the pattern is cut has, in +most cases, to be backed first with very fine tissue paper.</p> + +<p>This is done in the following manner with starch paste, +which dries quicker than any other. Spread the paste on the +paper with a brush, carefully removing all the little lumps; it +should only be just liquid enough to make the stuff and the +paper adhere perfectly together and above all must never +penetrate to the right side of the stuff. When the paper has +been evenly spread with the paste, lay your stuff upon it and +smooth and press it down with a clean cloth, stroking it out +carefully in the line of the thread to prevent its becoming in +the least dragged or puckered, or any air remaining between +it and the paper.</p> + +<p>You next lay several sheets of paper without a mark or a +fold in them, on a perfectly smooth flat board, and upon these, +your paper-lined stuff, covered in its turn with several loose +sheets of paper, all being kept in their place by another +<a name="Page_532" id="Page_532"></a>board with several stones or heavy weights laid upon it to act +as a press. Leave the stuff in the press until it be quite dry. +You will find that any kind of fabric, even the slightest, +can be rendered available in this manner for appliqué work, +not even plush or velvet being in the least injured by the +process.</p> + +<p>You then transfer the whole pattern on to the foundation, +whatever it happen to be, but only the detached figures on to +the paper-lined stuff, carefully cutting out the latter with a very +sharp pair of scissors so as to avoid unravelling the threads +along the edges.</p> + +<p>The foundation, stretched in a frame, as described on page<a name="Page_533" id="Page_533"></a> +<a href="./chapter_6.html#Page_115">115</a>, fig. <a href="./chapter_6.html#fig_236">236</a>, is to be placed on a board or table in such a +manner that only the stuff rests upon it, whilst the frame +projects on all four sides.</p> + +<p>Then cover the cut-out figures with paste on the wrong +side and fit them into their proper places upon the foundation. +In larger pieces of work especially, this should be done +as quickly as possible so that a board with weights upon it, +to serve as a press, may be laid over them all at once.</p> + +<p>The board must not be removed until the paste be dry; then +you can begin the needlework, fastening down the appliqué +figures and finishing them off round the edges by laying down +a fine round, cord, or by flat stitches.</p> +<p><a name="Page_534" id="Page_534"></a></p> + +<p>You either sew on the cord with invisible stitches, opening +it a little at each stitch so as to slip the needle and +thread in between the twist, or else with ordinary overcasting +stitches.</p> + +<p>In either case it must be so laid on as completely to hide +the cut edges and keep them from fraying.</p> + +<p>Should you wish to frame the appliqué figures with flat +embroidery, you must bring your needle out close to the cut +edge and enter it, 1 or 2 m/m. within the edge from above.</p> +<p><a name="Page_535" id="Page_535"></a></p> +<p>Both, cord and flat stitch setting, should be of a subdued +shade and if possible, of a colour to match the foundation.</p> + +<p><b><a name="Morocco_embroidery" id="Morocco_embroidery"></a>Morocco embroidery</b> (figs. <a href="#fig_863">863</a>, <a href="#fig_864">864</a>, <a href="#fig_865">865</a>, <a href="#fig_866">866</a>).—This +work named after the country where it was originated, belongs +both to the class of darned and damask embroidery.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/876.jpg" alt="FIG. 863. MOROCCO EMBROIDERY." title="" /> +<a name="fig_863" id="fig_863"></a><span class="caption"><span class="smcap">Fig. 863. Morocco embroidery.<br /> +Materials</span>—According to the stuff: Fil à pointer D.M.C, Cordonnet 6 fils D.M.C, +Coton à broder D.M.C or Coton à repriser D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colour</span>: Rouge-Cardinal 346.