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diff --git a/old/20776-h/chapter_4.html b/old/20776-h/chapter_4.html new file mode 100644 index 0000000..346ca05 --- /dev/null +++ b/old/20776-h/chapter_4.html @@ -0,0 +1,1019 @@ +<!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_51" id="Page_51"></a></p> +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 600px;"> +<img src="images/117.jpg" alt="NET STRIPE, IN IMITATION OF BRUSSELS LACE." title="" /> +<span class="caption smcap">Net stripe, in imitation of brussels lace.</span> +</div> + + +<hr style="width: 65%;" /> +<h2><a name="Net_and_damask_stitches" id="Net_and_damask_stitches"></a>Net and damask stitches.</h2> + + +<p>Many net embroidery patterns and damask stitches consist +of a combination of ordinary running and darning, others of +chain, stem and cross stitch.</p> + +<p><b><a name="Net_embroidery" id="Net_embroidery"></a>Net embroidery.</b>—All these kinds of stitches can be +worked on the coarse Greek net, as it is called, as well as on +the finest quality of real Brussels net.</p> + +<p>Stripes of net, finished off with button-hole edging, and +ornamented with one or other of the following patterns, make +very pretty washing laces and the like; net laid upon Irish +point and converted by needlework into a lace ground, makes +an excellent substitute for a hand-made ground, which demands +much labour and time.</p> + +<p><b>Materials suitable for net embroidery.</b>—The choice of +material must be determined by the quality of the net and the +effect to be produced. For a coarse make of net and a very +marked pattern, the lowest numbers of D.M.C cottons, or the +narrowest braids, such as Soutache D.M.C Nos. 1, 2, 3 should +be used; if the net be fine and the pattern a delicate one, +then the higher numbers of the following are preferable: Coton +à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 +to 70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle +D.M.C Nos. 25 to 50, Coton à broder surfin D.M.C Nos. 100, +120, 150. The latter must be adjusted to the required size +<a name="Page_52" id="Page_52"></a>before being used, that is to say as many strands of it +removed, as is necessary in order to reduce it to the proper +thickness.</p> + +<p><b>Tracing with running stitches</b> (fig. <a href="#fig_113">113</a>).—Have your +pattern traced on linen or paper; tack the net upon it, and copy +it carefully on the net with running stitches. As in darning, +the stitches must run first above and then beneath, alternating +in each succeeding row. At the turn of the lines, the stitches +cross each other, as shown in +the illustration.</p> + +<p><a name="fig_113" id="fig_113"></a></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/118.jpg" alt="FIG. 113. TRACING WITH RUNNING STITCHES." title="" /> +<span class="caption smcap">Fig. 113. Tracing with running stitches.</span> +</div> + +<p><b><a name="Net_pattern" id="Net_pattern"></a>Net pattern</b> (fig. <a href="#fig_114">114</a>).—Here +too the pattern is traced +with running stitches, which +are run in on both sides of +each row of meshes. The +thread is carried first to the +right, and then to the left, +under every alternate bar of +the net and out again. Between +the first and second rows, one +thread of the foundation must +be left uncovered. In the next +row, the thread is carried back again, so that it encircles each +mesh. In the third row, the thread passes under the same bar +<a name="Page_53" id="Page_53"></a>of net as in the second, the threads touching each other. The +fourth row is a repetition of the first.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/119.jpg" alt="FIG. 114. NET PATTERN." title="" /> +<a name="fig_114" id="fig_114"></a><span class="caption smcap">Fig. 114. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_115">115</a>).—This consists of two rows of +stitches. In the first, the single stitches run diagonally from +left to right, over and under a mesh; in the second row the +triple stitches, also carried diagonally across a mesh, lie from +right to left.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/120.jpg" alt="FIG. 115. NET PATTERN." title="" /> +<a name="fig_115" id="fig_115"></a><span class="caption smcap">Fig. 115. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_116">116</a>).—Begin with a double row, as in +fig. <a href="#fig_114">114</a>; this is followed by a row of cross-stitch, touching +the others, for which the thread has to be carried, first under +one of the straight bars of the +mesh and then diagonally, +across it. A second, similar row +of stitches backwards, completes +the crosses. This can be +further varied by the introduction +of a row of triple stitches, +after the double row, as in fig. <a href="#fig_115">115</a>, and the repetition of the +two first only.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/121.jpg" alt="FIG. 116. NET PATTERN." title="" /> +<a name="fig_116" id="fig_116"></a><span class="caption smcap">Fig. 116. Net pattern.</span> +</div> + +<p>These rows can also be +worked in two colours, or in +white thread and washing gold.</p> + +<p><b>Net pattern</b> (fig. <a href="#fig_117">117</a>).—Begin at the top, carrying the +<a name="Page_54" id="Page_54"></a>thread, first under and then over two bars and a mesh, and +then underneath as before. In the second as in the first row, +the threads must be drawn in, so that 4 threads always meet +in one mesh, and two run parallel to each other through the +same mesh.