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The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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<p><a name="Page_23" id="Page_23"></a></p>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 400px;">
<img src="images/058.jpg" alt="STRIPE OF CUT OPEN-WORK ON WHITE LINEN." title="" />
<span class="caption smcap">Stripe of cut open-work on white linen.</span>
</div>
<hr style="width: 65%;" />
<h2><a name="Single_and_cut_Open-work" id="Single_and_cut_Open-work"></a>Single and cut Open-work.</h2>
<p>The above heading comprises every sort of needle-work, to
which the drawing out of threads is a preliminary. By sewing
over the single threads that remain, and drawing them together
in different ways, an infinite variety of patterns can be produced.
Many pretty combinations also, can be made of open-work,
cross-stitch, and other kinds of embroidery.</p>
<p><b>Materials suitable for open-work.</b>—For all the coarser
stuffs, such as Holbein-linen, Java and linen-canvas and the
like, now in such favour for the imitation of old needlework,
it will be best to use: Fil à pointer D.M.C, No. 30<a href="#Footnote_A" class="fnanchor">[A]</a> and Cordonnet
6 fils D.M.C, Nos. 10 to 20,<a href="#Footnote_A" class="fnanchor">[A]</a> and for the finer stuffs,
such as antique-linen and linen-gauze; Cordonnet 6 fils D.M.C
Nos. 50 to 150,<a href="#Footnote_A" class="fnanchor">[A]</a> Fil d'Alsace D.M.C, Nos. 20 to 100, and Fil à
dentelle D.M.C, Nos. 25 to 80.</p>
<p>Coloured patterns can also be executed in open-work, with
Coton à broder D.M.C Nos. 16 to 35, and Coton à repriser
D.M.C, Nos. 25 to 50<a href="#Footnote_A" class="fnanchor">[A]</a> .</p>
<p><b>The two different kinds of open-work.</b>—The one is
called, single open-work, the Italian Punto tirato, in which
the first step is to draw out one layer of threads; the other,
<a name="Page_24" id="Page_24"></a>cut open-work, the Italian Punto tagliato, for which, both
the warp, and the woof threads, have to be drawn out.</p>
<p><b>Single open-work (Punto tirato)</b>.—This, in its simplest
form, is the ornamental latticed hem, in common use where
something rather more decorative than an ordinary hem (fig.
<a href="chapter_1.html#fig_8">8</a>) is required, and consists in drawing out one layer of threads,
either the warp or the woof.</p>
<p><a name="hem_stitching" id="hem_stitching"></a><b>Single hem-stitch</b> (fig. <a href="#fig_55">55</a>).—Draw out, according to
the coarseness of the stuff, two or four threads, below the
edge of the turning, and tack your hem down to the line thus
drawn. Fasten your thread in
to the left, and work your hem
from right to left, taking up
three or four cross-threads at a
time, and inserting your needle,
immediately above, into the
folded hem, three or four threads from the edge, and then
drawing it out.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/059.jpg" alt="FIG. 55. SINGLE HEM-STITCH." title="" />
<a name="fig_55" id="fig_55"></a><span class="caption smcap">Fig. 55. Single hem-stitch.</span>
</div>
<p>The same stitch is used for preventing the fringes, that
serve as a finish to so many articles of house-linen, from
ravelling.</p>
<p><b>Second hem-stitch</b> (fig. <a href="#fig_56">56</a>).—Prepare your hem as for fig. <a href="#fig_55">55</a>, and work from left to right; with this difference, that after
drawing two or three cross-threads
together, from right to
left, you skip the same number
of perpendicular threads you
took up below, and insert your
needle downwards from above,
bringing it out at the bottom edge of the hem.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/060.jpg" alt="FIG. 56. SECOND HEM-STITCH." title="" />
<a name="fig_56" id="fig_56"></a><span class="caption smcap">Fig. 56. Second hem-stitch.</span>
</div>
<p>These stitches, which can
be used for the right side also,
form a kind of little tress, along
the edge of the hem.</p>
<p><b>Ladder stitch hem</b> (fig. <a href="#fig_57">57</a>).
Complete the hem, as already
directed in fig. <a href="#fig_55">55</a>, then draw out three or five threads more,
turn the work round, and repeat the process, taking up the
<a name="Page_25" id="Page_25"></a>same clusters of threads which you took up in the first row of
stitches, thus forming little perpendicular bars.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/061.jpg" alt="FIG. 57. LADDER STITCH HEM." title="" />
<a name="fig_57" id="fig_57"></a><span class="caption smcap">Fig. 57. Ladder stitch hem.</span>
</div>
<p><b>Double hem-stitch</b> (fig. <a href="#fig_58">58</a>).
Begin as in fig. <a href="#fig_55">55</a>, forming your
clusters of an even number of
threads; and then, in making
your second row of stitches,
draw half the threads of one
cluster, and half of the next
together, thereby making them
slant, first one way and then
the other.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/062.jpg" alt="FIG. 58. DOUBLE HEM-STITCH." title="" />
<a name="fig_58" id="fig_58"></a><span class="caption smcap">Fig. 58. Double hem-stitch.</span>
</div>
<p><b>Antique hem-stitch</b> (figs. <a href="#fig_59">59</a>, <a href="#fig_60">60</a>, <a href="#fig_61">61</a> and <a href="#fig_62">62</a>).
In the old, elaborate, linen needlework, we often meet
two kinds of hem-stitching
seldom found in modern
books on needle-work. Figs. <a href="#fig_59">59</a>
to <a href="#fig_62">62</a> are magnified representations
of the same. At the
necessary depth for forming a
narrow hem, a thread is drawn,
in the case of very fine
textures where the edge is
rolled, not laid; then fasten in
the working thread at the left,
and work the stitches from
left to right. Passing your
needle, from right to left, under
three or four threads, draw the
thread round the cluster and
carry your needle on, through
as many threads of the upper
layer of stuff, as you took up
below, so that the stitch may
always emerge from the middle
of the cluster.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/063.jpg" alt="FIG. 59. ANTIQUE HEM-STITCH.
