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diff --git a/old/20776-h/chapter_5.html b/old/20776-h/chapter_5.html new file mode 100644 index 0000000..b9ae6ed --- /dev/null +++ b/old/20776-h/chapter_5.html @@ -0,0 +1,870 @@ +<!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_75" id="Page_75"></a></p> + +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 600px;"> +<img src="images/176.jpg" alt="STRIPE IN FLAT AND RAISED SATIN STITCH, AND MADEIRA EMBROIDERY." title="" /> +<span class="caption smcap">Stripe in flat and raised satin stitch, and madeira embroidery.</span> +</div> + + + +<hr style="width: 65%;" /> +<h2><a name="White_Embroidery" id="White_Embroidery"></a>White Embroidery.</h2> + + +<p>We have retained the familiar term, white embroidery, +for this kind of needlework, for convenience sake, in spite of +its inaccuracy, now that coloured materials are quite as much +used for it as white.</p> + +<p>It is executed, either on a backing of oil-cloth, or in an +embroidery frame, called «tambour-frame». Only skilful +workers can dispense with these, for an untrained hand can +hardly avoid puckering. If you work without a foundation, the +material must be held, quite smoothly over the forefinger, so +that the threads lie perfectly straight, otherwise, the pattern +is very apt to get pulled out of shape in the working. With +your three other fingers you hold the material fast, the thumb +resting on the work itself, beyond the outline of the pattern, +which must be turned towards the worker. It is always the +outside line of a pattern that is drawn in double lines, that +should be turned towards the palm of the hand.</p> + +<p><b>Tracing patterns.</b>—Patterns are generally to be had ready +traced, but as it is often necessary to repeat, enlarge, or +reduce them, descriptions of several modes of doing so, will +be found at the end of the concluding chapter.</p> + +<p><b>Materials.</b>—A loose, soft make of cotton, the looser the +better, and very little twisted, is the best material for embroidery. +We recommend for white embroidery in general, Coton +<a name="Page_76" id="Page_76"></a>à broder D.M.C Nos. 16 to 150; for monograms on cambric, +Coton à broder surfin D.M.C Nos. 100, 120, 150;<a href="#Footnote_A" class="fnanchor">[A]</a> and +for English or Madeira embroidery, Coton Madeira D.M.C +Nos. 40, 50, 60;<a href="#Footnote_A" class="fnanchor">[A]</a> for padding, or raising the embroidery, +all the different kinds of Coton à repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> can be used.</p> + +<p><b>Outlining and padding.</b>—The outlining of a pattern is +a very important preliminary. A want of precision in the ultimate +effect is often due, merely to careless outlining. This +part of the work should be done with rather a coarser cotton +than the embroidery itself. Fasten in the thread by a few +running stitches, never with a knot, a rule to be observed also +in embroidering, except in very rare cases. Finish off your +thread by drawing it through the tracing stitches, or through +some part of the pattern that is already finished. Fill in the +spaces between the lines with a padding of run threads, run +loosely, and so that they lie thickly and solidly in the centre, +and shade off on both sides. The fullness, +and roundness of embroidery, +depends on the firmness of this sub-stratum +of threads. The outlining and +the padding of the different rounded +and pointed scallops, as well as of other +figures that occur in white embroidery, +are illustrated in figs. <a href="#fig_181">181</a>, <a href="#fig_182">182</a>, <a href="#fig_183">183</a>, +<a href="#fig_184">184</a>, <a href="#fig_185">185</a>, <a href="#fig_187">187</a>, <a href="#fig_189">189</a>, <a href="#fig_190">190</a> and <a href="#fig_191">191</a>.</p> + +<p><a name="stitches" id="stitches"></a><b>Blanket, or button-hole stitch</b> +(fig. <a href="#fig_171">171</a>).—Work from left to right; +run in a foundation line, hold down the +working thread below the run line +with the right thumb; insert the needle +above and bring it out below the run +line but above the working thread; +tighten the loop thus formed, without +drawing up the stuff, and continue in +this manner, setting your stitches closely and regularly, side +by side.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/177.jpg" alt="FIG. 171. BLANKET, OR +BUTTON-HOLE STITCH." title="" /> +<a name="fig_171" id="fig_171"></a><span class="caption smcap">Fig. 171. Blanket, or +button-hole stitch.</span> +</div> +<p><a name="Page_77" id="Page_77"></a></p> +<p><b>Straight stem stitch</b> (fig. <a href="#fig_172">172</a>).—Work from left to right. +The needle must always be inserted above the run thread, +and brought out underneath it. In the case of a very delicate +pattern, take up only just as much stuff as the run thread +covers.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/178.jpg" alt="FIG. 172. STRAIGHT STEM STITCH." title="" /> +<a name="fig_172" id="fig_172"></a><span class="caption smcap">Fig. 172. Straight stem stitch.</span></div> + +<p><b>Sloping stem stitch</b> (fig. <a href="#fig_173">173</a>).