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>In fig. <a href="#fig_864">864</a>, the stitches are formed by passing over 5 threads +and taking up the sixth. Coming back you take up the third +of the 5 threads first missed and proceed in the same manner +over the whole surface of the work, unless the lines of the +pattern require you to depart from this rule; as, for instance, +in certain parts of fig. <a href="#fig_864">864</a>, where you will notice stitches, +<a name="Page_536" id="Page_536"></a>carried over 7 or 8 threads; also in the borders, fig. <a href="#fig_865">865</a> and +<a href="#fig_866">866</a>, where the stitches are arranged in a rather arbitrary +manner, in order to bring out the pattern more clearly.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/877.jpg" alt="FIG. 864. MOROCCO EMBROIDERY. +QUARTER OF THE SUBJECTS OF FIG. 863." title="" /> +<a name="fig_864" id="fig_864"></a><span class="caption smcap">Fig. 864. Morocco embroidery.<br /> +Quarter of the subjects of fig. <a href="#fig_863">863</a>.</span> +</div> + +<p>Fig. <a href="#fig_864">864</a> represents the fourth part of one of the subjects +that make up the design +fig. <a href="#fig_863">863</a>; that is, four +such, joined together, +form one of the squares +of fig. <a href="#fig_863">863</a>.</p> + +<p>Figs. <a href="#fig_865">865</a> and <a href="#fig_866">866</a> are +patterns of two little borders +and an insertion, +suitable as a finish to +fig. <a href="#fig_863">863</a>, which can be enlarged to any size by the addition of +other squares to those that are represented here.</p> + +<div class="figcenter" style="width: 350px;"> +<img src="images/878.jpg" alt="FIG. 865. MOROCCO EMBROIDERY. +SMALL OUTER BORDER OF FIG. 863." title="" /> +<a name="fig_865" id="fig_865"></a><span class="caption smcap">Fig. 865. Morocco embroidery.<br /> +Small outer border of fig. <a href="#fig_863">863</a>.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/879.jpg" alt="FIG. 866. MOROCCO EMBROIDERY. +BORDER AND INSERTION SUITABLE FOR FIG. 863." title="" /> +<a name="fig_866" id="fig_866"></a><span class="caption smcap">Fig. 866. Morocco embroidery.<br /> +Border and insertion suitable for fig. <a href="#fig_863">863</a>.</span> +</div> + +<p>Most of the stuffs, already so frequently alluded to in this +work, can be used as a foundation for this kind of embroidery, +provided the right working materials to go with it are chosen; +Coton à tricoter or Fil à pointer should only be used for the +coarser stuffs, such as Rhodes linen No. 1, or Russian linen +and the different kinds of tammy cloth, whereas the other +kinds of D.M.C threads and cottons and especially the finer +numbers, are best adapted for embroidery on fine stuffs, such +as Rhodes linen No. 2, and Spanish or Algerian linen.</p> + +<p><b><a name="Spanish_embroidery" id="Spanish_embroidery"></a>Spanish embroidery</b> (figs. <a href="#fig_867">867</a> and <a href="#fig_868">868</a>).—Spanish em<a name="Page_537" id="Page_537"></a>broidery +consists almost exclusively of buttonhole stitch, fig. <a href="./chapter_5.html#fig_171">171</a>, and flat stitch, fig. <a href="./chapter_6.html#fig_221">221</a>.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_880.jpg"><img src="images/880.jpg" alt="FIG. 867. SQUARE OF SPANISH EMBROIDERY." title="" /></a> +<a name="fig_867" id="fig_867"></a><span class="caption"><span class="smcap">Fig. 867. Square of spanish embroidery.<br /> +Materials</span>: Or fin D.M.C pour la broderie No. 40, Coton à broder D.M.C +Nos. 50 and 100, or Fil à dentelle D.M.C No. 80.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>: Bleu-Indigo 312, 322, 334 and Bleu pâle 668.