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diff --git a/old/20776-h/chapter_7.html b/old/20776-h/chapter_7.html new file mode 100644 index 0000000..2efe6ad --- /dev/null +++ b/old/20776-h/chapter_7.html @@ -0,0 +1,1632 @@ +<!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_127" id="Page_127"></a></p> +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 600px;"> +<img src="images/260.jpg" alt="INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE PATTERN LEFT BLANK." title="" /> +<span class="caption smcap">Insertion in cross stitch, alike on both sides, the pattern left blank.</span> +</div> + + + +<hr style="width: 65%;" /> +<h2><a name="Tapestry_and_Linen_Embroidery" id="Tapestry_and_Linen_Embroidery"></a>Tapestry and Linen Embroidery.</h2> + + +<p>Tapestry is one of the oldest kinds of needlework and +one which has always been popular every where.</p> + +<p>There are two distinct sorts of canvas in use for tapestry, +called respectively, 'plain (single thread) canvas', and +'Penelope (double thread) canvas'. The latter is generally preferred, +because it is easier to count the stitches upon it, but +both make an equally good foundation for the embroidery, as +the following examples will show.</p> + +<p>Besides canvas, other fabrics bearing a close resemblance +to it, are often used, especially Java linen, the close texture of +which renders grounding unnecessary.</p> + +<p>Cloth, velvet or plush can also be overlaid with canvas, +the threads of which are pulled away after the pattern is +finished. For work of this kind, we however prefer a material +with less dressing, such as a twisted tammy, or Colbert linen, +because the pulling out of the harsh rough threads of the canvas +is very apt to injure the material beneath.</p> + +<p>Stitches, worked upon two stuffs, must be drawn very tight, +or they will look loose and untidy when the auxiliary fabric +is taken away.</p> + +<p>Tapestry can be done either in a frame, or in the hand; in +the latter case, the ends of the piece of canvas should be +weighted with stones or lead, to prevent its puckering.</p><p><a name="Page_128" id="Page_128"></a></p> + +<p>The stitches, which ought completely to hide the canvas, +should all lean one way and the underneath ones always from +left to right, as the letters in writing.</p> + +<p><b><a name="Marking_out_the_embroidery_ground" id="Marking_out_the_embroidery_ground"></a>Marking out the embroidery ground</b> (fig. <a href="#fig_252">252</a>).—Before +beginning a piece of canvas work and tacking on the auxiliary +fabric, count how many stitches it will contain, and mark them +out in tens, with a coloured thread, as shown in fig. <a href="#fig_252">252</a>, along +two sides at least, in the length and breadth. Having ascertained +the number of stitches both ways, divide them in two, and +starting each time +from the middle +stitch, trace two +lines, one horizontal, +the other vertical, +right across the canvas. +The point of +intersection will be +the centre. This +sort of ground-plan +will be found most +useful, and should +not be pulled out +until, at least, half +the work be finished. +If moreover, +you have corners +to work, or a pattern +to reverse, in the angle of a piece of embroidery, trace a +diagonal line besides, from the corner to the centre.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/261.jpg" alt="FIG. 252. MARKING OUT THE EMBROIDERY GROUND." title="" /> +<a name="fig_252" id="fig_252"></a><span class="caption smcap">Fig. 252. Marking out the embroidery ground.</span> +</div> + +<p><b>Materials suitable for tapestry</b>.—Hitherto, wool and silk, +were the materials chiefly used for canvas work; a very thick +wool for carpets, as being warmer and more durable. Silk is +too delicate a fibre to resist much wear and tear, and cannot +therefore be recommended for articles that are intended for +constant use, and wool, though stronger, is subject to the +destructive agency of moths; whereas cotton, which is cheaper +than both, and quite as brilliant, is free from all these disadvantages +and is extremely easy to clean.</p><p><a name="Page_129" id="Page_129"></a></p> + +<p>For most kinds of tapestry we can therefore with perfect +confidence, recommend the use of Coton à tricoter D.M.C +Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to 15, and even +Coton à repriser D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a></p> + +<p><b><a name="Cross_stitch" id="Cross_stitch"></a>Cross stitch</b> (fig. <a href="#fig_253">253</a>).—Cross stitch is the foundation of +every other stitch, and the one in most common use. It is also +called marking-stitch, being used for marking linen. It is +worked in two lines. In the first, the thread is carried diagonally +from left to right across a square of threads, and then, +downwards, underneath the two horizontal threads; in the +second, the stitches are carried from the right-hand lower +corner of the square to the upper left-hand corner, so that +the four points of the two stitches form a perfect square.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/262.jpg" alt="FIG. 253. CROSS STITCH." title="" /> +<a name="fig_253" id="fig_253"></a><span class="caption smcap">Fig. 253. Cross stitch.</span> +</div> + +<p><b>Half cross stitch</b> (fig. <a href="#fig_254">254</a>).—If the cotton is too coarse, +or the canvas too fine, to make the double stitch, carry the +thread back along the whole line and make the half-stitches +<a name="Page_130" id="Page_130"></a>across it, from left to right; the same in the case of a piece of +work, which you buy with</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/263.jpg" alt="FIG. 254. HALF CROSS STITCH." title="" /> +<a name="fig_254" id="fig_254"></a><span class="caption smcap">Fig. 254. Half cross stitch.</span> +</div> + +<p><b>Gobelin stitch on plain canvas</b> (fig. <a href="#fig_255">255</a>).—This is +worked over two horizontal threads and one perpendicular. In +a frame, you can work the second row, from right to left, +otherwise, you must turn the work round, and bring out your +needle behind the last-made stitch.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/264.jpg" alt="FIG. 255. GOBELIN STITCH." title="" /> +<a name="fig_255" id="fig_255"></a><span class="caption smcap">Fig. 255. Gobelin stitch.</span> +</div> + +<p><b>Gobelin stitch on Penelope canvas</b> (fig. <a href="#fig_256">256</a>).—For the +same stitch on Penelope canvas, you need rather a coarse +needle, which will make its way easily between the threads of +the canvas.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/265.jpg" alt="FIG. 256. GOBELIN STITCH ON PENELOPE +CANVAS." title="" /> +<a name="fig_256" id="fig_256"></a><span class="caption smcap">Fig. 256. Gobelin stitch on penelope +canvas.</span> +</div> + +<p><b>Reps stitch</b> (fig. <a href="#fig_257">257</a>).—Contrary to Gobelin stitch, this +stitch which is an imitation of reps, is worked in vertical lines, +over two vertical threads and one horizontal one.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/266.jpg" alt="FIG. 257. REPS STITCH." title="" /> +<a name="fig_257" id="fig_257"></a><span class="caption smcap">Fig. 257. Reps stitch.</span> +</div> + +<p><b>Tent stitch</b> (fig. <a href="#fig_258">258</a>).—This stitch is simply the first half +of a cross or marking stitch, worked over a single thread each +way. The illustration shows the working of a row, from right +to left, the thread being carried forward, underneath the vertical +threads. Tent stitch is used for the most part, in con<a name="Page_131" id="Page_131"></a>junction +with cross stitch, for the more delicate lines and the +shaded parts of flowers and figures.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/267.jpg" alt="FIG. 258. TENT STITCH." title="" /> +<a name="fig_258" id="fig_258"></a><span class="caption smcap">Fig. 258. Tent stitch.</span> +</div> + +<p><b>Wide Gobelin stitch</b> (fig. <a href="#fig_259">259</a>).—This stitch covers two +vertical and two horizontal threads, and advances one thread at +a time.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/268.jpg" alt="FIG. 259. WIDE GOBELIN STITCH." title="" /> +<a name="fig_259" id="fig_259"></a><span class="caption smcap">Fig. 259. Wide gobelin stitch.</span> +</div> + +<p><b>Broad cross stitch</b> (fig. <a href="#fig_260">260</a>).—Worked over two vertical +and four horizontal threads, and very useful for filling in large +surfaces as it can be done twice as quickly as the ordinary +cross stitch. It may be varied by turning the crosses first one +way and then the other.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/269.jpg" alt="FIG. 260. BROAD CROSS STITCH." title="" /> +<a name="fig_260" id="fig_260"></a><span class="caption smcap">Fig. 260. Broad cross stitch.</span> +</div> + +<p><b>Double stitch</b> (fig. <a href="#fig_261">261</a>).—Begin with a simple cross stitch +over every alternate intersection of the threads then make a +second row of stitches between those of the first, but in this +case, over two and six threads, so that they extend beyond the +first each way. In the subsequent rows, a square stitch should +be opposed to a long one and a long stitch to a square one.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/270.jpg" alt="FIG. 261. DOUBLE STITCH." title="" /> +<a name="fig_261" id="fig_261"></a><span class="caption smcap">Fig. 261. Double stitch.</span> +</div> + +<p><b>Rice stitch</b> (fig. <a href="#fig_262">262</a>).—Fill in the whole ground first, with +large cross stitches, over four threads each way, then upon +these, make the so-called rice stitches. These cross the four +points of the large cross stitches, and meet in the space between, +where they form another cross. The large cross stitches +should be worked in rather coarse cotton, the rice stitches in +one of a finer quality.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/271.jpg" alt="FIG. 262. RICE STITCH." title="" /> +<a name="fig_262" id="fig_262"></a><span class="caption smcap">Fig. 262. Rice stitch.