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/122.jpg" alt="FIG. 117. NET PATTERN." title="" /> +<a name="fig_117" id="fig_117"></a><span class="caption smcap">Fig. 117. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_118">118</a>).—This pattern, which resembles +fig. <a href="#fig_117">117</a> in the execution, is thickened by triple stitches. Above, +where in the preceding row three threads were laid, the thread +should be single.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/123.jpg" alt="FIG. 118. NET PATTERN." title="" /> +<a name="fig_118" id="fig_118"></a><span class="caption smcap">Fig. 118. Net pattern.</span> +</div> + +<p>Very pretty varieties are to be obtained by the introduction +of several colours. Take white, for instance, for the first row, +and different shades of the same colour for the second, third, +fourth and fifth rows; such as, Bleu-Lapis 345, 344, 343, 333, +342,<a href="#Footnote_A" class="fnanchor">[A]</a> or Rouge-Cardinal 348, 305, 304, 347, 346,<a href="#Footnote_A" class="fnanchor">[A]</a> or +Rouge-Géranium, Brun-Caroubier or any other colour that is +absolutely fast.</p> + +<p><b>Net pattern</b> (fig. <a href="#fig_119">119</a>).—After one row of cross-stitch, such +as was described in fig. <a href="#fig_116">116</a>, add a second, carrying the thread +under the bar that lies between the first stitches, so that the +two rows only cover three threads of the net. The close bands +of cross-stitch must be divided from each other by one row of +net bars.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/124.jpg" alt="FIG. 119. NET PATTERN." title="" /> +<a name="fig_119" id="fig_119"></a><span class="caption smcap">Fig. 119. Net pattern.</span> +</div> +<p><a name="Page_55" id="Page_55"></a></p> +<p><b>Net pattern</b> (fig. <a href="#fig_120">120</a>).—Draw the thread twice backwards +and forwards, as in darning, through one row of meshes. In +the next, make four stitches over one mesh and two bars. +After the fourth stitch, the thread is carried forward under +two bars to the next group. The meshes filled in thus are +divided from each other by two double rows of darning +stitches. Here you may introduce a variety in the colour, using +either white and unbleached, or unbleached and pale blue, or +some other combination of the kind.</p> + +<div class="figcenter" style="width: 293px;"> +<img src="images/125.jpg" alt="FIG. 120. NET PATTERN." title="" /> +<a name="fig_120" id="fig_120"></a><span class="caption smcap">Fig. 120. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_121">121</a>).—Make +three diagonal stitches +over three bars and two meshes, +then returning to the mesh +out of which the first stitches +come, make three more in the +opposite direction. In the second +row, the stitches meet in +the same mesh as those of +the first.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/126.jpg" alt="FIG. 121. NET PATTERN." title="" /> +<a name="fig_121" id="fig_121"></a><span class="caption smcap">Fig. 121. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_122">122</a>).—Carry +the thread upwards from +below, over a bar of the net, then pass it horizontally under +another bar and carrying it downwards, pass it under a diagonal +bar and cover the other three. In the second row, your +<a name="Page_56" id="Page_56"></a>loops must be turned the opposite way. When the whole +foundation is finished, run a thread over the whole surface +and overcast it. A good effect is produced by using white and +unbleached cottons, in alternate rows.</p> + +<div class="figcenter" style="width: 279px;"> +<img src="images/127.jpg" alt="FIG. 122. NET PATTERN." title="" /> +<a name="fig_122" id="fig_122"></a><span class="caption smcap">Fig. 122. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_123">123</a>).—This pattern consists of one row +of overcasting, one of stitches like those described in fig. <a href="#fig_114">114</a>, +and one of cross-stitch, as in fig. <a href="chapter_1.html#fig_39">39</a>, running diagonally across +the stuff. Besides the cottons already mentioned, washing gold +thread (Or fin D.M.C pour la broderie), may be used for the +overcasting. Dead gold introduced into simple needlework of +this kind enlivens it extremely.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/128.jpg" alt="FIG. 123. NET PATTERN." title="" /> +<a name="fig_123" id="fig_123"></a><span class="caption smcap">Fig. 123. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_124">124</a>).—Three kinds of stitches are required +for this pattern. In the first row the stitch lies crossed +underneath the net; in the second, 3 stitches are made +over one mesh, the first and the last of which are carried +across three meshes. In the third row, button-hole stitches +are carried from right to left over two diagonal bars, in such +a manner that the thread is drawn through the mesh facing +the loops, and the next stitch comes out under the loop of +the preceding one.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/129.jpg" alt="FIG. 124. NET PATTERN." title="" /> +<a name="fig_124" id="fig_124"></a><span class="caption smcap">Fig. 124. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_125">125</a>).