1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
1084
1085
1086
1087
1088
1089
1090
1091
1092
1093
1094
1095
1096
1097
1098
1099
1100
1101
1102
1103
1104
1105
1106
1107
1108
1109
1110
1111
1112
1113
1114
1115
1116
1117
1118
1119
1120
1121
1122
1123
1124
1125
1126
1127
1128
1129
1130
1131
1132
1133
1134
1135
1136
1137
1138
1139
1140
1141
1142
1143
1144
1145
1146
1147
1148
1149
1150
1151
1152
1153
1154
1155
1156
1157
1158
1159
1160
1161
1162
1163
1164
1165
1166
1167
1168
1169
1170
1171
1172
1173
1174
1175
1176
1177
1178
1179
1180
1181
1182
1183
1184
1185
1186
1187
1188
1189
1190
1191
1192
1193
1194
1195
1196
1197
1198
1199
1200
1201
1202
1203
1204
1205
1206
1207
1208
1209
1210
1211
1212
1213
1214
1215
1216
1217
1218
1219
1220
1221
1222
1223
1224
1225
1226
1227
1228
1229
1230
1231
1232
1233
1234
1235
1236
1237
1238
1239
1240
1241
1242
1243
1244
1245
1246
1247
1248
1249
1250
1251
1252
1253
1254
1255
1256
1257
1258
1259
1260
1261
1262
1263
1264
1265
1266
1267
1268
1269
1270
1271
1272
1273
1274
1275
1276
1277
1278
1279
1280
1281
1282
1283
1284
1285
1286
1287
1288
1289
1290
1291
1292
1293
1294
1295
|
<!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_517" id="Page_517"></a></p>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 600px;">
<img src="images/843.jpg" alt="APPLIQUÉ WORK ON SATIN SET WITH FINE CORD." title="" />
<span class="caption smcap">Appliqué work on satin set with fine cord.</span>
</div>
<hr style="width: 15%;" />
<h2><a name="Miscellaneous_fancy_work" id="Miscellaneous_fancy_work"></a>Miscellaneous fancy work.</h2>
<hr style="width: 15%;" />
<p>As the plan on which this book was constructed rendered
a systematic classification of the different subjects it treats of
necessary, a certain amount of miscellaneous fancy work,
which does not come under any of the previous headings
remains to be dealt with in the present chapter. In most
cases the illustrations and the accompanying directions are but
an application to a practical use of the different kinds of stitches
already described in previous chapters and those who are
familiar with all these various branches of needlework will have
no difficulty in understanding what follows.</p>
<p><b><a name="Knotted_cord" id="Knotted_cord"></a>Knotted cord</b> (figs. <a href="#fig_831">831</a>, <a href="#fig_832">832</a>, <a href="#fig_833">833</a>, <a href="#fig_834">834</a>, <a href="#fig_835">835</a>).—The knotted
cord referred to in the letter press belonging to figs. <a href="./chapter_13.html#fig_772">772</a> and
<a href="./chapter_13.html#fig_773">773</a> in the chapter on <a href="./chapter_13.html">Irish lace</a>, comes under the present
heading: in making it, the fingers take the place of a crochet
needle.</p>
<p>You tie two ends of thread or braid together, take one
thread in the left hand fig. <a href="#fig_831">831</a>, and with the forefinger of the
right, pull out a loop long enough for the left forefinger to
pass through and hold the end of the thread tight with the
little finger of the right hand.</p>
<p>Then draw the left forefinger backwards through the loop
and behind the thread that is round the loop and lies in the
left hand, fig. <a href="#fig_832">832</a>. As you lay the thread round the left fore<a name="Page_518" id="Page_518"></a>finger,
you must pass the knot and the ends of thread as well,
over into the left hand, and with the right hand pull the
thread that lies on the right and draw up the loop, fig. <a href="#fig_833">833</a>.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/844.jpg" alt="FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS." title="" />
<a name="fig_831" id="fig_831"></a><span class="caption smcap">Fig. 831. Knotted cord. First position of the hands.</span>
</div>
<div class="figcenter" style="width: 500px;">
<img src="images/845.jpg" alt="FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS." title="" />
<a name="fig_832" id="fig_832"></a><span class="caption smcap">Fig. 832. Knotted cord. Second position of the hands.</span>
</div>
<div class="figcenter" style="width: 550px;">
<img src="images/846.jpg" alt="FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS." title="" />
<a name="fig_833" id="fig_833"></a><span class="caption smcap">Fig. 833. Knotted cord. Third position of the hands.</span>
</div>
<p>In fig. <a href="#fig_834">834</a>, representing the fourth position of the hands,
you are shown how the forefinger of the right hand lifts up the
thread and passes through the loop on the left hand; the end
will consequently also pass immediately into the right hand
and the left hand will tighten the knot.</p><p><a name="Page_519" id="Page_519"></a></p>
<div class="figcenter" style="width: 450px;">
<img src="images/847.jpg" alt="FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS." title="" />
<a name="fig_834" id="fig_834"></a><span class="caption smcap">Fig. 834. Knotted cord. Fourth position of the hands.</span>
</div>
<p>It is by thus drawing up first a loop on the right and then
one on the left that this pretty cord is produced.</p>
<p>Skilful hands will soon learn to make a cord of the same
kind with four threads, as follows: knot the four ends of thread
together, make a few knots, using two threads as one, then
dropping the loop on your forefinger, put the next one upon
it and draw up the knot, passing however the
threads over those that you dropped. Then
drop the loop you have on your finger again
and take up the first loops.</p>
<p>For the cord made with double threads,
represented in fig. <a href="#fig_835">835</a> on a magnified scale,
use Cordonnet 6 fils D.M.C or one of the other
materials mentioned at the foot of the illustration.