</span> +</div> + +<p><b>Double stitch, set two ways</b> (fig. <a href="#fig_263">263</a>).—This consists of +diagonal and upright cross stitches, alternately. Work from left +to right, and carry the thread over four vertical threads and +downwards, under two horizontal ones, then diagonally upwards, +over four threads and downwards under two, then again +over four vertical threads, and so on. Coming back, you cross +the first threads, and pass the working thread each time in a +straight line, underneath the two threads of the canvas. The +stitches of the third and fourth rows are set, as the illustration +shows, the opposite way to those of the two first, the thread +being laid the contrary way. Gold thread is generally used for +this second set of stitches; Or fin D.M.C pour la broderie, or +Chiné d'or D.M.C will be found to be the most suitable for the +purpose.<a href="#Footnote_A" class="fnanchor">[A]</a></p><p><a name="Page_132" id="Page_132"></a></p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/272.jpg" alt="FIG. 263. DOUBLE STITCH SET TWO WAYS." title="" /> +<a name="fig_263" id="fig_263"></a><span class="caption smcap">Fig. 263. Double stitch set two ways.</span> +</div> + +<p><b>Plait stitch</b> (fig. <a href="#fig_264">264</a>).—It requires great attention to work +this stitch, to and fro; the easier way is to carry the thread +back each time, to the starting point.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/273.jpg" alt="FIG. 264. PLAIT STITCH." title="" /> +<a name="fig_264" id="fig_264"></a><span class="caption smcap">Fig. 264. Plait stitch.</span> +</div> + +<p>Carry the thread from left to right, over two horizontal +threads, and downwards under four perpendicular ones, then +under two threads, from right to left, as the figure indicates.</p> + +<p><b>Stem stitch</b> (fig. <a href="#fig_265">265</a>).—Here, the stitches are worked in +separate rows, over four threads each way. The working +thread passes first under the two middle threads, from right to +left, and then under the two upper ones.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/274.jpg" alt="FIG. 265. STEM STITCH." title="" /> +<a name="fig_265" id="fig_265"></a><span class="caption smcap">Fig. 265. Stem stitch.</span> +</div> + +<p><b>Leaf stitch</b> (fig. <a href="#fig_266">266</a>).—Carry the thread diagonally over +two double threads each way, and back under one double +thread, to the row whence the stitch started. Make rows of +back-stitches in a different colour between the rows of long ones.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/275.jpg" alt="FIG. 266. LEAF STITCH." title="" /> +<a name="fig_266" id="fig_266"></a><span class="caption smcap">Fig. 266. Leaf stitch.</span> +</div> + +<p><b>Fish-bone stitch</b> (fig. <a href="#fig_267">267</a>).—The difference between this +and the preceding stitch is, that the working thread after +<a name="Page_133" id="Page_133"></a>passing over three perpendicular and three horizontal threads, +is secured by a back-stitch over the last intersection of the +canvas threads. These back-stitches lean to the right or left, +according to the direction of the long stitches.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/276.jpg" alt="FIG. 267. FISH-BONE STITCH." title="" /> +<a name="fig_267" id="fig_267"></a><span class="caption smcap">Fig. 267. Fish-bone stitch.</span> +</div> + +<p><b>Diagonal web stitch</b> (fig. <a href="#fig_268">268</a>).—Stretch diagonal threads +across the whole surface you are going to embroider, and secure +them with rows of overcasting stitches, set, if you are working +on Penelope canvas, between the double threads of the canvas. +In the next rows the stitches must be set the opposite way, +which produces the effect of diagonal or twilled cloth.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/277.jpg" alt="FIG. 268. DIAGONAL WEB STITCH." title="" /> +<a name="fig_268" id="fig_268"></a><span class="caption smcap">Fig. 268. Diagonal web stitch.</span> +</div> + +<p><b>Cashmere stitch</b> (fig. <a href="#fig_269">269</a>).—To imitate this texture in +needlework first make one stitch over one crossing of the +canvas threads, and then two stitches over two crossings.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/278.jpg" alt="FIG. 269. CASHMERE STITCH." title="" /> +<a name="fig_269" id="fig_269"></a><span class="caption smcap">Fig. 269. Cashmere stitch.</span> +</div> + +<p><b>Florentine stitch</b> (fig. <a href="#fig_270">270</a>).—Florentine stitch is worked +in slanting lines, the thread being carried, diagonally first over +one and then over two double threads of the canvas.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/279.jpg" alt="FIG. 270. FLORENTINE STITCH." title="" /> +<a name="fig_270" id="fig_270"></a><span class="caption smcap">Fig. 270. Florentine stitch.</span> +</div> + +<p><b>Mosaic stitch</b> (fig. <a href="#fig_271">271</a>).—The first row consists of one short +and one long stitch, alternately; the second, of short stitches +only, set between the long stitches of the first row; the third +row is a repetition of the first, and so on.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/280.jpg" alt="FIG. 271. MOSAIC STITCH." title="" /> +<a name="fig_271" id="fig_271"></a><span class="caption smcap">Fig. 271. Mosaic stitch.</span> +</div> + +<p><b>Knotted stitch</b> (fig. <a href="#fig_272">272</a>).—Carry the working thread over +two threads in width and six in height, bring the needle back, +four threads lower down, in front of the double threads, and +insert it behind the preceding stitch, and over the middle +threads, and then carry it down to the line of the stitches. In +the subsequent rows, the stitches extend over four threads +and encroach on two of the previous row, so that the stitches +of the second row lie between those of the first.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/281.jpg" alt="FIG. 272. KNOTTED STITCH." title="" /> +<a name="fig_272" id="fig_272"></a><span class="caption smcap">Fig. 272. Knotted stitch.</span> +</div> + +<p><b>Star, or Smyrna stitch</b> (fig. <a href="#fig_273">273</a>).—- Make a plain cross +stitch over four threads, each way, and then over that, another +cross stitch, standing upright. The same stitch can be made +over six or seven threads; if you work over more than four +threads, it follows that you increase the number of stitches +accordingly.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/282.jpg" alt="FIG. 273. STAR, OR SMYRNA STITCH." title="" /> +<a name="fig_273" id="fig_273"></a><span class="caption smcap">Fig. 273. Star, or smyrna stitch.</span> +</div> + +<p><b>Rococo stitch</b> (figs. <a href="#fig_274">274</a>, <a href="#fig_275">275</a>, <a href="#fig_276">276</a>).—After fastening in your +thread, lay it over four single or two double threads, as the +case may be, and carry the needle through to the left, under one +double thread; then, as fig. <a href="#fig_274">274</a> shows, bring it back over the +<a name="Page_134" id="Page_134"></a>first stitch, put it in by the side of it, and bring it out below, +under half the horizontal threads covered by the first stitch. +Then make a stitch to the right, similar to the one just made +to the left.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/283.jpg" alt="FIG. 274. ROCOCO STITCH. +FIRST STITCHES ON THE WRONG SIDE." title="" /> +<a name="fig_274" id="fig_274"></a><span class="caption smcap">Fig. 274. Rococo stitch. +First stitches on the wrong side.</span> +</div> + +<p>When you have finished one stitch, carry the needle under +one thread, in an oblique line, to the next stitch, see fig. <a href="#fig_273">273</a>. +The whole pattern is worked in diagonal lines.</p> +<div class="figcenter" style="width: 350px;"> +<a name="fig_275" id="fig_275"></a><a name="fig_276" id="fig_276"></a> +<div class="figleft" style="width: 150px;"> +<img src="images/284.jpg" alt="FIG. 275. ROCOCO STITCH. +STITCHES ON THE RIGHT SIDE." title="" /> +<span class="caption smcap">Fig. 275. Rococo stitch. +Stitches on the right side.</span> +</div> + +<div class="figright" style="width: 150px;"> +<img src="images/285.jpg" alt="FIG. 276. ROCOCO STITCH. COMPLETED." title="" /> +<span class="caption smcap">Fig. 276. Rococo stitch. Completed.</span> +</div></div> + +<p><b>Parisian stitch</b> (fig. <a href="#fig_277">277</a>).—This stitch, though it is generally +worked on silk canvas, can also be worked on the different +cotton and linen materials already referred to more than once in +this Encyclopedia. It makes a very good grounding in cases +where the material is not intended to be completely hidden. +It consists of a long stitch over three threads, and a short +stitch over one thread, alternately.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/286.jpg" alt="FIG. 277. PARISIAN STITCH." title="" /> +<a name="fig_277" id="fig_277"></a><span class="caption smcap">Fig. 277. Parisian stitch.</span> +</div> + +<p><b>Greek stitch</b> (fig. <a href="#fig_278">278</a>).—This differs from the ordinary +cross stitch, in the oblique inclination given to the threads, and +the manner in which it is begun. Instead of taking up the two +threads that follow the first stitch, you bring your needle back +from right to left, under the vertical threads of the first stitch, +<a name="Page_135" id="Page_135"></a>carry it downwards, and then from right to left, to a distance of +four threads beyond the first stitch. The next stitch is made like +the first. The rows may be joined together, either by the short +or the long stitches, but you must follow one rule throughout. +This stitch is much used in Slavonic countries, for the adornment +of linen garments, and there we have observed that the +short stitches are generally made to encounter the long ones. A +coarse material that covers the ground well, such as, Coton à +tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/287.jpg" alt="FIG. 278. GREEK STITCH." title="" /> +<a name="fig_278" id="fig_278"></a><span class="caption smcap">Fig. 278. Greek stitch.</span> +</div> + +<p><b>Scotch stitch</b> (fig. <a href="#fig_279">279</a>).