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diff --git a/old/20776-h/chapter_6.html b/old/20776-h/chapter_6.html new file mode 100644 index 0000000..1567ae7 --- /dev/null +++ b/old/20776-h/chapter_6.html @@ -0,0 +1,925 @@ +<!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_105" id="Page_105"></a></p> + +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 600px;"> +<img src="images/229.jpg" alt="STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND FLATTENED GOLD WIRE." title="" /> +<span class="caption smcap">Stripe of gold embroidery in gold thread, purl, and flattened gold wire.</span> +</div> + +<hr style="width: 65%;" /> +<h2><a name="Flat_stitch_and_Gold_embroidery" id="Flat_stitch_and_Gold_embroidery"></a>Flat stitch and Gold embroidery.</h2> + + +<p>The terms, flat stitch and gold embroidery, suggest as a +rule, needle-work upon rich materials, such as velvet, brocade, +plush and the like.</p> + +<p>Nevertheless, a great deal of beautiful embroidery is to be +met with, in silk and gold thread upon quite common stuffs; +Persian and Moorish embroidery for instance, both remarkable +for their delicacy and minuteness, and executed upon ordinary +linen, or cotton fabrics.</p> + +<p>As a fact, the material is quite a secondary matter; almost +any will do equally well as a foundation, for the stitches +described in these pages. Flat stitch, and some of the other +stitches used in gold embroidery, can be worked with any kind +of thread, but best of all with the D.M.C cottons.</p> + +<p><b>Flat stitch embroidery</b>.—Decorative designs, and conventional +flowers, are the most suitable for flat stitch +embroidery; a faithful representation of natural flowers should +not be attempted, unless it be so well executed, as to produce +the effect of a painting and thus possess real artistic merit.</p> + +<p><b><a name="Encroaching_flat_stitch" id="Encroaching_flat_stitch"></a>Encroaching flat stitch</b> (fig. <a href="#fig_221">221</a>).—Small delicate flowers, +leaves, and arabesques, should in preference, be worked either +in straight flat stitch (figs. <a href="./chapter_5.html#fig_189">189</a> and <a href="./chapter_5.html#fig_190">190</a>) or in encroaching flat +stitch. The stitches should all be of equal length, the length +<a name="Page_106" id="Page_106"></a>to be determined by the quality of the thread; a fine thread +necessitating short, and a coarse one, long stitches. The +stitches should run, one into the other, as shown in the illustration. +They are worked in +rows, those of the second +row encroaching on those of +the first, and fitting into +one another.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_221" id="fig_221"></a> +<img src="images/230.jpg" alt="FIG. 221. +ENCROACHING SATIN STITCH." title="" /> +<span class="caption smcap">Fig. 221. +Encroaching satin stitch.</span> +</div> + +<p>Work your flowers and +leaves from the point, never +from the calyx or stalk. If +they are to be shaded, begin +by choosing the right shade +for the outside edge, varying +the depth according to the +light in which the object is supposed to be placed. The stitches +should always follow the direction of the drawing.</p> + +<p><b><a name="Oriental_stitch" id="Oriental_stitch"></a>Oriental stitch</b> (figs. <a href="#fig_222">222</a>, <a href="#fig_223">223</a>, <a href="#fig_224">224</a>).—The three following +stitches, which we have grouped under one heading, are known +also, under the name of Renaissance or Arabic stitches. We +have used the term Oriental, because they are to be met with +in almost all Oriental needlework and probably derive their +origin from Asia, whose inhabitants have, at all times, been +renowned for the beauty of their embroideries.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/231.jpg" alt="FIG. 222. ORIENTAL STITCH." title="" /> +<a name="fig_222" id="fig_222"></a><span class="caption smcap">Fig. 222. Oriental stitch.</span> +</div> + +<p>These kind of stitches are only suitable for large, bold +designs. Draw in the vertical threads first; in working with a +<a name="Page_107" id="Page_107"></a>soft, silky material, to economise thread, and prevent the embroidery +from becoming too heavy, you can begin your second +stitch close to where the first ended.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/232.jpg" alt="FIG. 223. ORIENTAL STITCH." title="" /> +<a name="fig_223" id="fig_223"></a><span class="caption smcap">Fig. 223. Oriental stitch.</span> +</div> + +<p>But if the thread be one that is liable to twist, take it back +underneath the stuff and begin your next stitch in a line +with the first, so that all the stitches of the first layer, which +form the grounding, are carried from the top to the bottom. +The same directions apply to figs. <a href="#fig_223">223</a>, <a href="#fig_224">224</a> and <a href="#fig_226">226</a>.