diff options
Diffstat (limited to 'old/20776-h/chapter_3.html')
| -rw-r--r-- | old/20776-h/chapter_3.html | 1106 |
1 files changed, 1106 insertions, 0 deletions
diff --git a/old/20776-h/chapter_3.html b/old/20776-h/chapter_3.html new file mode 100644 index 0000000..3dd46b3 --- /dev/null +++ b/old/20776-h/chapter_3.html @@ -0,0 +1,1106 @@ +<!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_23" id="Page_23"></a></p> +<hr style="width: 65%;" /> + +<div class="figcenter" style="width: 400px;"> +<img src="images/058.jpg" alt="STRIPE OF CUT OPEN-WORK ON WHITE LINEN." title="" /> +<span class="caption smcap">Stripe of cut open-work on white linen.</span> +</div> + + +<hr style="width: 65%;" /> +<h2><a name="Single_and_cut_Open-work" id="Single_and_cut_Open-work"></a>Single and cut Open-work.</h2> + + +<p>The above heading comprises every sort of needle-work, to +which the drawing out of threads is a preliminary. By sewing +over the single threads that remain, and drawing them together +in different ways, an infinite variety of patterns can be produced. +Many pretty combinations also, can be made of open-work, +cross-stitch, and other kinds of embroidery.</p> + +<p><b>Materials suitable for open-work.</b>—For all the coarser +stuffs, such as Holbein-linen, Java and linen-canvas and the +like, now in such favour for the imitation of old needlework, +it will be best to use: Fil à pointer D.M.C, No. 30<a href="#Footnote_A" class="fnanchor">[A]</a> and Cordonnet +6 fils D.M.C, Nos. 10 to 20,<a href="#Footnote_A" class="fnanchor">[A]</a> and for the finer stuffs, +such as antique-linen and linen-gauze; Cordonnet 6 fils D.M.C +Nos. 50 to 150,<a href="#Footnote_A" class="fnanchor">[A]</a> Fil d'Alsace D.M.C, Nos. 20 to 100, and Fil à +dentelle D.M.C, Nos. 25 to 80.</p> + +<p>Coloured patterns can also be executed in open-work, with +Coton à broder D.M.C Nos. 16 to 35, and Coton à repriser +D.M.C, Nos. 25 to 50<a href="#Footnote_A" class="fnanchor">[A]</a> .</p> + +<p><b>The two different kinds of open-work.</b>—The one is +called, single open-work, the Italian Punto tirato, in which +the first step is to draw out one layer of threads; the other, +<a name="Page_24" id="Page_24"></a>cut open-work, the Italian Punto tagliato, for which, both +the warp, and the woof threads, have to be drawn out.</p> + +<p><b>Single open-work (Punto tirato)</b>.—This, in its simplest +form, is the ornamental latticed hem, in common use where +something rather more decorative than an ordinary hem (fig. +<a href="chapter_1.html#fig_8">8</a>) is required, and consists in drawing out one layer of threads, +either the warp or the woof.</p> + +<p><a name="hem_stitching" id="hem_stitching"></a><b>Single hem-stitch</b> (fig. <a href="#fig_55">55</a>).—Draw out, according to +the coarseness of the stuff, two or four threads, below the +edge of the turning, and tack your hem down to the line thus +drawn. Fasten your thread in +to the left, and work your hem +from right to left, taking up +three or four cross-threads at a +time, and inserting your needle, +immediately above, into the +folded hem, three or four threads from the edge, and then +drawing it out.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/059.jpg" alt="FIG. 55. SINGLE HEM-STITCH." title="" /> +<a name="fig_55" id="fig_55"></a><span class="caption smcap">Fig. 55. Single hem-stitch.</span> +</div> + +<p>The same stitch is used for preventing the fringes, that +serve as a finish to so many articles of house-linen, from +ravelling.</p> + +<p><b>Second hem-stitch</b> (fig. <a href="#fig_56">56</a>).—Prepare your hem as for fig. <a href="#fig_55">55</a>, and work from left to right; with this difference, that after +drawing two or three cross-threads +together, from right to +left, you skip the same number +of perpendicular threads you +took up below, and insert your +needle downwards from above, +bringing it out at the bottom edge of the hem.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/060.jpg" alt="FIG. 56. SECOND HEM-STITCH." title="" /> +<a name="fig_56" id="fig_56"></a><span class="caption smcap">Fig. 56. Second hem-stitch.</span> +</div> + +<p>These stitches, which can +be used for the right side also, +form a kind of little tress, along +the edge of the hem.</p> + +<p><b>Ladder stitch hem</b> (fig. <a href="#fig_57">57</a>). +Complete the hem, as already +directed in fig. <a href="#fig_55">55</a>, then draw out three or five threads more, +turn the work round, and repeat the process, taking up the +<a name="Page_25" id="Page_25"></a>same clusters of threads which you took up in the first row of +stitches, thus forming little perpendicular bars.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/061.jpg" alt="FIG. 57. LADDER STITCH HEM." title="" /> +<a name="fig_57" id="fig_57"></a><span class="caption smcap">Fig. 57. Ladder stitch hem.</span> +</div> + +<p><b>Double hem-stitch</b> (fig. <a href="#fig_58">58</a>). +Begin as in fig. <a href="#fig_55">55</a>, forming your +clusters of an even number of +threads; and then, in making +your second row of stitches, +draw half the threads of one +cluster, and half of the next +together, thereby making them +slant, first one way and then +the other.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/062.jpg" alt="FIG. 58. DOUBLE HEM-STITCH." title="" /> +<a name="fig_58" id="fig_58"></a><span class="caption smcap">Fig. 58. Double hem-stitch.</span> +</div> + +<p><b>Antique hem-stitch</b> (figs. <a href="#fig_59">59</a>, <a href="#fig_60">60</a>, <a href="#fig_61">61</a> and <a href="#fig_62">62</a>). +In the old, elaborate, linen needlework, we often meet +two kinds of hem-stitching +seldom found in modern +books on needle-work. Figs. <a href="#fig_59">59</a> +to <a href="#fig_62">62</a> are magnified representations +of the same. At the +necessary depth for forming a +narrow hem, a thread is drawn, +in the case of very fine +textures where the edge is +rolled, not laid; then fasten in +the working thread at the left, +and work the stitches from +left to right. Passing your +needle, from right to left, under +three or four threads, draw the +thread round the cluster and +carry your needle on, through +as many threads of the upper +layer of stuff, as you took up +below, so that the stitch may +always emerge from the middle +of the cluster.