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The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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<p><a name="Page_1" id="Page_1"></a></p>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 100%;">
<img src="images/002.jpg" alt="STRIPE SHOWING RUNNING, STITCHING, BUTTON-HOLING, AND HERRING-BONING." title="" />
</div>
<p class="center"><span class="caption smcap">Stripe showing running, stitching, button-holing, and herring-boning.</span></p>
<hr style="width: 65%;" />
<h2><a name="Plain_Sewing" id="Plain_Sewing"></a>Plain Sewing.</h2>
<p>Many, on opening the Encyclopedia of needlework will
be disposed to exclaim as they read the heading of this first
section: What is the use of describing all the old well-known
stitches, when machines have so nearly superseded the slower
process of hand-sewing? To this our reply is that, of all
kinds of needlework, Plain Sewing needs to be most thoroughly
learned, as being the foundation of all. Those who are
able to employ others to work for them, should at least know
how to distinguish good work from bad, and those who are in
less fortunate circumstances, have to be taught how to work for
themselves.</p>
<p><b>Position of the body and hands.</b>—Before describing
different kinds of stitches, a word should be said as to
the position of the body and hands when at work. Long experience
has convinced me that no kind of needlework necessitates
a stooping or cramped attitude. To obviate which, see
that your chair and table suit each other in height, and that you
so hold your work as hardly to need to bend your head at all.
The practice of fastening the work to the knee, besides being
ungraceful, is injurious to the health.</p>
<p><b>Needles.</b>—These should be of the best quality. To test
a needle, try to break it; if it resist, and then break clean in
<a name="Page_2" id="Page_2"></a>two, the steel is good; if it bend without breaking, or break
without any resistance, it is bad. Never use a bent needle, it
makes ugly and irregular stitches, and see that the eye, whether
round or egg-shaped, be well-drilled, that it may not fray
or cut the thread. Long or half-long needles are the best for
white work, long ones for dress-making, and longer ones still,
with long eyes, for darning. A stock of each, from No 5 to 12,
is advised. The needle should always be a little thicker than
the thread, to make an easy passage for it through the stuff.</p>
<p>To keep needles from rusting, strew a little stone alum in
the packets, and workers whose hands are apt to get damp,
should have a small box of it handy, to powder their fingers
with. Blackened needles can be made quite bright again by
drawing them through an emery cushion.</p>
<p><b>Scissors</b>.—Scissors are a very important accessory of the
work-table, and two varieties are indispensable; a pair of large
ones for cutting-out, with one point blunt and the other sharp,
the latter to be always held downwards; and a pair of smaller
ones with two sharp points. The handles should be large and
round; if at all tight, they tire and disfigure the hand.</p>
<p><b>Thimble</b>.—Steel thimbles are the best; bone are very
liable to break, and silver ones are not deeply enough pitted, to
hold the needle. A thimble should be light, with a rounded
top and flat rim.</p>
<p><b>The thread</b>.—Except for tacking, your thread should never
be more than from 40 to 50 c/m. long.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> If the thread is
in skeins, it does not matter which end you begin with, but if
you use reeled cotton, thread your needle with the end that
points to the reel, when you cut it; as the other end will split,
and unravel, when twisted from left to right, which is generally
done, to facilitate the process of threading. The cotton should
always be cut, as it is weakened by breaking.</p>
<p><b>Knotting the thread into the needle</b> (fig. <a href="#fig_1">1</a>).—When the
thread becomes inconveniently short, and you do not want
take a fresh one, it may be knotted into the needle, thus:
bring it round the forefinger close to the needle, cross it on the
inside next to the finger, hold the crossed threads fast, with the<a name="Page_3" id="Page_3"></a>
thumb draw the needle out through the loop thus formed,
and tighten the loop round both ends.</p>
<div class="figcenter" style="width: 500px;">
<a name="fig_1" id="fig_1"></a>
<img src="images/003.jpg" alt="FIG. 1. KNOTTING THE THREAD INTO THE NEEDLE." title="" />
<span class="caption smcap">Fig. 1. Knotting the thread into the needle.</span>
</div>
<p><b>Materials</b>.—For tacking, use Coton à coudre D.M.C qualité
supérieure (black and gold stamp) Nos. 2 to 6.<a href="#Footnote_A" class="fnanchor">[A]</a> For hand-sewing,
Fil d'Alsace D.M.C Nos. 30 to 700,<a href="#Footnote_A" class="fnanchor">[A]</a> and Fil à dentelle D.M.C,
balls or reels, Nos. 25 to 100<a href="#Footnote_A" class="fnanchor">[A]</a> will be found most useful. For
machine-work: Câblé 6 fils pour machines D.M.C, Nos. 30 to
300,<a href="#Footnote_A" class="fnanchor">[A]</a> black and
white, or white
and blue stamp.