WRONG SIDE." title="" />
<a name="fig_59" id="fig_59"></a><span class="caption smcap">Fig. 59. Antique hem-stitch.
Wrong side.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/064.jpg" alt="FIG. 60. ANTIQUE HEM-STITCH.
RIGHT SIDE." title="" />
<a name="fig_60" id="fig_60"></a><span class="caption smcap">Fig. 60. Antique hem-stitch.
Right side.</span>
</div>
<p><b>Antique hem-stitch</b> (figs. <a href="#fig_61">61</a>
and <a href="#fig_62">62</a>).—These show, the right
<a name="Page_26" id="Page_26"></a>and wrong sides of the hem;
here the rolled hem is prepared
as above, but the stitches are
worked from right to left, and
the thread is carried round the
little roll, so that, as shown in
fig. <a href="#fig_62">62</a>, it is visible on both
sides of the hem. The needle
does not enter the stuff, but is
carried back at once, from the
outside, and put in again between
two clusters of threads.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/065.jpg" alt="FIG. 61. ANTIQUE HEM-STITCH.
WRONG SIDE." title="" />
<a name="fig_61" id="fig_61"></a><span class="caption smcap">Fig. 61. Antique hem-stitch.
Wrong side.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/066.jpg" alt="FIG. 62. ANTIQUE HEM-STITCH.
RIGHT SIDE." title="" />
<a name="fig_62" id="fig_62"></a><span class="caption smcap">Fig. 62. Antique hem-stitch.
Right side.</span>
</div>
<p><b>Slanting hem-stitch</b> (figs.
<a href="#fig_63">63</a> and <a href="#fig_64">64</a>).—Bring out your
needle and thread, two or three
threads above the edge of the
turning, between the first and
second of the three cross-threads
that compose the cluster, and
then slip it under the cluster,
from right to left. The loop
must lie in front of the needle.
When you have drawn up the
stitch, put the needle in, one
thread further on, and take up
two threads. Fig. <a href="#fig_64">64</a> shows the
stitch on the right side.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/067.jpg" alt="FIG. 63.
SLANTING HEM-STITCH.
WRONG SIDE." title="" />
<a name="fig_63" id="fig_63"></a><span class="caption smcap">Fig. 63.
Slanting hem-stitch.
Wrong side.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/068.jpg" alt="FIG. 64.
SLANTING HEM-STITCH.
RIGHT SIDE." title="" />
<a name="fig_64" id="fig_64"></a><span class="caption smcap">Fig. 64.
Slanting hem-stitch.
Right side.</span>
</div>
<p><a name="open_work_patterns" id="open_work_patterns"></a><b>Double-rowed ornamental
seam</b> (figs. <a href="#fig_65">65</a>, <a href="#fig_66">66</a>, <a href="#fig_67">67</a>).—Begin
with any one of the
hems already described, then
counting as many threads
downwards, as are clustered
together in the first row, draw
out a second thread, and cluster
the perpendicular threads in
this second line together, as shown in figs. <a href="#fig_65">65</a> and <a href="#fig_66">66</a>. On the
right side the stitch is straight (fig. <a href="#fig_67">67</a>). Coloured cottons
<a name="Page_27" id="Page_27"></a>should be used for all the above patterns of hem-stitch, when
they are to be introduced into coloured embroideries.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/069.jpg" alt="FIG. 65.
DOUBLE-ROWED ORNAMENTAL SEAM.
WRONG SIDE." title="" />
<a name="fig_65" id="fig_65"></a><span class="caption smcap">Fig. 65.
Double-rowed ornamental seam.
Wrong side.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/070.jpg" alt="FIG. 66.
DOUBLE-ROWED ORNAMENTAL SEAM.
WRONG SIDE." title="" />
<a name="fig_66" id="fig_66"></a><span class="caption smcap">Fig. 66.
Double-rowed ornamental seam.
Wrong side.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/071.jpg" alt="FIG. 67.
DOUBLE-ROWED ORNAMENTAL SEAM.
RIGHT SIDE." title="" />
<a name="fig_67" id="fig_67"></a><span class="caption smcap">Fig. 67.
Double-rowed ornamental seam.
Right side.</span>
</div>
<p><b>Single three-rowed open-work</b> (fig. <a href="#fig_68">68</a>).—This, and
the following patterns, are suitable for the headings of hems,
and for connecting stripes of embroidery, and are also often
used instead of lace, and lace insertion.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/072.jpg" alt="FIG. 68. SINGLE THREE-ROWED OPEN-WORK." title="" />
<a name="fig_68" id="fig_68"></a><span class="caption smcap">Fig. 68. Single three-rowed open-work.</span>
</div>
<p>Fig. <a href="#fig_68">68</a> will be found specially useful, in cases where
the object is, to produce a good deal of effect, at the cost of
as little labour as possible. Make six rows of hem-stitching, as
in fig. <a href="#fig_55">55</a>; the first and sixth rows to serve as a finish, above
and below.</p>
<p>The second and third, after drawing out six threads, the third
and fourth after drawing out eight. The clusters must all consist
of an even number of threads. The upper and the lower
band of open-work is to be copied from fig. <a href="#fig_58">58</a>, the centre
one, from fig. <a href="#fig_57">57</a>. Divide the threads of the perpendicular
clusters in two; insert the needle, from left to right, underneath
half the second cluster, turn the needle's eye, by a
second movement, from left to right, and take up the second
part of the first cluster, drawing it under, and at the same
time, in front of the first half of the second cluster. Be careful
not to draw your thread too tightly.</p><p><a name="Page_28" id="Page_28"></a></p>
<p><b>Open-work with two threads drawn through</b> (fig. <a href="#fig_69">69</a>).—One
such wide lane of open-work, between two finishing rows
of stitches, may have two threads drawn through it.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/073.jpg" alt="FIG. 69. OPEN-WORK WITH TWO THREADS DRAWN THROUGH." title="" />
<a name="fig_69" id="fig_69"></a><span class="caption smcap">Fig. 69. Open-work with two threads drawn through.</span>
</div>
<p><b>Open-work with three threads drawn through</b> (fig. <a href="#fig_70">70</a>).