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/063.jpg" alt="FIG. 59. ANTIQUE HEM-STITCH. +WRONG SIDE." title="" /> +<a name="fig_59" id="fig_59"></a><span class="caption smcap">Fig. 59. Antique hem-stitch. +Wrong side.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/064.jpg" alt="FIG. 60. ANTIQUE HEM-STITCH. +RIGHT SIDE." title="" /> +<a name="fig_60" id="fig_60"></a><span class="caption smcap">Fig. 60. Antique hem-stitch. +Right side.</span> +</div> + +<p><b>Antique hem-stitch</b> (figs. <a href="#fig_61">61</a> +and <a href="#fig_62">62</a>).—These show, the right +<a name="Page_26" id="Page_26"></a>and wrong sides of the hem; +here the rolled hem is prepared +as above, but the stitches are +worked from right to left, and +the thread is carried round the +little roll, so that, as shown in +fig. <a href="#fig_62">62</a>, it is visible on both +sides of the hem. The needle +does not enter the stuff, but is +carried back at once, from the +outside, and put in again between +two clusters of threads.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/065.jpg" alt="FIG. 61. ANTIQUE HEM-STITCH. +WRONG SIDE." title="" /> +<a name="fig_61" id="fig_61"></a><span class="caption smcap">Fig. 61. Antique hem-stitch. +Wrong side.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/066.jpg" alt="FIG. 62. ANTIQUE HEM-STITCH. +RIGHT SIDE." title="" /> +<a name="fig_62" id="fig_62"></a><span class="caption smcap">Fig. 62. Antique hem-stitch. +Right side.</span> +</div> + +<p><b>Slanting hem-stitch</b> (figs. +<a href="#fig_63">63</a> and <a href="#fig_64">64</a>).—Bring out your +needle and thread, two or three +threads above the edge of the +turning, between the first and +second of the three cross-threads +that compose the cluster, and +then slip it under the cluster, +from right to left. The loop +must lie in front of the needle. +When you have drawn up the +stitch, put the needle in, one +thread further on, and take up +two threads. Fig. <a href="#fig_64">64</a> shows the +stitch on the right side.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/067.jpg" alt="FIG. 63. +SLANTING HEM-STITCH. +WRONG SIDE." title="" /> +<a name="fig_63" id="fig_63"></a><span class="caption smcap">Fig. 63. +Slanting hem-stitch. +Wrong side.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/068.jpg" alt="FIG. 64. +SLANTING HEM-STITCH. +RIGHT SIDE." title="" /> +<a name="fig_64" id="fig_64"></a><span class="caption smcap">Fig. 64. +Slanting hem-stitch. +Right side.</span> +</div> + +<p><a name="open_work_patterns" id="open_work_patterns"></a><b>Double-rowed ornamental +seam</b> (figs. <a href="#fig_65">65</a>, <a href="#fig_66">66</a>, <a href="#fig_67">67</a>).—Begin +with any one of the +hems already described, then +counting as many threads +downwards, as are clustered +together in the first row, draw +out a second thread, and cluster +the perpendicular threads in +this second line together, as shown in figs. <a href="#fig_65">65</a> and <a href="#fig_66">66</a>. On the +right side the stitch is straight (fig. <a href="#fig_67">67</a>). Coloured cottons +<a name="Page_27" id="Page_27"></a>should be used for all the above patterns of hem-stitch, when +they are to be introduced into coloured embroideries.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/069.jpg" alt="FIG. 65. +DOUBLE-ROWED ORNAMENTAL SEAM. +WRONG SIDE." title="" /> +<a name="fig_65" id="fig_65"></a><span class="caption smcap">Fig. 65. +Double-rowed ornamental seam. +Wrong side.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/070.jpg" alt="FIG. 66. +DOUBLE-ROWED ORNAMENTAL SEAM. +WRONG SIDE." title="" /> +<a name="fig_66" id="fig_66"></a><span class="caption smcap">Fig. 66. +Double-rowed ornamental seam. +Wrong side.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/071.jpg" alt="FIG. 67. +DOUBLE-ROWED ORNAMENTAL SEAM. +RIGHT SIDE." title="" /> +<a name="fig_67" id="fig_67"></a><span class="caption smcap">Fig. 67. +Double-rowed ornamental seam. +Right side.</span> +</div> + +<p><b>Single three-rowed open-work</b> (fig. <a href="#fig_68">68</a>).—This, and +the following patterns, are suitable for the headings of hems, +and for connecting stripes of embroidery, and are also often +used instead of lace, and lace insertion.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/072.jpg" alt="FIG. 68. SINGLE THREE-ROWED OPEN-WORK." title="" /> +<a name="fig_68" id="fig_68"></a><span class="caption smcap">Fig. 68. Single three-rowed open-work.</span> +</div> + +<p>Fig. <a href="#fig_68">68</a> will be found specially useful, in cases where +the object is, to produce a good deal of effect, at the cost of +as little labour as possible. Make six rows of hem-stitching, as +in fig. <a href="#fig_55">55</a>; the first and sixth rows to serve as a finish, above +and below.</p> + +<p>The second and third, after drawing out six threads, the third +and fourth after drawing out eight. The clusters must all consist +of an even number of threads. The upper and the lower +band of open-work is to be copied from fig. <a href="#fig_58">58</a>, the centre +one, from fig. <a href="#fig_57">57</a>. Divide the threads of the perpendicular +clusters in two; insert the needle, from left to right, underneath +half the second cluster, turn the needle's eye, by a +second movement, from left to right, and take up the second +part of the first cluster, drawing it under, and at the same +time, in front of the first half of the second cluster. Be careful +not to draw your thread too tightly.</p><p><a name="Page_28" id="Page_28"></a></p> + +<p><b>Open-work with two threads drawn through</b> (fig. <a href="#fig_69">69</a>).—One +such wide lane of open-work, between two finishing rows +of stitches, may have two threads drawn through it.