These can also be
used for hand-work.
Both these
and the lace-thread
(Fil à dentelle) on reels, are
superfine in quality.
The medium
sizes are the most
useful; but the
only suitable ones
for very fine and
delicate fabrics are
the Fil à dentelle
D.M.C, and Fil
d'Alsace, and the
latter only is manufactured
in the
higher numbers.</p>
<p>All these threads are to be had, wound in balls, or on
reels, the buyer may make his own choice; balls are apt to
get tangled, but the cotton preserves its roundness better than
when it is wound on reels. Linen is generally sewn with
linen-thread, but Fil à dentelle and the Fil d'Alsace are very
good substitutes.</p>
<p><a name="Page_4" id="Page_4"></a></p>
<p><b>Position of the hands</b> (fig. <a href="#fig_2">2</a>).—The stuff, fastened to a
cushion, must be held with the left hand, which should neither
rest on the table, nor on the cushion, the needle must be held
between the thumb and forefinger, of the right hand, and
the middle finger, armed with the thimble, pushes the needle
far enough through the stuff, for the other fingers to take hold
of it and draw it out; the thread then comes to lie between the
fourth and fifth fingers in the form of a loop, which must be
tightened gradually to avoid its knotting.</p>
<div class="figcenter" style="width: 500px;">
<a name="fig_2" id="fig_2"></a>
<img src="images/004.jpg" alt="FIG. 2. POSITION OF THE HANDS." title="" />
<span class="caption smcap">Fig. 2. Position of the hands.</span>
</div>
<p><b>Position of the hands without cushion</b> (fig. <a href="#fig_3">3</a>).—When
the work cannot be
fastened to a cushion
it should be
held between the
forefinger and the
thumb, and left
hanging down, over
the other fingers.
If it need to be
more firmly held,
draw it between the fourth and fifth fingers, which will prevent
it from getting puckered or dragged.</p>
<div class="figcenter" style="width: 500px;">
<a name="fig_3" id="fig_3"></a>
<img src="images/005.jpg" alt="FIG. 3. POSITION OF THE HANDS WITHOUT CUSHION." title="" />
<span class="caption smcap">Fig. 3. Position of the hands without cushion.</span>
</div>
<p><a name="stitches" id="stitches"></a><b>Stitches</b>.—Plain-Sewing comprises 4 varieties of stitches,
(1) running, (2) back-stitching, (3) hemming and (4) top or
over-sewing.</p>
<p>(1) <b>Running-stitch</b> (fig. <a href="#fig_4">4</a>).—This is the simplest and
easiest of all. Pass the needle in and out of the material, at
regular intervals, in a horizontal direction,
taking up three or four threads at a time.
If the stuff allow, several stitches may
be taken on the needle at once, before the
thread is drawn out. Running-stitch is used
for plain seams, for joining light materials,
for making gathers and for hems.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_4" id="fig_4"></a>
<img src="images/006.jpg" alt="FIG. 4. RUNNING-STITCH." title="" />
<span class="caption smcap">Fig. 4. Running-stitch.</span>
</div>
<p>(2) <b>Back-stitch</b> (fig. <a href="#fig_5">5</a>).—Insert the needle, and draw it out
six threads further on, carry your thread back, from left to
right, and insert the needle three threads back from the point
at which it was last drawn out, and bring it out six threads
<a name="Page_5" id="Page_5"></a>beyond. Stitching and back-stitching are better and more
quickly done by machine than by hand.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_5" id="fig_5"></a>
<img src="images/007.jpg" alt="FIG. 5. BACK-STITCH." title="" />
<span class="caption smcap">Fig. 5. Back-stitch.</span>
</div>
<p><b>Stitching</b> (fig. <a href="#fig_6">6</a>).—The production of
a row of back-stitches, that exactly meet
one another, constitutes what is called
stitching. Only one stitch can be made
at a time, and the needle must be put
in, exactly at the point where it was
drawn out to form the preceding back-stitch,
and brought out as many threads
further on as were covered by the last back-stitch.