Soutache D.M.C will always be found to
be very suitable for this purpose.</p>
<div class="figcenter" style="width: 125px;">
<img src="images/848.jpg" alt="FIG. 835. KNOTTED CORD." title="" />
<a name="fig_835" id="fig_835"></a><span class="caption"><span class="smcap">Fig. 835. Knotted cord.<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 25
or Soutache D.M.C
Nos. 1 to 3.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b><a name="Balls_for_trimmings" id="Balls_for_trimmings"></a>Balls for trimmings</b> (figs. <a href="#fig_836">836</a>, <a href="#fig_837">837</a>, <a href="#fig_838">838</a>,
<a href="#fig_839">839</a>, <a href="#fig_840">840</a>, <a href="#fig_841">841</a>).—Amongst the crochet patterns
are two that are finished off with balls; to
make these, begin by cutting a number of
rounds of cardboard, two for every ball, with
holes in the middle, fig. <a href="#fig_836">836</a>.</p>
<p>If you have a great many balls to make
<a name="Page_520" id="Page_520"></a>it is well worth your while providing yourself with a metal
die of the proper size, to cut the rounds with.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/849.jpg" alt="FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD." title="" />
<a name="fig_836" id="fig_836"></a><span class="caption smcap">Fig. 836. Balls for trimmings. Circle of cardboard.</span>
</div>
<div class="figcenter" style="width: 350px;">
<img src="images/850.jpg" alt="FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF CARDBOARD." title="" />
<a name="fig_837" id="fig_837"></a><span class="caption smcap">Fig. 837. Balls for trimmings. Overcasting the circle of cardboard.</span>
</div>
<div class="figcenter" style="width: 400px;">
<img src="images/851.jpg" alt="FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND THE EDGE." title="" />
<a name="fig_838" id="fig_838"></a><span class="caption smcap">Fig. 838. Balls for trimmings. Cutting the stitches round the edge.</span>
</div>
<div class="figcenter" style="width: 150px;">
<img src="images/852.jpg" alt="FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP." title="" />
<a name="fig_839" id="fig_839"></a><span class="caption smcap">Fig. 839. Balls for trimmings. Putting in the loop.</span>
</div>
<div class="figcenter" style="width: 400px;">
<img src="images/853.jpg" alt="FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE CARDBOARD." title="" />
<a name="fig_840" id="fig_840"></a><span class="caption smcap">Fig. 840. Balls for trimmings. Cutting out the cardboard.</span>
</div>
<div class="figcenter" style="width: 200px;">
<img src="images/854.jpg" alt="FIG. 841. BALL COMPLETED WITH LOOP ATTACHED." title="" />
<a name="fig_841" id="fig_841"></a><span class="caption smcap">Fig. 841. Ball completed with loop attached.</span>
</div>
<p>Lay two of these rounds together and cover them closely
with stitches, fig. <a href="#fig_837">837</a>, using for this purpose Coton à tricoter<a name="Page_521" id="Page_521"></a>
D.M.C (knitting cotton) or Coton à repriser D.M.C (darning
cotton).<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p>When the round is entirely covered, put the scissors in
between the two circles of cardboard and cut open the stitches
all round the outer edge, fig. <a href="#fig_838">838</a>; then draw a piece of thread
between the two circles and knot it firmly round the stitches
that meet in the centre hole, fig. <a href="#fig_839">839</a>; leave sufficiently long
ends of thread hanging to form a loop by which the ball can
afterwards be fastened to the heading of the fringe; when the
stitches are knotted together you cut and pull out the cardboard,
fig. <a href="#fig_840">840</a>, and snip the thread with your scissors until it
becomes quite fluffy and the ball is perfectly round, as shown
in fig. <a href="#fig_841">841</a>.</p>
<p><b><a name="Tambour_work" id="Tambour_work"></a>Tambour work</b> (figs. <a href="#fig_842">842</a>, <a href="#fig_843">843</a>, <a href="#fig_844">844</a>, <a href="#fig_845">845</a>).—Since the
introduction of the sewing machine, by means of which this
charming kind of embroidery can be so quickly and
easily executed, it has somewhat gone out of favour.
As however, the fine patterns with a good deal
of shading in them, can be far more accurately
worked by hand than by machine, tambouring, which
is in point of fact merely a form of crochet, has lately
been revived. The piece of stuff on which the tambour
work is to be done must be mounted on a frame.</p>
<div class="figcenter" style="width: 100px;">
<img src="images/855.jpg" alt="FIG. 842. THIMBLE FOR TAMBOURING." title="" />
<a name="fig_842" id="fig_842"></a><span class="caption smcap">Fig. 842. Thimble for tambouring.</span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/856.jpg" alt="FIG. 843. TAMBOUR NEEDLE." title="" />
<a name="fig_843" id="fig_843"></a><span class="caption smcap">Fig. 843. Tambour needle.</span>
</div>
<p>The loops which are made with a small hook,
called a tambour needle, form a fine chain stitch and
must be regular and even; to facilitate this a sort of thimble,
fig. <a href="#fig_842">842</a>, is worn on the forefinger of the right hand, formed
of a small plate of sheet brass, rolled up but not joined, so
as to fit any finger; it is open at the top like a tailor's
thimble and has a little notch on the side which is placed
above the nail, and in which you lay the tambour needle whilst
<a name="Page_522" id="Page_522"></a>you work. From the thimble being cut slightly slanting at the
top, it follows that the inside where the two ends meet is a
little shorter than the outside.</p>
<p>The thread is drawn through in a loop to the front of the
work by means of the hook, whilst it is held at the back in
the left hand, and when the needle is put downwards through
the stuff, laid round it. The needle in its downward and upward
passage, should be kept in the notch in the thimble and
the stuff pressed down with the thimble, as the needle is drawn
up to the surface of the work, fig. <a href="#fig_844">844</a>.</p>
<div class="figcenter" style="width: 500px;">
<img src="images/857.jpg" alt="FIG. 844. POSITION OF THE HANDS IN TAMBOURING." title="" />
<a name="fig_844" id="fig_844"></a><span class="caption smcap">Fig. 844. Position of the hands in tambouring.</span>
</div>
<p>A little practice is necessary to acquire the right action of the
hands, there being always a tendency, the same as in tatting
and macramé, to confuse the movements of the two. As soon
as you realize that the upward drawing of the needle and the
downward pressure of the stuff with the thimble must be
<a name="Page_523" id="Page_523"></a>simultaneous, you will find that you can work with great rapidity
and with admirable results. Thread with a very strong
twist, which the hook will not split, is the only suitable kind
for tambouring. Of the D.M.C materials, Fil d'Alsace<a href="#Footnote_A" class="fnanchor">[A]</a> and
Fil à dentelle<a href="#Footnote_A" class="fnanchor">[A]</a> are the most to be recommended.</p>
<p>Numbers of patterns, originally intended for other kinds of
embroidery can be executed in tambour work; amongst those
contained in this Encyclopedia, figs. <a href="./chapter_5.html#fig_192">192</a>, <a href="./chapter_5.html#fig_210">210</a>, <a href="./chapter_5.html#fig_216">216</a>, <a href="./chapter_5.html#fig_219">219</a>, and
<a href="./chapter_6.html#fig_227">227</a> are the ones that are best adapted to the purpose.</p>
<div class="figcenter" style="width: 550px;">
<img src="images/858.jpg" alt="FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE." title="" />
<a name="fig_845" id="fig_845"></a><span class="caption smcap">Fig. 845. Drawing out the thread with the needle.</span>
</div>
<p><b><a name="Smyrna_stitch" id="Smyrna_stitch"></a>Smyrna stitch worked with a crochet-needle</b> (figs. <a href="#fig_846">846</a>,
<a href="#fig_847">847</a>, <a href="#fig_848">848</a>, <a href="#fig_849">849</a>).—In the chapter on tapestry, p. <a href="./chapter_7.html#Page_137">137</a> we remarked
that Oriental carpets and mats could be worked in
<a name="Page_524" id="Page_524"></a>different other ways, to be subsequently alluded to at greater
length.</p>
<div class="figcenter" style="width: 550px;">
<a name="fig_846" id="fig_846"></a><a name="fig_847" id="fig_847"></a>
<div class="figleft" style="width: 200px;">
<img src="images/859.jpg" alt="FIG. 846. SMYRNA STITCH
WORKED WITH A CROCHET
NEEDLE. FIRST DETAIL." title="" />
<span class="caption smcap">Fig. 846. Smyrna stitch
worked with a crochet
needle. First detail.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/860.jpg" alt="FIG. 847.
SMYRNA STITCH WORKED WITH A
CROCHET NEEDLE. SECOND DETAIL." title="" />
<span class="caption smcap">Fig. 847.
