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The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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<p><a name="Page_51" id="Page_51"></a></p>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 600px;">
<img src="images/117.jpg" alt="NET STRIPE, IN IMITATION OF BRUSSELS LACE." title="" />
<span class="caption smcap">Net stripe, in imitation of brussels lace.</span>
</div>
<hr style="width: 65%;" />
<h2><a name="Net_and_damask_stitches" id="Net_and_damask_stitches"></a>Net and damask stitches.</h2>
<p>Many net embroidery patterns and damask stitches consist
of a combination of ordinary running and darning, others of
chain, stem and cross stitch.</p>
<p><b><a name="Net_embroidery" id="Net_embroidery"></a>Net embroidery.</b>—All these kinds of stitches can be
worked on the coarse Greek net, as it is called, as well as on
the finest quality of real Brussels net.</p>
<p>Stripes of net, finished off with button-hole edging, and
ornamented with one or other of the following patterns, make
very pretty washing laces and the like; net laid upon Irish
point and converted by needlework into a lace ground, makes
an excellent substitute for a hand-made ground, which demands
much labour and time.</p>
<p><b>Materials suitable for net embroidery.</b>—The choice of
material must be determined by the quality of the net and the
effect to be produced. For a coarse make of net and a very
marked pattern, the lowest numbers of D.M.C cottons, or the
narrowest braids, such as Soutache D.M.C Nos. 1, 2, 3 should
be used; if the net be fine and the pattern a delicate one,
then the higher numbers of the following are preferable: Coton
à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25
to 70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle
D.M.C Nos. 25 to 50, Coton à broder surfin D.M.C Nos. 100,
120, 150. The latter must be adjusted to the required size
<a name="Page_52" id="Page_52"></a>before being used, that is to say as many strands of it
removed, as is necessary in order to reduce it to the proper
thickness.</p>
<p><b>Tracing with running stitches</b> (fig. <a href="#fig_113">113</a>).—Have your
pattern traced on linen or paper; tack the net upon it, and copy
it carefully on the net with running stitches. As in darning,
the stitches must run first above and then beneath, alternating
in each succeeding row. At the turn of the lines, the stitches
cross each other, as shown in
the illustration.</p>
<p><a name="fig_113" id="fig_113"></a></p>
<div class="figcenter" style="width: 600px;">
<img src="images/118.jpg" alt="FIG. 113. TRACING WITH RUNNING STITCHES." title="" />
<span class="caption smcap">Fig. 113. Tracing with running stitches.</span>
</div>
<p><b><a name="Net_pattern" id="Net_pattern"></a>Net pattern</b> (fig. <a href="#fig_114">114</a>).—Here
too the pattern is traced
with running stitches, which
are run in on both sides of
each row of meshes. The
thread is carried first to the
right, and then to the left,
under every alternate bar of
the net and out again. Between
the first and second rows, one
thread of the foundation must
be left uncovered. In the next
row, the thread is carried back again, so that it encircles each
mesh. In the third row, the thread passes under the same bar
<a name="Page_53" id="Page_53"></a>of net as in the second, the threads touching each other. The
fourth row is a repetition of the first.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/119.jpg" alt="FIG. 114. NET PATTERN." title="" />
<a name="fig_114" id="fig_114"></a><span class="caption smcap">Fig. 114. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_115">115</a>).—This consists of two rows of
stitches. In the first, the single stitches run diagonally from
left to right, over and under a mesh; in the second row the
triple stitches, also carried diagonally across a mesh, lie from
right to left.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/120.jpg" alt="FIG. 115. NET PATTERN." title="" />
<a name="fig_115" id="fig_115"></a><span class="caption smcap">Fig. 115. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_116">116</a>).—Begin with a double row, as in
fig. <a href="#fig_114">114</a>; this is followed by a row of cross-stitch, touching
the others, for which the thread has to be carried, first under
one of the straight bars of the
mesh and then diagonally,
across it. A second, similar row
of stitches backwards, completes
the crosses. This can be
further varied by the introduction
of a row of triple stitches,
after the double row, as in fig. <a href="#fig_115">115</a>, and the repetition of the
two first only.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/121.jpg" alt="FIG. 116. NET PATTERN." title="" />