Overcast both edges with single stitches; draw the clusters
together in the middle, as in fig. <a href="#fig_68">68</a>; then above and below
the middle thread, draw in first one thread and then a second,
straight above it, securing the latter with back-stitches to
enclose the clusters between two threads.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/074.jpg" alt="FIG. 70. OPEN-WORK WITH THREE THREADS DRAWN THROUGH." title="" />
<a name="fig_70" id="fig_70"></a><span class="caption smcap">Fig. 70. Open-work with three threads drawn through.</span>
</div>
<p><b>Clustered open-work</b> (fig. <a href="#fig_71">71</a>).—Draw out from sixteen
to eighteen threads, between two hem-stitched edges. Fasten
your thread in, 3 m/m. above the seam-edge, and wind it three
times round every two clusters, passing the needle, the third
time, under the two first rounds, to fasten the thread. The
thread, thus drawn through, must be left rather slack. A second
row of stitches, similar to the first, and at the same
distance from the bottom edge, completes this pattern. To
<a name="Page_29" id="Page_29"></a>give it greater strength, you may if you like, work back over
the first thread, with a second, taking care to pass it under
the knot, which was formed by the first.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/075.jpg" alt="FIG. 71. CLUSTERED OPEN-WORK." title="" />
<a name="fig_71" id="fig_71"></a><span class="caption smcap">Fig. 71. Clustered open-work.</span>
</div>
<p><b>Double-rowed cluster-open-work</b> (fig. <a href="#fig_72">72</a>).—A very good
effect can be obtained by making the above stitch in such a
manner, as to form groups of three clusters each, between hem-stitched
bands of the stuff.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/076.jpg" alt="FIG. 72. DOUBLE-ROWED CLUSTER-OPEN-WORK." title="" />
<a name="fig_72" id="fig_72"></a><span class="caption smcap">Fig. 72. Double-rowed cluster-open-work.</span>
</div>
<p><b>Turkish cluster open-work</b> (fig. <a href="#fig_73">73</a>).—After portioning
off, and sewing up the clusters on one side, draw out twelve or
fourteen threads, and make your connecting-stitch and hem, all
in one, as follows: bring out the thread before the cluster, and
pass it round it, then from right to left, over three horizontal
and under four perpendicular threads, again from left to right,
over the four threads just passed over, and out at the second
cluster; laying it over this, you bring it out behind the first
<a name="Page_30" id="Page_30"></a>cluster, wind it round the middle of them both, and pass it
through, between the over-casting stitches back to the hem;
encircle the second cluster with a loop-stitch, and carry your
thread again over three horizontal and four perpendicular
threads, and upwards, slanting underneath the stuff, out in
front of the next cluster.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/077.jpg" alt="FIG. 73. TURKISH CLUSTER OPEN-WORK." title="" />
<a name="fig_73" id="fig_73"></a><span class="caption smcap">Fig. 73. Turkish cluster open-work.</span>
</div>
<p><b>Open-work with darning stitch</b> (fig. <a href="#fig_74">74</a>).—Draw out
from eight to twelve threads, according to the quality of the
stuff. Insert your needle and thread between two clusters, and
pass it, as if you were darning, backwards and forwards
over them, until they are encased half way down with
stitches. In so doing, work with the eye of the needle forward,
and the point towards your thimble. To pass to the
next cluster, take one stitch back, under the one just darned,
and bring your thread underneath the threads of the stuff, to
the second cluster.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/078.jpg" alt="FIG. 74. OPEN-WORK WITH DARNING STITCH." title="" />
<a name="fig_74" id="fig_74"></a><span class="caption smcap">Fig. 74. Open-work with darning stitch.</span>
</div>
<p><b>Open-work in three colours</b> (fig. <a href="#fig_75">75</a>).—This pattern
which is to be done in the same way as fig. <a href="#fig_74">74</a>, requires
the drawing out of, at least, eighteen threads. Every cross-line
of three clusters is to be worked in one colour. The
<a name="Page_31" id="Page_31"></a>colours may all be different, or you may if you prefer, take
shades of the same colour.</p>
<div class="figcenter" style="width: 596px;">
<img src="images/079.jpg" alt="FIG. 75. OPEN-WORK IN THREE COLOURS." title="" />
<a name="fig_75" id="fig_75"></a><span class="caption"><span class="smcap">Fig. 75. Open-work in three colours.<br />
Colours:</span> Bleu-Indigo 311, 322, 334, Brun-Caroubier 354, 303, 357, or
Rouge-Géranium 349, 351, 352.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Open-work insertion</b> (figs. <a href="#fig_76">76</a> and <a href="#fig_77">77</a>).—For both these,
<a name="Page_32" id="Page_32"></a>the edges are to be overcast, and the darning stitches packed
sufficiently closely together, for the threads of the stuff to be
entirely covered.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/080.jpg" alt="FIG. 76. OPEN-WORK INSERTION." title="" />
<a name="fig_76" id="fig_76"></a><span class="caption smcap">Fig. 76. Open-work insertion.</span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/081.jpg" alt="FIG. 77. OPEN-WORK INSERTION." title="" />
<a name="fig_77" id="fig_77"></a><span class="caption smcap">Fig. 77. Open-work insertion.</span>
</div>
<p>Fig. <a href="#fig_76">76</a> requires the drawing out of eighteen threads,
fig. <a href="#fig_77">77</a>, of thirty. Both admit of several colours being used.</p>
<p><b>Open-work insertion</b> (fig. <a href="#fig_78">78</a>).—After drawing out sixteen
or eighteen threads, bind both sides with stitches made over
four horizontal and four perpendicular threads, as follows;
make one back-stitch over four disengaged threads, then
bring up your thread from right to left, over four horizontal
and under four perpendicular threads, back over the four last
threads, and draw it out beside the next cluster. The clusters,
as they now stand, are bound together in the middle, three
by three, with darning-stitches. The thread must be fastened
in and cut off, after each group is finished.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/082.jpg" alt="FIG. 78. OPEN-WORK INSERTION." title="" />