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The buttonhole stitches, for which the more subdued shade +of the colours indicated should always be taken, or else yellow, +dark or pale, to match the gold thread, are made over two +threads of gold and follow the outlines of the pattern, which +should be more or less appropriate to this style of embroidery. +One of the gold threads always keeps the inside of the line +and follows it throughout in an unbroken course, whilst with +<a name="Page_538" id="Page_538"></a>the second, the outside one, you form picots, folding the gold +thread over from right to left and catching down the loop by +a buttonhole stitch, which is introduced into the loop itself and +carried over the combined gold threads, as shown in the left +corner of fig. <a href="#fig_868">868</a>, representing one quarter of the whole design, +where the position of the needle and the way in which +the picot is secured are plainly indicated.</p> + +<p>For the scallops, a round material with rather a strong twist +should be used, such as Soie de coton D.M.C No. 100<a href="#Footnote_A" class="fnanchor">[A]</a> or +Fil à dentelle D.M.C Nos. 70 to 100<a href="#Footnote_A" class="fnanchor">[A]</a>, wound on reels.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/881.jpg" alt="FIG. 868. QUARTER OF THE PATTERN FOR FIG. 867, IN THE NATURAL SIZE." title="" /> +<a name="fig_868" id="fig_868"></a><span class="caption smcap">Fig. 868. Quarter of the pattern for fig. <a href="#fig_867">867</a>, in the natural size.</span> +</div> + +<p>Where the picots have to fill up empty spaces of a larger +size, you can join several together by connecting them each in +turn with the first.</p> +<p><a name="Page_539" id="Page_539"></a></p> +<p>When you have bordered all the outlines with buttonhole +stitches and picots, fill up the spaces enclosed within the lines, +which properly speaking form the pattern, with flat stitch +embroidery, worked in Coton à broder or Coton à repriser; +after which the whole surface is sewn over with fine little +spangles which give the sparkling look that constitutes the +peculiar charm of this kind of embroidery. The flowers are +covered with a fancy stitch that forms regular little lozenges, +and every second row of stitches is hidden under a spangle.</p> + +<p>With regard to the colours indicated at the foot of fig. <a href="#fig_867">867</a>, +this is how they were distributed in the original, from which +our engraving was taken; all the outlines in buttonhole stitch, +in Bleu pâle 668; the tops of the flowers in Bleu-Indigo 334; +the bottom parts in Bleu-Indigo 332, and all three shades of +blue so blended together in the solid parts of the design as +to be undistinguishable from each other. It is not absolutely +necessary to keep to the colours here indicated; there is no +reason whatever why a greater variety should not be introduced, +but in every case the more subdued shades should be selected; +a pale red, for instance, for the flowers, a green and a brown +for the arabesques, will always be found to produce a very +pretty and harmonious effect.</p> + +<p>When all the needlework is finished, you cut away the +stuff underneath the network formed by the picots, with a pair +of sharp scissors.</p> + +<p>A word remains to be said with regard to the copying of +fig. <a href="#fig_868">868</a>.</p> + +<p>Our readers will notice that in fig. <a href="#fig_867">867</a> the flowers and +arabesques succeed and grow out of each other; that whilst +the four quarters are symmetrical, yet at the same time, the +curves in each quarter take a different inclination.</p> + +<p>You cannot therefore simply repeat the subject four times; +when you have copied the one quarter, given in fig. <a href="#fig_868">868</a>, you +must lay this first quarter on again at the cross + on the left +side; when the second quarter is finished, you again turn the +copy to the left and tack it on at the +; when you come to the +fourth quarter the lines of the first quarter must exactly meet +those of the last. We beg here to draw attention to the direc<a name="Page_540" id="Page_540"></a>tions, +relative to the copying of patterns, given in the subsequent +chapter.</p> + +<p><b><a name="Basket_stitch_on_linen" id="Basket_stitch_on_linen"></a>Basket stitch on linen</b> (fig. <a href="#fig_869">869</a>).