Smyrna stitch worked with a
crochet needle. Second detail.</span>
</div>
</div>
<p>Smyrna stitch requires only a crochet needle and is worked
on very coarse canvas or Java linen. You take a coarse mesh
of cotton, such as Nos. 6, 8 or 10 of Colon à tricoter D.M.C
(knitting cotton), cut it into lengths of 8 c/m., fold two lengths
together in half, stick in the crochet needle from above, under
two threads of the canvas, take hold of the loop with the hook,
<a name="Page_525" id="Page_525"></a>fig. <a href="#fig_846">846</a>, and draw it in; then push out the hook to seize the
ends of the cotton and draw them through the loop which is
on the needle, as indicated by the little arrow in fig. <a href="#fig_847">847</a>. The
stitches or tassels should be two or three double threads of
the canvas apart. As you finish each row, comb the ends of
the tassels out carefully with a fine metal comb. When the
whole piece of work is finished shear the entire surface, quite
even, with a pair of sharp scissors. Fig. <a href="#fig_849">849</a> shows a square
of the work completed, presenting that warm velvety appearance
which distinguishes the Smyrna carpets.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_848" id="fig_848"></a><a name="fig_849" id="fig_849"></a>
<div class="figleft" style="width: 300px;">
<img src="images/861.jpg" alt="FIG. 848. SMYRNA STITCH
WORKED WITH A CROCHET NEEDLE.
APPEARANCE OF THE KNOTS UNDERNEATH." title="" />
<span class="caption smcap">Fig. 848. Smyrna stitch
worked with a crochet needle.
Appearance of the knots underneath.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/862.jpg" alt="FIG. 849. SMYRNA STITCH
WORKED WITH A CROCHET NEEDLE.
APPEARANCE OF THE WORK WHEN FINISHED." title="" />
<span class="caption smcap">Fig. 849. Smyrna stitch
worked with a crochet needle.
Appearance of the work when finished.</span>
</div>
</div>
<p><b><a name="Malta_stitch" id="Malta_stitch"></a>Malta stitch</b> (figs. <a href="#fig_850">850</a>, <a href="#fig_851">851</a>, <a href="#fig_852">852</a>, <a href="#fig_853">853</a>, <a href="#fig_854">854</a>).—This
<a name="Page_526" id="Page_526"></a>stitch is much used by the Maltese; it is the same as the «point
tricot» excepting that in the latter, the loops formed by the
return of the thread are open and the stitches packed very
closely together, whereas in the Maltese work there is always
one close loop and two open tassels.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_850" id="fig_850"></a><a name="fig_851" id="fig_851"></a>
<div class="figleft" style="width: 300px;">
<img src="images/863.jpg" alt="FIG. 850. MALTA STITCH. FIRST DETAIL." title="" />
<span class="caption smcap">Fig. 850. Malta stitch. First detail.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/864.jpg" alt="FIG. 851. MALTA STITCH. SECOND DETAIL." title="" />
<span class="caption smcap">Fig. 851. Malta stitch. Second detail.</span>
</div>
</div>
<div class="figcenter" style="width: 650px;">
<a name="fig_852" id="fig_852"></a><a name="fig_853" id="fig_853"></a>
<div class="figleft" style="width: 300px;">
<img src="images/865.jpg" alt="FIG. 852. MALTA STITCH. THIRD DETAIL." title="" />
<span class="caption smcap">Fig. 852. Malta stitch. Third detail.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/866.jpg" alt="FIG. 853. MALTA STITCH. FOURTH DETAIL." title="" />
<span class="caption smcap">Fig. 853. Malta stitch. Fourth detail.</span>
</div>
</div>
<p>It is worked as follows: take a thick bunch of lengths of
Coton à repriser D.M.C, pass it under two vertical threads of
the stuff, from right to left, fig. <a href="#fig_850">850</a>, leaving an end, 1 or
2 c/m. long, lying on the surface of the work; put the needle
in again under the two threads that are in front of the first
stitch and leave the tassel, formed by the first stitch, above
<a name="Page_527" id="Page_527"></a>the one by which you bring the needle back between the
two stitches.</p>
<p>The needle must now follow the same course it took for
the first stitch and the thread must be drawn out far enough
to form a loop as long as the tassel; you then repeat the
second stitch, carrying back the working thread however this
time above the loop, after which you cut the two open ends
the same length as the loop. In the Maltese work, three times
as many threads have to be left between the tassels as are
covered by the stitch.</p>
<p>Thus if your stitch cover 4 threads of the foundation, you
should leave 12 threads between the tassels, and if it cover 6,
you should leave an interval of 18 threads, that the stuff may
always be visible between the little tassels or balls.</p>
<p>Fig. <a href="#fig_854">854</a> represents a portion of a curtain, embroidered on
Flemish linen in the colours indicated at the foot of the engraving;
these may be arranged according to the taste of the worker.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/867.jpg" alt="FIG. 854. MALTA EMBROIDERY." title="" />
<a name="fig_854" id="fig_854"></a><span class="caption"><span class="smcap">Fig. 854. Malta embroidery.<br />
Materials</span>: Coton à repriser D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>: Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 311 and
Rouge-Cornouille 449.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>Malta embroidery is mostly done on coarse coloured linen
fabrics or on single thread canvas.</p>
<p><b><a name="Triangular_Turkish_stitch" id="Triangular_Turkish_stitch"></a>Triangular Turkish stitch</b> (figs. <a href="#fig_855">855</a>, <a href="#fig_856">856</a>, <a href="#fig_857">857</a>, <a href="#fig_858">858</a>, <a href="#fig_859">859</a>).
Amongst the many pretty stitches for which Turkish embroideries
are distinguished, there is one in particular, which
though apparently very difficult, is in reality quite the reverse;
it resembles line stitch upon straight threads, only that in the
East it is generally worked in diagonal lines, each row requiring
two journeys to and fro.</p>
<p>In the first, fig. <a href="#fig_855">855</a>, the needle must always be carried,
first over, then under two threads in a diagonal line and so on
to the end of the row.</p>
<p>Coming back, you pass the needle under the stuff and the
stitch on the right side, and bring it out at the bottom of the
stitch; then you make a back stitch over two horizontal and
two vertical threads, pass the needle over two straight threads,
put it in behind the same, bring it out again near the upper
stitch and then insert it near the bottom vertical stitch; after
this you carry it to the second stitch lower down and pass it
over the same. Four threads should meet in every hole which
the needle makes. The third and fourth row should be worked
<a name="Page_528" id="Page_528"></a>in a colour that forms a sharp contrast with the one in which
the two first rows are worked and constitute with these one
complete row of stitches, fig. <a href="#fig_856">856</a>.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_855" id="fig_855"></a><a name="fig_856" id="fig_856"></a>
<div class="figleft" style="width: 300px;">
<img src="images/868.jpg" alt="FIG. 855. TRIANGULAR TURKISH STITCH
WORKED DIAGONALLY.
FIRST JOURNEY COMPLETED AND SECOND
BACK, BEGUN." title="" />
<span class="caption smcap">Fig. 855. Triangular turkish stitch
worked diagonally.
First journey completed and second
back, begun.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/869.jpg" alt="FIG. 856. TRIANGULAR TURKISH STITCH
WORKED DIAGONALLY.
TWO JOURNEYS TO AND FRO FORMING THE
COMPLETE ROW." title="" />
<span class="caption smcap">Fig. 856. Triangular turkish stitch
worked diagonally.
Two journeys to and fro forming the
complete row.</span>
</div>
</div>
<p>Figs. <a href="#fig_857">857</a>, <a href="#fig_858">858</a> and <a href="#fig_859">859</a> show how the same stitch can be
worked in straight, instead of in diagonal rows.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_857" id="fig_857"></a><a name="fig_858" id="fig_858"></a>
<div class="figleft" style="width: 300px;">
<img src="images/870.jpg" alt="FIG. 857. TRIANGULAR TURKISH STITCH
WORKED HORIZONTALLY.