—Fill in every other diagonal row +of meshes with chain stitch, inserting the needle into the same +mesh it came out of, so that the thread lies in front of the needle, +in a loop. The rows of chain stitch may be made with two or +<a name="Page_57" id="Page_57"></a>three rows of meshes between them. Even the diagonal lines +by themselves, make a very pretty foundation for other stitches.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/130.jpg" alt="FIG. 125. NET PATTERN." title="" /> +<a name="fig_125" id="fig_125"></a><span class="caption smcap">Fig. 125. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_126">126</a>).—The first row worked from left +to right, consists of three loop stitches upwards and three +downwards, each over one bar. In the second row, divided +from the first by one row of stitches, the inner loops must be +turned towards each other; in the third, the outer ones. Any of +the stitches, already described, can be introduced into this +pattern to enliven it.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/131.jpg" alt="FIG. 126. NET PATTERN." title="" /> +<a name="fig_126" id="fig_126"></a><span class="caption smcap">Fig. 126. Net pattern.</span> +</div> + +<p><b>Net insertions</b> (figs. <a href="#fig_127">127</a> and <a href="#fig_128">128</a>).—These two, as well as +the subsequent patterns, are most of them worked in darning +stitch and simple overcasting.</p> + +<p>The scallops in fig. <a href="#fig_127">127</a> are formed of darning stitches, +<a name="Page_58" id="Page_58"></a>over 4, 3, 2 and 1 mesh, respectively. In the intervening space, +which is five meshes wide, the stitch shown in fig. <a href="#fig_118">118</a>, may +be introduced.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/132.jpg" alt="FIG. 127. NET INSERTION." title="" /> +<a name="fig_127" id="fig_127"></a><span class="caption smcap">Fig. 127. Net insertion.</span> +</div> + +<p>In repeating the pattern, the stitches forming the scallops, +must be made to run in the opposite direction. Instead of the +thread, simply drawn through the middle, little stars like +those described in fig. <a href="#fig_134">134</a>, have a very pretty effect.</p> + +<p>In fig. <a href="#fig_128">128</a>, the thread is first carried round one mesh and +then on to the next scallop. In the second scallop, which turns +the opposite way, the thread is carried once more round +the last mesh after the +pyramid is completed, and +then on, to the next figure.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/133.jpg" alt="FIG. 128. NET INSERTION." title="" /> +<a name="fig_128" id="fig_128"></a><span class="caption smcap">Fig. 128. Net insertion.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_129">129</a>).—This +checked pattern is +also worked in darning +stitch. Carry the thread, as +in fig. <a href="#fig_125">125</a>, through every +second row of meshes. When +the bottom rows are all +finished, the upper ones are +worked across them in the +same way. Here the stitches +may, if preferred, be distributed +more sparingly. But +if they are set wider apart, +the spaces between should be +filled up in some way. Little +dots, made of Coton à repriser +D.M.C, will answer the purpose best.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/134.jpg" alt="FIG. 129. NET PATTERN." title="" /> +<a name="fig_129" id="fig_129"></a><span class="caption smcap">Fig. 129. Net pattern.</span> +</div> + +<p><b>Net insertions</b> (figs. <a href="#fig_130">130</a>, <a href="#fig_131">131</a>, +<a href="#fig_132">132</a>).—These three patterns are +specially suitable, for insertions, +neck-tie lappets and the +like, in the place of crochet, +pillow, and other kinds of lace. +Both design and stitch are clearly +enough represented in the sub<a name="Page_59" id="Page_59"></a>joined +figure for further explanation to be unnecessary. All +three should be worked with rather coarse cotton, and Soutache +D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (braid) drawn in, produces an excellent effect.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/135.jpg" alt="FIG. 130. NET INSERTION." title="" /> +<a name="fig_130" id="fig_130"></a><span class="caption smcap">Fig. 130. Net insertion.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/136.jpg" alt="FIG. 131. NET INSERTION." title="" /> +<a name="fig_131" id="fig_131"></a><span class="caption smcap">Fig. 131. Net insertion.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/137.jpg" alt="FIG. 132. NET INSERTION." title="" /> +<a name="fig_132" id="fig_132"></a><span class="caption smcap">Fig. 132. Net insertion.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_133">133</a>).—These delicate little figures can +be worked into a close pattern, or can be strewn singly over +the surface. The closer you set the stitches, the more clear and +distinct the stars will be. The thread must be drawn in to the +centre mesh from without, so as to be invisible if possible, and +then back again to the outside when the stitches are finished.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/138.jpg" alt="FIG. 133. NET PATTERN." title="" /> +<a name="fig_133" id="fig_133"></a><span class="caption smcap">Fig. 133. Net pattern.</span> +</div> + +<p><b>Net pattern</b> (fig. <a href="#fig_134">134</a>).—These flowerets have a very pretty +effect, set either singly, or in double or triple rows, and are +very useful for filling up gaps or supplementing rows.