—Work without a run +thread; insert the needle from right +to left in a slanting direction, +under 1 or 2 horizontal threads, +and 5 or 6 perpendicular ones; +so that each stitch reaches halfway +back to the last.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/179.jpg" alt="FIG. 173. SLOPING STEM STITCH." title="" /> +<a name="fig_173" id="fig_173"></a><span class="caption smcap">Fig. 173. Sloping stem stitch.</span></div> + +<p>This kind of stem stitch is chiefly +used for the fine upstrokes of +letters and numbers, and for linen +embroidery.</p> + +<p><b>Back-stitching</b> (fig. <a href="#fig_174">174</a>).—Back-stitching, +that is small, even +stitches set closely together, is done +from right to left, along a straight +line, and is chiefly used for filling +in the centres of letters, leaves and +flowers.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/180.jpg" alt="FIG. 174. BACK-STITCHING." title="" /> +<a name="fig_174" id="fig_174"></a><span class="caption smcap">Fig. 174. Back-stitching.</span></div> + +<p><b>Crossed back-stitch</b> (figs. <a href="#fig_175">175</a> +and <a href="#fig_176">176</a>).—Used, generally speaking, +only for very transparent materials; +it forms a close seam of cross-stitch, +on the wrong side, and two +straight rows of back-stitching on +the right. To work, insert the +needle as if for an ordinary back-stitch, +pass it under the stuff, +sloping it a little towards the second +outline of the pattern, and +draw it out almost in front of the +first stitch. After making a back-stitch, pass the needle up +again under the stuff and bring it out at the spot where the +next stitch is to be.</p><p><a name="Page_78" id="Page_78"></a></p> + +<div class="figcenter" style="width: 175px;"> +<img src="images/181.jpg" alt="FIG. 175. CROSSED BACK-STITCH. +RIGHT SIDE." title="" /> +<a name="fig_175" id="fig_175"></a><span class="caption smcap">Fig. 175. Crossed back-stitch. +Right side.</span> +</div> + +<div class="figcenter" style="width: 200px;"> +<img src="images/182.jpg" alt="FIG. 176. CROSSED BACK-STITCH. +WRONG SIDE." title="" /> +<a name="fig_176" id="fig_176"></a><span class="caption smcap">Fig. 176. Crossed back-stitch. +Wrong side.</span> +</div> + +<p>Fig. <a href="#fig_176">176</a> shows the interlacing of the stitches on the wrong +side, and the way in which this stitch, when it is used for +filling in centres, can be worked on +the right side.</p> + +<p><b>Simple knot stitch</b> (fig. <a href="#fig_177">177</a>). +This consists of two back-stitches, +side by side, covering the same +threads; it is chiefly used for +filling in leaves, embroidered on +very thin materials, or in conjunction +with flat stitch.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/183.jpg" alt="FIG. 177. SIMPLE KNOT STITCH." title="" /> +<a name="fig_177" id="fig_177"></a><span class="caption smcap">Fig. 177. Simple knot stitch.</span></div> + +<p><b>Twisted knot stitch</b> (fig. <a href="#fig_178">178</a>). +To work hold the working thread +down with the thumb close to the +spot where you first brought it out, +twist it twice round the needle, +turn the needle round from left to +right, following the direction indicated +by the arrow, pass it through +the fabric at the place which is +marked by a dot, and draw it out +at the place where the next stitch +is to be.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/184.jpg" alt="FIG. 178. TWISTED KNOT STITCH." title="" /> +<a name="fig_178" id="fig_178"></a><span class="caption smcap">Fig. 178. Twisted knot stitch.</span></div> + +<p><b>Post stitch</b> (fig. <a href="#fig_179">179</a>).—Something +like knot stitch and much used +for patterns, composed of small +flowers and leaves, where it often +takes the place of raised satin stitch. +The illustration represents five +leaves finished, and the sixth in +process of being worked.</p> + +<div class="figcenter" style="width: 175px;"> +<img src="images/185.jpg" alt="FIG. 179. POST STITCH." title="" /> +<a name="fig_179" id="fig_179"></a><span class="caption smcap">Fig. 179. Post stitch.</span></div> + +<p>To work, bring the needle up from the back and twist +the thread round it as many times as the length of the stitch +requires, hold the left thumb on the species of curl thus +formed, and passing the needle and thread through it, insert +it at the end of the leaf where it first came out, and draw +it out at the right place for the next stitch.</p> + +<p><b>Button-hole bars</b> (fig. <a href="#fig_180">180</a>).—When a pattern is orna<a name="Page_79" id="Page_79"></a>mented +with open-work bars, begin by tracing the outside +parallel lines. Then button-hole the whole lower line and +the upper one, till you come to the place where the first bar +is to be; then you carry your thread across and bring up +the needle from below through one of the loops, as, shown +in the figure; lay three threads in this manner, inserting your +needle the third time one loop further on. Then cover the +three threads thickly with button-holing.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/186.jpg" alt="FIG. 180. BUTTON-HOLE BARS." title="" /> +<a name="fig_180" id="fig_180"></a><span class="caption smcap">Fig. 180. Button-hole bars.