—Squares, composed of slanting +stitches, made over one, three, five, three threads respectively, +and then again over one thread, and separated from each +other by rows of Gobelin stitches, constitute what is ordinarily +known by the name of Scotch stitch.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/288.jpg" alt="FIG. 279. SCOTCH STITCH." title="" /> +<a name="fig_279" id="fig_279"></a><span class="caption smcap">Fig. 279. Scotch stitch.</span> +</div> + +<p><b>Moorish stitch</b> (fig. <a href="#fig_280">280</a>).—For this stitch, instead of surrounding +squares of stitches, made in the way we have just +described, with Gobelin stitch, the squares are made to touch, +rising like steps one above the other, and bordered only at the +sides by Gobelin stitch.</p><p><a name="Page_136" id="Page_136"></a></p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/288.jpg" alt="FIG. 280. MOORISH STITCH." title="" /> +<a name="fig_280" id="fig_280"></a><span class="caption smcap">Fig. 280. Moorish stitch.</span> +</div> + +<p><b>Oriental stitch</b> (fig. <a href="#fig_281">281</a>).—Here, you make four diagonal +stitches over one, two, three and four double threads respectively; +which four stitches form so many triangles, one above +the other. The empty spaces between are filled up with Gobelin +stitches covering two threads.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/290.jpg" alt="FIG. 281. ORIENTAL STITCH." title="" /> +<a name="fig_281" id="fig_281"></a><span class="caption smcap">Fig. 281. Oriental stitch.</span> +</div> + +<p><b>Shell stitch</b> (fig. <a href="#fig_282">282</a>).—Carry your thread upwards over +six horizontal threads, then from right to left, under one vertical +thread and downwards over six horizontal ones. When you +have made four vertical stitches in this way, bring the needle +out behind the third double thread, counted lengthways, and +between the third and fourth, counted across, and fasten the +four long stitches together with a back-stitch, to the middle +thread of the canvas. Draw a thread of a different colour twice +through these back-stitches, so as to form small knots like +shells, and then fill in the ground between the rows of long +stitches, with back-stitches.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/291.jpg" alt="FIG. 282. SHELL STITCH." title="" /> +<a name="fig_282" id="fig_282"></a><span class="caption smcap">Fig. 282. Shell stitch.</span> +</div> + +<p><b>Jacquard stitch</b> (fig. <a href="#fig_283">283</a>).—If you have a large plain surface +to cover, you should choose a stitch that forms a pattern +in itself. Jacquard stitch and others which we shall describe +later on, will be found to produce the effect of brocaded stuff. To +work Jacquard stitch, make six stitches underneath one another, +over two double threads, and six by the side of one another, +from left to right, over two double threads. The second row +consists of the same number of stitches, similarly worked +downwards and to the side, but over one double thread only.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/292.jpg" alt="FIG. 283. JACQUARD STITCH." title="" /> +<a name="fig_283" id="fig_283"></a><span class="caption smcap">Fig. 283. Jacquard stitch.</span> +</div> + +<p><b>Byzantine stitch</b> (fig. <a href="#fig_284">284</a>).—Here, you make the same +number of stitches as in the preceding figure but with this +difference, that the two rows of stitches are made either over +two, or four threads.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/293.jpg" alt="FIG. 284. BYZANTINE STITCH." title="" /> +<a name="fig_284" id="fig_284"></a><span class="caption smcap">Fig. 284. Byzantine stitch.</span> +</div> + +<p><b>Milanese stitch</b> (fig. <a href="#fig_285">285</a>).—In the first row, the back-stitch +is made alternately, first over four diagonal crosses and then +over one; in the second row, over three and two; in the third, +over two and three, in the fourth, over one and four. The last +long stitches should come under the last short ones and the +short ones, in the middle of the last long ones.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/294.jpg" alt="FIG. 285. MILANESE STITCH." title="" /> +<a name="fig_285" id="fig_285"></a><span class="caption smcap">Fig. 285. Milanese stitch.</span> +</div> + +<p><b>Plush stitch</b> (fig. <a href="#fig_286">286</a>).—This stitch, also called Astrachan +stitch, by means of which a very good imitation of an Oriental +<a name="Page_137" id="Page_137"></a>rug can be produced, consists of loops, each secured by a cross +stitch; the best way to ensure these loops being even and +regular is to make them over a narrow wooden ruler, or a piece +of whalebone.</p> + +<p>The effect can be varied by cutting the loops, which gives +the surface the appearance of velvet.</p> + +<div class="figcenter" style="width: 200px;"> +<img src="images/295.jpg" alt="FIG. 286. PLUSH STITCH." title="" /> +<a name="fig_286" id="fig_286"></a><span class="caption smcap">Fig. 286. Plush stitch.</span> +</div> + +<p>The illustration represents the middle loops only, as cut, for +the cut and the uncut stitch can both be introduced into the +same piece of embroidery. For example, the borders in +figs. <a href="#fig_290">290</a>, and <a href="#fig_291">291</a>, are worked in open or cut plush stitch, +whilst in the centres, the stitch is left uncut. Two stitches +of a similar kind, called Smyrna and Malta stitch, suitable for +making rugs or carpets, are described in the last chapter but +one in the book.</p><p><a name="Page_138" id="Page_138"></a></p> + +<p><b>Chain stitch</b> (fig. <a href="#fig_287">287</a>).—Generally speaking, this stitch is +only used for the adornment of under-linen or small articles of +fancy-work but it can also be employed in copying cross stitch +patterns. In old collections we often meet with very interesting +pieces of needlework, which were used for hangings or screens, +where the figure-subjects, are executed in chain stitch. Patterns +in many colours, gain immensely +by being worked +in this stitch, the +colours blend together +better than in any other, +and even the shape of +the stitch contributes to +soften the contrasts of +colour.</p> + +<p>Chain stitch cannot, +like other stitches, be +worked to and fro, nor +can all the stitches of +one row be finished first, +as is generally possible +in cross stitch work, each +row must be begun separately, and always from the same +side, and a different needle should be used for each colour, +as the material has often to be changed.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/296.jpg" alt="FIG. 287. CHAIN STITCH." title="" /> +<a name="fig_287" id="fig_287"></a><span class="caption smcap">Fig. 287. Chain stitch.</span> +</div> + +<p>The stitch is worked as follows; after fastening in your +thread, insert the needle at the same hole it came out of, +and bring it out two threads lower down. Keep the loop, +formed by the working thread, under the point of the needle. +The thread should not be drawn up tightly but left to +form a rather loose, round loop. For the next stitches, insert +the needle close to the thread that issues from the last loop.</p> + +<p><b><a name="Pattern_for_borders" id="Pattern_for_borders"></a>Pattern for borders or grounding</b> (fig. <a href="#fig_288">288</a>).—This simple +but most effective design, copied from one of the most beautiful +of Oriental carpets, can be executed in, either cross stitch, +plush stitch, or chain stitch. To make a wider border still, the +diagonal lines that divide the figures shaped like an S, have +only to be prolonged, and the figures repeated.</p><p><a name="Page_139" id="Page_139"></a></p> + +<p>The colours have been chosen with the view of reproducing +as nearly as possible the subdued and faded tones, which time +has imparted to the original.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_297.jpg"><img src="images/297.jpg" alt="FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS." title="" /></a> +<a name="fig_288" id="fig_288"></a><span class="caption"><span class="smcap">Fig. 288. Pattern for borders or groundings.<br /> +Materials:</span> Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. +3 to 15, Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25.<br /> +<span class="smcap">Explanation of the signs prefixed to the colours: </span>(<img src="images/297a.jpg" alt="" title="" />) Rouge-Cardinal 346, +(<img src="images/297b.jpg" alt="" title="" />) Rouge-Cornouille 449, (<img src="images/297c.jpg" alt="" title="" />) Bleu-Indigo 311, and (<img src="images/297d.jpg" alt="" title="" />) Bleu-Indigo 322, +(<img src="images/297e.jpg" alt="" title="" />) Gris-Cendre 414, (<img src="images/297f.jpg" alt="" title="" />) Bronze doré 585 and (<img src="images/297g.jpg" alt="" title="" />) Vert-Mousse 470.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + + +<p><b>Pattern for grounding</b> (fig. <a href="#fig_289">289</a>).—Diagonal lines, intersected +by balls, serve here as a setting for quaintly shaped +flowers and leaves. The outlines are all worked in cross stitch, +and the solid parts, in either tent stitch or Gobelin stitch.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_298.jpg"><img src="images/298.jpg" alt="FIG. 289. PATTERN FOR GROUNDING" title="" /></a> +<a name="fig_289" id="fig_289"></a><span class="caption"><span class="smcap">Fig. 289. Pattern for grounding.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C +Nos. 5 to 15 or Coton à broder D.M.C No. 16. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg" alt="" title="" />) Noir grand Teint 310, (<img src="images/297f.jpg" alt="" title="" />) Jaune +d'Ocre 676, (<img src="images/298b.jpg" alt="" title="" />) Violet-Mauve 315, (<img src="images/298c.jpg" alt="" title="" />) Rouge-Géranium 349, (<img src="images/298d.jpg" alt="" title="" />) Rouge-Aurore 360, +(<img src="images/297b.jpg" alt="" title="" />) Bleu-Indigo 312, (<img src="images/297e.jpg" alt="" title="" />) Bleu pâle 668, (<img src="images/297g.jpg" alt="" title="" />) Rouge-Cornouille 449, (<img src="images/297c.jpg" alt="" title="" />) Vert-de-gris 474, +(<img src="images/297a.jpg" alt="" title="" />) Vert-de-gris 475, (<img src="images/297d.jpg" alt="" title="" />) Grounding.