—This stitch has some +resemblance with the Greek +stitch, fig. <a href="./chapter_7.html#fig_278">278</a>, and the Montenegrin, +fig. <a href="./chapter_7.html#fig_306">306</a>, only that it is +not crossed like the latter.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/882.jpg" alt="FIG. 869. BASKET STITCH ON LINEN." title="" /> +<a name="fig_869" id="fig_869"></a><span class="caption smcap">Fig. 869. Basket stitch on linen.</span> +</div> + +<p>Basket stitch can be worked +on all kinds of stuffs, on counted +threads or on a wide or +narrow tracing, with fine or +coarse thread, and more or less +closely, according to the taste +of the worker.</p> + +<p>You insert the needle from right, and pass it +under, from 3 to 6 threads of the foundation, according to the +stuff and the material you are using, then downwards from +left to right, and over, from 6 to 8 threads, into the stuff again +from right to left; then you push it under +the stuff in an upward direction and bring it +out on the left in the middle of the space +left between the last stitch and the top of +the second. The dotted line in the engraving +indicates the course of the stitches.</p> + +<p><b>Old German knotted stitch</b> (fig. <a href="#fig_870">870</a>).—This +is a stitch often met with in old +church and house linen embroidery. A beautiful +design worked in this way is given +further on.</p> + +<div class="figcenter" style="width: 175px;"> +<img src="images/883.jpg" alt="FIG. 870. OLD GERMAN KNOTTED STITCH." title="" /> +<a name="fig_870" id="fig_870"></a><span class="caption smcap">Fig. 870. Old german knotted stitch.</span> +</div> + +<p>Contrary to most stitches, this is worked upwards; the +needle is put in horizontally under the stuff, the thread tightly +drawn, then laid from left to right and drawn through underneath +the first stitch and a tight knot made. We find the same +stitch, worked in a variety of ways, according to the taste and +skill of the worker; for instance the knots may be set slanting, +as in fig. <a href="#fig_870">870</a>, or else straight and very close together, +as in fig. <a href="#fig_873">873</a>, where they present the appearance of a close +string of beads, or again wide apart, as they are in fig. <a href="#fig_876">876</a>.</p><p><a name="Page_541" id="Page_541"></a></p> + +<p>All these ways are admissible but care should be taken in +each case, to make the stitches perfectly regular; it is the direction +which is given to the stitch and the number of threads +taken up with the needle that changes the appearance of the stitch.</p> + +<p><b>Raised stem stitch</b> (figs. <a href="#fig_871">871</a>, <a href="#fig_872">872</a>).—Take a very thick +thread, such as Fil à pointer +D.M.C No. 10 or 20, or one +of the coarser numbers of Cordonnet +6 fils D.M.C, lay it as +a foundation thread along the +line of your pattern and work +over it wide stem stitches, as +represented in figs. <a href="./chapter_5.html#fig_172">172</a> and +<a href="./chapter_5.html#fig_173">173</a>, either in the same number +of thread used for the +foundation thread, or a finer, +according to the stuff you are +embroidering upon.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_871" id="fig_871"></a><a name="fig_872" id="fig_872"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/884.jpg" alt="FIG. 871. +RAISED STEM STITCH." title="" /> +<span class="caption smcap">Fig. 871. +Raised stem stitch.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/885.jpg" alt="FIG. 872. +ANOTHER KIND OF RAISED STEM STITCH." title="" /> +<span class="caption smcap">Fig. 872. +Another kind of raised stem stitch.</span> +</div> +</div> + +<p>You may overcast the same +stitch in the manner indicated +in fig. <a href="#fig_872">872</a>, using a different +colour for the second layer +of stitches to produce an agreable +variety.</p> + +<p><b><a name="Border_in_different_kinds_of_stitches" id="Border_in_different_kinds_of_stitches"></a>Border in different kinds of stitches</b> (fig. <a href="#fig_873">873</a>).