</span></div> + +<p><b><a name="Different_kinds_of_scallops" id="Different_kinds_of_scallops"></a>Different kinds of scallops</b> (figs. <a href="#fig_181">181</a>, <a href="#fig_182">182</a>, <a href="#fig_183">183</a>).—The +outlining, padding and button-holing of these scallops is executed +in the manner already described. Be careful to adapt the +length of the stitches to the shape and size of the scallops. If +they are pointed (figs. +<a href="#fig_182">182</a>, <a href="#fig_183">183</a>), the stitches +will have to be set +very closely together +on the inner line, and +a little play allowed +them on the outer, to +come exactly to the +point, which should +be very sharply defined.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/187.jpg" alt="FIG. 181. ROUND, BUTTON-HOLED SCALLOPS." title="" /> +<a name="fig_181" id="fig_181"></a><span class="caption smcap">Fig. 181. Round, button-holed scallops.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/188.jpg" alt="FIG. 182. LARGE, POINTED, BUTTON-HOLED SCALLOPS." title="" /> +<a name="fig_182" id="fig_182"></a><span class="caption smcap">Fig. 182. Large, pointed, button-holed scallops.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/189.jpg" alt="FIG. 183. SMALL, POINTED, BUTTON-HOLED SCALLOPS." title="" /> +<a name="fig_183" id="fig_183"></a><span class="caption smcap">Fig. 183. Small, pointed, button-holed scallops.</span></div> + +<p><b>Rose scallops</b> (figs. +<a href="#fig_184">184</a> and <a href="#fig_185">185</a>).—These +are, large button-holed +scallops with indented +edges, in the one case, rounded at the top and sharply pointed +at the join; in the other, pointed at the top, and joined at +the bottom by a straight bar of button-holing.</p><p><a name="Page_80" id="Page_80"></a></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/190.jpg" alt="FIG. 184. ROUNDED ROSE SCALLOPS." title="" /> +<a name="fig_184" id="fig_184"></a><span class="caption smcap">Fig. 184. Rounded rose scallops.</span></div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/191.jpg" alt="FIG. 185. POINTED ROSE SCALLOPS." title="" /> +<a name="fig_185" id="fig_185"></a><span class="caption smcap">Fig. 185. Pointed rose scallops.</span></div> + +<p><b><a name="Eyelet_holes" id="Eyelet_holes"></a>Eyelet holes</b> (figs. <a href="#fig_186">186</a>, <a href="#fig_187">187</a>, <a href="#fig_188">188</a>).—Outline the eyelet holes +very carefully first by running a thread round them, then +cut out the enclosed stuff with a sharp pair of finely pointed +scissors, and edge the hole with plain overcasting stitches, +worked from left to right.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/192.jpg" alt="FIG. 186. OVERCAST EYELET HOLES." title="" /> +<a name="fig_186" id="fig_186"></a><span class="caption smcap">Fig. 186. Overcast eyelet holes.</span></div> + +<p>When you have a long row of eyelet holes to make, outline +the upper and lower halves alternately, first on one side and +then on the other, using two threads, and then overcast them +in the same way. The double crossing of the working threads +between the eyelet holes makes them much stronger, than if +each hole were finished off separately, and the thread passed +underneath from one to +the other.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/193.jpg" alt="FIG. 187. BUTTON-HOLED SHADED EYELET HOLES." title="" /> +<a name="fig_187" id="fig_187"></a><span class="caption smcap">Fig. 187. Button-holed shaded eyelet holes.</span></div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/194.jpg" alt="FIG. 188. SHADED EYELET HOLES HALF OVERCAST, HALF BUTTON-HOLED." title="" /> +<a name="fig_188" id="fig_188"></a><span class="caption smcap">Fig. 188. Shaded eyelet holes half overcast, half button-holed.</span></div> + +<p>The lower halves of +shaded eyelet holes, (see +figs. <a href="#fig_187">187</a> and <a href="#fig_188">188</a>), are +worked with very short +stitches, and the upper +halves with long ones; they +may be edged entirely, either with button-holing or overcasting, +or half with one and half with the other.</p> + +<p><b>Six leaves in raised satin stitch</b> (fig. <a href="#fig_189">189</a>).—Raised satin +stitch is chiefly used for working flowers, leaves, petals, dots, +<a name="Page_81" id="Page_81"></a>initials and monograms. After tracing the outline of the design, +fill in the centres with a padding of long, close stitches +for which you can again take Coton à repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> +and then, beginning always at the point of the leaf, see letter A, +cover it with flat, perfectly even stitches, worked from right-to-left. +B illustrates a leaf, divided through the middle by a line of +overcasting; C, one with a corded vein; D, a divided leaf +worked in sloping satin stitch; E, a leaf, with a corded vein +and framed in sloping satin stitch; F, a leaf worked half in +satin stitch, half in back-stitch and straight stem stitch.