<a href="#Footnote_A" class="fnanchor">[A]</a></span></div> + +<p><b>Part of a design, suitable for carpets</b> (figs. <a href="#fig_290">290</a> and <a href="#fig_291">291</a>). +Our space will not admit of our reproducing more than a +quarter of this design. Colours of the softest shades should +be selected for it. A black line divides the pattern into four +quarters. The upper quarter on the right, and the lower one, +on the left, should be worked in blue, and the upper one +on the left, copied from fig. <a href="#fig_290">290</a>.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_290" id="fig_290"></a> +<a href="images/full_299.jpg"><img src="images/299.jpg" alt="FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS." title="" /></a> +<span class="caption"><span class="smcap">Fig. 290. Part of a design suitable for carpets.<br /> + +Materials:</span> Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6 +to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser D.M.C No. 12.<br /> + +<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg" alt="" title="" />) Noir grand Teint 310, +(<img src="images/297b.jpg" alt="" title="" />) Rouge-Grenat 358, (<img src="images/298b.jpg" alt="" title="" />) Rouge-Cornouille 450, +(<img src="images/297c.jpg" alt="" title="" />) Bleu-Indigo 311, (<img src="images/297f.jpg" alt="" title="" />) Bleu-Indigo 322, +(<img src="images/297g.jpg" alt="" title="" />) Vert métallique 465, (<img src="images/297e.jpg" alt="" title="" />) Gris-Noisette 424.<a href="#Footnote_A" class="fnanchor">[A]</a></span></div> + +<p>The narrow border, in red, blue and green, is to be repeated +<a name="Page_140" id="Page_140"></a>after the broad band, which is represented in fig. <a href="#fig_291">291</a>, has been +added to the grounding. A very good effect is obtained, if in the +broad border, fig. <a href="#fig_291">291</a>, you vary the background of the different +subjects.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_300.jpg"><img src="images/300.jpg" alt="FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG. 290" title="" /></a> +<a name="fig_291" id="fig_291"></a><span class="caption"><span class="smcap">Fig. 291. Outer border of the design for carpets fig. <a href="#fig_290">290</a>.<br /> +Materials:</span> Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. +6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton à repriser D.M.C No. 12. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg" alt="" title="" />) Noir grand Teint 310, +(<img src="images/297b.jpg" alt="" title="" />) Rouge-Grenat 358, (<img src="images/297c.jpg" alt="" title="" />) Bleu-Indigo 311, +(<img src="images/297a.jpg" alt="" title="" />) Vert métallique 465, (<img src="images/298d.jpg" alt="" title="" />) Jaune-vieil-Or +679, (<img src="images/297e.jpg" alt="" title="" />) Gris-Noisette 424, (<img src="images/298b.jpg" alt="" title="" />) Rouge-Cornouille 450.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Linen embroidery.</b>—The stitches used in linen embroidery +are very similar to those used in canvas work. The ordinary +cross stitch, as represented in fig. <a href="#fig_253">253</a>, is the one most +commonly used, but it is not so effective as the two-sided +stitches, which in the beautiful old needlework of the 15th, +16th and 17th centuries, have always excited our wonder and +admiration.</p> +<p><a name="Page_141" id="Page_141"></a></p><p><a name="Page_142" id="Page_142"></a></p> +<p><b>Stuffs suitable for linen embroidery.</b>—Most embroidery +of this kind, and more especially the Italian, is done on very +fine linen. Such fine work however, requires more time and +patience than people, in these days, are as a rule disposed to +bestow on work intended merely for pleasure and recreation. +To meet the requirements of the day, therefore, in addition +to the finer kinds of linen, a great variety of textures, are +now manufactured, the threads of which, being thick and +round, can be easily counted. The cross stitches that are worked +on Cuba, Ceylon or Batavia linen, are large and coarse, those +on linen-canvas, Russian linen, twisted tammy, and Rhodes +linen, small and fine.</p> + +<p>Linen fabrics are either white, unbleached or cream-coloured. +All three are used for embroidery, but the coloured cottons +show up best on the cream ground; on the white, they look +hard and crude, and on the unbleached, dull and faded.</p> +<p><a name="Page_143" id="Page_143"></a></p> +<p><b>Materials suitable for linen embroidery</b>—As most linen +embroidery is executed on articles that are subjected to frequent +washing, the D.M.C cottons, which are to be had in +every shade and colour, are the best for the purpose. For +coarse stuffs, coarse cotton should be used, such as knitting +cotton, Coton à tricoter D.M.C Nos. 6, 8, 10, 12 and 14,<a href="#Footnote_A" class="fnanchor">[A]</a> +which will be found a very good substitute for wool; or six-cord +crochet cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 +and 15,<a href="#Footnote_A" class="fnanchor">[A]</a> which gives quite as full and brilliant a stitch, as +silk-twist. Finer cottons should be used +for the finer stuffs, such as embroidery cotton +(Coton à broder D.M.C) Nos. 6 to 200,<a href="#Footnote_A" class="fnanchor">[A]</a> +and lace thread (Fil à dentelle D.M.C) Nos. +30 to 150.<a href="#Footnote_A" class="fnanchor">[A]</a> In many cases, even darning +cotton (Coton à repriser D.M.C) can be +used, as like Algerian silk, it can be +split or taken double, to suit the stuff.</p> + +<p><b><a name="Plain_cross_stitch" id="Plain_cross_stitch"></a>Plain cross stitch on auxiliary canvas</b> +(fig. <a href="#fig_292">292</a>).—Plain cross stitch, commonly +called marking stitch, has already been described in fig. <a href="#fig_253">253</a>. But it may be well to observe, that when an auxiliary +material is used, it should be most carefully tacked upon the +stuff following the thread of the same, and a sufficient margin +left to allow of the drawing out of the canvas threads, when +the work is finished.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/301.jpg" alt="FIG. 292. +PLAIN CROSS STITCH ON +AUXILIARY CANVAS." title="" /> +<a name="fig_292" id="fig_292"></a><span class="caption smcap">Fig. 292. +Plain cross stitch on +auxiliary canvas.</span> +</div> + +<p><b>Two-sided cross stitch, worked in four rows of +stitches</b> (figs. <a href="#fig_293">293</a>, <a href="#fig_294">294</a>, <a href="#fig_295">295</a>).—Straight lines of cross stitch, +alike on both sides, can be worked in two journeys to and fro. +Working from left to right, begin by fastening in your thread, +never with a knot, but by two or three little running stitches, +which are hidden afterwards by your first cross stitch. Directing +your needle to the right, pass it diagonally over a double +cross of the warp and woof of the canvas, and so on to the +end of the line.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/302.jpg" alt="FIG. 293. +FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY STITCH +FOR RETURNING." title="" /> +<a name="fig_293" id="fig_293"></a><span class="caption smcap">Fig. 293. +First half of the first journey and auxiliary stitch +for returning.</span> +</div> + +<p>Having reached the last stitch, draw out your thread in +the middle of it, make an auxiliary diagonal stitch downwards +<a name="Page_144" id="Page_144"></a>to the right, bring the needle up in the middle of the last +stitch, take it thence, upwards to the left, across two threads, +and begin the return journey, from right to left, crossing and +thus completing the first row of stitches. In the auxiliary +stitch with which you begin the backward journey, the thread +lies double on +both sides. Fig. +<a href="#fig_295">295</a> shows how to +pass down to the +next row.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/303.jpg" alt="FIG. 294. +ONE JOURNEY AND FIRST HALF OF THE SECOND FINISHED, +AND AUXILIARY STITCH LEADING TO THE SECOND RETURN." title="" /> +<a name="fig_294" id="fig_294"></a><span class="caption smcap">Fig. 294. +One journey and first half of the second finished, +and auxiliary stitch leading to the second return.</span> +</div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/304.jpg" alt="FIG. 295. +THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW +OF CROSS STITCH, BOTH SIDES ALIKE." title="" /> +<a name="fig_295" id="fig_295"></a><span class="caption smcap">Fig. 295. +The two journeys to and fro, completing one row +of cross stitch, both sides alike.</span> +</div> + +<p><b>Two-sided +marking stitch</b> +(figs. <a href="#fig_296">296</a> and <a href="#fig_297">297</a>). +The above mode +of working two-sided +cross stitch +cannot be applied +to letters, or patterns +in broken +lines, which both +consist chiefly of +isolated stitches. +Figs. <a href="#fig_296">296</a> and <a href="#fig_297">297</a> +explain the course +of the stitches in +embroidery of this +kind.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_296" id="fig_296"></a> +<img src="images/305.jpg" alt="FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE." title="" /> +<span class="caption smcap">Fig. 296. Two-sided marking stitch. Different positions of the needle.</span> +</div> + +<p>The working +detail A, Fig. +<a href="#fig_296">296</a>, indicates the +spot for the thread +to enter the stuff, and the position of the needle for the +first and second stitches; B, the first two stitches completed, +with an auxiliary stitch to the right, the thread drawn out on +the right, and the position of the needle for the fifth stitch +that completes the cross; G shows the completion of the stitch +begun at B and the position of the needle for a second stitch +to the right; D, one cross stitch completed and another begun, +<a name="Page_145" id="Page_145"></a>immediately beneath A. In fig. <a href="#fig_297">297</a>, E shows how to work +stitches to the left; F, an auxiliary stitch to reach an isolated +cross stitch on the right, G, auxiliary stitches between two +isolated cross stitches, and H, a second and last auxiliary +stitch to complete the cross.