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/233.jpg" alt="FIG. 224. ORIENTAL STITCH." title="" /> +<a name="fig_224" id="fig_224"></a><span class="caption smcap">Fig. 224. Oriental stitch.</span> +</div> + +<p>When you have laid your vertical +threads, stretch threads +horizontally across, and fasten +them down with isolated stitches, +set six vertical threads apart. +The position of these fastening +stitches on the transverse threads +must alternate in each row, as +indicated in fig. <a href="#fig_222">222</a>.</p> + +<p>For fig. <a href="#fig_223">223</a>, make a similar +grounding to the one above described, +laying the horizontal threads a little closer together, +and making the fastening stitches over two threads.</p> + +<p>In fig. <a href="#fig_224">224</a>, the second threads are carried diagonally across +the foundation-threads, and the fastening stitches are given a +similar direction.</p> + +<p>For these stitches, use either one material only, a fleecy +thread like Coton à repriser D.M.C for instance, or else two, +<a name="Page_108" id="Page_108"></a>such as Coton à repriser D.M.C for +the grounding, and a material with a +strong twist like Cordonnet 6 fils +D.M.C or Fil à pointer D.M.C for +the stem stitch.</p> + +<p><b><a name="Plaited_stitch" id="Plaited_stitch"></a>Plaited stitch</b> (fig. <a href="#fig_225">225</a>).—When +the vertical stitches are laid, a kind +of plait is formed in the following +way. Pass the thread three times, +alternately under and over three foundation +threads. To do this very +accurately, you must take the thread +back, underneath, to its starting-point; +and consequently, always make your +stitch from right to left.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/234.jpg" alt="FIG. 225. PLAITED STITCH." title="" /> +<a name="fig_225" id="fig_225"></a><span class="caption smcap">Fig. 225. Plaited stitch.</span> +</div> + +<p>If you have chosen a washing +material, and D.M.C cottons to work +with, use one colour of cotton for the +foundation, and Chiné d'or D.M.C +No. 30, for the plaited stitch.</p> + +<p><b>Mosaic stitch</b> (fig. <a href="#fig_226">226</a>).—In old +embroideries we often find this stitch, +employed as a substitute for plush or +other costly stuffs, appliquéd on to +the foundation. It is executed in the +same manner as the four preceding +stitches, but can only be done in thick +twist, such as Cordonnet 6 fils D.M.C +or Ganse turque D.M.C.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/235.jpg" alt="FIG. 226. MOSAIC STITCH." title="" /> +<a name="fig_226" id="fig_226"></a><span class="caption smcap">Fig. 226. Mosaic stitch.</span> +</div> + +<p>Each stitch should be made separately, +and must pass underneath +the foundation, so that the threads +which form the pattern are not flat, +as they are in the preceding examples, +but slightly rounded.</p> +<p><a name="Page_109" id="Page_109"></a></p> +<p><b>Border in <a name="Persian_stitch" id="Persian_stitch"></a>Persian stitch</b> (fig. <a href="#fig_227">227</a>).—This stitch, of +Persian origin, resembles the one represented in fig. <a href="./chapter_5.html#fig_175">175</a>. +Instead of bringing the needle out, however, as indicated in +fig. <a href="./chapter_5.html#fig_176">176</a>, take it back as you see in the illustration, to the +space between the outlines of the drawing, and behind the +thread that forms the next stitch. Before filling in the pattern, +outline it with short stem stitches, or a fine cord, laid on, +and secured with invisible stitches.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/236.jpg" alt="FIG. 227. BORDER IN PERSIAN STITCH" title="" /> +<a name="fig_227" id="fig_227"></a><span class="caption"><span class="smcap">Fig. 227. Border in persian stitch.<br /> +Materials:</span> Cordonnet 6 fils D.M.C No. 14, 15, 20 or 25.<br /> +<span class="smcap">Colours:</span> Noir grand Teint 310, Vert-Mousse 469 and 471, Rouge-Cardinal 346, +Jaune-vieil-Or 680, Violet-Mauve 315 and 316.</span> +</div> + +<p>This graceful design which can be utilised in various ways +is formed of leaves of 7 lobes, worked alternately in dark and +light green; of flowers of 3 petals, worked in red and the +centres in yellow, and of small leaves in violet. The setting, +throughout, is worked either in black or in dark brown.</p> + +<p><b>Stripe worked in flat stitch</b> (fig. <a href="#fig_228">228</a>).—This pattern, +simple as it is, will be found both useful and effective for the +trimming of all kinds of articles of dress. The bottom edge +should be finished off with rounded scallops or toothed vandykes +worked in button-hole stitch. The flowers in flat stitch, +<a name="Page_110" id="Page_110"></a>are worked alternately, in Rouge-Géranium 351 and 352, and +the leaves alternately, in Vert-de-gris 474 and 475; the centres +of the flowers are worked in knot stitch, in Jaune-Rouille 308.