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/195.jpg" alt="FIG. 189. SIX LEAVES IN RAISED SATIN STITCH." title="" /> +<a name="fig_189" id="fig_189"></a><span class="caption smcap">Fig. 189. Six leaves in raised satin stitch.</span></div> + +<p>Leaves and flowers of all descriptions, can be executed in +any of these stitches, and in different combinations of the same.</p> + +<p><b><a name="Six_ways_of_making_dots" id="Six_ways_of_making_dots"></a>Six ways of making dots</b> (fig. <a href="#fig_190">190</a>).—Dots, when they +are well made, are exceedingly effective in white embroidery, +particularly if they are worked in a variety of stitches. +Dot A is worked in raised satin stitch; B, in raised satin +stitch, framed in back stitch; C, in raised satin stitch, framed +in twisted knot stitch; D is composed of several post stitches +of different lengths, set in a frame of stem stitches; E is wor<a name="Page_82" id="Page_82"></a>ked +in back-stitch, and F consists of a small eyelet hole, with +a corded setting, which forms the centre.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/196.jpg" alt="FIG. 190. SIX WAYS OF MAKING DOTS." title="" /> +<a name="fig_190" id="fig_190"></a><span class="caption smcap">Fig. 190. Six ways of making dots.</span></div> + +<p><b><a name="Venetian_embroidery" id="Venetian_embroidery"></a>Venetian embroidery</b> (fig. <a href="#fig_191">191</a>).—Scallops, worked in +very high relief, called Venetian embroidery, are an imitation +on stuff of Venetian lace.</p> + +<p>Real Venetian point is entirely needle-made; in the embroidered +imitations of it, the stuff takes the place of the +needle-made lace foundation. To make it more like the original +however, the ground is seldom left plain, but is covered with +fancy stitches, such as are represented in the illustration, or +with one or other of the damask stitches in figs. <a href="chapter_4.html#fig_146">146</a> to <a href="chapter_4.html#fig_170">170</a>. +The button-hole bars may be made with or without picots. +A full description of the latter will be found in the chapters +on <a href="./chapter_4.html">net embroidery</a>, and <a href="./chapter_13.html">Irish lace</a>. The space to be buttonholed, +must be well padded, for thereon depends the roundness +of the embroidery. For this purpose take 6 or 8 threads of +Coton à repriser D.M.C No. 25,<a href="#Footnote_A" class="fnanchor">[A]</a> and fasten them down on to +the pattern with loose stitches, laying on extra threads, and +cutting them gradually away, according to the width the line +<a name="Page_83" id="Page_83"></a><a name="Page_84" id="Page_84"></a>is to be. The stuff underneath the bars should only be cut +away when the embroidery is quite finished.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/197.jpg" alt="FIG. 191. VENETIAN EMBROIDERY." title="" /> +<a name="fig_191" id="fig_191"></a><span class="caption smcap">Fig. 191. Venetian embroidery.</span></div> + +<p><a name="patterns" id="patterns"></a><b>Renaissance embroidery</b> (figs. <a href="#fig_192">192</a> and <a href="#fig_193">193</a>).—This is the +term applied, more especially in France, to embroidery +patterns, which are worked entirely in button-holing, and +connected by button-hole bars without picots, as shewn in the +two accompanying figures. The outside edge in fig. <a href="#fig_193">193</a>, is embellished +with picots, described in the chapters just referred to.</p><p><a name="Page_85" id="Page_85"></a></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/198.jpg" alt="FIG. 192. RENAISSANCE EMBROIDERY." title="" /> +<a name="fig_192" id="fig_192"></a><span class="caption smcap">Fig. 192. Renaissance embroidery.</span></div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/199.jpg" alt="FIG. 193. RENAISSANCE EMBROIDERY." title="" /> +<a name="fig_193" id="fig_193"></a><span class="caption smcap">Fig. 193. Renaissance embroidery.</span></div> + +<p><b>Richelieu embroidery</b> (fig. <a href="#fig_194">194</a>).—The name given to +embroidery of a similar kind to the former, but in which the +connecting bars, instead of being left plain as they are in the +Renaissance embroidery, are ornamented with picots.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/200.jpg" alt="FIG. 194. RICHELIEU EMBROIDERY." title="" /> +<a name="fig_194" id="fig_194"></a><span class="caption smcap">Fig. 194. Richelieu embroidery.</span></div> + +<p><b>Madeira work</b> (figs. <a href="#fig_195">195</a>, <a href="#fig_196">196</a>, <a href="#fig_197">197</a>).—This kind of embroidery, +which consists chiefly of eyelet holes, and is distin<a name="Page_86" id="Page_86"></a>guished +for the excellence of its workmanship used to be +known as English, but is now generally called Madeira work, +from the island where it originated. The scallops in figs. <a href="#fig_195">195</a> +and <a href="#fig_197">197</a>, are bordered with shaded eyelet holes, worked half +in button-hole stitch, half in overcasting; the finely scalloped +edge, in fig. <a href="#fig_196">196</a>, is entirely button-holed. In working eyelet +holes, the material must always be turned in, up to the +inside line, and completely worked in, underneath the +in order that no loose threads may be visible on the wrong side.