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/139.jpg" alt="FIG. 134. NET PATTERN." title="" /> +<a name="fig_134" id="fig_134"></a><span class="caption smcap">Fig. 134. Net pattern.</span> +</div> +<p><a name="Page_60" id="Page_60"></a></p> +<p><b>Net pattern</b> (fig. <a href="#fig_135">135</a>).—These star-shaped figures, their +longest stitch covering three straight bars and two meshes, +the shortest, three diagonal bars and two meshes, may like +the above flowerets, be ranged closely together in rows, so that +four stitches, two horizontal and two vertical ones, meet in +one mesh. Cotton of two +colours should be used, in +order that the figures may +be distinct from each other: +white and unbleached are the +best, in cases where bright +colours would be unsuitable.</p> + +<div class="figcenter" style="width: 250px;"> +<img src="images/140.jpg" alt="FIG. 135. NET PATTERN." title="" /> +<a name="fig_135" id="fig_135"></a><span class="caption smcap">Fig. 135. Net pattern.</span> +</div> + +<p><b>Net insertion</b> (fig. <a href="#fig_136">136</a>).—These +diamonds make a very +pretty grounding either set separately, +or in a continuous +pattern. The design is slight, +nevertheless, when it is worked +in coarse cotton, the effect is exceedingly +handsome, especially if the inside, in addition +to the star here given, +be enriched with ordinary +darning-stitches, +worked in fine gold +thread, as we have +already mentioned.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/141.jpg" alt="FIG. 136. NET INSERTION." title="" /> +<a name="fig_136" id="fig_136"></a><span class="caption smcap">Fig. 136. Net insertion.</span> +</div> + +<p><b>Net tracery with border</b> (fig. <a href="#fig_137">137</a>).—In +order to bring out +the pattern and the +colours, use instead +of cotton, Soutache +D.M.C, or Lacets +surfins D.M.C. Both +are to be had in all the colours, given in the list of colours of +the D.M.C threads and cottons. The little border can be used in +conjunction with any of the preceding patterns, but care must +<a name="Page_61" id="Page_61"></a><a name="Page_62" id="Page_62"></a>be taken not to let it get twisted in the working. To prevent +this, slip a coarse needle under the last stitch, and draw the +braid flat over it.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/142.jpg" alt="FIG. 137. NET TRACERY WITH BRAIDS." title="" /> +<a name="fig_137" id="fig_137"></a><span class="caption"><span class="smcap">Fig. 137. Net tracery with braids.<br /> +Materials:</span> Soutache D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.</span> +</div> + +<p><b>Broad net lace tracery</b> (fig. <a href="#fig_138">138</a>).—The pattern of this +pretty lace must first be transferred to stout paper, or oil-cloth. +All the leaves and stalks, and the buttonholing round the +open centres of the flowers, are worked in a pale green, the +two bottom flowers in Turkey red, the star-shaped one in +blue, the calyx in which the stalks unite, in dark red, and the +little bells, in the lightest green.</p> + +<div class="figcenter" style="width: 594px;"> +<img src="images/143.jpg" alt="FIG. 138. BROAD NET LACE TRACERY." title="" /> +<a name="fig_138" id="fig_138"></a><span class="caption"><span class="smcap">Fig. 138. Broad net lace tracery.<br /> +Materials:</span> Coton à broder D.M.C No. 30, 35 or 40.—<span class="smcap">Colours:</span> Rouge-Turc 321, +Rouge-Cardinal 346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.</span> +</div> + +<p><b><a name="Net_darning" id="Net_darning"></a>Net darning</b>.—We conclude with some directions for +darning net, a valuable art, by means of which many a curious +piece of old needlework is preserved. Coarse and fine net are +all darned in the same way.</p> + +<p><b>Laying the first thread</b> (fig. <a href="#fig_139">139</a>).—Tack the net which +is to be darned, closely to the defective part, upon either +oil-cloth or coloured paper and cut the edges straight to the +thread; Your thread must be of exactly the same size, as that +of which the net is made. It takes three rows of stitches to +imitate the net ground; in the first place, as shown in fig. <a href="#fig_139">139</a>, cross-threads must be laid from side to side, carried as +in darning, a little beyond the edges of the hole and so as to +surround each mesh with a slanting stitch.</p><p><a name="Page_63" id="Page_63"></a></p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/144.jpg" alt="FIG. 139. NET DARNING. +LAYING THE FIRST THREAD." title="" /> +<a name="fig_139" id="fig_139"></a><span class="caption smcap">Fig. 139. Net darning. +Laying the first thread.</span> +</div> + +<p><b>Laying the second thread</b> (fig. <a href="#fig_140">140</a>).—Secondly, beginning +from one corner, threads are laid diagonally across the first +layer. The cross-threads of the foundation are encircled by a +stitch, made from right to left, the needle is then carried +under the next horizontal bar, and the first layer of threads +is overcast with similar stitches.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/145.jpg" alt="FIG. 140. NET DARNING. +LAYING THE SECOND THREAD." title="" /> +<a name="fig_140" id="fig_140"></a><span class="caption smcap">Fig. 140. Net darning. +Laying the second thread.</span> +</div> + +<p><b>Laying the third thread</b> (fig. <a href="#fig_141">141</a>).