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/237.jpg" alt="FIG. 228. STRIPE WORKED IN FLAT STITCH." title="" /> +<a name="fig_228" id="fig_228"></a><span class="caption"><span class="smcap">Fig. 228. Stripe worked in flat stitch.<br /> +Materials</span>—According to the stuff: Fil à dentelle D.M.C, Cordonnet 6 fils +D.M.C or Coton à repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>—For the flowers: Rouge-Géranium 351 and 352.—For the knot stitch: +Jaune-Rouille 308.—For the foliage: Vert-de-gris 474 and 475.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Bouquet in <a name="straight_and_encroaching_flat_stitch" id="straight_and_encroaching_flat_stitch"></a>straight and encroaching flat stitch</b> (fig. <a href="#fig_229">229</a>). +As we have already observed, it is by no means easy to +arrange the colours in an embroidery of this kind, so as to +obtain a really artistic effect. Whether the design be a conventional +one or not, the great point is to put in the lights and +shadows at the right place. If you want to make a faithful +copy of a natural flower, take the flower itself, or a coloured +botanical drawing of it, and if possible, a good black and white +drawing of the same, match the colours in 6 or 7 shades, by the +<a name="Page_111" id="Page_111"></a>flower itself, keeping them all rather paler in tone, and take +the black and white drawing as a guide for the lights and +shadows. The colours for the leaves and petals, which should +always be worked from the outside, should be chosen with +a view to their blending well together. The stamens and +the centres of the flowers should be left to the last, but the +veins and ribs of the leaves, should always be put in before +the grounding.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/238.jpg" alt="FIG. 229. BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH" title="" /> +<a name="fig_229" id="fig_229"></a><span class="caption"><span class="smcap">Fig. 229. Bouquet in straight and encroaching flat stitch.<br /> +Materials:</span> Coton à repriser D.M.C No. 50.<br /> +<span class="smcap">Colours</span>—For the forget-me-nots: Bleu-Indigo 312, 322 and 334.—For the +other flowers: Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache +369.—For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471 +and 472.—For the stalks: Brun-Havane 455 and 457.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>For embroideries of this kind, suitable materials must be +selected; the more delicate and minute the design, and the +more varied the colouring, the softer and finer should be the +quality of the material employed. Specially to be recommended, +as adapted to every form of stitch and as being each of them +capable of being subdivided, +are Filoselle, Marseille, open +Chinese silk and Coton à +repriser D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<p><b>Flowers embroidered in +the <a name="Chinese_manner" id="Chinese_manner"></a>Chinese manner</b> (fig. <a href="#fig_230">230</a>).—All Chinese embroidery +displays undoubted originality +and wonderful skill +and judgment in the choice of +material and colour. It excels +particularly, in the representation +of figures, flowers, and +animals, but differs from European +work in this, that instead of using flat stitch and +making the colours blend together as we do, the Chinese put +them, side by side, without intermediate tones, or they sometimes +work the whole pattern in knot stitch. The little knots, +formed by this stitch are generally set in gold thread.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/239.jpg" alt="FIG. 230. +FLOWERS EMBROIDERED IN THE CHINESE +MANNER." title="" /> +<a name="fig_230" id="fig_230"></a><span class="caption smcap">Fig. 230. +Flowers embroidered in the chinese +manner.</span> +</div> + +<p>Often too, instead of combining a number of colours, as +we do, the Chinese fill in the whole leaf with long stitches and +upon this foundation, draw the veins in a different stitch and +colour. Even the flowers, they embroider in the same way, in +<a name="Page_112" id="Page_112"></a>very fine thread, filling in the whole ground first, with stitches +set very closely together and marking in the seed vessels afterwards, +by very diminutive knots, wide apart.</p> + +<p><b>Chinese encroaching flat stitch</b> (fig. <a href="#fig_231">231</a>).—Another easy +kind of embroidery, common in China, is done in encroaching +flat stitch. The branch represented in our drawing, taken from +a large design, is executed in three shades of yellow, resembling +those of the Jaune-Rouille series on the D.M.C colour card.