—The +straight lines of this border are all worked in old German +knotted stitch in écru thread, forming a thick round cord which +stands out from the surface in high relief; the flatter outlining of +the outside figures is done in basket stitch in soft blue knitting +cotton. The little oblong figures within the two inner lines of +the border are worked in Gobelin stitch, in red embroidery +cotton, and the filling of the figures, outlined in basket stitch, +in one or other of the Irish lace stitches, worked in white +lace thread, either so that all the stitches enter the stuff, or form +a network over it.</p> + +<p>The work may be simplified by sewing Soutache D.M.C or +Lacet superfin D.M.C along the straight lines instead of embroidering +them in basket stitch.</p><p><a name="Page_542" id="Page_542"></a></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/886.jpg" alt="FIG. 873. BORDER IN DIFFERENT KINDS OF STITCHES." title="" /> +<a name="fig_873" id="fig_873"></a><span class="caption"><span class="smcap">Fig. 873. Border in different kinds of stitches.<br /> +Materials</span>—For the old German knotted stitch: +Cordonnet 6 fils D.M.C No. 2, écru—For the basket +stitch: Coton à tricoter D.M.C No. 16, Bleu-Indigo +312—For the Gobelin stitches: Coton à broder D.M.C +No. 20, Rouge-Turc 321—For the lace stitches: +Fil à dentelle D.M.C No. 40, white.</span> +</div> + +<p><b><a name="Roumanian_stitch" id="Roumanian_stitch"></a>Roumanian +stitch</b> (figs. <a href="#fig_874">874</a>, +<a href="#fig_875">875</a>).—This consists +of stitches that are +worked in the width +of the stuff, intersected +by back-stitches +set slightly +slanting.</p> + +<p>Though the engraving +is so clear +as to render it hardly +necessary, we +subjoin an exact description +of the way +the stitches run.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/887.jpg" alt="FIG. 874. +ROUMANIAN STITCH." title="" /> +<a name="fig_874" id="fig_874"></a><span class="caption smcap">Fig. 874. +Roumanian stitch.</span> +</div> + +<p>Bring out the +needle on the left, +2 or 6 threads beyond +the line your +embroidery is to +follow; with regard +to the number of +threads you take up, +you must be guided +by the quality of the +stuff and the material +you have selected: +put the needle +in on the right, the +same distance in +advance of the line +as before and bring +it out in the middle +of the stitch; then +passing the needle +over the first stitch, +put it in again one +<a name="Page_543" id="Page_543"></a>or two threads in advance of the point where it came out, and +draw it out close to where the first stitch began.</p> + +<p>The border, represented in fig. <a href="#fig_875">875</a>, is worked in great part +in Roumanian stitch.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/888.jpg" alt="FIG. 875. BORDER IN ROUMANIAN STITCH." title="" /> +<a name="fig_875" id="fig_875"></a><span class="caption"><span class="smcap">Fig. 875. Border in roumanian stitch.<br /> +Materials</span>: Coton à broder D.M.C No. 16, Coton à repriser D.M.C No. 50, or +Cordonnet 6 fils D.M.C No. 20.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>: Rouge-Cardinal 346, Rouge-Grenat 358, Brun-Caroubier 355, Rouge +Maroquin 3327 et 3328, or Rouge-Cerise 3317 et 3318.<a href="#Footnote_A" class="fnanchor">[A]</a> +</span> +</div> + +<p>The original, still very well preserved, notwithstanding its +age, is worked in silk of a brilliant red on a +stiff stuff which has been coloured by time +and use.</p> + +<p>Willems satin, Rhodes linen No. 2 and +Algerian linen, make very suitable foundations +for this kind of embroidery and have that soft +tint which is almost indispensable to a satisfactory +imitation of old needlework.</p> + +<p>Any one of the shades of red named at +the foot of the illustration, will be found to +be a good match for the original colours.</p> + +<p>Roumanian stitch is used wherever the lines of the pattern +are widest; there where they narrow, in the indentures of the +leaves and the twists of the stalks, flat stitch is used instead.