<a name="fig_78" id="fig_78"></a><span class="caption smcap">Fig. 78. Open-work insertion.</span>
</div>
<p><b>Open-work insertion</b> (fig. <a href="#fig_79">79</a>).—First bind the two edges
with stitches, in the ordinary way. At the last stitch introduce<a name="Page_33" id="Page_33"></a>
the thread slanting, according to the dotted line, pass it
under four horizontal and three perpendicular threads of the
stuff and draw it out; then over three threads from right to
left, and back under the same, from left to right, and out
again; over four horizontal threads, and, under and again
over, three perpendicular ones; for the next stitch, you again
follow the dotted slanting line.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/083.jpg" alt="FIG. 79. OPEN-WORK INSERTION." title="" />
<a name="fig_79" id="fig_79"></a><span class="caption smcap">Fig. 79. Open-work insertion.</span>
</div>
<p>Then make the darning stitch over nine threads, or three
clusters. At half their length, you leave out three threads, first
on the right, then on the left, whilst in the other half, you,
in a similar manner, take in three; so that you have two
darned and two undarned clusters, standing opposite each
other. Finally, you overcast the single clusters, and connect
every two with a lock-stitch, as shown in the accompanying
illustration.</p>
<p><b>Open-work insertion</b> (fig. <a href="#fig_80">80</a>).—Draw out twenty threads,
overcast both edges with stitches, made over three threads.
Then, make slanting stitches, proceeding out from these, over
three, six and nine threads respectively, all three terminating
in a perpendicular line, one below the other.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/084.jpg" alt="FIG. 80. OPEN-WORK INSERTION." title="" />
<a name="fig_80" id="fig_80"></a><span class="caption smcap">Fig. 80. Open-work insertion.</span>
</div>
<p>For the open-work, twist the thread five times, quite tightly
round and round one cluster, bring it to the edge, between
the second and third clusters, and connect these by means
of six darning-stitches to and fro: join the first and second
clusters in the same way by twelve stitches, and finish, by
twisting the thread five times round the remaining length
of the first cluster. The second half of the open-work figure is
<a name="Page_34" id="Page_34"></a>carried out in a similar manner over the third and fourth
clusters.</p>
<p><b>Open-work insertion in four colours</b> (fig. <a href="#fig_81">81</a>).—Draw
out, from twenty-five to thirty threads. The outside figures are
executed over six clusters, of three threads each, in a dark
and light shade alternately of the same colour. Each of the
middle figures combines three clusters of the two figures above
it, and may be executed, either in a different colour altogether,
<a name="Page_35" id="Page_35"></a>or in a lighter shade of the one employed in the top row.
The little star in the centre should be worked in dark red,
or black.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/085.jpg" alt="FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS." title="" />
<a name="fig_81" id="fig_81"></a><span class="caption"><span class="smcap">Fig. 81. Open-work insertion in four colours.</span><br />
<span class="smcap">Materials:</span> Coton à broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos. 15 to 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Open-work insertions</b> (figs. <a href="#fig_82">82</a>, <a href="#fig_83">83</a>, <a href="#fig_84">84</a>).—For each of
these draw out forty threads. Fig. <a href="#fig_82">82</a> worked in white, and
Rouge-Grenat clair 309, comprises fourteen clusters, of four
threads each. Begin at the top of the big pyramid, so that the
threads which you run in, can be more closely crowded
together.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/086.jpg" alt="FIG. 82. OPEN-WORK INSERTION." title="" />
<a name="fig_82" id="fig_82"></a><span class="caption smcap">Fig. 82. Open-work insertion.</span>
</div>
<p>In fig. <a href="#fig_83">83</a>, the two rows of short clusters are worked in<a name="Page_36" id="Page_36"></a>
Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 330; <a href="#Footnote_A" class="fnanchor">[A]</a>
the pyramid of steps, in Brun-Chamois moyen, 324;<a href="#Footnote_A" class="fnanchor">[A]</a> the
three inner clusters in Brim-Chamois très clair, 418. One figure
consists of fourteen clusters, of three threads each.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/087.jpg" alt="FIG. 83. OPEN-WORK INSERTION." title="" />
<a name="fig_83" id="fig_83"></a><span class="caption smcap">Fig. 83. Open-work insertion.</span>
</div>
<p>Fig. <a href="#fig_84">84</a> also is to be worked in three colours; the light
squares in unbleached cotton, the middle figure in Bleu-Indigo
très clair, 334, the large squares on either side in
Brun-Cuir clair 432. Each figure contains eighteen clusters,
of three threads each.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/088.jpg" alt="FIG. 84. OPEN-WORK INSERTION." title="" />
<a name="fig_84" id="fig_84"></a><span class="caption smcap">Fig. 84. Open-work insertion.</span>
</div>
<p><b>Open-work insertion with spiders</b> (fig. <a href="#fig_85">85</a>).—The edges
are to be herring-boned, as described in fig. <a href="chapter_1.html#fig_39">39</a>. In the middle,
the so-called spiders are made, over every group of four
clusters. The thread that runs out from the spider, passes
<a name="Page_37" id="Page_37"></a>over two clusters and under one, and then three or four
times, over and under the clusters, as in darning, and so
back, under the spider, at the place at which it was drawn in,
and then on, to the next four strands of thread.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/089.jpg" alt="FIG. 85. OPEN-WORK INSERTION WITH SPIDERS." title="" />
<a name="fig_85" id="fig_85"></a><span class="caption smcap">Fig. 85. Open-work insertion with spiders.</span>
</div>
<p><b>Three-rowed open-work</b> (fig. <a href="#fig_86">86</a>).—Draw out five threads
for the narrow stripe, and from fourteen to sixteen for
the wide one. Each cluster should consist of four threads.