<a name="fig_116" id="fig_116"></a><span class="caption smcap">Fig. 116. Net pattern.</span>
</div>
<p>These rows can also be
worked in two colours, or in
white thread and washing gold.</p>
<p><b>Net pattern</b> (fig. <a href="#fig_117">117</a>).—Begin at the top, carrying the
<a name="Page_54" id="Page_54"></a>thread, first under and then over two bars and a mesh, and
then underneath as before. In the second as in the first row,
the threads must be drawn in, so that 4 threads always meet
in one mesh, and two run parallel to each other through the
same mesh.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/122.jpg" alt="FIG. 117. NET PATTERN." title="" />
<a name="fig_117" id="fig_117"></a><span class="caption smcap">Fig. 117. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_118">118</a>).—This pattern, which resembles
fig. <a href="#fig_117">117</a> in the execution, is thickened by triple stitches. Above,
where in the preceding row three threads were laid, the thread
should be single.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/123.jpg" alt="FIG. 118. NET PATTERN." title="" />
<a name="fig_118" id="fig_118"></a><span class="caption smcap">Fig. 118. Net pattern.</span>
</div>
<p>Very pretty varieties are to be obtained by the introduction
of several colours. Take white, for instance, for the first row,
and different shades of the same colour for the second, third,
fourth and fifth rows; such as, Bleu-Lapis 345, 344, 343, 333,
342,<a href="#Footnote_A" class="fnanchor">[A]</a> or Rouge-Cardinal 348, 305, 304, 347, 346,<a href="#Footnote_A" class="fnanchor">[A]</a> or
Rouge-Géranium, Brun-Caroubier or any other colour that is
absolutely fast.</p>
<p><b>Net pattern</b> (fig. <a href="#fig_119">119</a>).—After one row of cross-stitch, such
as was described in fig. <a href="#fig_116">116</a>, add a second, carrying the thread
under the bar that lies between the first stitches, so that the
two rows only cover three threads of the net. The close bands
of cross-stitch must be divided from each other by one row of
net bars.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/124.jpg" alt="FIG. 119. NET PATTERN." title="" />
<a name="fig_119" id="fig_119"></a><span class="caption smcap">Fig. 119. Net pattern.</span>
</div>
<p><a name="Page_55" id="Page_55"></a></p>
<p><b>Net pattern</b> (fig. <a href="#fig_120">120</a>).—Draw the thread twice backwards
and forwards, as in darning, through one row of meshes. In
the next, make four stitches over one mesh and two bars.
After the fourth stitch, the thread is carried forward under
two bars to the next group. The meshes filled in thus are
divided from each other by two double rows of darning
stitches. Here you may introduce a variety in the colour, using
either white and unbleached, or unbleached and pale blue, or
some other combination of the kind.</p>
<div class="figcenter" style="width: 293px;">
<img src="images/125.jpg" alt="FIG. 120. NET PATTERN." title="" />
<a name="fig_120" id="fig_120"></a><span class="caption smcap">Fig. 120. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_121">121</a>).—Make
three diagonal stitches
over three bars and two meshes,
then returning to the mesh
out of which the first stitches
come, make three more in the
opposite direction. In the second
row, the stitches meet in
the same mesh as those of
the first.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/126.jpg" alt="FIG. 121. NET PATTERN." title="" />
<a name="fig_121" id="fig_121"></a><span class="caption smcap">Fig. 121. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_122">122</a>).—Carry
the thread upwards from
below, over a bar of the net, then pass it horizontally under
another bar and carrying it downwards, pass it under a diagonal
bar and cover the other three. In the second row, your
<a name="Page_56" id="Page_56"></a>loops must be turned the opposite way. When the whole
foundation is finished, run a thread over the whole surface
and overcast it. A good effect is produced by using white and
unbleached cottons, in alternate rows.</p>
<div class="figcenter" style="width: 279px;">
<img src="images/127.jpg" alt="FIG. 122. NET PATTERN." title="" />
<a name="fig_122" id="fig_122"></a><span class="caption smcap">Fig. 122. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_123">123</a>).—This pattern consists of one row
of overcasting, one of stitches like those described in fig. <a href="#fig_114">114</a>,
and one of cross-stitch, as in fig. <a href="chapter_1.html#fig_39">39</a>, running diagonally across
the stuff. Besides the cottons already mentioned, washing gold
thread (Or fin D.M.C pour la broderie), may be used for the