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/073.jpg" alt="FIG. 69. OPEN-WORK WITH TWO THREADS DRAWN THROUGH." title="" /> +<a name="fig_69" id="fig_69"></a><span class="caption smcap">Fig. 69. Open-work with two threads drawn through.</span> +</div> + +<p><b>Open-work with three threads drawn through</b> (fig. <a href="#fig_70">70</a>). +Overcast both edges with single stitches; draw the clusters +together in the middle, as in fig. <a href="#fig_68">68</a>; then above and below +the middle thread, draw in first one thread and then a second, +straight above it, securing the latter with back-stitches to +enclose the clusters between two threads.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/074.jpg" alt="FIG. 70. OPEN-WORK WITH THREE THREADS DRAWN THROUGH." title="" /> +<a name="fig_70" id="fig_70"></a><span class="caption smcap">Fig. 70. Open-work with three threads drawn through.</span> +</div> + +<p><b>Clustered open-work</b> (fig. <a href="#fig_71">71</a>).—Draw out from sixteen +to eighteen threads, between two hem-stitched edges. Fasten +your thread in, 3 m/m. above the seam-edge, and wind it three +times round every two clusters, passing the needle, the third +time, under the two first rounds, to fasten the thread. The +thread, thus drawn through, must be left rather slack. A second +row of stitches, similar to the first, and at the same +distance from the bottom edge, completes this pattern. To +<a name="Page_29" id="Page_29"></a>give it greater strength, you may if you like, work back over +the first thread, with a second, taking care to pass it under +the knot, which was formed by the first.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/075.jpg" alt="FIG. 71. CLUSTERED OPEN-WORK." title="" /> +<a name="fig_71" id="fig_71"></a><span class="caption smcap">Fig. 71. Clustered open-work.</span> +</div> + +<p><b>Double-rowed cluster-open-work</b> (fig. <a href="#fig_72">72</a>).—A very good +effect can be obtained by making the above stitch in such a +manner, as to form groups of three clusters each, between hem-stitched +bands of the stuff.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/076.jpg" alt="FIG. 72. DOUBLE-ROWED CLUSTER-OPEN-WORK." title="" /> +<a name="fig_72" id="fig_72"></a><span class="caption smcap">Fig. 72. Double-rowed cluster-open-work.</span> +</div> + +<p><b>Turkish cluster open-work</b> (fig. <a href="#fig_73">73</a>).—After portioning +off, and sewing up the clusters on one side, draw out twelve or +fourteen threads, and make your connecting-stitch and hem, all +in one, as follows: bring out the thread before the cluster, and +pass it round it, then from right to left, over three horizontal +and under four perpendicular threads, again from left to right, +over the four threads just passed over, and out at the second +cluster; laying it over this, you bring it out behind the first +<a name="Page_30" id="Page_30"></a>cluster, wind it round the middle of them both, and pass it +through, between the over-casting stitches back to the hem; +encircle the second cluster with a loop-stitch, and carry your +thread again over three horizontal and four perpendicular +threads, and upwards, slanting underneath the stuff, out in +front of the next cluster.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/077.jpg" alt="FIG. 73. TURKISH CLUSTER OPEN-WORK." title="" /> +<a name="fig_73" id="fig_73"></a><span class="caption smcap">Fig. 73. Turkish cluster open-work.</span> +</div> + +<p><b>Open-work with darning stitch</b> (fig. <a href="#fig_74">74</a>).—Draw out +from eight to twelve threads, according to the quality of the +stuff. Insert your needle and thread between two clusters, and +pass it, as if you were darning, backwards and forwards +over them, until they are encased half way down with +stitches. In so doing, work with the eye of the needle forward, +and the point towards your thimble. To pass to the +next cluster, take one stitch back, under the one just darned, +and bring your thread underneath the threads of the stuff, to +the second cluster.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/078.jpg" alt="FIG. 74. OPEN-WORK WITH DARNING STITCH." title="" /> +<a name="fig_74" id="fig_74"></a><span class="caption smcap">Fig. 74. Open-work with darning stitch.</span> +</div> + +<p><b>Open-work in three colours</b> (fig. <a href="#fig_75">75</a>).—This pattern +which is to be done in the same way as fig. <a href="#fig_74">74</a>, requires +the drawing out of, at least, eighteen threads. Every cross-line +of three clusters is to be worked in one colour. The +<a name="Page_31" id="Page_31"></a>colours may all be different, or you may if you prefer, take +shades of the same colour.</p> + +<div class="figcenter" style="width: 596px;"> +<img src="images/079.jpg" alt="FIG. 75. OPEN-WORK IN THREE COLOURS." title="" /> +<a name="fig_75" id="fig_75"></a><span class="caption"><span class="smcap">Fig. 75. Open-work in three colours.<br /> +Colours:</span> Bleu-Indigo 311, 322, 334, Brun-Caroubier 354, 303, 357, or +Rouge-Géranium 349, 351, 352.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Open-work insertion</b> (figs. <a href="#fig_76">76</a> and <a href="#fig_77">77</a>).—For both these, +<a name="Page_32" id="Page_32"></a>the edges are to be overcast, and the darning stitches packed +sufficiently closely together, for the threads of the stuff to be +entirely covered.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/080.jpg" alt="FIG. 76. OPEN-WORK INSERTION." title="" /> +<a name="fig_76" id="fig_76"></a><span class="caption smcap">Fig. 76. Open-work insertion.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/081.jpg" alt="FIG. 77. OPEN-WORK INSERTION." title="" /> +<a name="fig_77" id="fig_77"></a><span class="caption smcap">Fig. 77. Open-work insertion.</span> +</div> + +<p>Fig. <a href="#fig_76">76</a> requires the drawing out of eighteen threads, +fig. <a href="#fig_77">77</a>, of thirty. Both admit of several colours being used.