FIRST JOURNEY." title="" />
<span class="caption smcap">Fig. 857. Triangular turkish stitch
worked horizontally.
First journey.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/871.jpg" alt="FIG. 858. TRIANGULAR TURKISH STITCH
WORKED HORIZONTALLY.
FIRST JOURNEY BACK." title="" />
<span class="caption smcap">Fig. 858. Triangular turkish stitch
worked horizontally.
First journey back.</span>
</div>
</div>
<p>The dark shade in fig. <a href="#fig_859">859</a> shows the first row of stitches,
the light, the second, or rather the third and fourth, as four
rows of stitches are required to make one complete row of triangular
Turkish stitch.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/872.jpg" alt="FIG. 859. TRIANGULAR TURKISH STITCH
WORKED HORIZONTALLY.
SECOND JOURNEY BACK." title="" />
<a name="fig_859" id="fig_859"></a><span class="caption smcap">Fig. 859. Triangular turkish stitch
worked horizontally.
Second journey back.</span>
</div>
<p><b>Pattern worked in triangular Turkish stitch and
Gobelin stitch</b> (fig. <a href="#fig_860">860</a>).—The diagonal lines are all worked
with Chiné gold and blue, and gold and red. The stitch we
<a name="Page_529" id="Page_529"></a>have just described is most effective in conjunction with other
kinds of embroidery, as illustrated in fig. <a href="#fig_860">860</a>, where it is
combined with Gobelin stitch.</p>
<p>The running foundation is
divided into slanting squares;
the diagonal lines are all worked
in gold and red. The squares
number 9 stitches inside, these
are followed by a tenth which
is covered by the first stitch of
the next square. Where two
kinds of coloured gold thread
are used, one square will be
framed on all sides by one kind, say, gold and blue for instance,
the next by the other, gold and red.</p>
<div class="figcenter" style="width: 550px;">
<img src="images/873.jpg" alt="FIG. 860. PATTERN WORKED IN TRIANGULAR TURKISH STITCH." title="" />
<a name="fig_860" id="fig_860"></a><span class="caption"><span class="smcap">Fig. 860. Pattern worked in triangular turkish stitch.<br />
Materials</span>: Chiné d'or D.M.C.<br />
<span class="smcap">Colours</span>: Gold and red, gold and dark blue, gold and light blue, gold and green.</span>
</div>
<p>The stalk that divides the two little leaves and has a small
<a name="Page_530" id="Page_530"></a>lozenge at the top, is begun above the fifth of the 9 stitches;
you make 5 stitches, but in such a manner as to end at the top
of these 5 with the stitch that runs in a diagonal direction
over the threads, turned to the inside of the stalk, so that the
last stitch of the first row may form with the first stitch of
the second row, a triangle at the top of the stalk, which is
surmounted by the aforesaid lozenge.</p>
<p>The lozenges in Chiné gold and light blue, of which there
are three in each of the half squares, besides those that terminate
the stalk, consist of 9 stitches, the first, extending over
3 threads, the second over 5, the third over 7, the fourth over
9 and the fifth over 11; the four next decreasing in a similar
manner. The leaves in Chiné gold and green, on either side
of the stalk, also begin with a stitch over 3 threads of the
stuff, followed by 8, each increasing in length by one thread
on the side of the stalk, but all equal on the other, the last
extending over 12 threads of the stuff. After these 9, the subsequent
8 must decrease in the same manner by one thread
on the opposite side;
then you make 4 more
extending over only 3
threads and set the
contrary way to the
others.</p>
<p>The zig-zag border
and the small squares
of 5 stitches within it
are worked entirely in
Chiné gold and red.</p>
<p><b><a name="Turkish_embroidery" id="Turkish_embroidery"></a>Turkish embroidery</b>
(fig. <a href="#fig_861">861</a>).—The
powdering of flowers
and also the border
are worked like the
preceding pattern in
two-sided Gobelin
<a name="Page_531" id="Page_531"></a>stitch. Embroidery of this kind looks best on Algerian linen,
which is exactly like the Turkish stuff. It is not absolutely
necessary to count the threads for the little flowers and stalks,
but it is as well to do so for the border, that you may be sure
to get the zig-zags perfectly regular.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/874.jpg" alt="FIG. 861. TURKISH EMBROIDERY." title="" />
<a name="fig_861" id="fig_861"></a><span class="caption"><span class="smcap">Fig. 861. Turkish embroidery.<br />
Materials</span>: Chiné d'or D.M.C No. 30 and Coton
à broder D.M.C No. 40.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>—For the Chiné: Gold and red, gold
and dark blue and gold and green.
For the Coton à broder: Noir grand-teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The petals of the flowers are worked alternately in Chiné
gold and red, and gold and blue, the centre in Or fin D.M.C
pour la broderie and the leaves and stalks in Chiné gold and
green. The petals are set with stem stitch in fine black Coton
à broder and if the embroidery is to be the same on both
sides this setting must be repeated at the back.</p>
<p>The distribution of colours in the border is left to the taste
of the worker, but we should recommend for the zig-zags
Chiné gold and red, as being the most effective.</p>
<p><b><a name="Appliqueacute_work" id="Appliqueacute_work"></a>Appliqué work</b> (fig. <a href="#fig_862">862</a>).—Appliqué work means the
laying on of pieces of one kind of stuff on to a foundation of a
different kind, so as to form a pattern—these pieces of stuff
of various shapes and sizes, taking the place of solid needlemade
embroidery.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_875.jpg"><img src="images/875.jpg" alt="FIG. 862. APPLIQUÉ WORK." title="" /></a>
<a name="fig_862" id="fig_862"></a><span class="caption smcap">Fig. 862. Appliqué work.</span>
</div>
<p>Appliqué work may be done on linen, silk, velvet, plush
and leather. The stuff out of which the pattern is cut has, in
most cases, to be backed first with very fine tissue paper.</p>
<p>This is done in the following manner with starch paste,
which dries quicker than any other. Spread the paste on the
paper with a brush, carefully removing all the little lumps; it
should only be just liquid enough to make the stuff and the
paper adhere perfectly together and above all must never
penetrate to the right side of the stuff. When the paper has
been evenly spread with the paste, lay your stuff upon it and
smooth and press it down with a clean cloth, stroking it out
carefully in the line of the thread to prevent its becoming in
the least dragged or puckered, or any air remaining between
it and the paper.</p>
<p>You next lay several sheets of paper without a mark or a
fold in them, on a perfectly smooth flat board, and upon these,
your paper-lined stuff, covered in its turn with several loose
sheets of paper, all being kept in their place by another
<a name="Page_532" id="Page_532"></a>board with several stones or heavy weights laid upon it to act
as a press. Leave the stuff in the press until it be quite dry.
You will find that any kind of fabric, even the slightest,
can be rendered available in this manner for appliqué work,
not even plush or velvet being in the least injured by the
process.</p>
<p>You then transfer the whole pattern on to the foundation,
whatever it happen to be, but only the detached figures on to
the paper-lined stuff, carefully cutting out the latter with a very
sharp pair of scissors so as to avoid unravelling the threads
along the edges.</p>
<p>The foundation, stretched in a frame, as described on page<a name="Page_533" id="Page_533"></a>
<a href="./chapter_6.html#Page_115">115</a>, fig. <a href="./chapter_6.html#fig_236">236</a>, is to be placed on a board or table in such a
manner that only the stuff rests upon it, whilst the frame
projects on all four sides.</p>
<p>Then cover the cut-out figures with paste on the wrong
side and fit them into their proper places upon the foundation.