overcasting. Dead gold introduced into simple needlework of
this kind enlivens it extremely.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/128.jpg" alt="FIG. 123. NET PATTERN." title="" />
<a name="fig_123" id="fig_123"></a><span class="caption smcap">Fig. 123. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_124">124</a>).—Three kinds of stitches are required
for this pattern. In the first row the stitch lies crossed
underneath the net; in the second, 3 stitches are made
over one mesh, the first and the last of which are carried
across three meshes. In the third row, button-hole stitches
are carried from right to left over two diagonal bars, in such
a manner that the thread is drawn through the mesh facing
the loops, and the next stitch comes out under the loop of
the preceding one.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/129.jpg" alt="FIG. 124. NET PATTERN." title="" />
<a name="fig_124" id="fig_124"></a><span class="caption smcap">Fig. 124. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_125">125</a>).—Fill in every other diagonal row
of meshes with chain stitch, inserting the needle into the same
mesh it came out of, so that the thread lies in front of the needle,
in a loop. The rows of chain stitch may be made with two or
<a name="Page_57" id="Page_57"></a>three rows of meshes between them. Even the diagonal lines
by themselves, make a very pretty foundation for other stitches.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/130.jpg" alt="FIG. 125. NET PATTERN." title="" />
<a name="fig_125" id="fig_125"></a><span class="caption smcap">Fig. 125. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_126">126</a>).—The first row worked from left
to right, consists of three loop stitches upwards and three
downwards, each over one bar. In the second row, divided
from the first by one row of stitches, the inner loops must be
turned towards each other; in the third, the outer ones. Any of
the stitches, already described, can be introduced into this
pattern to enliven it.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/131.jpg" alt="FIG. 126. NET PATTERN." title="" />
<a name="fig_126" id="fig_126"></a><span class="caption smcap">Fig. 126. Net pattern.</span>
</div>
<p><b>Net insertions</b> (figs. <a href="#fig_127">127</a> and <a href="#fig_128">128</a>).—These two, as well as
the subsequent patterns, are most of them worked in darning
stitch and simple overcasting.</p>
<p>The scallops in fig. <a href="#fig_127">127</a> are formed of darning stitches,
<a name="Page_58" id="Page_58"></a>over 4, 3, 2 and 1 mesh, respectively. In the intervening space,
which is five meshes wide, the stitch shown in fig. <a href="#fig_118">118</a>, may
be introduced.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/132.jpg" alt="FIG. 127. NET INSERTION." title="" />
<a name="fig_127" id="fig_127"></a><span class="caption smcap">Fig. 127. Net insertion.</span>
</div>
<p>In repeating the pattern, the stitches forming the scallops,
must be made to run in the opposite direction. Instead of the
thread, simply drawn through the middle, little stars like
those described in fig. <a href="#fig_134">134</a>, have a very pretty effect.</p>
<p>In fig. <a href="#fig_128">128</a>, the thread is first carried round one mesh and
then on to the next scallop. In the second scallop, which turns
the opposite way, the thread is carried once more round
the last mesh after the
pyramid is completed, and
then on, to the next figure.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/133.jpg" alt="FIG. 128. NET INSERTION." title="" />
<a name="fig_128" id="fig_128"></a><span class="caption smcap">Fig. 128. Net insertion.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_129">129</a>).—This
checked pattern is
also worked in darning
stitch. Carry the thread, as
in fig. <a href="#fig_125">125</a>, through every
second row of meshes. When
the bottom rows are all
finished, the upper ones are
worked across them in the
same way. Here the stitches
may, if preferred, be distributed
more sparingly. But
if they are set wider apart,
the spaces between should be
filled up in some way. Little
dots, made of Coton à repriser
D.M.C, will answer the purpose best.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/134.jpg" alt="FIG. 129. NET PATTERN." title="" />
<a name="fig_129" id="fig_129"></a><span class="caption smcap">Fig. 129. Net pattern.</span>
</div>
<p><b>Net insertions</b> (figs. <a href="#fig_130">130</a>, <a href="#fig_131">131</a>,
<a href="#fig_132">132</a>).—These three patterns are
specially suitable, for insertions,
neck-tie lappets and the
like, in the place of crochet,
pillow, and other kinds of lace.