</p> + +<p>By the repetition of the detached subject, this pattern may be +made to serve either for a stripe or for a grounding; if you +use it for a stripe, the centre flower of the principal subject +with the stalks lengthened, will look very well worked as a +separate subject between the large bouquets. Worked in a +double row, base to base, on any stuff and in any material, +these large figures form a very handsome border which makes +an effective trimming for furniture and curtains.</p> + +<p><b><a name="Pattern_for_piqueacute_embroidery" id="Pattern_for_piqueacute_embroidery"></a>Pattern for piqué embroidery</b> (fig. <a href="#fig_876">876</a>).—The stuff, +called piqué, such as it is now manufactured, is simply an +imitation of an old kind of needlework, almost unknown in +these days, but very popular in the fifteenth and sixteenth century +in Italy, for making coverlets and more especially curtains +and blinds; the latter being highly esteemed, because without +intercepting the light altogether, they tempered it agreably.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/889.jpg" alt="FIG. 876. PATTERN FOR PIQUÉ EMBROIDERY." title="" /> +<a name="fig_876" id="fig_876"></a><span class="caption"><span class="smcap">Fig. 876. Pattern for piqué embroidery.<br /> +Materials</span>: Cordonnet 6 fils D.M.C Nos. 1 and 25, Fil d'Alsace D.M.C No. 100, +Fil à pointer D.M.C No. 30 and Fil à dentelle D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>A similar kind of work was common in Bohemia until a +recent date for the making of caps. It is done on two layers +of stuff, of different kinds, the upper one fine and transparent, +the lower, more substantial.</p><p><a name="Page_544" id="Page_544"></a></p> + +<p>The pattern is drawn upon the fine stuff, because on that +side the different kinds of stitches are made.</p> + +<p>You then tack the two stuffs together and work all the +outlines of the pattern in Old German knotted stitch with +écru Fil à pointer D.M.C No. 20; that done, thread a tapestry +needle with white Cordonnet 6 fils D.M.C No. 1 or 2, slip it +in between the two layers of stuff and secure the end by two +<a name="Page_545" id="Page_545"></a>or three stitches; then push the twist quite close to the knotted +stitch and fasten it in between the two layers of stuff, with +small and very regular running stitches, in a fine pliable material, +such as Fil d'Alsace D.M.C on reels.</p> + +<p>Fill up in this manner all the ground of the pattern, leaving +the arabesques and the ornaments plain, or embellishing them +with some kind of lace or embroidery stitch.</p> +<p><a name="Page_546" id="Page_546"></a></p> +<p>When these stripes are intended for blinds, you can produce +pretty transparent effects in them by cutting away the +underneath stuff, in places.</p> + +<p><b><a name="Alphabet_in_Soutache" id="Alphabet_in_Soutache"></a>Alphabet in Soutache</b> (braid) (figs. <a href="#fig_877">877</a>, <a href="#fig_878">878</a>, <a href="#fig_879">879</a>, <a href="#fig_880">880</a>, +<a href="#fig_881">881</a>, <a href="#fig_882">882</a>).—This alphabet, which is one +of the best of its kind, was taken from a +work published in Venice in 1662, by Giovan' +Antonio Tagliente, secretary and calligraphist +to the Republic.</p> + +<div class="figcenter" style="width: 225px;"> +<img src="images/890.jpg" alt="FIG. 877. LETTER T OF THE SOUTACHE ALPHABET. MODE OF INTERLACING THE SOUTACHE." title="" /> +<a name="fig_877" id="fig_877"></a><span class="caption smcap">Fig. 877. Letter T of the soutache alphabet. Mode of interlacing the soutache.</span> +</div> + +<p>The letters lend themselves, better than +any we know, to being executed in Soutache +D.M.C.</p> + +<p>The sewing on of the braid is done +with very small running stitches and the interlacing with a +tapestry needle, into which the braid is threaded; both +operations are shown in figs. <a href="#fig_877">877</a> and <a href="#fig_880">880</a>. The embroidery +of the connecting bars, and the small leaves and tendrils that +complete the letter are explained in fig. <a href="#fig_881">881</a>, whilst fig. <a href="#fig_882">882</a> +represents the letter A in its finished state.