The narrow bands between, are to be herring-boned on
either side. The dotted line shows the course of the thread,
on the wrong side. Then unite each separate cluster in the
middle, with a back-stitch, as shown in the illustration, and
finally, join every group of four clusters together, with three
stitches, and make a spider in the middle of the open-work,
at the point where the threads intersect each other.</p>
<div class="figcenter" style="width: 600px;">
<a name="fig_86" id="fig_86"></a>
<img src="images/090.jpg" alt="FIG. 86. THREE-ROWED OPEN-WORK." title="" />
<span class="caption smcap">Fig. 86. Three-rowed open-work.</span>
</div>
<p><b>Open-work insertion with rings</b> (fig. <a href="#fig_87">87</a>).—Bind the
edges on both sides, with straight, two-sided, stitches. Take,
for this, Coton à broder D.M.C, No. 30, (embroidery cotton),
using it double. Draw out, from twenty-four to thirty threads.
Wind your thread six or seven times round the middle of each
cluster of nine threads, and then make darning-stitches, above
and below, to a length of 3 m/m. When you have completed
two clusters, join them together, by four interlocked stitches;
wind your thread three times round the single thread, and sew
it over with close stitches.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/091.jpg" alt="FIG. 87. OPEN-WORK INSERTION WITH RINGS." title="" />
<a name="fig_87" id="fig_87"></a><span class="caption smcap">Fig. 87. Open-work insertion with rings.</span>
</div>
<p><b>Open-work insertion with spiders</b> (fig. <a href="#fig_88">88</a>).—Draw out
twenty-four threads. Ornament the two edges with half-spiders.<a name="Page_38" id="Page_38"></a>
You begin these over two threads, and go on taking in others,
to the number of eight. The whole spider in the middle, is
made as above described.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/092.jpg" alt="FIG. 88. OPEN-WORK INSERTION WITH SPIDERS." title="" />
<a name="fig_88" id="fig_88"></a><span class="caption smcap">Fig. 88. Open-work insertion with spiders.</span>
</div>
<p><b>Open-work insertion</b> (figs. <a href="#fig_89">89</a> and <a href="#fig_90">90</a>).—The beauty of this
otherwise simple pattern, lies in the peculiar knot, with which
the edges of the stuff are ornamented.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/093.jpg" alt="FIG. 89. OPEN-WORK INSERTION." title="" />
<a name="fig_89" id="fig_89"></a><span class="caption smcap">Fig. 89. Open-work insertion.</span>
</div>
<p>Carry the working thread, as shown in fig. <a href="#fig_90">90</a>, from right
to left, (see the description of the right side) over and under
four threads; then bring the needle back, under the thread
which lies slanting, form a loop with the forefinger of the
left hand, slip it on to the needle, and draw it up close to
the first stitch; pull the needle through the knot, and proceed
to the next stitch.</p>
<p>The illustration explains how the open-work in the middle
should be carried out.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/094.jpg" alt="FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89." title="" />
<a name="fig_90" id="fig_90"></a><span class="caption smcap">Fig. 90. Explanation of the stitch for fig. <a href="#fig_89">89</a>.</span>
</div>
<p><b>Open-work with winding stitch</b> (fig. <a href="#fig_91">91</a>).—For this
pattern, which is a very laborious one to work, draw out
twenty-eight threads. Bind the edges with two-sided stitches,
<a name="Page_39" id="Page_39"></a>over two, three, four and five threads, respectively. For the
middle figures, you must reckon four threads for the clusters,
round which the working thread is tightly twisted, eight for
the darned clusters, ornamented with picots (see fig. <a href="chapter_4.html#fig_165">165</a>), and
sixteen for the rectangular rosettes, in two colours.</p>
<p>Make a loose spider over the threads, as a background for
the rosette. Work the picots in a different colour from the
cluster, and the rosettes, likewise, in two colours. The connecting
loops between the figures should be made as you go along,
the thread being always carried back into the loop just made.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/095.jpg" alt="FIG. 91. OPEN-WORK WITH WINDING STITCH." title="" />
<a name="fig_91" id="fig_91"></a><span class="caption smcap">Fig. 91. Open-work with winding stitch.</span>
</div>
<p><a name="cutting_out_threads" id="cutting_out_threads"></a><b>Cutting out threads at the corners</b> (figs. <a href="#fig_92">92</a>, <a href="#fig_93">93</a>, <a href="#fig_94">94</a>, <a href="#fig_95">95</a>).
If you want to carry a latticed-hem or a simple open-work
pattern, round a corner, you must cut and loosen the threads,
on both sides, about one c/m. from the edge of the hem, as
seen in fig. <a href="#fig_92">92</a>. The loose threads can be pushed into the
turning, and the edge button-holed, as in fig. <a href="#fig_93">93</a>.</p>
<p>If however, on the other hand, the stitching be continued
without interruption, as indicated in the upper part of fig. <a href="#fig_94">94</a>,
the loose threads must be brought to the wrong side, and
<a name="Page_40" id="Page_40"></a>as represented in the lower part of fig. <a href="#fig_94">94</a>, fastened down with
a few stitches.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_92" id="fig_92"></a>
<div class="figleft" style="width: 300px;">
<img src="images/096.jpg" alt="FIG. 92.
THE CUTTING AND LOOSENING OF
THE THREADS AT THE
CORNERS." title="" />
<span class="caption smcap">Fig. 92.