Both design and stitch are clearly
enough represented in the sub<a name="Page_59" id="Page_59"></a>joined
figure for further explanation to be unnecessary. All
three should be worked with rather coarse cotton, and Soutache
D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (braid) drawn in, produces an excellent effect.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/135.jpg" alt="FIG. 130. NET INSERTION." title="" />
<a name="fig_130" id="fig_130"></a><span class="caption smcap">Fig. 130. Net insertion.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/136.jpg" alt="FIG. 131. NET INSERTION." title="" />
<a name="fig_131" id="fig_131"></a><span class="caption smcap">Fig. 131. Net insertion.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/137.jpg" alt="FIG. 132. NET INSERTION." title="" />
<a name="fig_132" id="fig_132"></a><span class="caption smcap">Fig. 132. Net insertion.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_133">133</a>).—These delicate little figures can
be worked into a close pattern, or can be strewn singly over
the surface. The closer you set the stitches, the more clear and
distinct the stars will be. The thread must be drawn in to the
centre mesh from without, so as to be invisible if possible, and
then back again to the outside when the stitches are finished.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/138.jpg" alt="FIG. 133. NET PATTERN." title="" />
<a name="fig_133" id="fig_133"></a><span class="caption smcap">Fig. 133. Net pattern.</span>
</div>
<p><b>Net pattern</b> (fig. <a href="#fig_134">134</a>).—These flowerets have a very pretty
effect, set either singly, or in double or triple rows, and are
very useful for filling up gaps or supplementing rows.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/139.jpg" alt="FIG. 134. NET PATTERN." title="" />
<a name="fig_134" id="fig_134"></a><span class="caption smcap">Fig. 134. Net pattern.</span>
</div>
<p><a name="Page_60" id="Page_60"></a></p>
<p><b>Net pattern</b> (fig. <a href="#fig_135">135</a>).—These star-shaped figures, their
longest stitch covering three straight bars and two meshes,
the shortest, three diagonal bars and two meshes, may like
the above flowerets, be ranged closely together in rows, so that
four stitches, two horizontal and two vertical ones, meet in
one mesh. Cotton of two
colours should be used, in
order that the figures may
be distinct from each other:
white and unbleached are the
best, in cases where bright
colours would be unsuitable.</p>
<div class="figcenter" style="width: 250px;">
<img src="images/140.jpg" alt="FIG. 135. NET PATTERN." title="" />
<a name="fig_135" id="fig_135"></a><span class="caption smcap">Fig. 135. Net pattern.</span>
</div>
<p><b>Net insertion</b> (fig. <a href="#fig_136">136</a>).—These
diamonds make a very
pretty grounding either set separately,
or in a continuous
pattern. The design is slight,
nevertheless, when it is worked
in coarse cotton, the effect is exceedingly
handsome, especially if the inside, in addition
to the star here given,
be enriched with ordinary
darning-stitches,
worked in fine gold
thread, as we have
already mentioned.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/141.jpg" alt="FIG. 136. NET INSERTION." title="" />
<a name="fig_136" id="fig_136"></a><span class="caption smcap">Fig. 136. Net insertion.</span>
</div>
<p><b>Net tracery with border</b> (fig. <a href="#fig_137">137</a>).—In
order to bring out
the pattern and the
colours, use instead
of cotton, Soutache
D.M.C, or Lacets
surfins D.M.C. Both
are to be had in all the colours, given in the list of colours of
the D.M.C threads and cottons. The little border can be used in
conjunction with any of the preceding patterns, but care must
<a name="Page_61" id="Page_61"></a><a name="Page_62" id="Page_62"></a>be taken not to let it get twisted in the working. To prevent
this, slip a coarse needle under the last stitch, and draw the
braid flat over it.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/142.jpg" alt="FIG. 137. NET TRACERY WITH BRAIDS." title="" />
<a name="fig_137" id="fig_137"></a><span class="caption"><span class="smcap">Fig. 137. Net tracery with braids.<br />
Materials:</span> Soutache D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.</span>
</div>
<p><b>Broad net lace tracery</b> (fig. <a href="#fig_138">138</a>).—The pattern of this
pretty lace must first be transferred to stout paper, or oil-cloth.
All the leaves and stalks, and the buttonholing round the
open centres of the flowers, are worked in a pale green, the
two bottom flowers in Turkey red, the star-shaped one in
blue, the calyx in which the stalks unite, in dark red, and the
little bells, in the lightest green.</p>
<div class="figcenter" style="width: 594px;">
<img src="images/143.jpg" alt="FIG. 138. BROAD NET LACE TRACERY." title="" />
<a name="fig_138" id="fig_138"></a><span class="caption"><span class="smcap">Fig. 138. Broad net lace tracery.<br />
Materials:</span> Coton à broder D.M.C No. 30, 35 or 40.—<span class="smcap">Colours:</span> Rouge-Turc 321,
Rouge-Cardinal 346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.</span>
</div>
<p><b><a name="Net_darning" id="Net_darning"></a>Net darning</b>.—We conclude with some directions for
darning net, a valuable art, by means of which many a curious
piece of old needlework is preserved. Coarse and fine net are
all darned in the same way.</p>
<p><b>Laying the first thread</b> (fig. <a href="#fig_139">139</a>).—Tack the net which
is to be darned, closely to the defective part, upon either
oil-cloth or coloured paper and cut the edges straight to the
thread; Your thread must be of exactly the same size, as that
of which the net is made. It takes three rows of stitches to
imitate the net ground; in the first place, as shown in fig. <a href="#fig_139">139</a>, cross-threads must be laid from side to side, carried as
in darning, a little beyond the edges of the hole and so as to
surround each mesh with a slanting stitch.</p><p><a name="Page_63" id="Page_63"></a></p>
<div class="figcenter" style="width: 300px;">
<img src="images/144.jpg" alt="FIG. 139. NET DARNING.