In larger pieces of work especially, this should be done
as quickly as possible so that a board with weights upon it,
to serve as a press, may be laid over them all at once.</p>
<p>The board must not be removed until the paste be dry; then
you can begin the needlework, fastening down the appliqué
figures and finishing them off round the edges by laying down
a fine round, cord, or by flat stitches.</p>
<p><a name="Page_534" id="Page_534"></a></p>
<p>You either sew on the cord with invisible stitches, opening
it a little at each stitch so as to slip the needle and
thread in between the twist, or else with ordinary overcasting
stitches.</p>
<p>In either case it must be so laid on as completely to hide
the cut edges and keep them from fraying.</p>
<p>Should you wish to frame the appliqué figures with flat
embroidery, you must bring your needle out close to the cut
edge and enter it, 1 or 2 m/m. within the edge from above.</p>
<p><a name="Page_535" id="Page_535"></a></p>
<p>Both, cord and flat stitch setting, should be of a subdued
shade and if possible, of a colour to match the foundation.</p>
<p><b><a name="Morocco_embroidery" id="Morocco_embroidery"></a>Morocco embroidery</b> (figs. <a href="#fig_863">863</a>, <a href="#fig_864">864</a>, <a href="#fig_865">865</a>, <a href="#fig_866">866</a>).—This
work named after the country where it was originated, belongs
both to the class of darned and damask embroidery.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/876.jpg" alt="FIG. 863. MOROCCO EMBROIDERY." title="" />
<a name="fig_863" id="fig_863"></a><span class="caption"><span class="smcap">Fig. 863. Morocco embroidery.<br />
Materials</span>—According to the stuff: Fil à pointer D.M.C, Cordonnet 6 fils D.M.C,
Coton à broder D.M.C or Coton à repriser D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colour</span>: Rouge-Cardinal 346.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>In fig. <a href="#fig_864">864</a>, the stitches are formed by passing over 5 threads
and taking up the sixth. Coming back you take up the third
of the 5 threads first missed and proceed in the same manner
over the whole surface of the work, unless the lines of the
pattern require you to depart from this rule; as, for instance,
in certain parts of fig. <a href="#fig_864">864</a>, where you will notice stitches,
<a name="Page_536" id="Page_536"></a>carried over 7 or 8 threads; also in the borders, fig. <a href="#fig_865">865</a> and
<a href="#fig_866">866</a>, where the stitches are arranged in a rather arbitrary
manner, in order to bring out the pattern more clearly.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/877.jpg" alt="FIG. 864. MOROCCO EMBROIDERY.
QUARTER OF THE SUBJECTS OF FIG. 863." title="" />
<a name="fig_864" id="fig_864"></a><span class="caption smcap">Fig. 864. Morocco embroidery.<br />
Quarter of the subjects of fig. <a href="#fig_863">863</a>.</span>
</div>
<p>Fig. <a href="#fig_864">864</a> represents the fourth part of one of the subjects
that make up the design
fig. <a href="#fig_863">863</a>; that is, four
such, joined together,
form one of the squares
of fig. <a href="#fig_863">863</a>.</p>
<p>Figs. <a href="#fig_865">865</a> and <a href="#fig_866">866</a> are
patterns of two little borders
and an insertion,
suitable as a finish to
fig. <a href="#fig_863">863</a>, which can be enlarged to any size by the addition of
other squares to those that are represented here.</p>
<div class="figcenter" style="width: 350px;">
<img src="images/878.jpg" alt="FIG. 865. MOROCCO EMBROIDERY.
SMALL OUTER BORDER OF FIG. 863." title="" />
<a name="fig_865" id="fig_865"></a><span class="caption smcap">Fig. 865. Morocco embroidery.<br />
Small outer border of fig. <a href="#fig_863">863</a>.</span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/879.jpg" alt="FIG. 866. MOROCCO EMBROIDERY.
BORDER AND INSERTION SUITABLE FOR FIG. 863." title="" />
<a name="fig_866" id="fig_866"></a><span class="caption smcap">Fig. 866. Morocco embroidery.<br />
Border and insertion suitable for fig. <a href="#fig_863">863</a>.</span>
</div>
<p>Most of the stuffs, already so frequently alluded to in this
work, can be used as a foundation for this kind of embroidery,
provided the right working materials to go with it are chosen;
Coton à tricoter or Fil à pointer should only be used for the
coarser stuffs, such as Rhodes linen No. 1, or Russian linen
and the different kinds of tammy cloth, whereas the other
kinds of D.M.C threads and cottons and especially the finer
numbers, are best adapted for embroidery on fine stuffs, such
as Rhodes linen No. 2, and Spanish or Algerian linen.</p>
<p><b><a name="Spanish_embroidery" id="Spanish_embroidery"></a>Spanish embroidery</b> (figs. <a href="#fig_867">867</a> and <a href="#fig_868">868</a>).—Spanish em<a name="Page_537" id="Page_537"></a>broidery
consists almost exclusively of buttonhole stitch, fig. <a href="./chapter_5.html#fig_171">171</a>, and flat stitch, fig. <a href="./chapter_6.html#fig_221">221</a>.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_880.jpg"><img src="images/880.jpg" alt="FIG. 867. SQUARE OF SPANISH EMBROIDERY." title="" /></a>
<a name="fig_867" id="fig_867"></a><span class="caption"><span class="smcap">Fig. 867. Square of spanish embroidery.<br />
Materials</span>: Or fin D.M.C pour la broderie No. 40, Coton à broder D.M.C
Nos. 50 and 100, or Fil à dentelle D.M.C No. 80.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>: Bleu-Indigo 312, 322, 334 and Bleu pâle 668.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The buttonhole stitches, for which the more subdued shade
of the colours indicated should always be taken, or else yellow,
dark or pale, to match the gold thread, are made over two
threads of gold and follow the outlines of the pattern, which
should be more or less appropriate to this style of embroidery.