The cutting and loosening of
the threads at the
corners.</span>
</div>
<a name="fig_93" id="fig_93"></a>
<div class="figright" style="width: 300px;">
<img src="images/097.jpg" alt="FIG. 93.
THE OVER CASTING OF THE DISENGAGED
EDGE AT THE CORNER, THE THREADS BEING
TURNED IN WITHIN THE HEM." title="" />
<span class="caption smcap">Fig. 93.
The over casting of the disengaged
edge at the corner, the threads being
turned in within the hem.</span>
</div>
</div>
<div class="figcenter" style="width: 650px;">
<a name="fig_94" id="fig_94"></a>
<div class="figleft" style="width: 300px;">
<img src="images/098.jpg" alt="FIG. 94.
BORDERING THE DISENGAGED EDGE WITH
HEM-STITCHING, THE THREADS BEING
TURNED OVER" title="" />
<span class="caption smcap">Fig. 94.
Bordering the disengaged edge with
hem-stitching, the threads being
turned over</span>
</div>
<a name="fig_95" id="fig_95"></a>
<div class="figright" style="width: 300px;">
<img src="images/099.jpg" alt="FIG. 95.
FILLING IN THE CORNER WITH A SPIDER,
AND CONTINUATION OF THE LATTICE-WORK
THENCE." title="" />
<span class="caption smcap">Fig. 95.
Filling in the corner with a spider,
and continuation of the lattice-work
thence.</span>
</div>
</div>
<p><a name="cut_open_work" id="cut_open_work"></a><b>Cut open-work (Punto tagliato).</b>—For cut open-work,
threads have to be drawn out both ways, the number of
course to depend on the pattern. Threads, left between others
that have been cut out, serve as a foundation on which a great
variety of stitches can be worked. Stuffs, equally coarse in the
warp and woof, should be chosen for all cut open-work, for
<a name="Page_41" id="Page_41"></a>then the empty spaces that remain, where threads have been
drawn out both ways, will be perfectly square.</p>
<p><b>Drawing out threads both ways</b> (fig. <a href="#fig_96">96</a>).—The same
number of threads must be drawn out each way; most patterns
require the same number of threads to be left as are drawn out.
In fig. <a href="#fig_96">96</a>, three threads have been drawn out and three left.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/100.jpg" alt="FIG. 96. DRAWING OUT THREADS BOTH WAYS,
WITHOUT REGARD TO THE EDGES." title="" />
<a name="fig_96" id="fig_96"></a><span class="caption smcap">Fig. 96. Drawing out threads both ways,
without regard to the edges.</span>
</div>
<p><b>Cutting out threads</b> (fig. <a href="#fig_97">97</a>).—We often meet with
cut open-work patterns, set in another kind of embroidery.
In such cases, the threads that are to be cut out, must be cut
a few millimetres within the edge, and then drawn out, so
that there may be a frame of the stuff left intact outside.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/101.jpg" alt="FIG. 97. CUTTING OUT THREADS,
IN THE MIDDLE OF THE STUFF." title="" />
<a name="fig_97" id="fig_97"></a><span class="caption smcap">Fig. 97. Cutting out threads,
in the middle of the stuff.</span>
</div>
<p><b>Button-holing the raw edges</b> (fig. <a href="#fig_98">98</a>).—In very fine
<a name="Page_42" id="Page_42"></a>linen textures, the threads can simply be cut out, but in the
case of coarser stuffs, and when a pattern ends in steps as in
figs. <a href="#fig_103">103</a>, <a href="#fig_104">104</a>, <a href="#fig_105">105</a>, the raw edges must be button-holed as
in fig. <a href="#fig_98">98</a>, or <a href="#fig_99">99</a>.</p>
<div class="figcenter" style="width: 250px;">
<img src="images/102.jpg" alt="FIG. 98. BUTTON-HOLING THE RAW EDGES
OF CUT OPEN-WORK." title="" />
<a name="fig_98" id="fig_98"></a><span class="caption smcap">Fig. 98. Button-holing the raw edges
of cut open-work.</span>
</div>
<p><b>Overcasting the raw edges</b> (fig. <a href="#fig_99">99</a>).—Cording the raw
edges, is even better than button-holing them. Count the
number of threads carefully that have to be cut out, run in a
thread to mark the pattern, and then only, cut the threads
through, at least two threads within the line.</p>
<div class="figcenter" style="width: 250px;">
<img src="images/103.jpg" alt="FIG. 99. OVERCASTING THE RAW EDGES
OF CUT OPEN-WORK." title="" />
<a name="fig_99" id="fig_99"></a><span class="caption smcap">Fig. 99. Overcasting the raw edges
of cut open-work.</span>
</div>
<p><b>Overcasting the trellised ground</b> (fig. <a href="#fig_100">100</a>).—If you
only have a small surface to embroider, you can draw out all
the threads at once. But in the case
of a large piece of work it is better to
begin by removing the threads in one
direction only, and completing all the
little bars, one way first; after which
you draw out the threads the other
way and embroider those you leave.
In this way you will secure greater
equality and finish in your work.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/104.jpg" alt="FIG. 100. OVERCASTING THE TRELLISED
GROUND." title="" />
<a name="fig_100" id="fig_100"></a><span class="caption smcap">Fig. 100. Overcasting the trellised
ground.</span>
</div>
<p><b>Ground for square, fig. <a href="#fig_105">105</a></b> (figs.