LAYING THE FIRST THREAD." title="" />
<a name="fig_139" id="fig_139"></a><span class="caption smcap">Fig. 139. Net darning.
Laying the first thread.</span>
</div>
<p><b>Laying the second thread</b> (fig. <a href="#fig_140">140</a>).—Secondly, beginning
from one corner, threads are laid diagonally across the first
layer. The cross-threads of the foundation are encircled by a
stitch, made from right to left, the needle is then carried
under the next horizontal bar, and the first layer of threads
is overcast with similar stitches.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/145.jpg" alt="FIG. 140. NET DARNING.
LAYING THE SECOND THREAD." title="" />
<a name="fig_140" id="fig_140"></a><span class="caption smcap">Fig. 140. Net darning.
Laying the second thread.</span>
</div>
<p><b>Laying the third thread</b> (fig. <a href="#fig_141">141</a>).—Thirdly, threads
are carried across the second
and first layers. They must
start, far enough from the edge,
for the second layer of threads
to be overcast at the same time,
so that there may be no loose
threads left on the wrong side.
In this third journey, every
diagonal thread of the foundation
is to be encircled with a
stitch, taken upwards from
below, the cut edges being
strengthened in the same way.
Then, to form the little cross in
the fabric, the thread must be
conducted by means of a second stitch, under the single horizontal
thread, outwards, to the next-diagonal thread.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/146.jpg" alt="FIG. 141. NET DARNING. LAYING THE THIRD THREAD." title="" />
<a name="fig_141" id="fig_141"></a><span class="caption smcap">Fig. 141. Net darning. Laying the third thread.</span>
</div>
<p>In places where the net is worn, it can be strengthened in the
same manner, the stitches being made the way of the stuff.</p>
<p><b><a name="Damask_stitches" id="Damask_stitches"></a>Damask stitches</b>.—As a rule the pattern is simply outlined
with stem and cord stitch, and the inside spaces are left
plain. In spite of the time this simple tracing takes to do, the
effect is rather poor and scanty. If however, the inside of the
leaves and flowers, be filled in with damask stitch, the result
is very handsome.</p>
<p>Not only can the following stitches, which are suitable for any
linen coarse or fine, be used for this kind of embroidery, but
most of the net and lace patterns too, and these combined
with buttonholing and flat stitch produce charming effects.</p>
<p><b>Materials suitable for damask stitches.</b>—All the threads
and cottons used for net work can also be used for damask
<a name="Page_64" id="Page_64"></a>stitches, according to the material and the kind of work. We will
enumerate them once more: Coton à tricoter D.M.C Nos. 8
to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton à broder
D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50,
Coton à broder surfin D.M.C Nos. 100, 120, 150.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p>This kind of embroidery is generally done with a very
coarse needle, to press the threads of the stuff closely together
and make the light spaces between, which appear in many of
the following illustrations.</p>
<p><b>First pattern</b> (fig. <a href="#fig_142">142</a>).—Carry
the needle in a
slanting direction over three
threads and bring it out,
from right to left, under
three perpendicular ones,
then again slanting, over
three threads, from left to
right, and out again underneath
three horizontal ones,
downwards from above.
Thus the first stitch lies
across, from right to left,
the second, lengthways. On
the wrong side, the stitch forms
a regular succession of steps.</p>
<div class="figcenter" style="width: 327px;">
<a name="fig_142" id="fig_142"></a>
<img src="images/147.jpg" alt="FIG. 142. FIRST PATTERN" title="" />
<span class="caption smcap">Fig. 142. First pattern</span>
</div>
<p><b>Second pattern</b> (fig. <a href="#fig_143">143</a>).—This
is worked exactly in the
same manner as fig. <a href="#fig_142">142</a>, only
that the second row of stitches
touches the first, so that two
threads enter and issue from
the same hole.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/148.jpg" alt="FIG. 143. SECOND PATTERN" title="" />
<a name="fig_143" id="fig_143"></a><span class="caption smcap">Fig. 143. Second pattern</span>
</div>
<p><b>Third pattern</b> (fig. <a href="#fig_144">144</a>).—Though
at first sight, this
stitch is very like the Holbein
<a name="Page_65" id="Page_65"></a>or stroke stitch, it is very different in the execution. It is
worked in two rows, to and fro; in the first, you make all
the vertical stitches side by side in the width of the stuff,
drawing your thread very tightly, in the second, coming
back, you make the horizontal
stitches in a straight
line, at right angles to the
first stitches. On the wrong
side the stitches are crossed;
they in thin stuffs,
show through, and quite
alter the appearance of the
right side.</p>
<div class="figcenter" style="width: 350px;">
<img src="images/149.jpg" alt="FIG. 144. THIRD PATTERN." title="" />
<a name="fig_144" id="fig_144"></a><span class="caption smcap">Fig. 144. Third pattern.</span>
</div>
<p><b>Fourth, pattern</b> (fig. <a href="#fig_145">145</a>).—In the first row, the
thread is carried slanting
upwards from right to left,
over two threads, then
downwards under two.