</p> + +<p><b>Open-work insertion</b> (fig. <a href="#fig_78">78</a>).—After drawing out sixteen +or eighteen threads, bind both sides with stitches made over +four horizontal and four perpendicular threads, as follows; +make one back-stitch over four disengaged threads, then +bring up your thread from right to left, over four horizontal +and under four perpendicular threads, back over the four last +threads, and draw it out beside the next cluster. The clusters, +as they now stand, are bound together in the middle, three +by three, with darning-stitches. The thread must be fastened +in and cut off, after each group is finished.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/082.jpg" alt="FIG. 78. OPEN-WORK INSERTION." title="" /> +<a name="fig_78" id="fig_78"></a><span class="caption smcap">Fig. 78. Open-work insertion.</span> +</div> + +<p><b>Open-work insertion</b> (fig. <a href="#fig_79">79</a>).—First bind the two edges +with stitches, in the ordinary way. At the last stitch introduce<a name="Page_33" id="Page_33"></a> +the thread slanting, according to the dotted line, pass it +under four horizontal and three perpendicular threads of the +stuff and draw it out; then over three threads from right to +left, and back under the same, from left to right, and out +again; over four horizontal threads, and, under and again +over, three perpendicular ones; for the next stitch, you again +follow the dotted slanting line.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/083.jpg" alt="FIG. 79. OPEN-WORK INSERTION." title="" /> +<a name="fig_79" id="fig_79"></a><span class="caption smcap">Fig. 79. Open-work insertion.</span> +</div> + +<p>Then make the darning stitch over nine threads, or three +clusters. At half their length, you leave out three threads, first +on the right, then on the left, whilst in the other half, you, +in a similar manner, take in three; so that you have two +darned and two undarned clusters, standing opposite each +other. Finally, you overcast the single clusters, and connect +every two with a lock-stitch, as shown in the accompanying +illustration.</p> + +<p><b>Open-work insertion</b> (fig. <a href="#fig_80">80</a>).—Draw out twenty threads, +overcast both edges with stitches, made over three threads. +Then, make slanting stitches, proceeding out from these, over +three, six and nine threads respectively, all three terminating +in a perpendicular line, one below the other.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/084.jpg" alt="FIG. 80. OPEN-WORK INSERTION." title="" /> +<a name="fig_80" id="fig_80"></a><span class="caption smcap">Fig. 80. Open-work insertion.</span> +</div> + +<p>For the open-work, twist the thread five times, quite tightly +round and round one cluster, bring it to the edge, between +the second and third clusters, and connect these by means +of six darning-stitches to and fro: join the first and second +clusters in the same way by twelve stitches, and finish, by +twisting the thread five times round the remaining length +of the first cluster. The second half of the open-work figure is +<a name="Page_34" id="Page_34"></a>carried out in a similar manner over the third and fourth +clusters.</p> + +<p><b>Open-work insertion in four colours</b> (fig. <a href="#fig_81">81</a>).—Draw +out, from twenty-five to thirty threads. The outside figures are +executed over six clusters, of three threads each, in a dark +and light shade alternately of the same colour. Each of the +middle figures combines three clusters of the two figures above +it, and may be executed, either in a different colour altogether, +<a name="Page_35" id="Page_35"></a>or in a lighter shade of the one employed in the top row. +The little star in the centre should be worked in dark red, +or black.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/085.jpg" alt="FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS." title="" /> +<a name="fig_81" id="fig_81"></a><span class="caption"><span class="smcap">Fig. 81. Open-work insertion in four colours.</span><br /> +<span class="smcap">Materials:</span> Coton à broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos. 15 to 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Open-work insertions</b> (figs. <a href="#fig_82">82</a>, <a href="#fig_83">83</a>, <a href="#fig_84">84</a>).—For each of +these draw out forty threads. Fig. <a href="#fig_82">82</a> worked in white, and +Rouge-Grenat clair 309, comprises fourteen clusters, of four +threads each. Begin at the top of the big pyramid, so that the +threads which you run in, can be more closely crowded +together.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/086.jpg" alt="FIG. 82. OPEN-WORK INSERTION." title="" /> +<a name="fig_82" id="fig_82"></a><span class="caption smcap">Fig. 82. Open-work insertion.</span> +</div> + +<p>In fig. <a href="#fig_83">83</a>, the two rows of short clusters are worked in<a name="Page_36" id="Page_36"></a> +Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 330; <a href="#Footnote_A" class="fnanchor">[A]</a> +the pyramid of steps, in Brun-Chamois moyen, 324;<a href="#Footnote_A" class="fnanchor">[A]</a> the +three inner clusters in Brim-Chamois très clair, 418. One figure +consists of fourteen clusters, of three threads each.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/087.jpg" alt="FIG. 83. OPEN-WORK INSERTION." title="" /> +<a name="fig_83" id="fig_83"></a><span class="caption smcap">Fig. 83. Open-work insertion.</span> +</div> + +<p>Fig. <a href="#fig_84">84</a> also is to be worked in three colours; the light +squares in unbleached cotton, the middle figure in Bleu-Indigo +très clair, 334, the large squares on either side in +Brun-Cuir clair 432. Each figure contains eighteen clusters, +of three threads each.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/088.jpg" alt="FIG. 84. OPEN-WORK INSERTION." title="" /> +<a name="fig_84" id="fig_84"></a><span class="caption smcap">Fig. 84. Open-work insertion.</span> +</div> + +<p><b>Open-work insertion with spiders</b> (fig. <a href="#fig_85">85</a>).