The beauty of stitching depends
on the uniform length of the stitches, and
the straightness of the line formed, to
ensure which it is necessary to count the
threads for each stitch, and to draw a
thread to mark the line. If you have to
stitch in a slanting line across the stuff,
or the stuff be such as to render the
drawing of a thread impossible, a coloured
tacking thread should be run in first, to
as a guide.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_6" id="fig_6"></a>
<img src="images/008.jpg" alt="FIG. 6. STITCHING." title="" />
<span class="caption smcap">Fig. 6. Stitching.</span>
</div>
<p><b>Stitched hem</b> (fig. <a href="#fig_7">7</a>).—Make a double
turning, as for a hem, draw a thread
two or three threads above the edge of the first turning, and
do your stitching through all three layers of stuff; the right
side will be that on which you form your stitches.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_7" id="fig_7"></a>
<img src="images/009.jpg" alt="FIG. 7. STITCHED HEM." title="" />
<span class="caption smcap">Fig. 7. Stitched hem.</span>
</div>
<p>(3) <b>Hemming-stitch</b> (fig. <a href="#fig_8">8</a>).—To make a good hem,
your stuff must be cut in the line of the thread. Highly dressed
stuffs, such as linen and calico; should be rubbed in the hand,
to soften them, before the hem is laid. Your first turning
should not be more than 2 m/m. wide; turn down the whole
length of your hem, and then make the second turning of the
same width, so that the raw edge is enclosed between two
layers of stuff.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_8" id="fig_8"></a>
<img src="images/010.jpg" alt="FIG. 8. HEMMING-STITCH." title="" />
<span class="caption smcap">Fig. 8. Hemming-stitch.</span>
</div>
<p>Narrow hems do not need to be tacked, but wide ones, where
the first turning should only be just wide enough to prevent
the edge from fraying, ought always to be. In hemming you
<a name="Page_6" id="Page_6"></a>insert the needle and thread directed in a slanting position
towards you, just below the edge of the hem, and push it
out two threads above, and so on to the end, setting the
stitches, two or three threads apart, in a continuous straight
line. To ensure the hem being straight, a thread may be
drawn to mark the line for the second turning, but it is not
a good plan, especially in shirt-making, as the edge of the
stuff, too apt in any case, to cut and fray, is, thereby, still
further weakened. Hems in woollen materials, which will not
take a bend, can only be laid and tacked, bit by bit. In making,
what are called rolled hems, the needle must be slipped in, so
as only to pierce the first turning, in order that the stitches
may not be visible on the outside.</p>
<p><a name="seams" id="seams"></a><b>Flat seam</b> (fig. <a href="#fig_9">9</a>).—Lay your two edges, whether straight
or slanting, exactly even, tack them together with stitches
2 c/m. long, distant 1 to 2 c/m. from the edge, and then back-stitch
them by machine or by hand, following
the tacking-thread. Cut off half the inner
edge, turn the outer one in, as for a hem
and sew it down with hemming-stitches.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_9" id="fig_9"></a>
<img src="images/011.jpg" alt="FIG. 9. FLAT SEAM." title="" />
<span class="caption smcap">Fig. 9. Flat seam.</span>
</div>
<p>Smooth the seam underneath with the
forefinger as you go, to make it lie quite
flat. Beginners should flatten down the seam with their
thimbles, or with the handle of the scissors, before they
begin to hem, as the outer and wider edge is very apt to get
pushed up and bulge over, in the sewing, which hides the
stitches.</p>
<p><b>Rounded seam</b>.—Back-stitch your two edges together, as
above directed, then cut off the inner edge to a width of four
threads, and roll the outer one in, with the left thumb, till
the raw edge is quite hidden, hemming as you roll. This
kind of seam, on the wrong side, looks like a fine cord, laid
on, and is used in making the finer qualities of underclothing.</p>
<p><b>Fastening threads off, and on</b> (fig. <a href="#fig_10">10</a>).—Knots should be
avoided in white work. To fasten on, in hemming, turn the
needle backwards with the point up, take one stitch, and stroke
and work the end of the thread in, underneath the turning.<a name="Page_7" id="Page_7"></a>
To fasten on, in back-stitching or running, make one stitch
with the new thread, then take both ends and lay them
down together to the left, and work over them, so that they
wind in, and out of the next few stitches.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_10" id="fig_10"></a>
<img src="images/012.jpg" alt="FIG. 10.