<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<div class="figcenter" style="width: 400px;"> +<a name="fig_231" id="fig_231"></a> +<img src="images/239a.jpg" alt="FIG. 231 CHINESE ENCROACHING FLAT STITCH" title="" /> +<span class="caption"><span class="smcap">Fig. 231. Chinese encroaching flat stitch.<br /> +Materials:</span> Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chiné d'or D.M.C.<br /> +<span class="smcap">Colours</span>—For the cotton: Jaune-Rouille 363, 308, 366.—For Chiné d'or: +Red and gold, blue and gold, green and gold.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The stitches of the different rows encroach upon one another, +as the working detail shows, and the three shades +alternate in regular succession. Flowers, butterflies and birds +<a name="Page_113" id="Page_113"></a>are represented in Chinese embroidery, executed in this manner. +It is a style, that is adapted to stuffs of all kinds, washing +materials as well as others, and can be worked in the hand +and with any of the D.M.C threads and cottons.<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<p><b><a name="Raised_embroidery" id="Raised_embroidery"></a>Raised embroidery</b> (figs. <a href="#fig_232">232</a> and <a href="#fig_233">233</a>).—Raised embroidery +worked in colours, must be stuffed or padded first, like the +white embroidery in fig. <a href="./chapter_5.html#fig_191">191</a>. If you outline your design with +a cord, secure it on the right side with invisible stitches, untwisting +the cord slightly as you insert your needle and thread, +that the stitch may be hidden between the strands. Use Coton +à repriser D.M.C No. 25, for the padding. These cottons are +to be had in all the colours, +indicated in the D.M.C +colour card, and are the +most suitable for the kind +of work.</p> + + +<div class="figcenter" style="width: 500px;"> +<a name="fig_232" id="fig_232"></a><a name="fig_233" id="fig_233"></a> +<div class="figleft" style="width: 200px;"> +<img src="images/239b.jpg" alt="FIG. 232. RAISED EMBROIDERY. +PREPARATORY WORK." title="" /> +<span class="caption smcap">Fig. 232. Raised embroidery. +Preparatory work.</span> +</div> + +<div class="figright" style="width: 200px;"> +<img src="images/239c.jpg" alt="FIG. 233. RAISED EMBROIDERY. +WORK COMPLETED." title="" /> +<span class="caption smcap">Fig. 233. Raised embroidery. +Work completed.</span> +</div> +</div> + +<p>Use Coton à broder +D.M.C for the transverse +stitches and over the smooth +surface which is thus formed, +work close lines of +satin stitch in silk or cotton; +the effect produced, will +bear more resemblance to +appliqué work than to embroidery. +The centres of +the flowers are filled in with +knot stitches, which are +either set directly on the +stuff or on an embroidered +ground.</p> + +<p><b>Embroidery in the +<a name="Turkish_style" id="Turkish_style"></a>Turkish style</b> (figs. <a href="#fig_234">234</a> +and <a href="#fig_235">235</a>).—This again is a +style of embroidery different +from any we are accustomed to. The solid raised parts are +<a name="Page_114" id="Page_114"></a>first padded with common coarse cotton and then worked over +with gold, silver, or silk thread.</p> + +<p>Contrary to what is noticeable in the real Turkish embroidery, +the preparatory work here is very carefully done, with +several threads of Coton à repriser D.M.C used as one. A +rope of five threads is laid down, and carried from right to +left and from left to right, across the width of the pattern. +After laying it across to the right, as explained in fig. <a href="#fig_234">234</a>, +bring the needle out a little beyond the space occupied by +the threads, insert it behind them and passing it under the +stuff, draw it out at the +spot indicated by the arrow. +The stitch that secures the +threads, should be sufficiently +long to give them a +little play, so that they +may lie perfectly parallel, +side by side, over the whole +width of the pattern.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/240.jpg" alt="FIG. 234. EMBROIDERY IN THE TURKISH STYLE. +PREPARATORY WORK." title="" /> +<a name="fig_234" id="fig_234"></a><span class="caption smcap">Fig. 234. Embroidery in the turkish style. +Preparatory work.</span> +</div> + +<p>This kind of work can +be done on wollen or cotton +materials, and generally +speaking, with D.M.C cottons, +and gold thread shot +with colour (Chiné d'or +D.M.C.)</p> + +<p>Very pretty effects can +be obtained, by a combination +of three shades of +Rouge-Cardinal 347, 346 +and 304, with Chiné d'or +gold and dark blue or with +Chiné d'or, gold and light +blue.<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<p>This kind of embroidery may be regarded as the transition +from satin stitch to gold embroidery.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/241.jpg" alt="FIG. 235. EMBROIDERY IN THE TURKISH STYLE +WORK COMPLETED." title="" /> +<a name="fig_235" id="fig_235"></a><span class="caption smcap">Fig. 235. Embroidery in the turkish style. +Work completed.