—The edges +are to be herring-boned, as described in fig. <a href="chapter_1.html#fig_39">39</a>. In the middle, +the so-called spiders are made, over every group of four +clusters. The thread that runs out from the spider, passes +<a name="Page_37" id="Page_37"></a>over two clusters and under one, and then three or four +times, over and under the clusters, as in darning, and so +back, under the spider, at the place at which it was drawn in, +and then on, to the next four strands of thread.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/089.jpg" alt="FIG. 85. OPEN-WORK INSERTION WITH SPIDERS." title="" /> +<a name="fig_85" id="fig_85"></a><span class="caption smcap">Fig. 85. Open-work insertion with spiders.</span> +</div> + +<p><b>Three-rowed open-work</b> (fig. <a href="#fig_86">86</a>).—Draw out five threads +for the narrow stripe, and from fourteen to sixteen for +the wide one. Each cluster should consist of four threads. +The narrow bands between, are to be herring-boned on +either side. The dotted line shows the course of the thread, +on the wrong side. Then unite each separate cluster in the +middle, with a back-stitch, as shown in the illustration, and +finally, join every group of four clusters together, with three +stitches, and make a spider in the middle of the open-work, +at the point where the threads intersect each other.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_86" id="fig_86"></a> +<img src="images/090.jpg" alt="FIG. 86. THREE-ROWED OPEN-WORK." title="" /> +<span class="caption smcap">Fig. 86. Three-rowed open-work.</span> +</div> + +<p><b>Open-work insertion with rings</b> (fig. <a href="#fig_87">87</a>).—Bind the +edges on both sides, with straight, two-sided, stitches. Take, +for this, Coton à broder D.M.C, No. 30, (embroidery cotton), +using it double. Draw out, from twenty-four to thirty threads. +Wind your thread six or seven times round the middle of each +cluster of nine threads, and then make darning-stitches, above +and below, to a length of 3 m/m. When you have completed +two clusters, join them together, by four interlocked stitches; +wind your thread three times round the single thread, and sew +it over with close stitches.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/091.jpg" alt="FIG. 87. OPEN-WORK INSERTION WITH RINGS." title="" /> +<a name="fig_87" id="fig_87"></a><span class="caption smcap">Fig. 87. Open-work insertion with rings.</span> +</div> + +<p><b>Open-work insertion with spiders</b> (fig. <a href="#fig_88">88</a>).—Draw out +twenty-four threads. Ornament the two edges with half-spiders.<a name="Page_38" id="Page_38"></a> +You begin these over two threads, and go on taking in others, +to the number of eight. The whole spider in the middle, is +made as above described.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/092.jpg" alt="FIG. 88. OPEN-WORK INSERTION WITH SPIDERS." title="" /> +<a name="fig_88" id="fig_88"></a><span class="caption smcap">Fig. 88. Open-work insertion with spiders.</span> +</div> + +<p><b>Open-work insertion</b> (figs. <a href="#fig_89">89</a> and <a href="#fig_90">90</a>).—The beauty of this +otherwise simple pattern, lies in the peculiar knot, with which +the edges of the stuff are ornamented.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/093.jpg" alt="FIG. 89. OPEN-WORK INSERTION." title="" /> +<a name="fig_89" id="fig_89"></a><span class="caption smcap">Fig. 89. Open-work insertion.</span> +</div> + +<p>Carry the working thread, as shown in fig. <a href="#fig_90">90</a>, from right +to left, (see the description of the right side) over and under +four threads; then bring the needle back, under the thread +which lies slanting, form a loop with the forefinger of the +left hand, slip it on to the needle, and draw it up close to +the first stitch; pull the needle through the knot, and proceed +to the next stitch.</p> + +<p>The illustration explains how the open-work in the middle +should be carried out.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/094.jpg" alt="FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89." title="" /> +<a name="fig_90" id="fig_90"></a><span class="caption smcap">Fig. 90. Explanation of the stitch for fig. <a href="#fig_89">89</a>.</span> +</div> + +<p><b>Open-work with winding stitch</b> (fig. <a href="#fig_91">91</a>).—For this +pattern, which is a very laborious one to work, draw out +twenty-eight threads. Bind the edges with two-sided stitches, +<a name="Page_39" id="Page_39"></a>over two, three, four and five threads, respectively. For the +middle figures, you must reckon four threads for the clusters, +round which the working thread is tightly twisted, eight for +the darned clusters, ornamented with picots (see fig. <a href="chapter_4.html#fig_165">165</a>), and +sixteen for the rectangular rosettes, in two colours.</p> + +<p>Make a loose spider over the threads, as a background for +the rosette. Work the picots in a different colour from the +cluster, and the rosettes, likewise, in two colours. The connecting +loops between the figures should be made as you go along, +the thread being always carried back into the loop just made.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/095.jpg" alt="FIG. 91. OPEN-WORK WITH WINDING STITCH." title="" /> +<a name="fig_91" id="fig_91"></a><span class="caption smcap">Fig. 91. Open-work with winding stitch.</span> +</div> + +<p><a name="cutting_out_threads" id="cutting_out_threads"></a><b>Cutting out threads at the corners</b> (figs. <a href="#fig_92">92</a>, <a href="#fig_93">93</a>, <a href="#fig_94">94</a>, <a href="#fig_95">95</a>). +If you want to carry a latticed-hem or a simple open-work +pattern, round a corner, you must cut and loosen the threads, +on both sides, about one c/m. from the edge of the hem, as +seen in fig. <a href="#fig_92">92</a>. The loose threads can be pushed into the +turning, and the edge button-holed, as in fig. <a href="#fig_93">93</a>.