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/891.jpg" alt="FIG. 878. ALPHABET IN SOUTACHE. LETTERS A TO N." title="" /> +<a name="fig_878" id="fig_878"></a><span class="caption smcap">Fig. 878. Alphabet in soutache. Letters A to N.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/892.jpg" alt="FIG. 879. ALPHABET IN SOUTACHE. LETTERS O TO Z." title="" /> +<a name="fig_879" id="fig_879"></a><span class="caption smcap">Fig. 879. Alphabet in soutache. Letters O to Z.</span> +</div> + +<p>For sewing on the braid, a fine soft material is the best, +such as Soie de coton D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> and for embroidering the +small accessories, Coton à broder D.M.C No. 50<a href="#Footnote_A" class="fnanchor">[A]</a>.</p> + +<div class="figcenter" style="width: 450px;"> +<a name="fig_880" id="fig_880"></a><a name="fig_881" id="fig_881"></a> +<div class="figleft" style="width: 200px;"> +<img src="images/893.jpg" alt="FIG. 880. +LETTER M OF THE +ALPHABET IN SOUTACHE. +MODE OF SEWING ON +THE SOUTACHE." title="" /> +<span class="caption smcap">Fig. 880. +Letter M of the +alphabet in soutache. +Mode of sewing on +the soutache.</span> +</div> + +<div class="figright" style="width: 200px;"> +<img src="images/894.jpg" alt="FIG. 881. +LETTER W OF THE +ALPHABET IN SOUTACHE. +MODE OF PLACING THE +BARS AND EMBROIDERING +THE LEAVES." title="" /> +<span class="caption smcap">Fig. 881. +Letter W of the +alphabet in soutache. +Mode of placing the +bars and embroidering +the leaves.</span> +</div> +</div> + +<div class="figcenter" style="width: 200px;"> +<img src="images/895.jpg" alt="FIG. 882. +LETTER A OF THE +ALPHABET IN SOUTACHE +IN ITS FINISHED +STATE." title="" /> +<a name="fig_882" id="fig_882"></a><span class="caption smcap">Fig. 882. +Letter A of the +alphabet in soutache +in its finished +state.</span> +</div> + +<p><b>Flowers executed in Soutache and embroidery</b> (fig. <a href="#fig_883">883</a>). +Flowers and sprays, such as here represented, make a charming +trimming for summer dresses, sunshades, aprons etc. and +can be executed with admirable effect in the D.M.C Soutache, +now to be had in all the colours of the D.M.C colour card. +A very pretty running pattern can be formed out of the spray, +fig. <a href="#fig_883">883</a>, by turning the flowers first to the right and then to +the left and making the stalks come out underneath the ears +of corn. In order to reverse the position of the flowers thus, +you will have to make two tracings of the spray, one negative +and one positive.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/896.jpg" alt="FIG. 883. FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY." title="" /> +<a name="fig_883" id="fig_883"></a><span class="caption"><span class="smcap">Fig. 883. Flowers executed in soutache and embroidery.<br /> +Materials</span>: Soutache D.M.C Nos. 1 to 3 and Coton à broder D.M.C No. 35.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>—For the Soutache: White, écru or Jaune d'Ocre 677, +and Bleu-Indigo 322.—For the Coton à broder: Écru, Jaune-Orange 444, +Bleu-Indigo 311, Gris-Tilleul 391 and 330, Vert-Pistache 319, 320 and 369, +Rouge-Cardinal 348.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> +<p>For the ears of corn in fig. <a href="#fig_883">883</a>, use either Soutache écru, +or Jaune-d'Ocre 677 No. 2; for the marguerites, white Sou<a name="Page_547" id="Page_547"></a><a name="Page_548" id="Page_548"></a>tache +No. 2½ and for the corn flowers, Soutache Bleu-Indigo +322 No. 2. Nothing could be simpler than the mode of working +these flowers.