</span> +</div> +<p><a name="Page_115" id="Page_115"></a></p> +<p><b><a name="Gold_embroidery" id="Gold_embroidery"></a>Gold embroidery</b>.—Up to the present time, dating from +the end of the eighteenth century, gold embroidery has been +almost exclusively confined to those who made it a profession; +amateurs have seldom attempted what, it was commonly supposed, +required an apprenticeship of nine years to attain any +proficiency in.</p> + +<p>But now, when it is the fashion to decorate every kind of +fancy article, whether of leather, plush, or velvet, with monograms +and ingenious devices of all descriptions, the art of +gold embroidery has revived and is being taken up and practised +with success, even by those to whom needlework is +nothing more than an agreeable recreation.</p> + +<p>We trust that the following directions and illustrations +will enable our readers to dispense with the five years training, +which even now, experts in the art consider necessary.</p> + +<p><b>Implements and materials</b>.—The first and needful requisites +for gold embroidery, are a strong frame, a spindle, +two pressers, one flat and the other convex, a curved knife, a +pricker or stiletto, and a tray, to contain the materials.</p><p><a name="Page_116" id="Page_116"></a></p> + +<p><b>Embroidery frame</b> (fig. <a href="#fig_236">236</a>).—The frame, represented +here, is only suitable for small pieces of embroidery, for larger +ones, which have to be done piece by piece, round bars on +which to roll up the stuff, are desirable, as sharp wooden +edges are so apt to mark the stuff.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/242.jpg" alt="FIG. 236. EMBROIDERY FRAME FOR GOLD EMBROIDERY." title="" /> +<a name="fig_236" id="fig_236"></a><span class="caption smcap">Fig. 236. Embroidery frame for gold embroidery.</span> +</div> + +<p>Every gold embroidery, on whatever material it may be +executed, requires a stout foundation, which has to be sewn +into the frame, in doing which, hold the webbing loosely, +almost in folds, and stretch the stuff very tightly. Sew on a +stout cord to the edges of the foundation, which are nearest +the stretchers, setting the stitches, 3 or 4 c/m. apart. Then +put the frame together and stretch the material laterally to its +fullest extent, by passing a piece of +twine, in and out through the cord +at the edge and over the stretchers. +Draw up the bracing until the foundation +is strained evenly and tightly. +Upon this firm foundation lay the +stuff which you are going to embroider, +and hem or herring-bone +it down, taking care +to keep it perfectly even +with the thread of the +foundation and, if possible, +more tightly stretched +to prevent it from +being wrinkled or puckered +when you come to take it off the backing. For directions how to +transfer the pattern to your stuff, and prepare the paste with +which the embroidery has to be stiffened before it is taken out +of the frame, see the concluding chapter in the book.</p> + +<p><b>The spindle</b> (fig. <a href="#fig_237">237</a>).—The spindle to wind the gold +thread upon, should be 20 c/m. long and made of hard wood. +Cover the round stalk and part of the prongs with a double +<a name="Page_117" id="Page_117"></a>thread of Coton à broder D.M.C No. 16, or pale yellow Cordonnet +D.M.C No. 25, and terminate this covering with a +loop, to which you fasten the gold thread that you wind +round the stalk.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/243.jpg" alt="FIG. 237. THE SPINDLE." title="" /> +<a name="fig_237" id="fig_237"></a><span class="caption smcap">Fig. 237. The spindle.</span> +</div> + +<p><b>The pressers</b> (figs. <a href="#fig_238">238</a> and <a href="#fig_239">239</a>).—These, so called 'pressers', +are small rectangular boards with a handle in the middle. +The convex one, fig. <a href="#fig_238">238</a>, should be 15 c/m. long by 9 broad; +the other, fig. <a href="#fig_239">239</a>, which is quite flat, should be 32 c/m. by 20.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="fig_238" id="fig_238"></a><a name="fig_239" id="fig_239"></a> +<div class="figleft" style="width: 150px;"> +<img src="images/244.jpg" alt="FIG. 238. +CONVEX PRESSER, FOR PRESSING +THE STUFF ON THE WRONG SIDE." title="" /> +<span class="caption smcap">Fig. 238. +Convex presser, for pressing +the stuff on the wrong side.</span> +</div> + +<div class="figright" style="width: 200px;"> +<img src="images/245.jpg" alt="FIG. 239. +FLAT PRESSER FOR LAYING ON THE PATTERN." title="" /> +<span class="caption smcap">Fig. 239. +Flat presser for laying on the pattern.