—Thirdly, threads +are carried across the second +and first layers. They must +start, far enough from the edge, +for the second layer of threads +to be overcast at the same time, +so that there may be no loose +threads left on the wrong side. +In this third journey, every +diagonal thread of the foundation +is to be encircled with a +stitch, taken upwards from +below, the cut edges being +strengthened in the same way. +Then, to form the little cross in +the fabric, the thread must be +conducted by means of a second stitch, under the single horizontal +thread, outwards, to the next-diagonal thread.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/146.jpg" alt="FIG. 141. NET DARNING. LAYING THE THIRD THREAD." title="" /> +<a name="fig_141" id="fig_141"></a><span class="caption smcap">Fig. 141. Net darning. Laying the third thread.</span> +</div> + +<p>In places where the net is worn, it can be strengthened in the +same manner, the stitches being made the way of the stuff.</p> + +<p><b><a name="Damask_stitches" id="Damask_stitches"></a>Damask stitches</b>.—As a rule the pattern is simply outlined +with stem and cord stitch, and the inside spaces are left +plain. In spite of the time this simple tracing takes to do, the +effect is rather poor and scanty. If however, the inside of the +leaves and flowers, be filled in with damask stitch, the result +is very handsome.</p> + +<p>Not only can the following stitches, which are suitable for any +linen coarse or fine, be used for this kind of embroidery, but +most of the net and lace patterns too, and these combined +with buttonholing and flat stitch produce charming effects.</p> + +<p><b>Materials suitable for damask stitches.</b>—All the threads +and cottons used for net work can also be used for damask +<a name="Page_64" id="Page_64"></a>stitches, according to the material and the kind of work. We will +enumerate them once more: Coton à tricoter D.M.C Nos. 8 +to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton à broder +D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50, +Coton à broder surfin D.M.C Nos. 100, 120, 150.<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<p>This kind of embroidery is generally done with a very +coarse needle, to press the threads of the stuff closely together +and make the light spaces between, which appear in many of +the following illustrations.</p> + +<p><b>First pattern</b> (fig. <a href="#fig_142">142</a>).—Carry +the needle in a +slanting direction over three +threads and bring it out, +from right to left, under +three perpendicular ones, +then again slanting, over +three threads, from left to +right, and out again underneath +three horizontal ones, +downwards from above. +Thus the first stitch lies +across, from right to left, +the second, lengthways. On +the wrong side, the stitch forms +a regular succession of steps.</p> + +<div class="figcenter" style="width: 327px;"> +<a name="fig_142" id="fig_142"></a> +<img src="images/147.jpg" alt="FIG. 142. FIRST PATTERN" title="" /> +<span class="caption smcap">Fig. 142. First pattern</span> +</div> + +<p><b>Second pattern</b> (fig. <a href="#fig_143">143</a>).—This +is worked exactly in the +same manner as fig. <a href="#fig_142">142</a>, only +that the second row of stitches +touches the first, so that two +threads enter and issue from +the same hole.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/148.jpg" alt="FIG. 143. SECOND PATTERN" title="" /> +<a name="fig_143" id="fig_143"></a><span class="caption smcap">Fig. 143. Second pattern</span> +</div> + +<p><b>Third pattern</b> (fig. <a href="#fig_144">144</a>).—Though +at first sight, this +stitch is very like the Holbein +<a name="Page_65" id="Page_65"></a>or stroke stitch, it is very different in the execution. It is +worked in two rows, to and fro; in the first, you make all +the vertical stitches side by side in the width of the stuff, +drawing your thread very tightly, in the second, coming +back, you make the horizontal +stitches in a straight +line, at right angles to the +first stitches. On the wrong +side the stitches are crossed; +they in thin stuffs, +show through, and quite +alter the appearance of the +right side.</p> + +<div class="figcenter" style="width: 350px;"> +<img src="images/149.jpg" alt="FIG. 144. THIRD PATTERN." title="" /> +<a name="fig_144" id="fig_144"></a><span class="caption smcap">Fig. 144. Third pattern.</span> +</div> + +<p><b>Fourth, pattern</b> (fig. <a href="#fig_145">145</a>).—In the first row, the +thread is carried slanting +upwards from right to left, +over two threads, then +downwards under two. +Coming back, the stitches must be set the opposite way, so +that four threads meet in one hole.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/150.jpg" alt="FIG. 145. FOURTH PATTERN." title="" /> +<a name="fig_145" id="fig_145"></a><span class="caption smcap">Fig. 145. Fourth pattern.</span> +</div> + +<p><b>Fifth pattern</b> (fig. <a href="#fig_146">146</a>).—This is worked like fig. <a href="#fig_145">145</a>, +only that the stitches must cover three threads each way. In +the second row, you take up one thread on the right and two +on the left, to form your stitches.</p><p><a name="Page_66" id="Page_66"></a></p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/151.jpg" alt="FIG. 146. FIFTH PATTERN." title="" /> +<a name="fig_146" id="fig_146"></a><span class="caption smcap">Fig. 146. Fifth pattern.