</p> + +<p>If however, on the other hand, the stitching be continued +without interruption, as indicated in the upper part of fig. <a href="#fig_94">94</a>, +the loose threads must be brought to the wrong side, and +<a name="Page_40" id="Page_40"></a>as represented in the lower part of fig. <a href="#fig_94">94</a>, fastened down with +a few stitches.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_92" id="fig_92"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/096.jpg" alt="FIG. 92. +THE CUTTING AND LOOSENING OF +THE THREADS AT THE +CORNERS." title="" /> +<span class="caption smcap">Fig. 92. +The cutting and loosening of +the threads at the +corners.</span> +</div> + +<a name="fig_93" id="fig_93"></a> +<div class="figright" style="width: 300px;"> +<img src="images/097.jpg" alt="FIG. 93. +THE OVER CASTING OF THE DISENGAGED +EDGE AT THE CORNER, THE THREADS BEING +TURNED IN WITHIN THE HEM." title="" /> +<span class="caption smcap">Fig. 93. +The over casting of the disengaged +edge at the corner, the threads being +turned in within the hem.</span> +</div> +</div> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_94" id="fig_94"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/098.jpg" alt="FIG. 94. +BORDERING THE DISENGAGED EDGE WITH +HEM-STITCHING, THE THREADS BEING +TURNED OVER" title="" /> +<span class="caption smcap">Fig. 94. +Bordering the disengaged edge with +hem-stitching, the threads being +turned over</span> +</div> + +<a name="fig_95" id="fig_95"></a> +<div class="figright" style="width: 300px;"> +<img src="images/099.jpg" alt="FIG. 95. +FILLING IN THE CORNER WITH A SPIDER, +AND CONTINUATION OF THE LATTICE-WORK +THENCE." title="" /> +<span class="caption smcap">Fig. 95. +Filling in the corner with a spider, +and continuation of the lattice-work +thence.</span> +</div> +</div> + + +<p><a name="cut_open_work" id="cut_open_work"></a><b>Cut open-work (Punto tagliato).</b>—For cut open-work, +threads have to be drawn out both ways, the number of +course to depend on the pattern. Threads, left between others +that have been cut out, serve as a foundation on which a great +variety of stitches can be worked. Stuffs, equally coarse in the +warp and woof, should be chosen for all cut open-work, for +<a name="Page_41" id="Page_41"></a>then the empty spaces that remain, where threads have been +drawn out both ways, will be perfectly square.</p> + +<p><b>Drawing out threads both ways</b> (fig. <a href="#fig_96">96</a>).—The same +number of threads must be drawn out each way; most patterns +require the same number of threads to be left as are drawn out. +In fig. <a href="#fig_96">96</a>, three threads have been drawn out and three left.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/100.jpg" alt="FIG. 96. DRAWING OUT THREADS BOTH WAYS, +WITHOUT REGARD TO THE EDGES." title="" /> +<a name="fig_96" id="fig_96"></a><span class="caption smcap">Fig. 96. Drawing out threads both ways, +without regard to the edges.</span> +</div> + +<p><b>Cutting out threads</b> (fig. <a href="#fig_97">97</a>).—We often meet with +cut open-work patterns, set in another kind of embroidery. +In such cases, the threads that are to be cut out, must be cut +a few millimetres within the edge, and then drawn out, so +that there may be a frame of the stuff left intact outside.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/101.jpg" alt="FIG. 97. CUTTING OUT THREADS, +IN THE MIDDLE OF THE STUFF." title="" /> +<a name="fig_97" id="fig_97"></a><span class="caption smcap">Fig. 97. Cutting out threads, +in the middle of the stuff.</span> +</div> + +<p><b>Button-holing the raw edges</b> (fig. <a href="#fig_98">98</a>).—In very fine +<a name="Page_42" id="Page_42"></a>linen textures, the threads can simply be cut out, but in the +case of coarser stuffs, and when a pattern ends in steps as in +figs. <a href="#fig_103">103</a>, <a href="#fig_104">104</a>, <a href="#fig_105">105</a>, the raw edges must be button-holed as +in fig. <a href="#fig_98">98</a>, or <a href="#fig_99">99</a>.</p> + +<div class="figcenter" style="width: 250px;"> +<img src="images/102.jpg" alt="FIG. 98. BUTTON-HOLING THE RAW EDGES +OF CUT OPEN-WORK." title="" /> +<a name="fig_98" id="fig_98"></a><span class="caption smcap">Fig. 98. Button-holing the raw edges +of cut open-work.</span> +</div> + +<p><b>Overcasting the raw edges</b> (fig. <a href="#fig_99">99</a>).—Cording the raw +edges, is even better than button-holing them. Count the +number of threads carefully that have to be cut out, run in a +thread to mark the pattern, and then only, cut the threads +through, at least two threads within the line.</p> + +<div class="figcenter" style="width: 250px;"> +<img src="images/103.jpg" alt="FIG. 99. OVERCASTING THE RAW EDGES +OF CUT OPEN-WORK." title="" /> +<a name="fig_99" id="fig_99"></a><span class="caption smcap">Fig. 99. Overcasting the raw edges +of cut open-work.</span> +</div> + +<p><b>Overcasting the trellised ground</b> (fig. <a href="#fig_100">100</a>).—If you +only have a small surface to embroider, you can draw out all +the threads at once. But in the case +of a large piece of work it is better to +begin by removing the threads in one +direction only, and completing all the +little bars, one way first; after which +you draw out the threads the other +way and embroider those you leave. +In this way you will secure greater +equality and finish in your work.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/104.jpg" alt="FIG. 100. OVERCASTING THE TRELLISED +GROUND." title="" /> +<a name="fig_100" id="fig_100"></a><span class="caption smcap">Fig. 100. Overcasting the trellised +ground.</span> +</div> + +<p><b>Ground for square, fig. <a href="#fig_105">105</a></b> (figs. +<a href="#fig_101">101</a> and <a href="#fig_102">102</a>).—Finish the first row of +bars along the edge completely, to +begin with. In the second row, overcast +the bar, down to half its length, then carry your thread +over two empty spaces, see the letter <i>a</i>, come back to the bar, +overcasting the thread which you threw across first, and passing +the needle under the bars of the stuff. In the second rows +that intersect the first, marked by letter <i>b</i>, the threads meet +in the middle of the empty space.