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_297" id="fig_297"></a> +<img src="images/306.jpg" alt="FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE." title="" /> +<span class="caption smcap">Fig. 297. Two-sided marking stitch. Different positions of the needle.</span> +</div> + +<p>It requires both practice and care to do this two-sided +marking stitch, so as not to disfigure the stuff by superfluous +stitches.</p> + +<p><b>Cross stitch forming a square at the back</b> (figs. <a href="#fig_298">298</a> and +<a href="#fig_299">299</a>).—Many of the alphabets we so admire in old samplers +are worked in cross stitch, that forms a square at the back. +Each stitch has to be finished off before another is begun; +if you carefully examine figs. <a href="#fig_298">298</a> and <a href="#fig_299">299</a>, which show +severally the right and the wrong sides of the stitch, you will +find no difficulty in mastering it. Letter A, fig. <a href="#fig_296">296</a>, shows the +entrance of the thread, the position of the needle for half the +cross stitch on the right side, and the second side of the +square at the back, as shown in fig. <a href="#fig_299">299</a>, A. Letter B, fig. <a href="#fig_298">298</a>, +shows the cross stitch finished, and the position of the needle +for the third side of the square on the wrong side, indicated +by the same letter in fig. <a href="#fig_299">299</a>. C, in both figures, indicates a stitch +<a name="Page_146" id="Page_146"></a>which is double on the right side, and on the wrong side +forms the fourth side of the square, whilst letter D, explains +how to continue the stitches.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_298" id="fig_298"></a> +<img src="images/307.jpg" alt="FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING A SQUARE AT THE BACK." title="" /> +<span class="caption smcap">Fig. 298. Right side of the cross stitch, forming a square at the back.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<a name="fig_299" id="fig_299"></a> +<img src="images/308.jpg" alt="FIG. 299. SQUARE STITCH FORMING THE BACK OF THE CROSS STITCH." title="" /> +<span class="caption smcap">Fig. 299. Square stitch forming the back of the cross stitch.</span> +</div> + +<p><b>Two-sided Italian stitch</b> (figs. <a href="#fig_300">300</a>, <a href="#fig_301">301</a>, <a href="#fig_302">302</a>, <a href="#fig_303">303</a>).—Two-sided +Italian stitch consists of cross stitches, alike on both sides, +divided from each other by horizontal and vertical stitches. +The upper and lower stitches should all slope one way, as +in plain cross stitch.</p> + +<p>Italian stitch is worked in one journey, to and fro. Fig. <a href="#fig_300">300</a> +shows how to fasten in the thread, and place the needle for +the first stitch, from right to left; fig. <a href="#fig_301">301</a>, the position of the +needle from left to right, to form the cross at the back, and +the vertical stitch to the left, on the right side; fig. <a href="#fig_302">302</a>, the +position of the needle, for a two-sided horizontal stitch at the +bottom of the cross, where upon you proceed as in fig. <a href="#fig_300">300</a>. +Fig. <a href="#fig_303">303</a> explains the return of the thread, which completes +the double crosses and the lines between.</p> + +<div class="center"> +<a name="fig_300" id="fig_300"></a><a name="fig_301" id="fig_301"></a> +<div class="figcenter" style="width: 300px;"> +<div class="figleft" style="width: 150px;"> +<img src="images/309.jpg" alt="FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE +THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH." title="" /> +<span class="caption smcap">Fig. 300. Two-sided italian stitch. Introduction of the +thread and position of the needle for the first stitch.</span> +</div> + +<div class="figright" style="width: 100px;"> +<img src="images/310.jpg" alt="FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE +FOR THE 2ND AND 3RD STITCHES." title="" /> +<span class="caption smcap">Fig. 301. Two-sided italian stitch. Position of the needle +for the 2nd and 3rd stitches.</span> +</div></div></div> + +<p style="clear:both">The horizontal lines, not made on the first journey, are +added on the way back. In conclusion, pass the needle back, +<a name="Page_147" id="Page_147"></a>horizontally, from left to right, to make the final stitch over +the cross, and then make the stitch between, +as shown in fig. <a href="#fig_303">303</a>. On a thin +stuff, this stitch produces an extremely +pretty effect, resembling lattice-work, provided +the thread be tightly drawn in the +working.</p> + +<div class="center"> +<a name="fig_302" id="fig_302"></a><a name="fig_303" id="fig_303"></a> +<div class="figcenter" style="width: 400px;"> +<div class="figleft" style="width: 150px;"> +<img src="images/311.jpg" alt="FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE +FOR THE 4TH AND 5TH STITCHES." title="" /> +<span class="caption smcap">Fig. 302. Two-sided italian stitch. Position of the needle +for the 4th and 5th stitches.</span> +</div> + +<div class="figright" style="width: 200px;"> +<img src="images/312.jpg" alt="FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH +COMPLETES THE CROSS STITCH." title="" /> +<span class="caption smcap">Fig. 303. Two-sided italian stitch. Return journey, which +completes the cross stitch.</span> +</div></div></div> + +<p style="clear:both"><b>Montenegrin cross stitch</b> (figs. <a href="#fig_304">304</a>, +<a href="#fig_305">305</a>, <a href="#fig_306">306</a>).—The Slavonic tribes of the +southern districts of E. Europe, especially +the Montenegrins, have a great partiality +for this stitch, which has been rarely +noticed, hitherto, in books on needlework. +The right side shows cross +stitches with a double +thread underneath, and +divided by vertical stitches; +the wrong side, regular +cross stitches, also divided +by vertical stitches. Coarse +cotton should be used for +this stitch; it produces a +richer effect and not only +covers the stuff better, but +also the underneath stitch +which in the Slavonic +work, is entirely hidden +by the cross stitches.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_304" id="fig_304"></a> +<img src="images/313.jpg" alt="FIG. 304. +MONTENEGRIN CROSS STITCH. +1ST, 2ND, 3RD, 4TH AND 5TH STITCH AND TRANSVERSAL STITCH" title="" /> +<span class="caption smcap">Fig. 304. +Montenegrin cross stitch.<br /> +1st, 2nd, 3rd, 4th and 5th stitch and transversal stitch</span> +</div> + +<p>Begin, as letter A indicates, +with a long, slanting stitch, across +4 and 8 threads, then, bringing +your needle back from right to +left, under four threads, draw it +out, carry it over the first long +stitch, and insert it again from +left to right, under the first four +threads of the canvas. These four +stitches finished, proceed to the +<a name="Page_148" id="Page_148"></a>fifth and sixth, which as B shows, cross the first four, then +repeat the first stitch.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig_305" id="fig_305"></a> +<img src="images/314.jpg" alt="FIG. 305. +MONTENEGRIN CROSS STITCH. +POSITION OF THE STITCHES ON THE WRONG SIDE." title="" /> +<span class="caption smcap">Fig. 305. +Montenegrin cross stitch.<br /> +Position of the stitches on the wrong side.</span> +</div> + +<p>The threads that form the stitches on the wrong side, +should always be opposed to +each other, that is, one cross +should lean to the right, the +other to the left, as shown in +fig. <a href="#fig_305">305</a>. This variation in +the inclination of the stitches, +which is regarded as a fault in +plain cross stitch, is indispensable +here, and produces +a charming effect on the wrong +side.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/315.jpg" alt="FIG. 306. +MONTENEGRIN CROSS STITCH. +A ROW OF STITCHES FINISHED." title="" /> +<a name="fig_306" id="fig_306"></a><span class="caption smcap">Fig. 306. +Montenegrin cross stitch.<br /> +A row of stitches finished.</span> +</div> + +<p><b>Plaited Algerian stitch</b> (fig. <a href="#fig_307">307</a>).—The distinguishing +feature of this stitch is, that it +only advances one thread at +a time. It should be begun +on an uneven number of +threads, and like the Montenegrin stitch, should be worked +with coarse cotton. The rows may touch, either at the top +or at the bottom of the stitch, so long as you keep to one plan +throughout.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/316.jpg" alt="FIG. 307. +PLAITED ALGERIAN STITCH." title="" /> +<a name="fig_307" id="fig_307"></a><span class="caption smcap">Fig. 307. +Plaited algerian stitch.</span> +</div><p><a name="Page_149" id="Page_149"></a></p> + +<p><b>Two-sided Spanish plaited stitch</b> (figs. <a href="#fig_308">308</a> and <a href="#fig_309">309</a>).—This +stitch has the advantage of being, not only very effective, but +also very quickly executed. It is worked in two rows, forwards +and backwards. All cross stitch patterns can be worked +in Spanish stitch. The gaps, which are occasioned by the long +stitches, have to be filled in with short ones. In itself, the +stitch consists of slanting stitches, three threads a part, alike +on both sides, and advances three threads at a time, as shown +in figs. <a href="#fig_308">308</a> and <a href="#fig_309">309</a>.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_308" id="fig_308"></a><a name="fig_309" id="fig_309"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/317.jpg" alt="FIG. 308. TWO-SIDED PLAITED SPANISH STITCH." title="" /> +<span class="caption smcap">Fig. 308. Two-sided plaited spanish stitch.</span> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/318.jpg" alt="FIG. 309. TWO-SIDED PLAITED SPANISH STITCH." title="" /> +<span class="caption smcap">Fig. 309. Two-sided plaited spanish stitch.</span> +</div></div> + +<p><b>Two-sided line stitch</b> (figs. <a href="#fig_310">310</a> and <a href="#fig_311">311</a>).