One of the gold threads always keeps the inside of the line
and follows it throughout in an unbroken course, whilst with
<a name="Page_538" id="Page_538"></a>the second, the outside one, you form picots, folding the gold
thread over from right to left and catching down the loop by
a buttonhole stitch, which is introduced into the loop itself and
carried over the combined gold threads, as shown in the left
corner of fig. <a href="#fig_868">868</a>, representing one quarter of the whole design,
where the position of the needle and the way in which
the picot is secured are plainly indicated.</p>
<p>For the scallops, a round material with rather a strong twist
should be used, such as Soie de coton D.M.C No. 100<a href="#Footnote_A" class="fnanchor">[A]</a> or
Fil à dentelle D.M.C Nos. 70 to 100<a href="#Footnote_A" class="fnanchor">[A]</a>, wound on reels.</p>
<div class="figcenter" style="width: 500px;">
<img src="images/881.jpg" alt="FIG. 868. QUARTER OF THE PATTERN FOR FIG. 867, IN THE NATURAL SIZE." title="" />
<a name="fig_868" id="fig_868"></a><span class="caption smcap">Fig. 868. Quarter of the pattern for fig. <a href="#fig_867">867</a>, in the natural size.</span>
</div>
<p>Where the picots have to fill up empty spaces of a larger
size, you can join several together by connecting them each in
turn with the first.</p>
<p><a name="Page_539" id="Page_539"></a></p>
<p>When you have bordered all the outlines with buttonhole
stitches and picots, fill up the spaces enclosed within the lines,
which properly speaking form the pattern, with flat stitch
embroidery, worked in Coton à broder or Coton à repriser;
after which the whole surface is sewn over with fine little
spangles which give the sparkling look that constitutes the
peculiar charm of this kind of embroidery. The flowers are
covered with a fancy stitch that forms regular little lozenges,
and every second row of stitches is hidden under a spangle.</p>
<p>With regard to the colours indicated at the foot of fig. <a href="#fig_867">867</a>,
this is how they were distributed in the original, from which
our engraving was taken; all the outlines in buttonhole stitch,
in Bleu pâle 668; the tops of the flowers in Bleu-Indigo 334;
the bottom parts in Bleu-Indigo 332, and all three shades of
blue so blended together in the solid parts of the design as
to be undistinguishable from each other. It is not absolutely
necessary to keep to the colours here indicated; there is no
reason whatever why a greater variety should not be introduced,
but in every case the more subdued shades should be selected;
a pale red, for instance, for the flowers, a green and a brown
for the arabesques, will always be found to produce a very
pretty and harmonious effect.</p>
<p>When all the needlework is finished, you cut away the
stuff underneath the network formed by the picots, with a pair
of sharp scissors.</p>
<p>A word remains to be said with regard to the copying of
fig. <a href="#fig_868">868</a>.</p>
<p>Our readers will notice that in fig. <a href="#fig_867">867</a> the flowers and
arabesques succeed and grow out of each other; that whilst
the four quarters are symmetrical, yet at the same time, the
curves in each quarter take a different inclination.</p>
<p>You cannot therefore simply repeat the subject four times;
when you have copied the one quarter, given in fig. <a href="#fig_868">868</a>, you
must lay this first quarter on again at the cross + on the left
side; when the second quarter is finished, you again turn the
copy to the left and tack it on at the +; when you come to the
fourth quarter the lines of the first quarter must exactly meet
those of the last. We beg here to draw attention to the direc<a name="Page_540" id="Page_540"></a>tions,
relative to the copying of patterns, given in the subsequent
chapter.</p>
<p><b><a name="Basket_stitch_on_linen" id="Basket_stitch_on_linen"></a>Basket stitch on linen</b> (fig. <a href="#fig_869">869</a>).—This stitch has some
resemblance with the Greek
stitch, fig. <a href="./chapter_7.html#fig_278">278</a>, and the Montenegrin,
fig. <a href="./chapter_7.html#fig_306">306</a>, only that it is
not crossed like the latter.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/882.jpg" alt="FIG. 869. BASKET STITCH ON LINEN." title="" />
<a name="fig_869" id="fig_869"></a><span class="caption smcap">Fig. 869. Basket stitch on linen.</span>
</div>
<p>Basket stitch can be worked
on all kinds of stuffs, on counted
threads or on a wide or
narrow tracing, with fine or
coarse thread, and more or less
closely, according to the taste
of the worker.</p>
<p>You insert the needle from right, and pass it
under, from 3 to 6 threads of the foundation, according to the
stuff and the material you are using, then downwards from
left to right, and over, from 6 to 8 threads, into the stuff again
from right to left; then you push it under
the stuff in an upward direction and bring it
out on the left in the middle of the space
left between the last stitch and the top of
the second. The dotted line in the engraving
indicates the course of the stitches.</p>
<p><b>Old German knotted stitch</b> (fig. <a href="#fig_870">870</a>).—This
is a stitch often met with in old
church and house linen embroidery. A beautiful
design worked in this way is given
further on.</p>
<div class="figcenter" style="width: 175px;">
<img src="images/883.jpg" alt="FIG. 870. OLD GERMAN KNOTTED STITCH." title="" />
<a name="fig_870" id="fig_870"></a><span class="caption smcap">Fig. 870. Old german knotted stitch.</span>
</div>
<p>Contrary to most stitches, this is worked upwards; the
needle is put in horizontally under the stuff, the thread tightly
drawn, then laid from left to right and drawn through underneath
the first stitch and a tight knot made. We find the same
stitch, worked in a variety of ways, according to the taste and
skill of the worker; for instance the knots may be set slanting,
as in fig. <a href="#fig_870">870</a>, or else straight and very close together,
as in fig. <a href="#fig_873">873</a>, where they present the appearance of a close
string of beads, or again wide apart, as they are in fig. <a href="#fig_876">876</a>.</p><p><a name="Page_541" id="Page_541"></a></p>
<p>All these ways are admissible but care should be taken in
each case, to make the stitches perfectly regular; it is the direction
which is given to the stitch and the number of threads
taken up with the needle that changes the appearance of the stitch.</p>
<p><b>Raised stem stitch</b> (figs. <a href="#fig_871">871</a>, <a href="#fig_872">872</a>).—Take a very thick
thread, such as Fil à pointer
D.M.C No. 10 or 20, or one
of the coarser numbers of Cordonnet
6 fils D.M.C, lay it as
a foundation thread along the
line of your pattern and work
over it wide stem stitches, as
represented in figs. <a href="./chapter_5.html#fig_172">172</a> and
<a href="./chapter_5.html#fig_173">173</a>, either in the same number
of thread used for the
foundation thread, or a finer,
according to the stuff you are
embroidering upon.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_871" id="fig_871"></a><a name="fig_872" id="fig_872"></a>
<div class="figleft" style="width: 300px;">
<img src="images/884.jpg" alt="FIG. 871.
RAISED STEM STITCH." title="" />
<span class="caption smcap">Fig. 871.
Raised stem stitch.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/885.jpg" alt="FIG. 872.
ANOTHER KIND OF RAISED STEM STITCH." title="" />
<span class="caption smcap">Fig. 872.
Another kind of raised stem stitch.</span>
</div>
</div>
<p>You may overcast the same
stitch in the manner indicated
in fig. <a href="#fig_872">872</a>, using a different
colour for the second layer
of stitches to produce an agreable
variety.</p>
<p><b><a name="Border_in_different_kinds_of_stitches" id="Border_in_different_kinds_of_stitches"></a>Border in different kinds of stitches</b> (fig. <a href="#fig_873">873</a>).—The
straight lines of this border are all worked in old German
knotted stitch in écru thread, forming a thick round cord which
stands out from the surface in high relief; the flatter outlining of
the outside figures is done in basket stitch in soft blue knitting
cotton. The little oblong figures within the two inner lines of
the border are worked in Gobelin stitch, in red embroidery
cotton, and the filling of the figures, outlined in basket stitch,
in one or other of the Irish lace stitches, worked in white
lace thread, either so that all the stitches enter the stuff, or form
a network over it.</p>
<p>The work may be simplified by sewing Soutache D.M.C or
Lacet superfin D.M.C along the straight lines instead of embroidering
them in basket stitch.</p><p><a name="Page_542" id="Page_542"></a></p>
<div class="figcenter" style="width: 400px;">
<img src="images/886.jpg" alt="FIG. 873. BORDER IN DIFFERENT KINDS OF STITCHES." title="" />
<a name="fig_873" id="fig_873"></a><span class="caption"><span class="smcap">Fig. 873. Border in different kinds of stitches.<br />
Materials</span>—For the old German knotted stitch:
Cordonnet 6 fils D.M.C No. 2, écru—For the basket
stitch: Coton à tricoter D.M.C No. 16, Bleu-Indigo
312—For the Gobelin stitches: Coton à broder D.M.C
No. 20, Rouge-Turc 321—For the lace stitches:
Fil à dentelle D.M.C No. 40, white.</span>
</div>
<p><b><a name="Roumanian_stitch" id="Roumanian_stitch"></a>Roumanian
stitch</b> (figs. <a href="#fig_874">874</a>,
<a href="#fig_875">875</a>).—This consists
of stitches that are
worked in the width
of the stuff, intersected
by back-stitches
set slightly
slanting.</p>
<p>Though the engraving
is so clear
as to render it hardly
necessary, we
subjoin an exact description
of the way
the stitches run.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/887.jpg" alt="FIG. 874.