FASTENING THREADS OFF
AND ON." title="" />
<span class="caption smcap">Fig. 10.
Fastening threads off
and on.</span>
</div>
<p>(4) <b>Top or over-sewing stitch</b> (fig. <a href="#fig_11">11</a>).—This stitch is used
for joining selvedges together. To keep the
two pieces even, it is better, either to tack or
pin them together first. Insert the needle,
from right to left, under the first thread of
the selvedge, and through both edges, and
sew from right to left, setting your stitches
not more than three threads apart. The
thread must not be drawn too tightly, so
that when the seam is finished and flattened
with the thimble, the selvedges may
lie, side by side.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_11" id="fig_11"></a>
<img src="images/013.jpg" alt="FIG. 11.
TOP OR OVER-SEWING
STITCH." title="" />
<span class="caption smcap">Fig. 11.
Top or over-sewing
stitch.</span>
</div>
<p><b>Another kind of sewing-stitch</b> (fig.
<a href="#fig_12">12</a>)—For dress-seams and patching; sew
left to right, tacking or pinning the
edges together first, and holding them
tightly with the thumb and finger, to keep
perfectly even.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_12" id="fig_12"></a>
<img src="images/014.jpg" alt="FIG. 12.
ANOTHER KIND OF
SEWING-STITCH." title="" />
<span class="caption smcap">Fig. 12.
Another kind of
sewing-stitch.</span>
</div>
<p><b>Antique or old-German seam</b> (figs. <a href="#fig_13">13</a>
and <a href="#fig_14">14</a>).—Tack or pin the selvedges together
as above, then, pointing your needle
upwards from below, insert it, two threads
from the selvedge, first on the wrong side,
then on the right, first through one selvedge,
then through the other, setting the
stitches two threads apart. In this manner,
the thread crosses itself, between the two
selvedges, and a perfectly flat seam is produced.
Seams of this kind occur in old embroidered
linen articles, where the stuff was
too narrow to allow for any other. A
similar stitch, fig. <a href="#fig_14">14</a>, only slanting,
instead of quite straight, as in fig. <a href="#fig_13">13</a>, is used in making
sheets.</p>
<div class="figcenter" style="width: 350px;">
<a name="fig_13" id="fig_13"></a><a name="fig_14" id="fig_14"></a>
<div class="figleft" style="width: 107px;">
<img src="images/015.jpg" alt="FIG. 13.
ANTIQUE OR OLD-GERMAN
SEAM." title="" />
<span class="caption smcap">Fig. 13.
Antique or old-german
seam.</span>
</div>
<div class="figright" style="width: 150px;">
<img src="images/016.jpg" alt="FIG. 14.
ANTIQUE OR OLD
GERMAN SEAM." title="" />
<span class="caption smcap">Fig. 14.
Antique or old
german seam.</span>
</div>
</div>
<p><a name="Page_8" id="Page_8"></a></p>
<p><b>French double seam</b> (fig. <a href="#fig_15">15</a>).—For joining such stuffs
as fray, use the so-called French-seam.</p>
<p>Run your two pieces of stuff together, the wrong sides
touching, and the edges perfectly even, then turn them round
just at the seam, so that the right sides come together inside,
and the two raw edges
are enclosed between,
and run them together
again. See that no threads
are visible on the outside.
This seam is used chiefly
in dress-making, for
joining slight materials
together which cannot be
kept from fraying by any
other means.</p>
<div class="figcenter" style="width: 150px;">
<a name="fig_15" id="fig_15"></a>
<img src="images/017.jpg" alt="FIG. 15.
FRENCH DOUBLE-SEAM." title="" />
<span class="caption smcap">Fig. 15.