—Square stitch, +Holbein stitch, line, or stroke stitch, as it is sometimes called, +and setting stitch, are all worked on one principle. Though +all these two-sided stitches are related to each other, and by +no means difficult of execution, those new to the work will +find a little practice necessary, to make the stitches follow in +their proper order. Fig. <a href="#fig_310">310</a> explains how the needle has to +pass, alternately, step by step, over and under the threads of +<a name="Page_150" id="Page_150"></a>the stuff, and fig. <a href="#fig_311">311</a>, how the threads, left blank the first +time, are covered on the way back. The great difficulty is how +to place your first row of stitches so as to +ensure an unbroken course back. It is as +well before setting out, to ascertain +clearly the most direct course back, so +that you may not come to a stand-still, +or be obliged to make unnecessary +stitches on the wrong side. If you have +to pass obliquely across the stuff, as in +patterns figs. <a href="#fig_326">326</a>, <a href="#fig_327">327</a>, <a href="#fig_328">328</a>, <a href="#fig_329">329</a>, <a href="#fig_331">331</a> and +<a href="#fig_333">333</a>, proceed in the same way as though +you were covering the straight threads +of a fabric.</p> + +<div class="figcenter" style="width: 550px;"> +<a name="fig_310" id="fig_310"></a><a name="fig_311" id="fig_311"></a> +<div class="figleft" style="width: 250px;"> +<img src="images/319.jpg" alt="FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW." title="" /> +<span class="caption smcap">Fig. 310. Two-sided line stitch. Forward row.</span> +</div> + +<div class="figright" style="width: 250px;"> +<img src="images/320.jpg" alt="FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW." title="" /> +<span class="caption smcap">Fig. 311. Two-sided line stitch. Backward row.</span> +</div></div> + +<p><b>Two-sided insertion</b> (figs. <a href="#fig_312">312</a>, <a href="#fig_313">313</a>, +<a href="#fig_314">314</a>, <a href="#fig_315">315</a>, <a href="#fig_316">316</a>, <a href="#fig_317">317</a>, <a href="#fig_318">318</a>).—We conclude +this series of stitches with a description +of a pretty, two-sided insertion, suitable +for joining stripes of work of different +widths together. In pieces of old needlework, +we often find handsome, coloured +patterns, joined together by a piece of lace or some quite different +kind of work. The insertion represented in fig. <a href="#fig_317">317</a>, is a +very good substitute for either. Fig. <a href="#fig_312">312</a> explains the first stitch +and the course of the second, from left to right, under 3 vertical +and 3 horizontal threads; the 3rd stitch to the left, over +6 vertical threads, and the beginning of the 4th stitch. +Fig. <a href="#fig_313">313</a> shows the 4th stitch completed, and the direc<a name="Page_151" id="Page_151"></a>tion +the 5th and 6th stitches have to take; fig. <a href="#fig_314">314</a>, the 6th +completed, and the position of the needle for the 7th and 8th; +fig. <a href="#fig_315">315</a>, the 9th lower, horizontal stitch, over 6 vertical threads, +the 10th backward stitch, and the position of the needle for +the 11th and last stitch. Fig. <a href="#fig_317">317</a> represents a whole series +of stitches, and fig. <a href="#fig_318">318</a>, the back of the work, which though +quite a different pattern, will combine very well with any two-sided +embroidery.</p> + +<div class="center"> +<div class="figcenter" style="width: 400px;"> +<div class="figleft" style="width: 200px;"> +<img src="images/321.jpg" alt="FIG. 312. TWO-SIDED INSERTION. +FIRST DETAIL." title="" /> +<a name="fig_312" id="fig_312"></a><span class="caption smcap">Fig. 312. Two-sided insertion.<br /> +First detail.</span> +</div> + +<div class="figright" style="width: 150px;"> +<img src="images/322.jpg" alt="FIG. 313. TWO-SIDED INSERTION. +SECOND DETAIL." title="" /> +<a name="fig_313" id="fig_313"></a><span class="caption smcap">Fig. 313. Two-sided insertion.<br /> +Second detail.</span> +</div></div> + +<div class="figcenter" style="width: 350px;"> +<div class="figleft" style="width: 150px;"> +<img src="images/323.jpg" alt="FIG. 314. TWO-SIDED INSERTION. +THIRD DETAIL." title="" /> +<a name="fig_314" id="fig_314"></a><span class="caption smcap">Fig. 314. Two-sided insertion.<br /> +Third detail.</span> +</div> + +<div class="figright" style="width: 150px;"> +<img src="images/324.jpg" alt="FIG. 315. TWO-SIDED INSERTION. +FOURTH DETAIL." title="" /> +<a name="fig_315" id="fig_315"></a><span class="caption smcap">Fig. 315. Two-sided insertion.<br /> +Fourth detail.</span> +</div></div> + +<div class="figcenter" style="width: 250px;"> +<img src="images/325.jpg" alt="FIG. 316. TWO-SIDED INSERTION. +FIFTH DETAIL." title="" /> +<a name="fig_316" id="fig_316"></a><span class="caption smcap">Fig. 316. Two-sided insertion.<br /> +Fifth detail.</span> +</div> +</div> + +<p>These insertions can be worked on any stuff, but the stitches, +must be done, both ways, on a number of threads, divisible by +3. Thus, the first stitch may cover 6, 9, or 12 threads, but +never 8, 10, 12 or 14. [Transcriber's note: 12, here, appears to be an error in the original.]</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/326.jpg" alt="FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED." title="" /> +<a name="fig_317" id="fig_317"></a><span class="caption smcap">Fig. 317. Two-sided insertion. Row of stitches finished.</span> +</div> + +<div class="figcenter" style="width: 450px;"> +<img src="images/327.jpg" alt="FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG. 317." title="" /> +<a name="fig_318" id="fig_318"></a><span class="caption smcap">Fig. 318. Two-sided insertion, showing the back of fig. <a href="#fig_317">317</a>.</span> +</div> + +<p><b><a name="Gothic_borders" id="Gothic_borders"></a>Gothic borders in Gobelin and cross stitch</b> (figs. <a href="#fig_319">319</a> and +<a href="#fig_320">320</a>).—We are indebted for both these pretty patterns, which +are quite Gothic in their character, to a visit we paid to the +national museum at Munich, where we discovered them +amongst a heap of other old valuables, lying un-heeded in a +remote corner. Their simple graceful outlines render them +peculiarly suitable for the decoration of table-cloths, counterpanes, +curtains, etc. All embroideries of this kind should be +finished off with a deep fringe, made in the stuff itself, or +knotted on to it or may be trimmed with a heavy thread lace, +of a wide width, corresponding with the work in character.</p><p><a name="Page_152" id="Page_152"></a></p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_328.jpg"><img src="images/328.jpg" alt="FIG. 319. GOTHIC BORDER IN CROSS STITCH." title="" /></a> +<a name="fig_319" id="fig_319"></a><span class="caption"><span class="smcap">Fig. 319. Gothic border in cross stitch.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. +16 to 35, or Cordonnet 6 fils D.M.C Nos. 3 to 15.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Turc 321, or two shades of Bleu-Indigo, 311 and 334, or +two shades of Rouge-Grenat, 358 and 359 or two shades of Brun-Acajou, +300 and 402.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The design may be worked either in one shade, as in fig. <a href="#fig_319">319</a>, or in two, as in fig. <a href="#fig_320">320</a>, where all the outside stitches +are worked in the darker shade of the given colours.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_329.jpg"><img src="images/329.jpg" alt="FIG. 320. GOTHIC BORDER IN CROSS STITCH." title="" /></a> +<a name="fig_320" id="fig_320"></a><span class="caption"><span class="smcap">Fig. 320. Gothic border in cross stitch.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 16 to 35.<br /> +<span class="smcap">Colours:</span> Bleu-Indigo 311 and 344, or Rouge-Cardinal 346 and Rouge-Géranium +335, or Gris-Tilleul 391 and 331.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Powdering and border. Albanian subjects</b> (figs. <a href="#fig_321">321</a> and +<a href="#fig_322">322</a>).—The arrangement of colours for these charming patterns, +of Albanian origin, should be as follows; the dark-coloured +crosses, red, the lighter ones, alternately blue and green, the +lightest, yellow.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_330.jpg"><img src="images/330.jpg" alt="FIG. 321. POWDERING. ALBANIAN SUBJECT." title="" /></a> +<a name="fig_321" id="fig_321"></a><span class="caption"><span class="smcap">Fig. 321. Powdering. Albanian subject.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Coton à repriser D.M.C No. 12, 25 or 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465, +Jaune-Orange 444, Gris-Brun 409.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>In fig. <a href="#fig_321">321</a>, most of the stitches in every other diagonal +row, are worked in red, the others in green or blue; in the +intermediate rows the flowers are worked alternately, in green +and red, or blue and red, and throughout, the centre of each +figure should consist of 4 stitches in yellow.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_331.jpg"><img src="images/331.jpg" alt="FIG. 322. ALBANIAN SUBJECT." title="" /></a> +<a name="fig_322" id="fig_322"></a><span class="caption"><span class="smcap">Fig. 322. Albanian subject.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6 fils D.M.C Nos. 3 to 25. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Cardinal 347, Bleu-Indigo 312, Jaune-Orange 444, Vert +métallique 465, Gris-Brun 409.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> +<p><a name="Page_153" id="Page_153"></a></p> +<p>In fig. <a href="#fig_321">321</a>, which serves as a border to the above, only the +stalks of the 4 conventional pinks, which, with the cross in +their middle, form a square, are in brown.