</span> +</div> + +<p><b>Sixth pattern</b> (fig. <a href="#fig_147">147</a>).—Here, the stitches form a +chess-board pattern. You begin with a diagonal stitch over +two threads and bring your needle up again into the same line +it started from. The second stitch covers three threads, the +third six, the fourth eight; the next three decrease, successively +in length, in the same proportion.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/152.jpg" alt="FIG. 147. SIXTH PATTERN." title="" /> +<a name="fig_147" id="fig_147"></a><span class="caption smcap">Fig. 147. Sixth pattern.</span> +</div> + +<p><b>Seventh pattern</b> (fig. <a href="#fig_148">148</a>).—Two kinds of cotton have +to be used for this pattern, one of them soft and flat, like +Colon à repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (darning cotton) or Coton à tricoter +D.M.C (knitting cotton)<a href="#Footnote_A" class="fnanchor">[A]</a> for +the flat stitches, and the other +strongly twisted, like Cordonnet +6 fils D.M.C No. 8, 10, 12 or +15,<a href="#Footnote_A" class="fnanchor">[A]</a> for the cross stitches.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/153.jpg" alt="FIG. 148. SEVENTH PATTERN." title="" /> +<a name="fig_148" id="fig_148"></a><span class="caption smcap">Fig. 148. Seventh pattern.</span> +</div> + +<p>The five flat stitches cover +three threads in width and six +in height, and lie from right to +left and from left to right. In +the second row, which must be +two threads distant from the +first, the stitches must lie in +the contrary direction. In the +<a name="Page_67" id="Page_67"></a>lozenge-shaped space between, make four cross stitches, +over four threads in height and two in +width.</p> + +<p><b>Eighth pattern</b> (figs. <a href="#fig_149">149</a> and <a href="#fig_150">150</a>).—Make +five stitches over 8 horizontal threads, +miss 6 threads and make another 5 stitches. +The groups of long stitches above and +beneath the first row, encroach over two +threads of the first group, so that a space +of only four threads remains between two +groups. The stitch between these groups +is generally known as the rococo +stitch.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/154.jpg" alt="FIG. 149. EIGHTH PATTERN." title="" /> +<a name="fig_149" id="fig_149"></a><span class="caption smcap">Fig. 149. Eighth pattern.</span> +</div> + +<p>Bring out your needle between +the third and fourth of +these threads, and insert it +again above, drawing it out +afterwards between the second +and third horizontal thread, +and securing the first stitch +with a back stitch. Make the +three remaining stitches, as +explained in fig. <a href="#fig_150">150</a>.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/155.jpg" alt="FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149." title="" /> +<a name="fig_150" id="fig_150"></a><span class="caption smcap">Fig. 150. Explanation of the rococo stitch in fig. <a href="#fig_149">149</a>.</span></div> + +<p><b>Ninth pattern</b> (fig. <a href="#fig_151">151</a>).—This +consists of straight bands +of flat stitches, covering three +threads each way, with spaces +8 threads wide between, ornamented +with a small pattern in +stroke stitch, (see chapter on +<a href="./chapter_7.html">Tapestry and Linen embroidery</a>).</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_151" id="fig_151"></a> +<img src="images/156.jpg" alt="FIG. 151. NINTH PATTERN." title="" /> +<span class="caption smcap">Fig. 151. Ninth pattern.</span> +</div> + +<p><b>Damask stitch for figs. <a href="chapter_3.html#fig_103">103</a> +and <a href="chapter_3.html#fig_105">105</a></b> (fig. <a href="#fig_152">152</a>).—The stitches, +here represented on a large scale, +form the border to the square in +cut open-work in fig. <a href="chapter_3.html#fig_105">105</a>. The long diagonal stitches, on +either side, can be made to look fuller and more distinct, by +using a soft, coarse cotton.</p><p><a name="Page_68" id="Page_68"></a></p> + +<div class="figcenter" style="width: 250px;"> +<img src="images/157.jpg" alt="FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105." title="" /> +<a name="fig_152" id="fig_152"></a><span class="caption smcap">Fig. 152. Damask stitch for figs. <a href="chapter_3.html#fig_103">103</a> and <a href="chapter_3.html#fig_105">105</a>.</span></div> + +<p><b>Tenth and eleventh patterns</b> (figs. <a href="#fig_153">153</a> and <a href="#fig_154">154</a>).—The +former of these is used for filling in the short stripe in fig. <a href="chapter_3.html#fig_105">105</a>, the second for the long inside one. Fig. <a href="#fig_153">153</a> is clear +enough to need no explanation; +with reference to fig. <a href="#fig_154">154</a>, it is +however as well to point out that +the shortest stitch should cover +4 threads and the longest 12, +the rest is easily learnt from the +illustration. This is a very suitable +design for the decoration of large +surfaces and combines well with +any running diagonal pattern, +when it can be made to form a +large star which can be worked +as a separate figure.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/158.jpg" alt="FIG. 153. +TENTH PATTERN. DAMASK STITCH FOR +FIGS. 104 AND 105." title="" /> +<a name="fig_153" id="fig_153"></a><span class="caption smcap">Fig. 153. +Tenth pattern. Damask stitch for +figs. <a href="chapter_3.html#fig_104">104</a> and <a href="chapter_3.html#fig_105">105</a>.