</span> +</div> +</div> + +<p>Having cut out your +pattern in cartridge paper, +lay it down, on the wrong +side, upon a board thinly +spread with embroidery +paste. Let it get thoroughly +impregnated with the paste +and then transfer it carefully +to its proper place on the stuff; press it closely down with +the large presser, and with the little convex one rub the stuff +firmly, from beneath, +to make +it adhere closely +to the pasted +pattern; small, +pointed leaves and +flowers will be +found to need sewing +down besides, +as you will +observe in fig. <a href="#fig_242">242</a>, where each +point is secured +by stitches. The +embroidery should not be begun until the paste is perfectly +dry, and the pattern adheres firmly to the stuff.</p> + +<p><b>The knife</b> (fig. <a href="#fig_240">240</a>).—Most gold embroideries require a +foundation of stout cartridge paper, and, in the case of very +delicate designs, the paper should further be covered with kid, +pasted upon it.</p><p><a name="Page_118" id="Page_118"></a></p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/246.jpg" alt="FIG. 240. THE KNIFE. REDUCED SCALE." title="" /> +<a name="fig_240" id="fig_240"></a><span class="caption smcap">Fig. 240. The knife. Reduced scale.</span> +</div> + +<p>Transfer the design on to the paper or kid, in the +manner described in the concluding chapter, and cut it out +with the knife. +You can only +make very +short incisions +with this tool, +which should +be kept extremely +sharp +and held, in +cutting, with +the point outwards, +and the +rounded part +towards you, +as shown in +the drawing.</p> + +<p><b>Tray to +contain the +materials</b> (fig. <a href="#fig_241">241</a>).—Cut out as many divisions in a thin board, or +sheet of stout cardboard, as you will require materials for +your embroidery; these include not only gold thread +of all kinds, +but likewise +beads and +spangles of all +sorts and sizes +as well as +bright and +dead gold and +silver purl, or +bullion, as it +is also called. +For the pieces of purl alone, which should be cut ready to +hand, you should have several divisions, in order that the +different lengths may be kept separate.</p> + +<div class="figcenter" style="width: 350px;"> +<img src="images/247.jpg" alt="FIG. 241. TRAY TO CONTAIN THE MATERIALS." title="" /> +<a name="fig_241" id="fig_241"></a><span class="caption smcap">Fig. 241. Tray to contain the materials.</span> +</div> +<p><a name="Page_119" id="Page_119"></a></p> +<p><b>Use of the spindle</b> (fig. <a href="#fig_242">242</a>).—Gold embroidery thread +should be wound double upon the spindle. It is laid backwards +and forwards and secured with two stitches at each +turn, as described in fig. <a href="#fig_234">234</a>. Small holes where the stitches +are to come, have first to be pierced in the material with the +pricker, from the right side, for the needle to pass through. +In soft stuffs, this is unnecessary, but in brocaded materials, +and in plush and leather, where every prick shows and would +often spoil the whole effect, it is indispensable.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/248.jpg" alt="FIG. 242. USE OF THE SPINDLE" title="" /> +<a name="fig_242" id="fig_242"></a><span class="caption smcap">Fig. 242. Use of the spindle</span> +</div> + +<p>Gold thread which is stiff and difficult to work with, can +be rendered soft and pliable by putting it into the oven, or +any other warm place, for a short time.</p> + +<p><b><a name="Embroidery_with_gold_purl" id="Embroidery_with_gold_purl"></a>Embroidery with gold purl</b> (fig. <a href="#fig_243">243</a>).—Embroidery +is the easiest kind of gold embroidery; you +have only to thread the little pieces of purl, cut into the +required lengths beforehand, like beads on your needle, and +fasten them down upon the foundation like the beads in bead-work. +Smooth and crimped gold purl, or silver and gold purl +used together, look exceedingly well, particularly where the +pattern requires effects of light and shade to be reproduced.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/249.jpg" alt="FIG. 243. EMBROIDERY WITH GOLD PURL." title="" /> +<a name="fig_243" id="fig_243"></a><span class="caption smcap">Fig. 243. Embroidery with gold purl.</span> +</div> + +<p><b>Embroidery in diamond stitch</b> (fig. <a href="#fig_244">244</a>).—The diamond +stitch is a charming novelty in gold embroidery. +Short lengths of purl, not more than +1-1/2 m/m. long, are threaded on the +needle, and the needle is put in and drawn +out at the same hole. These stitches which +resemble knot stitches, form so many little +glittering knots, turned alternately to the +right and left, and look like seed-diamonds +in appearance, more especially, when they +are made in silver purl. The shorter the +pieces are, and the more closely you set the +knots together, the handsomer and richer +the effect will be.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/250.jpg" alt="FIG. 244. DIAMOND STITCH." title="" /> +<a name="fig_244" id="fig_244"></a><span class="caption smcap">Fig. 244. Diamond stitch.