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/201.jpg" alt="FIG. 195. MADEIRA WORK." title="" /> +<a name="fig_195" id="fig_195"></a><span class="caption smcap">Fig. 195. Madeira work.</span></div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/202.jpg" alt="FIG. 196. MADEIRA WORK." title="" /> +<a name="fig_196" id="fig_196"></a><span class="caption"><span class="smcap">Fig. 196. Madeira work.<br /> +Materials:</span> Coton Madeira D.M.C No. 40, 50 or 60. (Special cotton +for Madeira work)<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/203.jpg" alt="FIG. 197. MADEIRA-WORK." title="" /> +<a name="fig_197" id="fig_197"></a><span class="caption"><span class="smcap">Fig. 197. Madeira-work.<br /> +Materials:</span> Coton Madeira D.M.C No. 40, 50 or 60. (Special cotton for +Madeira-work).</span> +</div> + +<p><b>Swiss embroidery frame</b> (fig. <a href="#fig_198">198</a>).—Letters, monograms, +coronets and the like, require extreme care in the +working, and can only be really well done in a frame. The +round Swiss frame, or tambour frame, is the one most +commonly used. It consists of two wooden hoops, fitting +loosely into each other; the inner one, fastened to a support +with a wooden screw let into the lower part of it, with which +to fasten the frame to the table. The outside hoop is loose.</p> + +<p>Place the fabric to be embroidered over the smaller hoop, +the pattern in the middle, and press the other down over it so +that it is tightly stretched and fixed between the two hoops.</p> + +<p>A leathern strap with holes and a buckle, sometimes takes +the place of the second hoop.</p> + +<p><a name="Page_87" id="Page_87"></a></p><div class="figcenter" style="width: 400px;"> +<img src="images/204.jpg" alt="FIG. 198. SWISS EMBROIDERY FRAME." title="" /> +<a name="fig_198" id="fig_198"></a><span class="caption smcap">Fig. 198. Swiss embroidery frame.</span></div> + +<p><b>Ordinary embroidery frame</b> (fig. <a href="#fig_199">199</a>).—Tambour frames +can only be used for embroidering pocket-handkerchiefs +and other small articles; all larger work has to be done in +an ordinary frame. Sew a piece of strong stuff into the +frame, stretch it as tightly and evenly as possible, and cut +out a square in the middle to the size of the pattern. Then +tack your work in underneath, straight to the thread, dividing +it out carefully with pins first, to ensure its being set in +perfectly evenly. Roll or fold up the rest of the stuff over the +<a name="Page_88" id="Page_88"></a><a name="Page_89" id="Page_89"></a><a name="Page_90" id="Page_90"></a><a name="Page_91" id="Page_91"></a><a name="Page_92" id="Page_92"></a><a name="Page_93" id="Page_93"></a>edges of the frame, and secure it with a few stitches or pins, +to keep it out of the way of your hand as you work.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/205.jpg" alt="FIG. 199. ORDINARY EMBROIDERY FRAME." title="" /> +<a name="fig_199" id="fig_199"></a><span class="caption smcap">Fig. 199. Ordinary embroidery frame.</span></div> + +<p><b>Alphabets for monograms</b> (figs. <a href="#fig_200">200</a> to <a href="#fig_205">205</a>).—On account +of the difficulty of devising a good monogram for marking under-linen, +we subjoin two alphabets, by the aid of which our +workers will be able to compose their own.</p> + +<p>The letters are of a good medium size, which can be magnified +or reduced according to the worker's own taste.</p> + +<p>For any such modifications, we would again draw our +reader's attention to the directions given in the concluding +chapter. The three first plates represent large wide letters, +intended to contain or encompass the more elongated ones, +represented in the fourth and fifth plates, figs. <a href="#fig_203">203</a> and <a href="#fig_204">204</a>.</p> + +<p>The interlacing of the letters requires to be carefully done, +and our workers should study the following specimens, so +as to learn the stitches also, which are most suitable for this +branch of embroidery.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/206.jpg" alt="FIG. 200. ALPHABETS FOR MONOGRAMS. Outside letters A to H." title="" /> +<a name="fig_200" id="fig_200"></a><span class="caption smcap">Fig. 200. Alphabets for monograms. Outside letters A to H.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/207.jpg" alt="FIG. 201. ALPHABETS FOR MONOGRAMS. Outside letters J to Q." title="" /> +<a name="fig_201" id="fig_201"></a><span class="caption smcap">Fig. 201. Alphabets for monograms. Outside letters J to Q.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/208.jpg" alt="FIG. 202. ALPHABETS FOR MONOGRAMS. Outside letters R to Y." title="" /> +<a name="fig_202" id="fig_202"></a><span class="caption smcap">Fig. 202. Alphabets for monograms. Outside letters R to Y.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/209.jpg" alt="FIG. 203. ALPHABETS FOR MONOGRAMS. Inside letters A to L." title="" /> +<a name="fig_203" id="fig_203"></a><span class="caption smcap">Fig. 203. Alphabets for monograms. Inside letters A to L.