<a href="#fig_101">101</a> and <a href="#fig_102">102</a>).—Finish the first row of
bars along the edge completely, to
begin with. In the second row, overcast
the bar, down to half its length, then carry your thread
over two empty spaces, see the letter <i>a</i>, come back to the bar,
overcasting the thread which you threw across first, and passing
the needle under the bars of the stuff. In the second rows
that intersect the first, marked by letter <i>b</i>, the threads meet
in the middle of the empty space.</p>
<p>In fig. <a href="#fig_102">102</a>, finish the bars, overcast both ways first, and
then fill in the ground with interlaced threads, worked row
by row, throwing the thread from one square to the other as
you go, and doubling it, as you return. For the bars, see the
chapters on net embroidery, and Irish lace.</p>
<div class="figcenter" style="width: 600px;">
<a name="fig_101" id="fig_101"></a>
<div class="figleft" style="width: 250px;">
<img src="images/105.jpg" alt="FIG. 101. LATTICE-GROUND FOR SQUARE
IN FIG. 105, SHOWING THE COURSE
OF THE STITCHES." title="" />
<span class="caption smcap">Fig. 101. Lattice-ground for square
in fig. <a href="#fig_105">105</a>, showing the course
of the stitches.</span>
</div>
<a name="fig_102" id="fig_102"></a>
<div class="figright" style="width: 240px;">
<img src="images/106.jpg" alt="FIG. 102. LATTICE-GROUND FOR SQUARE
IN FIG. 105." title="" />
<span class="caption smcap">Fig. 102. Lattice-ground for square
in fig. <a href="#fig_105">105</a>.</span>
</div>
</div>
<p><b>Lattice-ground and damask stitch for square, fig. <a href="#fig_105">105</a></b>
(fig. <a href="#fig_103">103</a>).—Our illustration shows a third kind of open<a name="Page_43" id="Page_43"></a><a name="Page_44" id="Page_44"></a>work
ground with one corner in damask stitch, of the square
represented in fig. <a href="#fig_105">105</a>. The little bars which intersect each
square crossways, are made in two divisions, by carrying the
thread to the opposite
bar and back. In the
same way, the second
thread is carried over
the first. The damask
stitches are described in
the next chapter, in figs.
<a href="chapter_4.html#fig_143">143</a> and <a href="chapter_4.html#fig_144">144</a>.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/107.jpg" alt="FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG. 105." title="" />
<a name="fig_103" id="fig_103"></a><span class="caption smcap">Fig. 103. Lattice-ground with a portion of square, fig. <a href="#fig_105">105</a>.</span>
</div>
<p><b>Lattice-ground and
damask stitches for
square, fig. <a href="#fig_105">105</a></b> (fig. <a href="#fig_104">104</a>).—Damask,
or gobelin
stitches, are given in figs.
<a href="chapter_4.html#fig_152">152</a>, <a href="chapter_4.html#fig_153">153</a>, <a href="chapter_4.html#fig_154">154</a>. The ground
of this part of the square
(fig. <a href="#fig_104">104</a>) is adorned with
narrow bars, worked in
darning stitch. From the
centre of one bar, proceed
three bars made on
three foundation-threads,
and a fourth made on
two, on account of the
passage to the next bar.</p>
<div class="figcenter" style="width: 417px;">
<img src="images/108.jpg" alt="FIG. 104.
LATTICE-GROUND AND DAMASK STITCH FOR
SQUARE, FIG. 105." title="" />
<a name="fig_104" id="fig_104"></a><span class="caption smcap">Fig. 104.
Lattice-ground and damask stitch for
square, fig. <a href="#fig_105">105</a>.</span>
</div>
<p><b>Quarter of the square in single and cut open-work,
and damask-stitch</b> (fig. <a href="#fig_105">105</a>).—Original size 48 c/m. square.
This handsome square is worked in unbleached cotton on
a white ground; it may also be worked in colours. A very
good effect is produced by using Chiné d'or D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> red,
blue, or green for the gobelin stitch, and a uniform pale tint
for the cut open-work.</p>
<p>Figs. <a href="#fig_101">101</a>, <a href="#fig_102">102</a>, <a href="#fig_103">103</a>, <a href="#fig_104">104</a> illustrate in detail, one quarter of
the square, which is represented here one third of the original
<a name="Page_45" id="Page_45"></a>size. The centre piece (fig. <a href="#fig_104">104</a>) is bordered by four stripes,
two long and two short; the former containing two lozenge-<a name="Page_46" id="Page_46"></a>shaped
open-work figures separated and finished off by damask
stitches; the latter, only one such figure. For the insertion in
single open-work, that recurs three times, you will find a
variety of designs in figs. <a href="#fig_81">81</a>, <a href="#fig_82">82</a>, <a href="#fig_83">83</a>, <a href="#fig_84">84</a>, <a href="#fig_87">87</a>, <a href="#fig_88">88</a>.</p>
<div class="figcenter" style="width: 570px;">
<img src="images/109.jpg" alt="FIG. 105. QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK,
AND DAMASK STITCH." title="" />
<a name="fig_105" id="fig_105"></a><span class="caption"><span class="smcap">Fig. 105. Quarter of the square in single and cut open-work,
and damask stitch.</span><br />
<br />
Original size 48 c/m. square.<br />
<br />
<span class="smcap">Materials</span> suitable for Holbein linen: Fil à pointer D.M.C No. 15 or 20, and Coton
à repriser D.M.C No. 25. <a href="#Footnote_A" class="fnanchor">[A]</a> <br />
<br />
For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C
No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in place of the latter,
Coton à broder surfin D.M.C No. 190.<a href="#Footnote_A" class="fnanchor">[A]</a> </span>
</div>
<p><b>Drawing in the pattern</b> (fig. <a href="#fig_106">106</a>).—Darning in the threads,
as you do into a net foundation is a slower process and one
that requires greater skill than drawing them in.
The illustration shows the proper order and
direction of
stitches for Fig.
<a href="#fig_108">108</a>. In this case
likewise, the little
bars must be
finished, before
the actual pattern
is filled in.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/110.jpg" alt="FIG. 106. DRAWING IN THE PATTERN.
(Explanation of fig. 108)" title="" />
<a name="fig_106" id="fig_106"></a><span class="caption"><span class="smcap">Fig. 106. Drawing in the pattern.</span><br />
(Explanation of fig. <a href="#fig_108">108</a>)</span>
</div>
<p><b>Darning in the threads</b> (fig. <a href="#fig_107">107</a>)—In
old
needle-work
we often find the
pattern reserved,
that is, left blank
and outlined by
the grounding.