French double-seam.</span>
</div>
<p><b>Hemmed double
seam</b> (figs. <a href="#fig_16">16</a> and <a href="#fig_17">17</a>).—Turn
in the two raw
edges, and lay them one
upon the other, so that
the one next the forefinger, lies slightly higher than the
one next the thumb. Insert the needle, not upwards from below
but first into the upper edge, and then, slightly slanting, into
the lower one. This seam is used
in dress-making, for fastening
down linings. Fig. <a href="#fig_17">17</a> shows
another kind of double seam, where
the two edges are laid together,
turned in twice, and hemmed in
the ordinary manner, with the sole
difference, that the needle has to
pass through a sixfold layer of stuff.</p>
<div class="figcenter" style="width: 350px;">
<a name="fig_16" id="fig_16"></a>
<div class="figleft" style="width: 150px;">
<img src="images/018.jpg" alt="FIG. 16.
HEMMED DOUBLE-SEAM." title="" />
<span class="caption smcap">Fig. 16.
Hemmed double-seam.</span>
</div>
<a name="fig_17" id="fig_17"></a>
<div class="figright" style="width: 150px;">
<img src="images/019.jpg" alt="FIG. 17.
OPEN HEMMED DOUBLE-SEAM." title="" />
<span class="caption smcap">Fig. 17.
Open hemmed double-seam.</span>
</div>
</div>
<p><a name="gathering" id="gathering"></a><b>Gathering</b> (fig. <a href="#fig_18">18</a>).—Gathers are made with running-stitches
of perfectly equal length; take up and leave three or
four threads, alternately, and instead of holding the stuff fast
with your thumb, push it on to the needle as you go, and
draw up your thread after every four or five stitches.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_18" id="fig_18"></a>
<img src="images/020.jpg" alt="FIG. 18. GATHERING." title="" />
<span class="caption smcap">Fig. 18. Gathering.</span>
</div>
<p><a name="Page_9" id="Page_9"></a></p>
<p><b>Stroking gathers</b> (fig. <a href="#fig_19">19</a>).—When you have run in your
gathering thread, draw it up tight, and make it fast round the
finger of your left hand, and then stroke down the gathers
with a strong needle, so that they lie evenly side by side,
pushing each gather, in stroking
it, under your left thumb,
whilst you support the stuff
at the back with your other
fingers.</p>
<div class="figcenter" style="width: 400px;">
<a name="fig_19" id="fig_19"></a>
<img src="images/021.jpg" alt="FIG. 19. STROKING GATHERS." title="" />
<span class="caption smcap">Fig. 19. Stroking gathers.</span>
</div>
<p><b>Running in a second
gathering thread</b> (fig. <a href="#fig_20">20</a>).—This
is to fix the gathers after
they have been stroked, and
should be run in 1 or 2 c/m.
below the first thread, according to the
kind of stuff, and the purpose it is intended
for: take up five or six gathers
at a time, and draw your two threads
perfectly even, that the gathers may
be straight to the line of the thread.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_20" id="fig_20"></a>
<img src="images/022.jpg" alt="FIG. 20.
RUNNING IN A SECOND GATHERING-THREAD." title="" />
<span class="caption smcap">Fig. 20.
Running in a second gathering-thread.</span>
</div>
<p><b>Sewing on gathers</b> (fig. <a href="#fig_21">21</a>).—To
distribute the fulness equally,
divide the gathered portion of ma<a name="Page_10" id="Page_10"></a>terial,
and the band, or plain piece, on to which it is to be
sewn, into equal parts, and pin the two together at corresponding
distances, the gathered portion under the plain, and
hem each gather to the band or plain piece, sloping the needle
to make the thread slant, and slipping it through the upper
threads only of the gathers.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_21" id="fig_21"></a>
<img src="images/023.jpg" alt="FIG. 21. SEWING ON GATHERS." title="" />
<span class="caption smcap">Fig. 21. Sewing on gathers.</span>
</div>
<p><b>Whipping</b> (fig. <a href="#fig_22">22</a>).—Whipping is another form of gathering,
used for fine materials.
With the thumb and forefinger
of the left hand, roll the
edge over towards you, into a
very tight thin roll, insert the
needle on the inside of the roll
next the thumb, and bring it
out on the outside next the
forefinger, at very regular distances,
and draw up the thread
slightly, from time to time, to
form the gathers.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_22" id="fig_22"></a>
<img src="images/024.jpg" alt="FIG. 22. WHIPPING." title="" />
<span class="caption smcap">Fig. 22. Whipping.</span>
</div>
<p><b>Ornamental hem</b> (fig. <a href="#fig_23">23</a>).