</span> +</div> + +<p><b><a name="Chinese_gold_embroidery" id="Chinese_gold_embroidery"></a>Chinese gold embroidery</b> (figs. <a href="#fig_245">245</a> +and <a href="#fig_246">246</a>).—We recommend the imitation of Chinese gold +embroidery to our readers as an easy and grateful recreation. +It consists simply in laying down a gold thread, on a deli<a name="Page_120" id="Page_120"></a><a name="Page_121" id="Page_121"></a><a name="Page_122" id="Page_122"></a>cately +outlined pattern and securing it by stitches. It can be done +on any material, washing or other, the costliest as well as the +most ordinary.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/251.jpg" alt="FIG. 245. CHINESE GOLD EMBROIDERY. First part." title="" /> +<a name="fig_245" id="fig_245"></a><span class="caption"><span class="smcap">Fig. 245. Chinese gold embroidery.</span> First part.</span> +</div> + +<p>For a washing material use, Or fin D.M.C pour la broderie, +No. 20, 30 or 40,<a href="#Footnote_A" class="fnanchor">[A]</a> +which, as it washes +perfectly, is well adapted +for the embroidery +of wearing apparel, +and household linen. +Plain gold thread and +gold thread with a +thread of coloured silk +twisted round it, are +very effective used together.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/252.jpg" alt="FIG. 245. Second part" title="" /> +<span class="caption"><span class="smcap">Fig. 245.</span> Second part</span> +</div> + +<p>Thus in fig. <a href="#fig_245">245</a>, +the trees, foliage and +flowers, are worked in +plain gold, the grasses, +in gold shot with green, +the butterflies in gold +with red, the two birds +in gold with dark blue, +and gold with light blue.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/253.jpg" alt="FIG. 246. CHINESE GOLD EMBROIDERY. First part." title="" /> +<a name="fig_246" id="fig_246"></a><span class="caption"><span class="smcap">Fig. 246. Chinese gold embroidery.</span> First part.</span> +</div> + +<p>Two threads of gold +should be laid down +side by side and secured +by small catching +stitches, set at regular +intervals from one another, +and worked in +Fil d'Alsace D.M.C No. 200,<a href="#Footnote_A" class="fnanchor">[A]</a> of the same colour. Where the +design requires it, you may separate the gold threads, and +work with one alone.</p> + +<p>The second specimen of Chinese embroidery, fig. <a href="#fig_246">246</a>, +<a name="Page_123" id="Page_123"></a>resembles the first, as far as materials and execution are concerned, +but the design is different. The grotesque animals, +flowers and shells it represents, can be worked separately, or +connected together so as to form a running pattern.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/254.jpg" alt="FIG. 246. Second part." title="" /> +<span class="caption"><span class="smcap">Fig. 246.</span> Second part.</span> +</div> + +<p><b>Stripe worked in various stitches</b> (fig. <a href="#fig_247">247</a>).—All the +designs described thus far, are worked in the same way, but +the stripe now presented to our readers introduces them to +several kinds of gold thread, and a variety of stitches. The +small, turned-back petals of the flowers are worked in plain +gold thread, and outlined with crimped; the rest of the petals +are worked in darning stitch, with plain gold thread. The +latticed leaves are edged with picots, worked with bright +purl. The other parts of the design are all worked with a +double gold thread, the stalks in dead gold, the leaves in +crimped. The gold thread is secured by overcasting stitches +in gold-coloured thread, Jaune d'or 667, but it looks very well +if you use black or red thread for fastening the crimped gold +and dark or light green for the leaves and tendrils.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/255.jpg" alt="FIG. 247. STRIPE WORKED IN VARIOUS STITCHES." title="" /> +<a name="fig_247" id="fig_247"></a><span class="caption smcap">Fig. 247. Stripe worked in various stitches.</span> +</div> + +<p><b>Gold embroidery on a foundation of cords</b> (fig. <a href="#fig_248">248</a>).—In +the old ecclesiastical embroideries, especially those representing +the figures of saints, we often find thick whip cords +used as a foundation, instead of cardboard, for the good reason +that the stiff cardboard does not give such soft and rounded contours +as a cord foundation, which will readily take every bend +and turn that you give to it. In the following illustrations, we +have adhered strictly to the originals, as far as the manner of +working the surface is concerned, but have substituted for +the cord, which in their case has been used for the foundation, +Cordonnet 6 fils D.M.C No. 1, which is better for +padding than the grey whip cord, as it can be had in white or +yellow, according to whether it is intended to serve as a +foundation to silver or gold work.