</p> + +<p>In fig. <a href="#fig_102">102</a>, finish the bars, overcast both ways first, and +then fill in the ground with interlaced threads, worked row +by row, throwing the thread from one square to the other as +you go, and doubling it, as you return. For the bars, see the +chapters on net embroidery, and Irish lace.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_101" id="fig_101"></a> +<div class="figleft" style="width: 250px;"> +<img src="images/105.jpg" alt="FIG. 101. LATTICE-GROUND FOR SQUARE +IN FIG. 105, SHOWING THE COURSE +OF THE STITCHES." title="" /> +<span class="caption smcap">Fig. 101. Lattice-ground for square +in fig. <a href="#fig_105">105</a>, showing the course +of the stitches.</span> +</div> + +<a name="fig_102" id="fig_102"></a> +<div class="figright" style="width: 240px;"> +<img src="images/106.jpg" alt="FIG. 102. LATTICE-GROUND FOR SQUARE +IN FIG. 105." title="" /> +<span class="caption smcap">Fig. 102. Lattice-ground for square +in fig. <a href="#fig_105">105</a>.</span> +</div> +</div> + + +<p><b>Lattice-ground and damask stitch for square, fig. <a href="#fig_105">105</a></b> +(fig. <a href="#fig_103">103</a>).—Our illustration shows a third kind of open<a name="Page_43" id="Page_43"></a><a name="Page_44" id="Page_44"></a>work +ground with one corner in damask stitch, of the square +represented in fig. <a href="#fig_105">105</a>. The little bars which intersect each +square crossways, are made in two divisions, by carrying the +thread to the opposite +bar and back. In the +same way, the second +thread is carried over +the first. The damask +stitches are described in +the next chapter, in figs. +<a href="chapter_4.html#fig_143">143</a> and <a href="chapter_4.html#fig_144">144</a>.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/107.jpg" alt="FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG. 105." title="" /> +<a name="fig_103" id="fig_103"></a><span class="caption smcap">Fig. 103. Lattice-ground with a portion of square, fig. <a href="#fig_105">105</a>.</span> +</div> + +<p><b>Lattice-ground and +damask stitches for +square, fig. <a href="#fig_105">105</a></b> (fig. <a href="#fig_104">104</a>).—Damask, +or gobelin +stitches, are given in figs. +<a href="chapter_4.html#fig_152">152</a>, <a href="chapter_4.html#fig_153">153</a>, <a href="chapter_4.html#fig_154">154</a>. The ground +of this part of the square +(fig. <a href="#fig_104">104</a>) is adorned with +narrow bars, worked in +darning stitch. From the +centre of one bar, proceed +three bars made on +three foundation-threads, +and a fourth made on +two, on account of the +passage to the next bar.</p> + +<div class="figcenter" style="width: 417px;"> +<img src="images/108.jpg" alt="FIG. 104. + +LATTICE-GROUND AND DAMASK STITCH FOR +SQUARE, FIG. 105." title="" /> +<a name="fig_104" id="fig_104"></a><span class="caption smcap">Fig. 104. +Lattice-ground and damask stitch for +square, fig. <a href="#fig_105">105</a>.</span> +</div> + +<p><b>Quarter of the square in single and cut open-work, +and damask-stitch</b> (fig. <a href="#fig_105">105</a>).—Original size 48 c/m. square. +This handsome square is worked in unbleached cotton on +a white ground; it may also be worked in colours. A very +good effect is produced by using Chiné d'or D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> red, +blue, or green for the gobelin stitch, and a uniform pale tint +for the cut open-work.</p> + +<p>Figs. <a href="#fig_101">101</a>, <a href="#fig_102">102</a>, <a href="#fig_103">103</a>, <a href="#fig_104">104</a> illustrate in detail, one quarter of +the square, which is represented here one third of the original +<a name="Page_45" id="Page_45"></a>size. The centre piece (fig. <a href="#fig_104">104</a>) is bordered by four stripes, +two long and two short; the former containing two lozenge-<a name="Page_46" id="Page_46"></a>shaped +open-work figures separated and finished off by damask +stitches; the latter, only one such figure. For the insertion in +single open-work, that recurs three times, you will find a +variety of designs in figs. <a href="#fig_81">81</a>, <a href="#fig_82">82</a>, <a href="#fig_83">83</a>, <a href="#fig_84">84</a>, <a href="#fig_87">87</a>, <a href="#fig_88">88</a>.</p> + +<div class="figcenter" style="width: 570px;"> +<img src="images/109.jpg" alt="FIG. 105. QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, +AND DAMASK STITCH." title="" /> +<a name="fig_105" id="fig_105"></a><span class="caption"><span class="smcap">Fig. 105. Quarter of the square in single and cut open-work, +and damask stitch.</span><br /> +<br /> +Original size 48 c/m. square.<br /> +<br /> +<span class="smcap">Materials</span> suitable for Holbein linen: Fil à pointer D.M.C No. 15 or 20, and Coton +à repriser D.M.C No. 25. <a href="#Footnote_A" class="fnanchor">[A]</a> <br /> +<br /> +For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C +No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in place of the latter, +Coton à broder surfin D.M.C No. 190.<a href="#Footnote_A" class="fnanchor">[A]</a> </span> +</div> + + +<p><b>Drawing in the pattern</b> (fig. <a href="#fig_106">106</a>).—Darning in the threads, +as you do into a net foundation is a slower process and one +that requires greater skill than drawing them in. +The illustration shows the proper order and +direction of +stitches for Fig. +<a href="#fig_108">108</a>. In this case +likewise, the little +bars must be +finished, before +the actual pattern +is filled in.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/110.jpg" alt="FIG. 106. DRAWING IN THE PATTERN. +(Explanation of fig. 108)" title="" /> +<a name="fig_106" id="fig_106"></a><span class="caption"><span class="smcap">Fig. 106. Drawing in the pattern.