For an ornamental hem, make a turning, 2 or 3 c/m. deep, and
run in a thread, with small running-stitches up and down,
as shown in fig. <a href="#fig_23">23</a>. By slightly drawing
the thread, the straight edge will be made
to look as if it were scalloped.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_23" id="fig_23"></a>
<img src="images/025.jpg" alt="FIG. 23. ORNAMENTAL HEM." title="" />
<span class="caption smcap">Fig. 23. Ornamental hem.</span>
</div>
<p><a name="sewing_on_cord" id="sewing_on_cord"></a><b>Sewing on cord</b> (fig. <a href="#fig_24">24</a>).—For sewing
on cord, use strong thread, either Fil
d'Alsace D.M.C, Fil à dentelle D.M.C or
Câblé 6 fils D.M.C No. 25, 30, 35 or 40.<sup><a href="#Footnote_A">[A]</a></sup>
Be careful not to stretch the cord, but to hold it in, as
you sew it, as it invariably
shrinks more than the
stuff in the first washing.
Fasten it with hemming
stitches to the edge of the
turning, taking care that
it does not get twisted.</p>
<div class="figcenter" style="width: 150px;">
<a name="fig_24" id="fig_24"></a>
<img src="images/026.jpg" alt="FIG. 24. SEWING ON CORD." title="" />
<span class="caption smcap">Fig. 24. Sewing on cord.</span>
</div>
<p><a name="Page_11" id="Page_11"></a></p>
<p><b>Sewing on flaps</b> (fig. <a href="#fig_25">25</a>).—These should be back-stitched
on to the right side of the article they are to be affixed to, quite
close to the edge, then folded over in half, and hemmed down on
the wrong side. Like the cord, the flap must, in the process,
be held in very firmly with the left hand. Though the back-stitching
could be more quickly done
by machine, hand-work is here preferable,
as the holding in cannot be
done by machine.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_25" id="fig_25"></a>
<img src="images/027.jpg" alt="FIG. 25. SEWING ON FLAPS." title="" />
<span class="caption smcap">Fig. 25. Sewing on flaps.</span>
</div>
<p><b>Sewing on tape-loops</b> (figs. <a href="#fig_26">26</a>
and <a href="#fig_27">27</a>).—These, in the case of the
coarser articles of household linen,
are generally fastened to the corners.
Lay the ends of your piece of tape,
which should be from 15 to 17
c/m. long, side by side, turn in
and hem them down, on three sides:
the loop should be so folded as
to form a three-cornered point,
shewn in the illustration. Join
the two edges of the tape together
in the middle with a few cross-stitches,
and stitch the edge of
the hem of the article to the loop,
on the right side.</p>
<div class="figcenter" style="width: 350px;">
<a name="fig_26" id="fig_26"></a><a name="fig_27" id="fig_27"></a>
<div class="figleft" style="width: 150px;">
<img src="images/028.jpg" alt="FIG. 26. SEWING ON
TAPE-LOOPS TO THE CORNER." title="" />
<span class="caption smcap">Fig. 26. Sewing on
tape-loops to the corner.</span></div>
<div class="figright" style="width: 150px;">
<img src="images/029.jpg" alt="FIG. 27. SEWING ON TAPE-LOOPS IN
THE MIDDLE OF THE ARTICLE." title="" />
<span class="caption smcap">Fig. 27. Sewing on tape-loops in
the middle of the article.</span></div>
</div>
<p>Fig. <a href="#fig_27">27</a> shows how to sew on
a loop in the middle of an article,
the two ends separately, one on
one side, the other on the other.</p>
<p><b>Strings and loops for fine
under-linen</b> (fig. <a href="#fig_28">28</a>).—Sew these
on, likewise, on the wrong side of
the article, hemming down the ends,
and fastening them on the
right side, with two rows of stitching
crossing each other, and a third row along the edge.</p>
<div class="figcenter" style="width: 150px;">
<a name="fig_28" id="fig_28"></a>
<img src="images/030.jpg" alt="FIG. 28.
STRINGS AND LOOPS ON FINE
UNDER-LINEN." title="" />
<span class="caption smcap">Fig. 28.