ROUMANIAN STITCH." title="" />
<a name="fig_874" id="fig_874"></a><span class="caption smcap">Fig. 874.
Roumanian stitch.</span>
</div>
<p>Bring out the
needle on the left,
2 or 6 threads beyond
the line your
embroidery is to
follow; with regard
to the number of
threads you take up,
you must be guided
by the quality of the
stuff and the material
you have selected:
put the needle
in on the right, the
same distance in
advance of the line
as before and bring
it out in the middle
of the stitch; then
passing the needle
over the first stitch,
put it in again one
<a name="Page_543" id="Page_543"></a>or two threads in advance of the point where it came out, and
draw it out close to where the first stitch began.</p>
<p>The border, represented in fig. <a href="#fig_875">875</a>, is worked in great part
in Roumanian stitch.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/888.jpg" alt="FIG. 875. BORDER IN ROUMANIAN STITCH." title="" />
<a name="fig_875" id="fig_875"></a><span class="caption"><span class="smcap">Fig. 875. Border in roumanian stitch.<br />
Materials</span>: Coton à broder D.M.C No. 16, Coton à repriser D.M.C No. 50, or
Cordonnet 6 fils D.M.C No. 20.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>: Rouge-Cardinal 346, Rouge-Grenat 358, Brun-Caroubier 355, Rouge
Maroquin 3327 et 3328, or Rouge-Cerise 3317 et 3318.<a href="#Footnote_A" class="fnanchor">[A]</a>
</span>
</div>
<p>The original, still very well preserved, notwithstanding its
age, is worked in silk of a brilliant red on a
stiff stuff which has been coloured by time
and use.</p>
<p>Willems satin, Rhodes linen No. 2 and
Algerian linen, make very suitable foundations
for this kind of embroidery and have that soft
tint which is almost indispensable to a satisfactory
imitation of old needlework.</p>
<p>Any one of the shades of red named at
the foot of the illustration, will be found to
be a good match for the original colours.</p>
<p>Roumanian stitch is used wherever the lines of the pattern
are widest; there where they narrow, in the indentures of the
leaves and the twists of the stalks, flat stitch is used instead.</p>
<p>By the repetition of the detached subject, this pattern may be
made to serve either for a stripe or for a grounding; if you
use it for a stripe, the centre flower of the principal subject
with the stalks lengthened, will look very well worked as a
separate subject between the large bouquets. Worked in a
double row, base to base, on any stuff and in any material,
these large figures form a very handsome border which makes
an effective trimming for furniture and curtains.</p>
<p><b><a name="Pattern_for_piqueacute_embroidery" id="Pattern_for_piqueacute_embroidery"></a>Pattern for piqué embroidery</b> (fig. <a href="#fig_876">876</a>).—The stuff,
called piqué, such as it is now manufactured, is simply an
imitation of an old kind of needlework, almost unknown in
these days, but very popular in the fifteenth and sixteenth century
in Italy, for making coverlets and more especially curtains
and blinds; the latter being highly esteemed, because without
intercepting the light altogether, they tempered it agreably.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/889.jpg" alt="FIG. 876. PATTERN FOR PIQUÉ EMBROIDERY." title="" />
<a name="fig_876" id="fig_876"></a><span class="caption"><span class="smcap">Fig. 876. Pattern for piqué embroidery.<br />
Materials</span>: Cordonnet 6 fils D.M.C Nos. 1 and 25, Fil d'Alsace D.M.C No. 100,
Fil à pointer D.M.C No. 30 and Fil à dentelle D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>A similar kind of work was common in Bohemia until a
recent date for the making of caps. It is done on two layers
of stuff, of different kinds, the upper one fine and transparent,
the lower, more substantial.</p><p><a name="Page_544" id="Page_544"></a></p>
<p>The pattern is drawn upon the fine stuff, because on that
side the different kinds of stitches are made.</p>
<p>You then tack the two stuffs together and work all the
outlines of the pattern in Old German knotted stitch with
écru Fil à pointer D.M.C No. 20; that done, thread a tapestry
needle with white Cordonnet 6 fils D.M.C No. 1 or 2, slip it
in between the two layers of stuff and secure the end by two
<a name="Page_545" id="Page_545"></a>or three stitches; then push the twist quite close to the knotted
stitch and fasten it in between the two layers of stuff, with
small and very regular running stitches, in a fine pliable material,
such as Fil d'Alsace D.M.C on reels.</p>
<p>Fill up in this manner all the ground of the pattern, leaving
the arabesques and the ornaments plain, or embellishing them
with some kind of lace or embroidery stitch.</p>
<p><a name="Page_546" id="Page_546"></a></p>
<p>When these stripes are intended for blinds, you can produce
pretty transparent effects in them by cutting away the
underneath stuff, in places.</p>
<p><b><a name="Alphabet_in_Soutache" id="Alphabet_in_Soutache"></a>Alphabet in Soutache</b> (braid) (figs. <a href="#fig_877">877</a>, <a href="#fig_878">878</a>, <a href="#fig_879">879</a>, <a href="#fig_880">880</a>,
<a href="#fig_881">881</a>, <a href="#fig_882">882</a>).—This alphabet, which is one
of the best of its kind, was taken from a
work published in Venice in 1662, by Giovan'
Antonio Tagliente, secretary and calligraphist
to the Republic.</p>
<div class="figcenter" style="width: 225px;">
<img src="images/890.jpg" alt="FIG. 877. LETTER T OF THE SOUTACHE ALPHABET. MODE OF INTERLACING THE SOUTACHE." title="" />
<a name="fig_877" id="fig_877"></a><span class="caption smcap">Fig. 877. Letter T of the soutache alphabet. Mode of interlacing the soutache.</span>
</div>
<p>The letters lend themselves, better than
any we know, to being executed in Soutache
D.M.C.</p>
<p>The sewing on of the braid is done
with very small running stitches and the interlacing with a
tapestry needle, into which the braid is threaded; both
operations are shown in figs. <a href="#fig_877">877</a> and <a href="#fig_880">880</a>. The embroidery
of the connecting bars, and the small leaves and tendrils that
complete the letter are explained in fig. <a href="#fig_881">881</a>, whilst fig. <a href="#fig_882">882</a>
represents the letter A in its finished state.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/891.jpg" alt="FIG. 878. ALPHABET IN SOUTACHE. LETTERS A TO N." title="" />
<a name="fig_878" id="fig_878"></a><span class="caption smcap">Fig. 878. Alphabet in soutache. Letters A to N.</span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/892.jpg" alt="FIG. 879. ALPHABET IN SOUTACHE. LETTERS O TO Z." title="" />
<a name="fig_879" id="fig_879"></a><span class="caption smcap">Fig. 879. Alphabet in soutache. Letters O to Z.</span>
</div>
<p>For sewing on the braid, a fine soft material is the best,
such as Soie de coton D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> and for embroidering the
small accessories, Coton à broder D.M.C No. 50<a href="#Footnote_A" class="fnanchor">[A]</a>.</p>
<div class="figcenter" style="width: 450px;">
<a name="fig_880" id="fig_880"></a><a name="fig_881" id="fig_881"></a>
<div class="figleft" style="width: 200px;">
<img src="images/893.jpg" alt="FIG. 880.