Coming back, the stitches must be set the opposite way, so
that four threads meet in one hole.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/150.jpg" alt="FIG. 145. FOURTH PATTERN." title="" />
<a name="fig_145" id="fig_145"></a><span class="caption smcap">Fig. 145. Fourth pattern.</span>
</div>
<p><b>Fifth pattern</b> (fig. <a href="#fig_146">146</a>).—This is worked like fig. <a href="#fig_145">145</a>,
only that the stitches must cover three threads each way. In
the second row, you take up one thread on the right and two
on the left, to form your stitches.</p><p><a name="Page_66" id="Page_66"></a></p>
<div class="figcenter" style="width: 300px;">
<img src="images/151.jpg" alt="FIG. 146. FIFTH PATTERN." title="" />
<a name="fig_146" id="fig_146"></a><span class="caption smcap">Fig. 146. Fifth pattern.</span>
</div>
<p><b>Sixth pattern</b> (fig. <a href="#fig_147">147</a>).—Here, the stitches form a
chess-board pattern. You begin with a diagonal stitch over
two threads and bring your needle up again into the same line
it started from. The second stitch covers three threads, the
third six, the fourth eight; the next three decrease, successively
in length, in the same proportion.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/152.jpg" alt="FIG. 147. SIXTH PATTERN." title="" />
<a name="fig_147" id="fig_147"></a><span class="caption smcap">Fig. 147. Sixth pattern.</span>
</div>
<p><b>Seventh pattern</b> (fig. <a href="#fig_148">148</a>).—Two kinds of cotton have
to be used for this pattern, one of them soft and flat, like
Colon à repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (darning cotton) or Coton à tricoter
D.M.C (knitting cotton)<a href="#Footnote_A" class="fnanchor">[A]</a> for
the flat stitches, and the other
strongly twisted, like Cordonnet
6 fils D.M.C No. 8, 10, 12 or
15,<a href="#Footnote_A" class="fnanchor">[A]</a> for the cross stitches.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/153.jpg" alt="FIG. 148. SEVENTH PATTERN." title="" />
<a name="fig_148" id="fig_148"></a><span class="caption smcap">Fig. 148. Seventh pattern.</span>
</div>
<p>The five flat stitches cover
three threads in width and six
in height, and lie from right to
left and from left to right. In
the second row, which must be
two threads distant from the
first, the stitches must lie in
the contrary direction. In the
<a name="Page_67" id="Page_67"></a>lozenge-shaped space between, make four cross stitches,
over four threads in height and two in
width.</p>
<p><b>Eighth pattern</b> (figs. <a href="#fig_149">149</a> and <a href="#fig_150">150</a>).—Make
five stitches over 8 horizontal threads,
miss 6 threads and make another 5 stitches.