</span> +</div> + +<div class="figcenter" style="width: 300px;"> +<img src="images/159.jpg" alt="FIG. 154. +ELEVENTH PATTERN. DAMASK STITCH +FOR FIG. 105." title="" /> +<a name="fig_154" id="fig_154"></a><span class="caption smcap">Fig. 154. +Eleventh pattern. Damask stitch +for fig. <a href="chapter_3.html#fig_105">105</a>.</span> +</div> + +<p><b>Twelfth pattern</b> (fig. <a href="#fig_155">155</a>).—In +cases where this and the +following stitches are to be +executed on a light, transparent +stuff, it is best to use a very +strongly twisted thread, such +as Fil d'Alsace D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> or, Fil +à dentelle D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> instead of +a softer and looser material. A +stiff thread compresses the +threads of the stuff better and +the open spaces, thus made in +it, are rendered more visible.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/160.jpg" alt="FIG. 155. TWELFTH PATTERN." title="" /> +<a name="fig_155" id="fig_155"></a><span class="caption smcap">Fig. 155. Twelfth pattern.</span> +</div> + +<p>Count 6 threads vertically, +put in the needle and draw +it through from right to left, +underneath 3 diagonal threads. For the next stitch, carry it +upwards over 6 threads, and back under 3. The second row is +worked back over the first in the same way. Leave 6 threads +between each row.</p> +<p><a name="Page_69" id="Page_69"></a></p> +<p><b>Thirteenth pattern</b> (fig. <a href="#fig_156">156</a>).—Carry the thread, from +right to left over four vertical threads, and under the same +number of horizontal ones. The second row of stitches touches +the first, so that the thread it is worked with seems to be +drawn through under the same threads of the stuff, as the one +the first row was worked with.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/161.jpg" alt="FIG. 156. THIRTEENTH PATTERN." title="" /> +<a name="fig_156" id="fig_156"></a><span class="caption smcap">Fig. 156. Thirteenth pattern.</span> +</div> + +<p><b>Fourteenth pattern</b> (fig. <a href="#fig_157">157</a>).—Here, the stitches, contrary +to those in fig. <a href="#fig_147">147</a>, are set vertically. The first stitch +covers 2 threads, the second 6, the third 10, the fourth 14, the +fifth 18. The longest stitches of two checks always meet in the +same hole.</p><p><a name="Page_70" id="Page_70"></a></p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/162.jpg" alt="FIG. 157. FOURTEENTH PATTERN." title="" /> +<a name="fig_157" id="fig_157"></a><span class="caption smcap">Fig. 157. Fourteenth pattern.</span> +</div> + +<p><b>Fifteenth pattern</b> (fig. <a href="#fig_158">158</a>).—Cover the whole expanse +with rows of stitches, such as are described in fig. <a href="#fig_155">155</a>, with +intervals of 12 threads between them.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/163.jpg" alt="FIG. 158. FIFTEENTH PATTERN." title="" /> +<a name="fig_158" id="fig_158"></a><span class="caption smcap">Fig. 158. Fifteenth pattern.</span> +</div> + +<p>These rows are intersected by others, to which the thread +is passed, from between the sixth and seventh of the 12 threads +between the first rows. Where the stitches of the two rows +meet, the working thread of the second row must be drawn +through, under that of the first.</p> + +<p><b>Sixteenth pattern</b> (fig. <a href="#fig_159">159</a>).—Between every two rows of +cross-stitch, leave an interval of 6 threads, counting those on +each side of the rows. Over these 6 threads work 2 rows, as +shown in fig. <a href="#fig_148">148</a>, but so, that in the second, the lower +stitch of the first row and the upper one of the second, cover +the same threads.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/164.jpg" alt="FIG. 159. SIXTEENTH PATTERN." title="" /> +<a name="fig_159" id="fig_159"></a><span class="caption smcap">Fig. 159. Sixteenth pattern.</span> +</div> + +<p><b>Seventeenth pattern</b> (fig. <a href="#fig_160">160</a>).—This consists of stripes, +4 stitches wide, like those of fig. <a href="#fig_155">155</a>, with 3 threads between, +which are overcast in the ordinary manner.</p> + +<div class="figcenter" style="width: 283px;"> +<img src="images/165.jpg" alt="FIG. 160. SEVENTEENTH PATTERN." title="" /> +<a name="fig_160" id="fig_160"></a><span class="caption smcap">Fig. 160. Seventeenth pattern.</span> +</div> + +<p><b>Eighteenth pattern</b> (fig. <a href="#fig_161">161</a>).—Small squares of 7 +stitches, inclined alternately, to the right and left, and so +formed, that the longest stitch of one square is crossed by the +first short stitch of the next, so that a space only 6 threads +wide and 4 long, remains uncovered. The intervening stripes +are filled with 3 rows of overcasting stitches, covering 2 +threads each way.</p><p><a name="Page_71" id="Page_71"></a></p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/166.jpg" alt="FIG. 161. EIGHTEENTH PATTERN." title="" /> +<a name="fig_161" id="fig_161"></a><span class="caption smcap">Fig. 161. Eighteenth pattern.</span> +</div> + +<p><b>Nineteenth pattern</b> (fig. <a href="#fig_162">162</a>).—The steps formed by +this pattern are 11 stitches high, and 11 wide, and each stitch +covers 4 threads.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/167.jpg" alt="FIG. 162. NINETEENTH PATTERN." title="" /> +<a name="fig_162" id="fig_162"></a><span class="caption smcap">Fig. 162. Nineteenth pattern.