</p> + +<div class="figcenter" style="width: 200px;"> +<a name="fig_248" id="fig_248"></a> +<img src="images/256.jpg" alt="FIG. 248 +EMBROIDERY IN FLATTENED GOLD +WIRE AND PURL." title="" /> +<span class="caption smcap">Fig. 248. +Embroidery in flattened gold +wire and purl.</span> +</div> + +<p>Lay down as many cords as are necessary to give the design +the requisite thickness, in many cases up to 8 or 10 m/m. in +height, taking care to lay them closely and solidly in the centre, +and graduate them down at the sides and ends. When you +have finished the foundation, edge it with a thick gold cord, +such as Cordonnet d'or D.M.C No. 6 and then only begin the +<a name="Page_124" id="Page_124"></a>actual embroidery, all the directions just given, applying merely +to the preparatory work.</p> + +<p>Only four of the many stitches that are already in use and +might be devised are described here. For the pattern, represented +in fig. <a href="#fig_248">248</a>, flattened gold or silver wire is necessary, +which should be cut into pieces, long enough to be turned in +at the ends so as to form a little +loop through which the thread +that fastens them down is passed. +Over each length of gold or silver +wire small lengths of purl are +laid at regular intervals, close +enough just to leave room for the +next stitch, the pieces of one row, +alternating in position with those +of the preceding one.</p> + +<p><b>Plaited stitch in gold purl +on a cord foundation</b> (fig. <a href="#fig_249">249</a>). +—Distribute the stitches as in +the previous figure, substituting +purl, for the flattened gold wire, +and covering the purl with short lengths of gold thread of +the same kind. All these stitches may be worked in gold and +silver thread, mixed or in the one, or the other alone.</p><p><a name="Page_125" id="Page_125"></a></p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/257.jpg" alt="FIG. 249. +PLAITED STITCH IN GOLD +PURL ON A CORD FOUNDATION." title="" /> +<a name="fig_249" id="fig_249"></a><span class="caption smcap">Fig. 249. +Plaited stitch in gold +purl on a cord foundation.</span> +</div> + +<p><b>Scale stitch worked in gold thread and purl on a cord +foundation</b> (fig. <a href="#fig_250">250</a>).—Begin by covering the whole padded +surface with gold or silver thread, then sew on short lengths +of purl, long enough to cover six or eight threads, 2 or 3 m/m. +apart, as shown in the engraving. These stitches in dead gold +purl are then surrounded by shining or crimped purl.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/258.jpg" alt="FIG. 250. +SCALE STITCH IN GOLD THREAD +AND PURL ON A CORD FOUNDATION." title="" /> +<a name="fig_250" id="fig_250"></a><span class="caption smcap">Fig. 250. +Scale stitch in gold thread +and purl on a cord foundation.</span> +</div> + +<p>You bring out the working thread to the left of the purl +stitch, which you take on your needle, put the needle in on the +other side, draw it out above the little stroke, and secure +the crimped purl with an invisible stitch.</p> + +<p><b>Conventional flower worked on a cord foundation</b> +(fig. <a href="#fig_251">251</a>).—The half finished flower, represented here, was +<a name="Page_126" id="Page_126"></a>copied from a handsome piece of ecclesiastical embroidery +enriched with ornament of this kind. The three foregoing +stitches and a fourth, are employed in its composition. The +finished portions on the left hand side, are executed in silver +and gold purl, whilst the egg-shaped heart of the flower is +formed of transverse threads, carried over the first padding, +and secured by a stitch between the two cords. In the subsequent +row, the catching stitch is set between the cords, over +which the first gold threads were carried.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/259.jpg" alt="FIG. 251. CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION." title="" /> +<a name="fig_251" id="fig_251"></a><span class="caption"><span class="smcap">Fig. 251. Conventional flower worked on a cord foundation.<br /> +Materials.</span>—For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5 or +Fil à pointer D.M.C No. 10.—For sewing on the gold thread and purl: +Soie de coton D.M.C No. 50 or 70, Fil à dentelle D.M.C on reels Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The heavier the design is, the thicker your padding should +be, and cords a good deal thicker than those which are represented +in the drawing should be used, as the more light and +shade you can introduce into embroidery of this kind, the +greater will be its beauty and value.</p> + + +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_7.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> |