</p> + +<p>These squares are separated from the bottom border by an +insertion, in Gobelin stitch, worked over 6 threads, in red, +blue, green and yellow, from 20 to 25 stitches of each. This +band is edged on both sides with a row of stem stitches, +worked in yellow over 4 threads. The Holbein stitches that +border the band, can be made in whichever colour the worker +prefers, or else in red and gold thread.</p> + +<p><b>Borders in stroke stitch</b> (figs. <a href="#fig_323">323</a>, <a href="#fig_324">324</a>, <a href="#fig_325">325</a>).—These three +patterns will give our readers an opportunity of perfecting +<a name="Page_154" id="Page_154"></a>themselves in two-sided, square stitch (see figs. <a href="#fig_310">310</a> and <a href="#fig_311">311</a>), +also called stroke, or line stitch, according as it is worked, in +oblique, or straight rows.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/332.jpg" alt="FIG. 323. BORDER IN STROKE STITCH." title="" /> +<a name="fig_323" id="fig_323"></a><span class="caption"><span class="smcap">Fig. 323. Border in stroke stitch.<br /> +Materials:</span> Coton à marquer D.M.C Nos. 5 to 200. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Turc 321 or Bleu-Indigo 312. <a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/333.jpg" alt="FIG. 324. BORDER IN STROKE STITCH." title="" /> +<a name="fig_324" id="fig_324"></a><span class="caption"><span class="smcap">Fig. 324. Border in stroke stitch.<br /> +Materials:</span> Coton à repriser D.M.C No. 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Vert-Pistache 319, or Vert-Mousse 470. <a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/334.jpg" alt="FIG. 325. INSERTION IN STROKE STITCH." title="" /> +<a name="fig_325" id="fig_325"></a><span class="caption"><span class="smcap">Fig. 325. Insertion in stroke stitch.<br /> +Materials:</span> Coton à broder D.M.C Nos. 16 to 60. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Turc 321, or Rouge-Grenat 309, or Bleu-Indigo 311.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>We again recommend our readers, to begin by ascertaining +the course the stitches should take, in order to avoid all unnecessary +stitches and be sure of finding their way back according +to the prescribed rule.</p> +<p><a name="Page_155" id="Page_155"></a></p> +<p><b>Corners in stroke stitch</b> (figs. <a href="#fig_326">326</a> and <a href="#fig_327">327</a>).—These pretty +little patterns are suitable for the decoration of ladies' and +children's collars, fine pocket-handkerchiefs and finger napkins, +and can be worked in one or two colours, as preferred. If two +colours be used, the darker should be taken for the interior, the +lighter for the narrow outside edge.</p> + +<div class="figcenter" style="width: 650px;"> +<a name="fig_326" id="fig_326"></a><a name="fig_327" id="fig_327"></a> +<div class="figleft" style="width: 300px;"> +<img src="images/335.jpg" alt="FIG. 326. CORNERS IN LINE STITCH." title="" /> +</div> + +<div class="figright" style="width: 300px;"> +<img src="images/336.jpg" alt="FIG. 327. CORNERS IN LINE STITCH." title="" /> +</div> +<span class="caption"><span class="smcap">Fig. 326. & fig. 327. +Corners in line stitch.<br /> +Materials:</span> Coton à broder D.M.C +Nos 35 to 200 or Fil à dentelle D.M.C +Nos. 25 to 70. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Bleu-Indigo, or Rouge-Cardinal, +or Brun-Caroubier, or Violet-Lie-de-vin. <a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + + +<p><b>Stripe in stroke stitch</b> (fig. <a href="#fig_328">328</a>).—This is copied from a +piece of Italian work, though from a resemblance in the different +subjects to the rose, thistle and shamrock, if might have +been supposed to be of English origin. The original work was +<a name="Page_156" id="Page_156"></a>executed in a most brilliant purple red which time has toned +down to the colour of Jaune-Rouille 308, or Brun-Cuir 432, +one or other of which we recommend, as being the only colours +<a name="Page_157" id="Page_157"></a>with which any thing approaching the refined distinguished +look of the old embroidery, can be given to the new.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/337.jpg" alt="FIG. 328. STRIPE IN STROKE STITCH." title="" /> +<a name="fig_328" id="fig_328"></a><span class="caption"><span class="smcap">Fig. 328. Stripe in stroke stitch.<br /> +Materials:</span> Cordonnet 6 fils D.M.C Nos. 15 to 50, Coton à broder D.M.C +Nos. 16 to 35, or Coton à repriser D.M.C No. 12, 25 or 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Jaune-Rouille 308, or Jaune-vieil-Or 680.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p><b>Grounding in diagonal lines</b> (fig. <a href="#fig_329">329</a>).—This pattern +can be worked, in any of the previous stitches, or in back-<a name="Page_158" id="Page_158"></a>stitch. +It is only suitable for large surfaces, on account of the +diagonal lines, and should be worked, all in one colour. It can +be varied by adding sprays to the upper sides of the slanting +stalks, like those on the lower sides, turned either the same +way, or upwards. Skilled workers will readily contrive the +middles for themselves, by combining the different subjects +and putting them together in various positions, either diagonally +or at right angles to each other, with the help of the Penelope +mirror.<a name="FNanchor_2_45" id="FNanchor_2_45"></a><a href="#Footnote_2_45" class="fnanchor">[1]</a></p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_338.jpg"><img src="images/338.jpg" alt="FIG. 329. GROUNDING IN DIAGONAL LINES." title="" /></a> +<a name="fig_329" id="fig_329"></a><span class="caption"><span class="smcap">Fig. 329. Grounding in diagonal lines.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 6 to 16, or Coton à broder D.M.C +Nos. 16 to 100.<br /> +<span class="smcap">Colours:</span> Bleu-Indigo 322, or Rouge-Cardinal 347.</span> +</div> + +<p><a name="Page_159" id="Page_159"></a></p> +<p><b>Powdering in cross, stroke and star stitch</b> (fig. <a href="#fig_330">330</a>).—This +charming combination of cross, stroke and star stitches, +can be made use of wherever embroidery is available as a +means of decoration.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_339.jpg"><img src="images/339.jpg" alt="FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH." title="" /></a> +<a name="fig_330" id="fig_330"></a><span class="caption"><span class="smcap">Fig. 330. Powdering in cross, stroke and star stitch.<br /> +Materials:</span> Coton à repriser D.M.C No. 50 and Chiné d'or D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours</span>—For the Cotton: Rouge-Grenat 326.—For the Chiné: +Bleu-Indigo and gold.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The cross stitches, in which the solid parts of the pattern +are worked, should be in one colour only, the stroke and star +stitches, in Chiné d'or D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a></p> + + +<p><b>Border in Greek stitch</b> (fig. <a href="#fig_331">331</a>).—All the darker lines +here, should be worked in black, colour 473, the leaves in the +<a name="Page_160" id="Page_160"></a>form of steps, alternately in light and dark red up to the stalks, +the line of demarcation being indicated by the different direction +of the stitches, so that two light leaves, and two dark leaves, +should always face each other.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_340.jpg"><img src="images/340.jpg" alt="FIG. 331. BORDER IN GREEK STITCH." title="" /></a> +<a name="fig_331" id="fig_331"></a><span class="caption"><span class="smcap">Fig. 331. Border in greek stitch.<br /> +Materials:</span> Coton à broder D.M.C Nos. 16 to 25, or Coton à repriser D.M.C +Nos. 12 to 50.<br /> +<span class="smcap">Colours:</span> Rouge-Géranium 349 and 351, Jaune-Rouille 364, Bleu de France 341, +Bleu pâle 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30 and +Chiné d'or D.M.C No. 30.</span> +</div> + +<p>In the original, the cross bars that unite the leaves, are in +yellow, whilst the detached figures that separate them, are +worked, those that come between the light red leaves, in pale +blue, and those between the dark red ones, in gold thread. +The exterior part of the figure is filled in with the different +colours, indicated above; with the exception of the small squares +in Gobelin stitch, which should all be worked in plain gold, +or Chiné d'or D.M.C, green and gold. The SS in the narrow +outside border, should be worked in two shades of blue; +the outside stitches in colour 341 and the solid parts in colour +668. The little figures with the transverse bars that unite the +SS, should be set in black, and filled in, alternately, in light +and dark red, and in yellow.</p><p><a name="Page_161" id="Page_161"></a></p> + +<p><b>Grounding</b> (fig. <a href="#fig_332">332</a>).—This grounding was copied from +a beautiful old cushion-cover +and will be found +particularly useful in the +confection of small embroidered +articles, because the +pattern will always form a +centre point in itself. A +light, brilliant red, such as +either of the two colours +indicated beneath the +figure, will best reproduce +the tone of the original.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/341.jpg" alt="FIG. 332. GROUNDING." title="" /> +<a name="fig_332" id="fig_332"></a><span class="caption"><span class="smcap">Fig. 332. Grounding.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 6 to +10, or Coton à broder D.M.C Nos. 16 to 100.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Cardinal 804, or Rouge-Cornouille 450.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>In making the little +stars that connect the different +squares, the mode +we recommended for working +stroke stitch should be +adopted, that is, beginning, +by bringing the needle out in the middle, making 7 +stitches, and at the eighth, carrying the needle back under +the first, to the spot whence you started. The stitches will +then be alike on both sides.</p> + +<p><b>Wallachian border</b> (fig. <a href="#fig_333">333</a>).