LETTER M OF THE
ALPHABET IN SOUTACHE.
MODE OF SEWING ON
THE SOUTACHE." title="" />
<span class="caption smcap">Fig. 880.
Letter M of the
alphabet in soutache.
Mode of sewing on
the soutache.</span>
</div>
<div class="figright" style="width: 200px;">
<img src="images/894.jpg" alt="FIG. 881.
LETTER W OF THE
ALPHABET IN SOUTACHE.
MODE OF PLACING THE
BARS AND EMBROIDERING
THE LEAVES." title="" />
<span class="caption smcap">Fig. 881.
Letter W of the
alphabet in soutache.
Mode of placing the
bars and embroidering
the leaves.</span>
</div>
</div>
<div class="figcenter" style="width: 200px;">
<img src="images/895.jpg" alt="FIG. 882.
LETTER A OF THE
ALPHABET IN SOUTACHE
IN ITS FINISHED
STATE." title="" />
<a name="fig_882" id="fig_882"></a><span class="caption smcap">Fig. 882.
Letter A of the
alphabet in soutache
in its finished
state.</span>
</div>
<p><b>Flowers executed in Soutache and embroidery</b> (fig. <a href="#fig_883">883</a>).
Flowers and sprays, such as here represented, make a charming
trimming for summer dresses, sunshades, aprons etc. and
can be executed with admirable effect in the D.M.C Soutache,
now to be had in all the colours of the D.M.C colour card.
A very pretty running pattern can be formed out of the spray,
fig. <a href="#fig_883">883</a>, by turning the flowers first to the right and then to
the left and making the stalks come out underneath the ears
of corn. In order to reverse the position of the flowers thus,
you will have to make two tracings of the spray, one negative
and one positive.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/896.jpg" alt="FIG. 883. FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY." title="" />
<a name="fig_883" id="fig_883"></a><span class="caption"><span class="smcap">Fig. 883. Flowers executed in soutache and embroidery.<br />
Materials</span>: Soutache D.M.C Nos. 1 to 3 and Coton à broder D.M.C No. 35.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>—For the Soutache: White, écru or Jaune d'Ocre 677,
and Bleu-Indigo 322.—For the Coton à broder: Écru, Jaune-Orange 444,
Bleu-Indigo 311, Gris-Tilleul 391 and 330, Vert-Pistache 319, 320 and 369,
Rouge-Cardinal 348.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>For the ears of corn in fig. <a href="#fig_883">883</a>, use either Soutache écru,
or Jaune-d'Ocre 677 No. 2; for the marguerites, white Sou<a name="Page_547" id="Page_547"></a><a name="Page_548" id="Page_548"></a>tache
No. 2½ and for the corn flowers, Soutache Bleu-Indigo
322 No. 2. Nothing could be simpler than the mode of working
these flowers.</p>
<p>Thread a tapestry needle with the Soutache and draw it
into the stuff, and then pass it through from the right side to
the wrong at the bottom of one of the petals of the flowers,
secure it on the wrong side by two or three stitches and then
bring the working thread, which should be of the same colour
as the Soutache, out again at the point of the petal, then carry
the Soutache back to the bottom of the petal and fasten it
down, like the gold threads in fig. <a href="./chapter_6.html#fig_242">242</a>, by a stitch rather
wider than the Soutache, fold the Soutache over again to the
starting point, and secure it by a stitch, and so on. In order
to give a different character to the flowers, use Soutache of
different widths, fold it over more or less closely and lay it
down in shorter or longer lengths, as required. The natural
irregularity of the petals of a flower can be very faithfully
imitated in this manner. Fig. <a href="#fig_883">883</a> shows the way in which, for
the ears of corn, the braid is folded back upon itself and
fastened down, whilst in the white flowers the two layers of
the braid that form each petal are separated at the bottom.</p>
<p>The stamens of the marguerites are worked in knot stitch
with yellow cotton and those of the cornflowers with dark blue.</p>
<p>The other little details are executed in flat and stem stitch
in the colours indicated at the foot of the engraving. With the
<a name="Page_550" id="Page_550"></a>pattern to go by, the distribution of the colours for the different
parts can present no possible difficulty.</p>
<p><a name="Page_551" id="Page_551"></a></p>
<p>We need only point out that Rouge-Cardinal 348 is intended
for the little knot that connects the stalks of the flowers.</p>
<p><b><a name="Chinese_subject" id="Chinese_subject"></a>Chinese subject</b> (fig. <a href="#fig_884">884</a>).—This quaint and graceful
composition, copied from an interesting piece of Chinese embroidery,
gives our readers the opportunity of turning the different
damask stitches, already described in these pages, to quite
a new use.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/897.jpg" alt="FIG. 884. CHINESE SUBJECT." title="" />
<a name="fig_884" id="fig_884"></a><span class="caption"><span class="smcap">Fig. 884. Chinese subject.<br />
Materials</span>: Coton à repriser D.M.C No. 50, Or fin D.M.C pour la broderie
No. 40 and Chiné d'or D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The kind of gauze which forms the foundation of the original
work can be replaced either by Spanish or Rhodes linen
No. 2, by any stuff, in fact, the threads of which can be
counted.</p>
<p>The drawing has to be transferred to the stuff, and the
different parts are filled in with the stitches, clearly indicated
in the illustration.</p>
<p>By the introduction of several colours, this pattern is capable
of being infinitely varied.</p>
<p>Thus, in the model before us, the neck and bulb of the
<a name="Page_552" id="Page_552"></a>flask, the leaves it stands upon and those attached to the flowers
in it, are worked in Vert-Pistache 367, the handles, the ornament
on the bottle, and the triangular figure in the centre
are in white; the little flower on the left, the second on the
right, the straight staff, the upper wings of the butterfly, as
well as the three leaves underneath the triangle are in Bleu-Indigo
334; the first flower on the right of the flask, the knot
above the triangle, the lower wings of the butterfly and the
middle part of the bottom subject on the right of the engraving
are in Gris-Amadou 383; and Violet-lie-de-vin and
Brun-Caroubier 357 alternate in the pointed leaves that support
the flask; the former colour recurs in the ornaments of
the staff, and Rouge-Cardinal 347, black and Gris-Tilleul
alternate in the other details of the drawing.</p>
<p>For the setting it will be best to take Or fin D.M.C pour
la broderie or else Chiné d'or D.M.C, used either double or
single, according to whichever the drawing seems to require.</p>
<hr style='width: 45%;' />
<p class="center"><a href="./chapter_16.html">Next Chapter.</a></p>
<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
<hr style='width: 45%;' />
<div class="footnotes"><h3>FOOTNOTES:</h3>
<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
and the list of colours of the D.M.C threads and cottons.</p></div>
</div>
</body>
</html>
|