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/210.jpg" alt="FIG. 204. ALPHABETS FOR MONOGRAMS. Inside letters M to X." title="" /> +<a name="fig_204" id="fig_204"></a><span class="caption smcap">Fig. 204. Alphabets for monograms. Inside letters M to X.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/211.jpg" alt="FIG. 205. ALPHABETS FOR MONOGRAMS. Last inside and outside letters." title="" /> +<a name="fig_205" id="fig_205"></a><span class="caption smcap">Fig. 205. Alphabets for monograms. Last inside and outside letters.</span></div> + +<p><b>Monogram composed of letters A and D</b> (fig. <a href="#fig_206">206</a>).—Here, +letter A is worked in flat satin stitch, in Bleu-Indigo 312, +and set in stem stitch, worked in Rouge-Turc 321. D as a contrast +to A, is embroidered in transverse bars, the left part in +pale blue and white, the right in pale blue and dark blue. The +<a name="Page_94" id="Page_94"></a>little ornaments may be worked according to fancy, either in +white, or in one of the given colours.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/212.jpg" alt="FIG. 206. MONOGRAM COMPOSED OF LETTERS A AND +D DRAWN FROM THE ALPHABETS OF +MONOGRAMS." title="" /> +<a name="fig_206" id="fig_206"></a><span class="caption"><span class="smcap">Fig. 206. Monogram composed of letters A and +D drawn from the alphabets of +monograms.<br /> +Materials:</span> Coton à broder D.M.C +Nos. 100 to 150.<br /> +<span class="smcap">Colours:</span> Bleu-Indigo 334, Rouge-Turc +321 and white.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> +<p><a name="Page_95" id="Page_95"></a></p> +<p><b>Monogram composed of letters V and S</b> (fig. <a href="#fig_207">207</a>).—The +flat satin stitch in both letters is worked in white; the +setting, is in red, in short stem stitch, or if preferred, in +knotted back stitch.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/213.jpg" alt="FIG. 207. +MONOGRAM COMPOSED OF LETTERS V AND +S DRAWN FROM THE ALPHABETS OF +MONOGRAMS." title="" /> +<a name="fig_207" id="fig_207"></a><span class="caption"><span class="smcap">Fig. 207. +Monogram composed of letters V and +S drawn from the alphabets of +monograms.<br /> +Materials:</span> Coton à broder D.M.C +No. 120.<br /> +<span class="smcap">Colours:</span> White and Rouge-Cardinal +305.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Monogram composed of letters R and C</b> (fig. <a href="#fig_208">208</a>).—These +are worked in black and grey, for mourning; the +way C is divided, admits of a variety in the stitch; for instance, +the back-stitches, in the illustration, may be replaced +by very small eyelet holes.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/214.jpg" alt="FIG. 208. +MONOGRAM COMPOSED OF LETTERS R AND +C DRAWN FROM THE ALPHABETS OF +MONOGRAMS." title="" /> +<a name="fig_208" id="fig_208"></a><span class="caption"><span class="smcap">Fig. 208. +Monogram composed of letters R and +C drawn from the alphabets of +monograms.<br /> +Materials:</span> Fil à dentelle D.M.C +No. 150.<br /> +<span class="smcap">Colours:</span> Gris-Cendre 318 and Noir +grand Teint 310.</span> +</div> + +<p><b>Monogram composed of letters G and E</b> (fig. <a href="#fig_209">209</a>).—The +flat satin stitching and back-stitching in E, and the stem-stitched +edges of G are worked in white Coton à broder +D.M.C; the inside of G in ivory white Coton surfin D.M.C.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/215.jpg" alt="FIG. 209. +MONOGRAM COMPOSED OF LETTERS G AND +E DRAWN FROM THE ALPHABETS OF +MONOGRAMS. +MATERIALS: Coton à broder D.M.C +No. 120 white +and Coton surfin D.M.C No. 120, +unbleached." title="" /> +<a name="fig_209" id="fig_209"></a><span class="caption"><span class="smcap">Fig. 209. +Monogram composed of letters G and +E drawn from the alphabets of +monograms. +Materials:</span> Coton à broder D.M.C +No. 120 white +and Coton surfin D.M.C No. 120, +unbleached.</span> +</div> + +<p><b>Border in Gobelin stitch</b> (fig. <a href="#fig_210">210</a>).—Gobelin embroidery +is merely raised satin stitch, worked directly upon the pattern, +without any foundation, or padding. The effectiveness of this +kind of embroidery, which appears so complicated and is +really so easy, and the many ways in which it can be utilised, +soon brought it into favour. It can be worked on the article +itself, or on stripes, laid on afterwards, with a hem-stitch +bordering. The original of fig. <a href="#fig_210">210</a> was in blue and red; Bleu<a name="Page_96" id="Page_96"></a> +Indigo 312 for the grounding, Rouge-Turc 321, for the setting +in stem-stitch. The herringboning along the edges of the +pattern, top and bottom, is also in red.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/216.jpg" alt="FIG. 210. BORDER IN GOBELIN STITCH. +MATERIALS: Coton à broder D.M.C No. 35 in two different colours such as: +Bleu-Indigo 312 and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or, +Gris-Tilleul 393 and Rouge-Cardinal 305.[A" title="" /> +<a name="fig_210" id="fig_210"></a><span class="caption"><span class="smcap">Fig. 210. Border in gobelin stitch.