The groups of long stitches above and
beneath the first row, encroach over two
threads of the first group, so that a space
of only four threads remains between two
groups. The stitch between these groups
is generally known as the rococo
stitch.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/154.jpg" alt="FIG. 149. EIGHTH PATTERN." title="" />
<a name="fig_149" id="fig_149"></a><span class="caption smcap">Fig. 149. Eighth pattern.</span>
</div>
<p>Bring out your needle between
the third and fourth of
these threads, and insert it
again above, drawing it out
afterwards between the second
and third horizontal thread,
and securing the first stitch
with a back stitch. Make the
three remaining stitches, as
explained in fig. <a href="#fig_150">150</a>.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/155.jpg" alt="FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149." title="" />
<a name="fig_150" id="fig_150"></a><span class="caption smcap">Fig. 150. Explanation of the rococo stitch in fig. <a href="#fig_149">149</a>.</span></div>
<p><b>Ninth pattern</b> (fig. <a href="#fig_151">151</a>).—This
consists of straight bands
of flat stitches, covering three
threads each way, with spaces
8 threads wide between, ornamented
with a small pattern in
stroke stitch, (see chapter on
<a href="./chapter_7.html">Tapestry and Linen embroidery</a>).</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_151" id="fig_151"></a>
<img src="images/156.jpg" alt="FIG. 151. NINTH PATTERN." title="" />
<span class="caption smcap">Fig. 151. Ninth pattern.</span>
</div>
<p><b>Damask stitch for figs. <a href="chapter_3.html#fig_103">103</a>
and <a href="chapter_3.html#fig_105">105</a></b> (fig. <a href="#fig_152">152</a>).—The stitches,
here represented on a large scale,
form the border to the square in
cut open-work in fig. <a href="chapter_3.html#fig_105">105</a>. The long diagonal stitches, on
either side, can be made to look fuller and more distinct, by
using a soft, coarse cotton.</p><p><a name="Page_68" id="Page_68"></a></p>
<div class="figcenter" style="width: 250px;">
<img src="images/157.jpg" alt="FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105." title="" />
<a name="fig_152" id="fig_152"></a><span class="caption smcap">Fig. 152. Damask stitch for figs. <a href="chapter_3.html#fig_103">103</a> and <a href="chapter_3.html#fig_105">105</a>.</span></div>
<p><b>Tenth and eleventh patterns</b> (figs. <a href="#fig_153">153</a> and <a href="#fig_154">154</a>).—The
former of these is used for filling in the short stripe in fig. <a href="chapter_3.html#fig_105">105</a>, the second for the long inside one. Fig. <a href="#fig_153">153</a> is clear
enough to need no explanation;
with reference to fig. <a href="#fig_154">154</a>, it is
however as well to point out that
the shortest stitch should cover
4 threads and the longest 12,
the rest is easily learnt from the
illustration. This is a very suitable
design for the decoration of large
surfaces and combines well with
any running diagonal pattern,
when it can be made to form a
large star which can be worked
as a separate figure.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/158.jpg" alt="FIG. 153.
TENTH PATTERN. DAMASK STITCH FOR
FIGS. 104 AND 105." title="" />
<a name="fig_153" id="fig_153"></a><span class="caption smcap">Fig. 153.
Tenth pattern. Damask stitch for
figs. <a href="chapter_3.html#fig_104">104</a> and <a href="chapter_3.html#fig_105">105</a>.</span>
</div>
<div class="figcenter" style="width: 300px;">
<img src="images/159.jpg" alt="FIG. 154.
ELEVENTH PATTERN. DAMASK STITCH
FOR FIG. 105." title="" />
<a name="fig_154" id="fig_154"></a><span class="caption smcap">Fig. 154.
Eleventh pattern. Damask stitch
for fig. <a href="chapter_3.html#fig_105">105</a>.</span>
</div>
<p><b>Twelfth pattern</b> (fig. <a href="#fig_155">155</a>).—In
cases where this and the
following stitches are to be
executed on a light, transparent
stuff, it is best to use a very
strongly twisted thread, such
as Fil d'Alsace D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> or, Fil
à dentelle D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> instead of
a softer and looser material. A
stiff thread compresses the
threads of the stuff better and
the open spaces, thus made in
it, are rendered more visible.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/160.jpg" alt="FIG. 155. TWELFTH PATTERN." title="" />
<a name="fig_155" id="fig_155"></a><span class="caption smcap">Fig. 155. Twelfth pattern.</span>
</div>
<p>Count 6 threads vertically,
put in the needle and draw
it through from right to left,
underneath 3 diagonal threads. For the next stitch, carry it
upwards over 6 threads, and back under 3. The second row is
worked back over the first in the same way. Leave 6 threads
between each row.</p>
<p><a name="Page_69" id="Page_69"></a></p>
<p><b>Thirteenth pattern</b> (fig. <a href="#fig_156">156</a>).—Carry the thread, from
right to left over four vertical threads, and under the same
number of horizontal ones. The second row of stitches touches
the first, so that the thread it is worked with seems to be
drawn through under the same threads of the stuff, as the one