Strings and loops on fine
under-linen.</span>
</div>
<p><a name="button_holes" id="button_holes"></a><b>Button-holes in linen</b> (fig. <a href="#fig_29">29</a>).—Cut your hole perfectly
straight, and of exactly, the diameter of the button, having
<a name="Page_12" id="Page_12"></a>previously marked out the place for it, with two rows of
running-stitches,
two or three threads apart. Put in your needle at the
back of the slit, and take up about
three threads, bring the working
thread round, from right to left
under the point of the needle, and
draw the needle out through the loop,
so that the little knot comes at the
edge of the slit, and so on to the end,
working from the lower left-hand corner
to the right. Then make a bar of button-hole
stitching across each end, the
knotted edge towards the slit.</p>
<div class="figcenter" style="width: 150px;">
<a name="fig_29" id="fig_29"></a>
<img src="images/031.jpg" alt="FIG. 29.
BUTTON-HOLES IN LINEN." title="" />
<span class="caption smcap">Fig. 29.
Button-holes in linen.</span>
</div>
<p><b>Button holes in dress materials</b>
(fig. <a href="#fig_30">30</a>).—Mark out and cut them as
above described; if however, the material
be liable to fray, wet the slit as
soon as you have cut it, with liquid
gum, and lay a strand of strong thread
along the edge to make your stitches
over; one end of dress button-holes
must be round, the stitches diverging
like rays from the centre, and when
you have worked the second side, thread the needle with the
loose strand, and pull it slightly, to
straighten the edges; then fasten off, and
close the button-hole with a straight bar of
stitches across the other end, as in fig. <a href="#fig_29">29</a>.</p>
<div class="figcenter" style="width: 150px;">
<a name="fig_30" id="fig_30"></a>
<img src="images/032.jpg" alt="FIG. 30.
BUTTON-HOLES IN DRESS-MATERIALS." title="" />
<span class="caption smcap">Fig. 30.
Button-holes in dress-materials.</span>
</div>
<p><a name="sewing_on_buttons" id="sewing_on_buttons"></a><b>Sewing on buttons</b> (figs. <a href="#fig_31">31</a> and <a href="#fig_32">32</a>).—To
sew linen, or webbed buttons on to underclothing,
fasten in your thread with a stitch
or two, at the place where the button is to
be; bring the needle out through the middle
of the button, and make eight stitches, diverging
from the centre like a star, and if
you like, encircle them by a row of stitching,
as in fig. <a href="#fig_32">32</a>. This done, bring the
needle out between the stuff and the button, and twist the
<a name="Page_13" id="Page_13"></a>cotton six or seven times round it, then push the needle through
to the wrong side, and fasten off.</p>
<div class="figcenter" style="width: 350px;">
<a name="fig_31" id="fig_31"></a>
<div class="figleft" style="width: 150px;">
<img src="images/033.jpg" alt="FIG. 31. SEWING ON
LINEN BUTTONS." title="" />
<span class="caption smcap">Fig. 31. Sewing on
linen buttons.</span></div>
<a name="fig_32" id="fig_32"></a>
<div class="figright" style="width: 150px;">
<img src="images/034.jpg" alt="FIG. 32. SEWING ON
WEBBED BUTTONS." title="" />
<span class="caption smcap">Fig. 32. Sewing on
webbed buttons.</span></div>
</div>
<p><a name="binding_slits" id="binding_slits"></a><b>Binding slits</b> (figs. <a href="#fig_33">33</a>, <a href="#fig_34">34</a>, <a href="#fig_35">35</a>, <a href="#fig_36">36</a>).—Nothing is more apt
to tear than a slit whether
it be hemmed or merely
bound. To prevent this,
make a semicircle of button-hole
stitches at the
bottom of the slit, and
above that, to connect the
two sides, a bridge of
several threads, covered
with button-hole stitches.</p>
<p>In fig. <a href="#fig_33">33</a>, we show a
hemmed slit, and in figs.