</span> +</div> + +<p>Eight threads intervene between each row of steps, which +are covered at the bend, by a square of stitches, from the last +of which, the thread is carried on at once, to the four single +stitches.</p> + +<p><b>Twentieth pattern</b> (fig. <a href="#fig_163">163</a>).—The 4 squares set opposite +to each other, with 2 threads between, are edged all round by +3 rows of overcasting.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/168.jpg" alt="FIG. 163. TWENTIETH PATTERN." title="" /> +<a name="fig_163" id="fig_163"></a><span class="caption smcap">Fig. 163. Twentieth pattern.</span> +</div> + +<p><b>Twenty-first pattern</b> (fig. <a href="#fig_164">164</a>).—Begin by rows of stitches, +<a name="Page_72" id="Page_72"></a>like those described in fig. <a href="#fig_155">155</a>, over 4 and 2 threads, with +4 threads between, not counting those covered with cross-stitch. +Between the two rows of cross-stitch, join 6 threads +together by a back-stitch, and carry your thread over the two +last of the 6, to the 2 first of the next cluster. The narrow +diagonal stripes are separated by 24 threads, exclusive of those +covered by the cross-stitches. These spaces are filled in with +squares, 10 threads wide and 10 long, formed by back-stitches +crossed on the wrong side.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/169.jpg" alt="FIG. 164. TWENTY-FIRST PATTERN." title="" /> +<a name="fig_164" id="fig_164"></a><span class="caption smcap">Fig. 164. Twenty-first pattern.</span> +</div> + +<p><b>Twenty-second pattern</b> (fig. <a href="#fig_165">165</a>).—In the closer stuffs, +of a coarse texture, the threads of which do not admit of being +drawn together, as you can those, of a loose thin stuff, where, +<a name="Page_73" id="Page_73"></a>by simply pulling your thread a little tighter you get open +spaces, you must begin by cutting out every fourth or fifth +thread. After which, you overcast all the rows, first one way, +and then the other, with stitches +covering 4 threads, each way. +On this foundation with strong, +loosely-twisted cotton, Coton +à broder D.M.C or Coton à +tricoter D.M.C No. 25, 30, 35, +or 40, make long stitches, as +indicated in the illustration.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/170.jpg" alt="FIG. 165. TWENTY-SECOND PATTERN." title="" /> +<a name="fig_165" id="fig_165"></a><span class="caption smcap">Fig. 165. Twenty-second pattern.</span> +</div> + +<p><b>Twenty-third pattern</b> (fig. <a href="#fig_166">166</a>.)—From the point where +the thread comes out of the +stuff, make 16 stitches, four +times over, all coming out of +the same hole, over 8, 6, 4 and 6 threads, thus forming a +star. Leave an interval of four threads between the stars, and +unite the intervening threads by cross-stitches one way, and +whip-stitches, the other.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/171.jpg" alt="FIG. 166. TWENTY-THIRD PATTERN." title="" /> +<a name="fig_166" id="fig_166"></a><span class="caption smcap">Fig. 166. Twenty-third pattern.</span> +</div> +<p><a name="Page_74" id="Page_74"></a></p> +<p><b>Twenty-fourth pattern</b> (fig. <a href="#fig_167">167</a>).—Make a succession +of diagonal stitches, increasing in length, and advancing one +thread at a time, until the seventh stitch covers seven threads, +and completes the triangle. Then begin a second triangle on +the nearest, adjacent thread.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/172.jpg" alt="FIG. 167. TWENTY-FOURTH PATTERN." title="" /> +<a name="fig_167" id="fig_167"></a><span class="caption smcap">Fig. 167. Twenty-fourth pattern.</span> +</div> + +<p><b>Twenty-fifth pattern</b> (fig. <a href="#fig_168">168</a>).—Cover your whole surface +with squares of 16 stitches, as in fig. <a href="#fig_147">147</a>, and fill in the +intervening squares with 23 stitches, all radiating from one +centre.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/173.jpg" alt="FIG. 168. TWENTY-FIFTH PATTERN." title="" /> +<a name="fig_168" id="fig_168"></a><span class="caption smcap">Fig. 168. Twenty-fifth pattern.</span> +</div> + +<p><b>Twenty-sixth pattern</b> (fig. <a href="#fig_169">169</a>).—Diagonal trellised +stripes, made as indicated in fig. <a href="#fig_165">165</a>, and overcast, form the +ground. Twelve threads are to be left between the stripes, upon +which, work six-cornered, lozenge-shaped groups of stitches, +set at right angles to each other, in diagonal rows.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_169" id="fig_169"></a> +<img src="images/174.jpg" alt="FIG. 169. TWENTY-SIXTH PATTERN." title="" /> +<span class="caption smcap">Fig. 169. Twenty-sixth pattern.</span> +</div> + +<p><b>Twenty-seventh pattern</b> (fig. <a href="#fig_170">170</a>).—We conclude our +chapter with a circular design, which combines a variety of +stitches, and introduces our workers to two new patterns, as +well as to an advantageous way of hiding the junction of +several kinds of stitches by semicircles of button-hole stitching.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/175.jpg" alt="FIG. 170. TWENTY-SEVENTH PATTERN." title="" /> +<a name="fig_170" id="fig_170"></a><span class="caption smcap">Fig. 170. Twenty-seventh pattern.</span> +</div> + +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_5.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> |