</span><br /> +(Explanation of fig. <a href="#fig_108">108</a>)</span> +</div> + +<p><b>Darning in the threads</b> (fig. <a href="#fig_107">107</a>)—In +old +needle-work +we often find the +pattern reserved, +that is, left blank +and outlined by +the grounding. +As it is difficult, +especially in executing +minute, +and delicate figures, +to withdraw +the threads partially, +without injuring +the linen +foundation, they +are withdrawn throughout, and new ones drawn in, to form +the pattern. To explain this more clearly, the original threads +of the material are represented in a lighter shade than the new +<a name="Page_47" id="Page_47"></a><a name="Page_48" id="Page_48"></a>ones that are drawn in; the course of the stitches is indicated +in a darker shade.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_107" id="fig_107"></a><img src="images/111.jpg" alt="FIG. 107. DARNING IN THE THREADS. +(Explanation of fig. 109)." title="" /> +<span class="caption"><span class="smcap">Fig. 107. Darning in the threads.</span><br /> +(Explanation of fig. <a href="#fig_109">109</a>).</span> +</div> + +<p><b>Broad insertion in cut open-work, with the pattern +drawn in</b> (fig. <a href="#fig_108">108</a>).—This insertion, suitable according to the +foundation it is worked on, for the decoration either of curtains, +table-covers, bed-linen or underclothing, is made as shown +in fig. <a href="#fig_106">106</a>. If intended for the decoration of any article made +of white linen, we recommend +unbleached materials for the +lattice-work, and bleached +for the pattern, to bring it +out in strong relief.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/112.jpg" alt="FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN DRAWN IN." title="" /> +<a name="fig_108" id="fig_108"></a><span class="caption smcap">Fig. 108. Broad insertion in cut open-work, with pattern drawn in.</span> +</div> + +<p><b>Insertion in cut open-work, +with pattern darned +in</b> (fig. <a href="#fig_109">109</a>).—This insertion +can be introduced into +any kind of linen material, +and used for ornamenting +towels, aprons, bed-linen +and table-linen. When it is +used to connect bands of +cross-stitch embroidery, the +open-work should be of the +same colour as the embroidery, +and the pattern worked +in white or unbleached cotton, +to correspond with the +foundation. In fig. <a href="#fig_109">109</a>, the +pattern is half as large again +as in the original.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/113.jpg" alt="FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN." title="" /> +<a name="fig_109" id="fig_109"></a><span class="caption"><span class="smcap">Fig. 109. Insertion in cut open-work, with pattern darned in.</span><br /> +<br /> +<span class="smcap">Materials</span>—For Holbein linen: Fil à pointer D.M.C No. 15 or 20, Cordonnet 6 fils +D.M.C No. 8, 10 or 15 for the bars.—Coton à tricoter D.M.C No. 16 or Coton à +repriser D.M.C No. 12 or 25 for darning or drawing in the pattern.<br /> +<br /> +For finer linens: Fil à dentelle D.M.C Nos. 25 to 30, or Cordonnet 6 fils D.M.C +Nos. 25 to 40 for the bars and Coton à repriser D.M.C No. 50 for darning or +drawing in the pattern.</span> +</div> + +<p><a name="patterns_for_cut_open_work" id="patterns_for_cut_open_work"></a><b>Cut open-work pattern</b> (figs. <a href="#fig_110">110</a> and <a href="#fig_111">111</a>).—This pattern, +more of the nature of lace than any of the former, is well +adapted for trimming, not only household articles but also +church furniture, altar-cloths and the like, which are required +to wash, as it can be worked in any width.</p> + +<p>Fig. <a href="#fig_110">110</a>, a magnified representation of the work in process +of execution, shows alternately, ten threads withdrawn each +way and six left, with open spaces between. The arcs are +<a name="Page_49" id="Page_49"></a><a name="Page_50" id="Page_50"></a>worked over three carefully laid threads, carried across from +the middle of one bar to the middle of the bar at right angles +to it, the wheels on the other hand are begun and finished at +the same corner. Overcast the cut edges, and hem-stitch the +outside layer of stuff (figs. <a href="#fig_61">61</a> and <a href="#fig_62">62</a>).</p> + +<div class="figcenter" style="width: 188px;"> +<img src="images/114.jpg" alt="FIG. 110. +CUT OPEN-WORK PATTERN." title="" /> +<a name="fig_110" id="fig_110"></a><span class="caption"><span class="smcap">Fig. 110. +Cut open-work pattern.</span><br /> +Fig. <a href="#fig_111">111</a> in process of execution.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/115.jpg" alt="FIG. 111. CUT OPEN-WORK PATTERN." title="" /> +<a name="fig_111" id="fig_111"></a><span class="caption"><span class="smcap">Fig. 111. Cut open-work pattern.<br /> +Materials:</span> Fil à pointer D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to +50 or Fil à dentelle D.M.C Nos. 25 to 50.</span> +</div> + +<p><b>Greek cut open-work pattern</b> (fig. <a href="#fig_112">112</a>).—After the foregoing +explanations, no difficulty will be found in copying the +beautiful Greek cut open-work pattern, illustrated in fig. <a href="#fig_112">112</a>. +Here, we have in the original, 48 threads drawn out in the +middle, both ways, from one straight bar to another, +(these bars being darned) with open spaces between; and +in the lower and narrower division, 21 threads drawn out +each way. The cut edges, from bar to bar, are hem-stitched +on both sides, leaving four threads of the stuff between.</p> + +<p>The long bars, in the second figure, are button holed on +both sides, those with the picots, on one side only.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/116.jpg" alt="FIG. 112. GREEK CUT OPEN-WORK PATTERN." title="" /> +<a name="fig_112" id="fig_112"></a><span class="caption"><span class="smcap">Fig. 112. Greek cut open-work pattern.<br /> +Materials:</span> Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d'Alsace D.M.C Nos. 20 to +100 or Fil à dentelle D.M.C Nos. 25 to 50.</span> +</div> + + +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_4.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> |