—A piece of Wallachian +needlework, executed on rough linen, and uncommon, both in +colour and design, suggested the charming embroidery, here represented. +In place of the somewhat violent colours, which indicate +an undeveloped taste, we have substituted softer and more +refined ones. All the stroke stitches of the middle stripe and +of the two border stripes, top and bottom, as well as the +darker portions of the small dice, subdivided into eight, in +the bottom border, and of the small diagonal squares in the +top border, worked in Gobelin stitch, are in red, colour 346. +The setting of upright stroke stitches round the large centre +figures, as well as the straight lines that divide these same +<a name="Page_162" id="Page_162"></a><a name="Page_163" id="Page_163"></a>figures into four, are +worked in yellow, colour +680.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_342.jpg"><img src="images/342.jpg" alt="FIG. 333. WALLACHIAN BORDER." title="" /></a> +<a name="fig_333" id="fig_333"></a><span class="caption"><span class="smcap">Fig. 333. Wallachian border.<br /> +Gobelin stitch, stroke stitch and spanish half-stitch.<br /> +Materials.</span>—For Rhodes linen No. 1: Cordonnet 6 fils D.M.C No. 15, and Or fin +D.M.C pour la broderie No. 30.—For other stuffs: Coton à tricoter D.M.C Nos. +6 to 16, or Coton à repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Cardinal 346, Rouge-Géranium 326, Vert-Pistache 319 and +Jaune-vieil-Or 680.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<p>The squares and the +half-squares are worked in +colour 326, green 319, and +gold thread; colour 326 +is indicated in the illustration +by the darkest +shade, green 319, by the +medium shade, and the +gold thread by the lightest +shade.</p> + +<p>The stitches in the +right bottom quarter and +top left one, incline upwards +from left to right, +in the two other quarters +they incline the contrary +way. The Spanish half-stitch +as shown in fig. <a href="#fig_309">309</a>, +can only be done over 4 +and 2 threads and worked +one way, not to and fro.</p> + +<p>The general effect is +very much heightened by +the introduction of one +or two rows of stitches, +worked in gold thread, +into the straight lines on +either side of the stripes; +all the light parts of the +design moreover, should +be worked in gold thread.</p> +<p><a name="Page_164" id="Page_164"></a></p><p><a name="Page_165" id="Page_165"></a></p><p><a name="Page_166" id="Page_166"></a></p> + +<p><b>Borders in several shades of one colour</b> (figs. <a href="#fig_334">334</a> and +<a href="#fig_335">335</a>). In some beautifully embroidered Chinese hangings, that +latterly came under our notice, the principal subject was the +figure of a mandarin, in a very richly decorated dress. The +pretty pattern, given in fig. <a href="#fig_334">334</a>, was +copied from the collar and cuffs of +this dress. We should advise working +it in several shades of pink or red, +or in a single one of the colours indicated +above.</p> + +<div class="figcenter" style="width: 300px;"> +<a href="images/full_343.jpg"><img src="images/343.jpg" alt="FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR." title="" /></a> +<a name="fig_334" id="fig_334"></a><span class="caption"><span class="smcap">Fig. 334. Border in several shades of one colour.<br /> +Materials:</span> Coton à tricoter D.M.C Nos. 12 to 20, Coton à broder D.M.C Nos. +16 to 35 or Coton à repriser No. 12, 25 or 50.<br /> +<span class="smcap">Colours:</span> Three shades of either Bleu-Indigo, Rouge-Grenat, +or Violet-Mauve etc. etc.</span> +</div> + +<p>The border of these hangings +furnished us with pattern <a href="#fig_335">335</a>, which +will be found to look best, worked +in three very distinct shades of +blue.</p> + +<div class="figcenter" style="width: 1200px;"> +<a href="images/full_344.jpg"><img src="images/344.jpg" alt="FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR." title="" /></a> +<a name="fig_335" id="fig_335"></a><span class="caption smcap">Fig. 335. Border in several shades of one colour.</span> +</div> + +<p>The grotesque heads of animals, +and the flowers and branches which +break the running pattern, and are a Chinese speciality, +distinguish this design from the more conventional patterns +of the present day.</p> + +<p>We recommend these two pretty patterns, to our readers +notice, as likewise adaptable by transposition, to centres, or by +repetition, to broad stripes. With very little trouble they +can be converted, into a variety of subjects, such as it is +often difficult to find ready made, and exactly suited to the +purpose in hand.</p> + +<p><b>Border in Greek stitch with a footing, composed of +branches</b> (fig. <a href="#fig_336">336</a>).—This design can be worked in Greek, +Slavonic, Montenegrin, or plaited Algerian stitch. Our illustration +worked in Greek stitch, shows how one stitch encroaches +upon another, and how the thread is carried from one +isolated stitch, to another.</p> + +<div class="figcenter" style="width: 1200px;"> +<a href="images/full_345.jpg"><img src="images/345.jpg" alt="FIG. 336. BORDER IN GREEK STITCH WITH A +FOOTING, COMPOSED OF BRANCHES." title="" /></a> +<a name="fig_336" id="fig_336"></a><span class="caption smcap">Fig. 336. Border in greek stitch with a +footing, composed of branches.</span> +</div> + +<p>It will be found to be an improvement if the stitches are so +made as to follow the direction of the lines. The central subject +may be repeated two or three times, according to the width of +border required. The edging is the same throughout. The use +of the 'Penelope mirror' for repeating patterns is described +in the concluding chapter of the book.</p><p><a name="Page_167" id="Page_167"></a></p> + +<p><b>Table-cover in Gobelin and stroke stitch</b> (figs. <a href="#fig_337">337</a>, <a href="#fig_338">338</a>, +<a href="#fig_339">339</a>, <a href="#fig_340">340</a>).—This tasteful little table-cover provides excellent +practice in working two sided, square stitch. The square +represented in fig. <a href="#fig_339">339</a>, forms the middle of the cloth. The +Gobelin stitches, set very closely, unite and form a star in the +centre of the principal subject. They begin in the corners, in +red and continue in green, violet and blue, successively; the +little branches in stroke stitch, on each side of the Gobelin +stitches, correspond with them in colour, and the small figures, +that form the border of the square, may be worked, indiscriminately, +in any of the colours used for the Gobelin stitches of +the centre. Four branches run inwards from the corners of the +square, and four more advance to meet, and pass them, from +the inner angles of the wide border. Four figures, copied from +the outside border, fig. <a href="#fig_339">339</a>, and worked in yellow, and the +little star, fig. <a href="#fig_337">337</a>, besides the little subjects, borrowed from +the outside border, fig. <a href="#fig_338">338</a>, are strewn lightly over the foundation, +interspersed between the branches. In fig. <a href="#fig_340">340</a>, nevertheless, +which represents the whole table-cover, the edge is +formed of the small subjects contained in the wide border and +<a name="Page_168" id="Page_168"></a>not of the little stars. The Gobelin stitches in the centre of +fig. <a href="#fig_337">337</a>, are in dark green, the star stitches and the stroke +stitches on the outside in red. The wide border consists of +stars, every other row of which, is worked in red; the intermediate +rows, successively, in blue, green, and yellow. The +corners are composed of four detached stars, framed by a row +of stroke stitches, one red and one blue, alternately. This line +skirts both sides of the border, and forms the base to the +quaint figures, that terminate the design and which can be +worked in all the colours used for the inside.</p> + +<div class="figcenter" style="width: 250px;"> +<img src="images/346.jpg" alt="FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340." title="" /> +<a name="fig_337" id="fig_337"></a><span class="caption smcap">Fig. 337. Small detached subject of fig. <a href="#fig_340">340</a>.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_347.jpg"><img src="images/347.jpg" alt="FIG. 338. OUTER BORDER OF FIG. 340." title="" /></a> +<a name="fig_338" id="fig_338"></a><span class="caption smcap">Fig. 338. Outer border of fig. <a href="#fig_340">340</a>.</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_348.jpg"><img src="images/348.jpg" alt="FIG. 339. MIDDLE OF FIG. 340." title="" /></a> +<a name="fig_339" id="fig_339"></a><span class="caption smcap">Fig. 339. Middle of fig. <a href="#fig_340">340</a>.</span> +</div> + +<p>The original of our illustration, which is on fine Rhodes +linen, in Coton à broder D.M.C No. 25, is only a small table-<a name="Page_169" id="Page_169"></a><a name="Page_170" id="Page_170"></a>cover; +for a larger one, if you wish strictly to adhere to the +pattern, Java or Ceylon linen will be the best material to +select, with Coton à tricoter D.M.C No. 12, for the stroke +stitches and Coton à repriser No. 25 for the Gobelin stitches.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/full_349.jpg"><img src="images/349.jpg" alt="FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH." title="" /></a> +<a name="fig_340" id="fig_340"></a><span class="caption"><span class="smcap">Fig. 340. Table-cover in gobelin and stroke stitch.<br /> +Materials.</span>—According to the stuff: Coton à tricoter D.M.C Nos. 6 to 16, Coton +à broder D.M.C Nos. 16 to 35, Coton à repriser D.M.C Nos. 12, 25, 50, Fil à +pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3 to 20.<a href="#Footnote_A" class="fnanchor">[A]</a><br /> +<span class="smcap">Colours:</span> Rouge-Cornouille 450, Vert-Pistache 319, Violet-Lie-de-vin 372, +Jaune-Rouille 364, Bleu-Indigo 322.<a href="#Footnote_A" class="fnanchor">[A]</a></span> +</div> + +<hr style='width: 45%;' /> + +<p class="center"><a href="./chapter_8.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_2_45" id="Footnote_2_45"></a><a href="#FNanchor_2_45"><span class="label">[1]</span></a> See, the directions for its use, given in the concluding chapter.</p></div> +<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> |