<br /> +Materials:</span> Coton à broder D.M.C No. 35 in two different colours such as: +Bleu-Indigo 312 and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or, +Gris-Tilleul 393 and Rouge-Cardinal 305.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>Should a different selection of colours be made, it is im<a name="Page_97" id="Page_97"></a>portant +to remember that in all cases a sharp contrast is +desirable.</p> + +<p><b>Alphabet and numerals, left blank, and outlined by +the grounding, worked in Gobelin stitch</b> (figs. <a href="#fig_211">211</a> to <a href="#fig_215">215</a>).</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/217.jpg" alt="FIG. 211. ALPHABET LEFT BLANK AND OUTLINED BY THE GROUNDING. Letters A to N." title="" /> +<a name="fig_211" id="fig_211"></a><span class="caption smcap">Fig. 211. Alphabet left blank and outlined by the grounding. Letters A to N.</span></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/218.jpg" alt="FIG. 212. ALPHABET LEFT BLANK AND OUTLINED BY THE GROUNDING. Letters O to Z." title="" /> +<a name="fig_212" id="fig_212"></a><span class="caption smcap">Fig. 212. Alphabet left blank and outlined by the grounding. Letters O to Z.</span></div> + +<p><a name="Page_98" id="Page_98"></a></p><div class="figcenter" style="width: 200px;"> +<img src="images/219.jpg" alt="FIG. 213. LETTER O, FROM THE ALPHABET +GIVEN IN FIGS. 211 AND 212." title="" /> +<a name="fig_213" id="fig_213"></a><span class="caption smcap">Fig. 213. Letter O, from the alphabet +given in figs. <a href="#fig_211">211</a> and <a href="#fig_212">212</a>.</span> +</div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/220.jpg" alt="FIG. 214. NUMERALS LEFT BLANK AND OUTLINED BY THE GROUNDING." title="" /> +<a name="fig_214" id="fig_214"></a><span class="caption smcap">Fig. 214. Numerals left blank and outlined by the grounding.</span></div> + +<p>The border worked in Gobelin +stitch, illustrated in +fig. <a href="#fig_210">210</a>, suggested to us the +idea of an alphabet and +numerals, to be executed +in a similar style, left blank, +that is to say, and outlined +by a grounding in Gobelin +stitch, which are better suited +to embroideries of the +kind than those generally +used. Our limited space prevents +us from giving all the +letters in the diagonal position +they are intended to +occupy on the article itself. +O and W only, are represented +in the right position. +No difficulty will be found +in copying the other letters, +in giving them the proper +direction.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/221.jpg" alt="FIG. 215. LETTER W, FROM THE ALPHABET +GIVEN IN FIG. 211 AND 212." title="" /> +<a name="fig_215" id="fig_215"></a><span class="caption smcap">Fig. 215. Letter W, from the alphabet +given in fig. <a href="#fig_211">211</a> and <a href="#fig_212">212</a>.</span> +</div> + +<p>In order to economize +room, J and H are represented +in one square, but they +are easily distinguishable +from each other.</p> + +<p>Fig. <a href="#fig_214">214</a> represents the +numerals, executed in the +<a name="Page_99" id="Page_99"></a><a name="Page_100" id="Page_100"></a><a name="Page_101" id="Page_101"></a>same way. We should like to draw our readers attention to +a few other ways in which letters and numerals may be +outlined by the back-ground; for example, the solid parts +can be worked either in plain or twisted knot stitch (figs. <a href="#fig_177">177</a> +and <a href="#fig_178">178</a>); in very fine chain stitch; in old German knot or bead +stitch (fig. <a href="./chapter_15.html#fig_873">873</a>), or even in piqué embroidery (fig. <a href="./chapter_15.html#fig_877">877</a>).</p> + +<p><b>Border outlined by grounding, worked in Gobelin and +stem stitch</b> (fig. <a href="#fig_216">216</a>). The grounding of this +pattern is worked on stiff white linen, and entirely in Rouge-Turc +321, and the outlining in Noir grand Teint 310. The same +<a name="Page_102" id="Page_102"></a>pattern can equally well be worked on gauzes and other transparent +stuffs, but with Coton à repriser, instead of Coton à +broder D.M.C, for the solid parts. Two shades of Rouge-Grenat, +one dark and one very light, may be taken instead, or two of +Jaune-Rouille, or of Violet-Mauve, employing always the lighter +shade for the grounding and the darker for the setting.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/222.jpg" alt="FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN GOBELIN +AND STEM STITCH. First part." title="" /> +<a name="fig_216" id="fig_216"></a><span class="caption"><span class="smcap">Fig. 216. Border, outlined by the grounding worked in gobelin +and stem stitch.</span><br /> First part.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/223.jpg" alt="FIG. 216. Second part." title="" /> +<span class="caption"><span class="smcap">Fig. 216.</span> Second part.<br /> +<span class="smcap">Materials:</span> Coton à broder D.M.C No. 50.—<span class="smcap">Colours:</span> Rouge-Turc 321 and Noir +grand Teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>Be careful, in the grounding, not to make the red stitches +near the edge, longer than they are represented in the illustration +and to set the black stem stitches as close as possible to +the grounding.