<a href="#fig_34">34</a> and <a href="#fig_35">35</a>, are two slits
backed the one with a
narrow, the other, with a
broad piece of the material,
cut on the cross.</p>
<div class="figcenter" style="width: 350px;">
<a name="fig_33" id="fig_33"></a>
<div class="figleft" style="width: 106px;">
<img src="images/035.jpg" alt="FIG. 33. BINDING SLITS
WITH HEM." title="" />
<span class="caption smcap">Fig. 33. Binding slits
with hem.</span></div>
<a name="fig_34" id="fig_34"></a>
<div class="figright" style="width: 111px;">
<img src="images/036.jpg" alt="FIG. 34. BINDING SLITS
WITH PIECE ON CROSS." title="" />
<span class="caption smcap">Fig. 34. Binding slits
with piece on cross.</span></div>
</div>
<div class="figcenter" style="width: 350px;">
<a name="fig_35" id="fig_35"></a>
<div class="figleft" style="width: 142px;">
<img src="images/037.jpg" alt="FIG. 35. BINDING SLITS
WITH BROAD BAND." title="" />
<span class="caption smcap">Fig. 35. Binding slits
with broad band.</span></div>
<a name="fig_36" id="fig_36"></a>
<div class="figright" style="width: 105px;">
<img src="images/038.jpg" alt="FIG. 36. STRENGTHENING
SLITS WITH
GUSSET." title="" />
<span class="caption smcap">Fig. 36. Strengthening
slits with
gusset.</span></div>
</div>
<p>In under-linen, it often
so happens that two
selvedges meet at the slit,
which renders binding
unnecessary; in that case
take a small square of
stuff, turn in the raw
edges, top-sew it into the
slit on two sides, turn in the other two, fold over on the bias,
and hem them down over the
top-sewing, as shewn in fig. <a href="#fig_36">36</a>.
Such little squares of material,
inserted into a slit or seam, to
prevent its tearing, are called
gussets.</p>
<p><a name="sewing_on_piping" id="sewing_on_piping"></a><b>Sewing on piping</b> (fig. <a href="#fig_37">37</a>).
Piping is a border, consisting of a cord or bobbin, folded into
<a name="Page_14" id="Page_14"></a>a stripe of material, cut on the cross, and affixed to the edge
of an article to give it more strength and finish. It is a
good substitute for a hem or binding on a
bias edge, which by means of the cord, can be
held in, and prevented from stretching. Cut
your stripes diagonally, across the web of the
stuff, and very even; run them together, lay
the cord or bobbin along the stripe, on the
wrong side, 5 m/m. from the edge, fold the
edge over, and tack the cord lightly in. Then
lay it on the raw edge of the article, with the
cord towards you, and with all the raw edges
turned away from you. Back-stitch the piping
to the edge, keeping close to the cord. Then
turn the article round, fold in the raw outside
edge over the others, and hem it down like
an ordinary hem.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_37" id="fig_37"></a>
<img src="images/039.jpg" alt="FIG. 37. SEWING ON PIPING." title="" />
<span class="caption smcap">Fig. 37. Sewing on piping.</span>
</div>
<p><a name="fixing_whale_bones" id="fixing_whale_bones"></a><b>Fixing whale-bones</b> (fig. <a href="#fig_38">38</a>).—Before
slipping the whale-bone into its case or fold
of stuff, pierce holes in it, top and bottom,
with a red hot stiletto. Through these holes,
make your stitches, diverging like
rays or crossing each other as
shown in fig. <a href="#fig_38">38</a>.</p>
<div class="figcenter" style="width: 70px;">
<a name="fig_38" id="fig_38"></a>
<img src="images/040.jpg" alt="FIG. 38.
FIXING WHALE-BONES." title="" />
<span class="caption smcap">Fig. 38.
Fixing whale-bones.</span>
</div>
<p><b>Herring-boning</b> (fig. <a href="#fig_39">39</a>).—This
stitch is chiefly used for
seams in flannel, and for overcasting
dress-seams, and takes
the place of hemming, for fastening down the raw edges of a
seam that has been run or stitched, without turning them in.
Herring-boning is done from left to right, and forms two rows
of stitches. Insert the needle from right to left, and make a
stitch first above, and then below the edge, the threads crossing
each other diagonally, as shewn in fig. <a href="#fig_39">39</a>.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_39" id="fig_39"></a>
<img src="images/041.jpg" alt="FIG. 39. HERRING-BONING" title="" />
<span class="caption smcap">Fig. 39. Herring-boning</span>
</div>
<hr style='width: 45%;' />
<p class="center"><a href="./chapter_2.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_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Our readers should be provided with a French metre, with the English
yard marked on the back for purposes of comparison.</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>
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