</p> + +<p>Thread a tapestry needle with the Soutache and draw it +into the stuff, and then pass it through from the right side to +the wrong at the bottom of one of the petals of the flowers, +secure it on the wrong side by two or three stitches and then +bring the working thread, which should be of the same colour +as the Soutache, out again at the point of the petal, then carry +the Soutache back to the bottom of the petal and fasten it +down, like the gold threads in fig. <a href="./chapter_6.html#fig_242">242</a>, by a stitch rather +wider than the Soutache, fold the Soutache over again to the +starting point, and secure it by a stitch, and so on. In order +to give a different character to the flowers, use Soutache of +different widths, fold it over more or less closely and lay it +down in shorter or longer lengths, as required. The natural +irregularity of the petals of a flower can be very faithfully +imitated in this manner. Fig. <a href="#fig_883">883</a> shows the way in which, for +the ears of corn, the braid is folded back upon itself and +fastened down, whilst in the white flowers the two layers of +the braid that form each petal are separated at the bottom.</p> + +<p>The stamens of the marguerites are worked in knot stitch +with yellow cotton and those of the cornflowers with dark blue.</p> + +<p>The other little details are executed in flat and stem stitch +in the colours indicated at the foot of the engraving. With the +<a name="Page_550" id="Page_550"></a>pattern to go by, the distribution of the colours for the different +parts can present no possible difficulty.</p> + +<p><a name="Page_551" id="Page_551"></a></p> +<p>We need only point out that Rouge-Cardinal 348 is intended +for the little knot that connects the stalks of the flowers.</p> + +<p><b><a name="Chinese_subject" id="Chinese_subject"></a>Chinese subject</b> (fig. <a href="#fig_884">884</a>).—This quaint and graceful +composition, copied from an interesting piece of Chinese embroidery, +gives our readers the opportunity of turning the different +damask stitches, already described in these pages, to quite +a new use.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/897.jpg" alt="FIG. 884. CHINESE SUBJECT." title="" /> +<a name="fig_884" id="fig_884"></a><span class="caption"><span class="smcap">Fig. 884. Chinese subject.<br /> +Materials</span>: Coton à repriser D.M.C No. 50, Or fin D.M.C pour la broderie +No. 40 and Chiné d'or D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The kind of gauze which forms the foundation of the original +work can be replaced either by Spanish or Rhodes linen +No. 2, by any stuff, in fact, the threads of which can be +counted.</p> + +<p>The drawing has to be transferred to the stuff, and the +different parts are filled in with the stitches, clearly indicated +in the illustration.</p> + +<p>By the introduction of several colours, this pattern is capable +of being infinitely varied.</p> + +<p>Thus, in the model before us, the neck and bulb of the +<a name="Page_552" id="Page_552"></a>flask, the leaves it stands upon and those attached to the flowers +in it, are worked in Vert-Pistache 367, the handles, the ornament +on the bottle, and the triangular figure in the centre +are in white; the little flower on the left, the second on the +right, the straight staff, the upper wings of the butterfly, as +well as the three leaves underneath the triangle are in Bleu-Indigo +334; the first flower on the right of the flask, the knot +above the triangle, the lower wings of the butterfly and the +middle part of the bottom subject on the right of the engraving +are in Gris-Amadou 383; and Violet-lie-de-vin and +Brun-Caroubier 357 alternate in the pointed leaves that support +the flask; the former colour recurs in the ornaments of +the staff, and Rouge-Cardinal 347, black and Gris-Tilleul +alternate in the other details of the drawing.</p> + +<p>For the setting it will be best to take Or fin D.M.C pour +la broderie or else Chiné d'or D.M.C, used either double or +single, according to whichever the drawing seems to require.</p> +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_16.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_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> |