</p> + +<p>The pattern, which could only be reproduced in the original +size, had to be divided in two, to fit the page. In copying +it, join the A and B of the first part to the A and B of the +second; the same in fig. <a href="#fig_217">217</a>, each time the pattern is repeated, +the flowers are to droop from the + as seen from the position +of the buds in the first part, at the beginning of the +drawing.</p> + +<p><b>Flower garland in different kinds of stitches</b> (figs. <a href="#fig_217">217</a> +and <a href="#fig_218">218</a>).—Most of the stitches, described at the beginning of +this chapter, will be found in this graceful garland, in the execution +of which a considerable variety of colours can be introduced. +The rose-buds may be worked in two shades of Vert-Pistache +and of Rouge-Grenat, in the stitches described in +figs. <a href="#fig_173">173</a>, <a href="#fig_177">177</a>, <a href="#fig_189">189</a> A; the forget-me-nots, in two or even +three shades of Bleu-Indigo, in raised satin stitch and knotted +stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, +the stamens in Jaune-Citron, and the stalks of the roses in +Brun-Acajou.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/224.jpg" alt="FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF STITCHES. First part." title="" /> +<a name="fig_217" id="fig_217"></a><span class="caption"><span class="smcap">Fig. 217. Flower-garland in different kinds of stitches.</span><br />First part.</span></div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/225.jpg" alt="FIG. 217. Second part." title="" /> +<span class="caption"><span class="smcap">Fig. 217.</span> Second part.<br /> +<span class="smcap">Materials:</span> Coton à broder D.M.C No. 40.<br /> +<span class="smcap">Colours:</span> Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334, Vert-Pistache +319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301, Jaune-citron 446.</span> +</div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/226.jpg" alt="FIG. 218. SHOWING THE WORKING OF THE OUTSIDE +STITCHES IN FIG. 217." title="" /> +<a name="fig_218" id="fig_218"></a><span class="caption smcap">Fig. 218. Showing the working of the outside +stitches in fig. <a href="#fig_217">217</a>.</span> +</div> + +<p>The border that completes this charming pattern, consists +of four rows of button holing, worked in four colours. The +first row in our illustration is worked in pale pink, followed +by three shades of green, the palest of which is used for the +second row of stitches.</p> + +<p>When these rows are worked upon a satine or cambric foundation, +it is advisable to begin by making a small drawing, in +which the height of the stitches and the distance between them +is accurately marked out, then prick the pattern through and +pounce it upon the material beneath.</p><p><a name="Page_103" id="Page_103"></a></p> + +<p>When they are worked on a material, the threads of which +can be counted no such precaution is necessary.</p> + +<p><b>Insertion in Gobelin and stem stitch</b> (fig. <a href="#fig_219">219</a>).—Owing +to the shortness of the stitches, this pattern is easier to work +than the foregoing ones. The little flowers are embroidered +alternately in dark and light red; the setting varies to correspond, +the light red flower being set in dark red, and vice versa. +The interior of the leaves is in light green and the setting, +as well as the connecting bars, in dark green.</p><p><a name="Page_104" id="Page_104"></a></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/227.jpg" alt="FIG. 219. INSERTION IN GOBELIN AND STEM STITCH." title="" /> +<a name="fig_219" id="fig_219"></a><span class="caption"><span class="smcap">Fig. 219. Insertion in gobelin and stem stitch.<br /> +Materials:</span> Coton à broder D.M.C No. 35—<span class="smcap">Colours:</span> Rouge-Cardinal 347 and +Rouge-Géranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and +334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with +Jaune-Rouille 364 365.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Stripes of embroidery with lace insertion between</b> (fig. <a href="#fig_220">220</a>).—We conclude this chapter, by showing how stripes of +embroidery can be used alone, or in conjunction, either with +bands of open-work, or lace, crochet, or net insertion. Such +combinations are useful for ornamenting aprons, table-cloths, +curtains etc., every description in short of household linen +and of children's garments. One great advantage, moreover, +which stripes of this kind, have over larger pieces of embroidery +is that they require neither frame nor pillow, nor wearisome +counting of stitches, but can be worked in the hand, at +all times and places.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/228.jpg" alt="FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN." title="" /> +<a name="fig_220" id="fig_220"></a><span class="caption smcap">Fig. 220. Stripes of embroidery with insertion between.</span></div> + + +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_6.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> |