As it is difficult,
especially in executing
minute,
and delicate figures,
to withdraw
the threads partially,
without injuring
the linen
foundation, they
are withdrawn throughout, and new ones drawn in, to form
the pattern. To explain this more clearly, the original threads
of the material are represented in a lighter shade than the new
<a name="Page_47" id="Page_47"></a><a name="Page_48" id="Page_48"></a>ones that are drawn in; the course of the stitches is indicated
in a darker shade.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_107" id="fig_107"></a><img src="images/111.jpg" alt="FIG. 107. DARNING IN THE THREADS.
(Explanation of fig. 109)." title="" />
<span class="caption"><span class="smcap">Fig. 107. Darning in the threads.</span><br />
(Explanation of fig. <a href="#fig_109">109</a>).</span>
</div>
<p><b>Broad insertion in cut open-work, with the pattern
drawn in</b> (fig. <a href="#fig_108">108</a>).—This insertion, suitable according to the
foundation it is worked on, for the decoration either of curtains,
table-covers, bed-linen or underclothing, is made as shown
in fig. <a href="#fig_106">106</a>. If intended for the decoration of any article made
of white linen, we recommend
unbleached materials for the
lattice-work, and bleached
for the pattern, to bring it
out in strong relief.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/112.jpg" alt="FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN DRAWN IN." title="" />
<a name="fig_108" id="fig_108"></a><span class="caption smcap">Fig. 108. Broad insertion in cut open-work, with pattern drawn in.</span>
</div>
<p><b>Insertion in cut open-work,
with pattern darned
in</b> (fig. <a href="#fig_109">109</a>).—This insertion
can be introduced into
any kind of linen material,
and used for ornamenting
towels, aprons, bed-linen
and table-linen. When it is
used to connect bands of
cross-stitch embroidery, the
open-work should be of the
same colour as the embroidery,
and the pattern worked
in white or unbleached cotton,
to correspond with the
foundation. In fig. <a href="#fig_109">109</a>, the
pattern is half as large again
as in the original.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/113.jpg" alt="FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN." title="" />
<a name="fig_109" id="fig_109"></a><span class="caption"><span class="smcap">Fig. 109. Insertion in cut open-work, with pattern darned in.</span><br />
<br />
<span class="smcap">Materials</span>—For Holbein linen: Fil à pointer D.M.C No. 15 or 20, Cordonnet 6 fils
D.M.C No. 8, 10 or 15 for the bars.—Coton à tricoter D.M.C No. 16 or Coton à
repriser D.M.C No. 12 or 25 for darning or drawing in the pattern.<br />
<br />
For finer linens: Fil à dentelle D.M.C Nos. 25 to 30, or Cordonnet 6 fils D.M.C
Nos. 25 to 40 for the bars and Coton à repriser D.M.C No. 50 for darning or
drawing in the pattern.</span>
</div>
<p><a name="patterns_for_cut_open_work" id="patterns_for_cut_open_work"></a><b>Cut open-work pattern</b> (figs. <a href="#fig_110">110</a> and <a href="#fig_111">111</a>).—This pattern,
more of the nature of lace than any of the former, is well
adapted for trimming, not only household articles but also
church furniture, altar-cloths and the like, which are required
to wash, as it can be worked in any width.</p>
<p>Fig. <a href="#fig_110">110</a>, a magnified representation of the work in process
of execution, shows alternately, ten threads withdrawn each
way and six left, with open spaces between. The arcs are
<a name="Page_49" id="Page_49"></a><a name="Page_50" id="Page_50"></a>worked over three carefully laid threads, carried across from
the middle of one bar to the middle of the bar at right angles
to it, the wheels on the other hand are begun and finished at
the same corner. Overcast the cut edges, and hem-stitch the
outside layer of stuff (figs. <a href="#fig_61">61</a> and <a href="#fig_62">62</a>).</p>
<div class="figcenter" style="width: 188px;">
<img src="images/114.jpg" alt="FIG. 110.
CUT OPEN-WORK PATTERN." title="" />
<a name="fig_110" id="fig_110"></a><span class="caption"><span class="smcap">Fig. 110.
Cut open-work pattern.</span><br />
Fig. <a href="#fig_111">111</a> in process of execution.</span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/115.jpg" alt="FIG. 111. CUT OPEN-WORK PATTERN." title="" />
<a name="fig_111" id="fig_111"></a><span class="caption"><span class="smcap">Fig. 111. Cut open-work pattern.<br />
Materials:</span> Fil à pointer D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to
50 or Fil à dentelle D.M.C Nos. 25 to 50.</span>
</div>
<p><b>Greek cut open-work pattern</b> (fig. <a href="#fig_112">112</a>).—After the foregoing
explanations, no difficulty will be found in copying the
beautiful Greek cut open-work pattern, illustrated in fig. <a href="#fig_112">112</a>.
Here, we have in the original, 48 threads drawn out in the
middle, both ways, from one straight bar to another,
(these bars being darned) with open spaces between; and
in the lower and narrower division, 21 threads drawn out
each way. The cut edges, from bar to bar, are hem-stitched
on both sides, leaving four threads of the stuff between.</p>
<p>The long bars, in the second figure, are button holed on
both sides, those with the picots, on one side only.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/116.jpg" alt="FIG. 112. GREEK CUT OPEN-WORK PATTERN." title="" />
<a name="fig_112" id="fig_112"></a><span class="caption"><span class="smcap">Fig. 112. Greek cut open-work pattern.<br />
Materials:</span> Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d'Alsace D.M.C Nos. 20 to
100 or Fil à dentelle D.M.C Nos. 25 to 50.</span>
</div>
<hr style='width: 45%;' />
<p class="center"><a href="./chapter_4.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>
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