the first row was worked with.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/161.jpg" alt="FIG. 156. THIRTEENTH PATTERN." title="" />
<a name="fig_156" id="fig_156"></a><span class="caption smcap">Fig. 156. Thirteenth pattern.</span>
</div>
<p><b>Fourteenth pattern</b> (fig. <a href="#fig_157">157</a>).—Here, the stitches, contrary
to those in fig. <a href="#fig_147">147</a>, are set vertically. The first stitch
covers 2 threads, the second 6, the third 10, the fourth 14, the
fifth 18. The longest stitches of two checks always meet in the
same hole.</p><p><a name="Page_70" id="Page_70"></a></p>
<div class="figcenter" style="width: 300px;">
<img src="images/162.jpg" alt="FIG. 157. FOURTEENTH PATTERN." title="" />
<a name="fig_157" id="fig_157"></a><span class="caption smcap">Fig. 157. Fourteenth pattern.</span>
</div>
<p><b>Fifteenth pattern</b> (fig. <a href="#fig_158">158</a>).—Cover the whole expanse
with rows of stitches, such as are described in fig. <a href="#fig_155">155</a>, with
intervals of 12 threads between them.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/163.jpg" alt="FIG. 158. FIFTEENTH PATTERN." title="" />
<a name="fig_158" id="fig_158"></a><span class="caption smcap">Fig. 158. Fifteenth pattern.</span>
</div>
<p>These rows are intersected by others, to which the thread
is passed, from between the sixth and seventh of the 12 threads
between the first rows. Where the stitches of the two rows
meet, the working thread of the second row must be drawn
through, under that of the first.</p>
<p><b>Sixteenth pattern</b> (fig. <a href="#fig_159">159</a>).—Between every two rows of
cross-stitch, leave an interval of 6 threads, counting those on
each side of the rows. Over these 6 threads work 2 rows, as
shown in fig. <a href="#fig_148">148</a>, but so, that in the second, the lower
stitch of the first row and the upper one of the second, cover
the same threads.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/164.jpg" alt="FIG. 159. SIXTEENTH PATTERN." title="" />
<a name="fig_159" id="fig_159"></a><span class="caption smcap">Fig. 159. Sixteenth pattern.</span>
</div>
<p><b>Seventeenth pattern</b> (fig. <a href="#fig_160">160</a>).—This consists of stripes,
4 stitches wide, like those of fig. <a href="#fig_155">155</a>, with 3 threads between,
which are overcast in the ordinary manner.</p>
<div class="figcenter" style="width: 283px;">
<img src="images/165.jpg" alt="FIG. 160. SEVENTEENTH PATTERN." title="" />
<a name="fig_160" id="fig_160"></a><span class="caption smcap">Fig. 160. Seventeenth pattern.</span>
</div>
<p><b>Eighteenth pattern</b> (fig. <a href="#fig_161">161</a>).—Small squares of 7
stitches, inclined alternately, to the right and left, and so
formed, that the longest stitch of one square is crossed by the
first short stitch of the next, so that a space only 6 threads
wide and 4 long, remains uncovered. The intervening stripes
are filled with 3 rows of overcasting stitches, covering 2
threads each way.</p><p><a name="Page_71" id="Page_71"></a></p>
<div class="figcenter" style="width: 300px;">
<img src="images/166.jpg" alt="FIG. 161. EIGHTEENTH PATTERN." title="" />
<a name="fig_161" id="fig_161"></a><span class="caption smcap">Fig. 161. Eighteenth pattern.</span>
</div>
<p><b>Nineteenth pattern</b> (fig. <a href="#fig_162">162</a>).—The steps formed by
this pattern are 11 stitches high, and 11 wide, and each stitch
covers 4 threads.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/167.jpg" alt="FIG. 162. NINETEENTH PATTERN." title="" />
<a name="fig_162" id="fig_162"></a><span class="caption smcap">Fig. 162. Nineteenth pattern.</span>
</div>
<p>Eight threads intervene between each row of steps, which
are covered at the bend, by a square of stitches, from the last
of which, the thread is carried on at once, to the four single
stitches.</p>
<p><b>Twentieth pattern</b> (fig. <a href="#fig_163">163</a>).—The 4 squares set opposite
to each other, with 2 threads between, are edged all round by
3 rows of overcasting.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/168.jpg" alt="FIG. 163. TWENTIETH PATTERN." title="" />
<a name="fig_163" id="fig_163"></a><span class="caption smcap">Fig. 163. Twentieth pattern.</span>
</div>
<p><b>Twenty-first pattern</b> (fig. <a href="#fig_164">164</a>).—Begin by rows of stitches,
<a name="Page_72" id="Page_72"></a>like those described in fig. <a href="#fig_155">155</a>, over 4 and 2 threads, with
4 threads between, not counting those covered with cross-stitch.
Between the two rows of cross-stitch, join 6 threads
together by a back-stitch, and carry your thread over the two
last of the 6, to the 2 first of the next cluster. The narrow
diagonal stripes are separated by 24 threads, exclusive of those
covered by the cross-stitches. These spaces are filled in with
squares, 10 threads wide and 10 long, formed by back-stitches
crossed on the wrong side.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/169.jpg" alt="FIG. 164. TWENTY-FIRST PATTERN." title="" />
<a name="fig_164" id="fig_164"></a><span class="caption smcap">Fig. 164. Twenty-first pattern.</span>
</div>
<p><b>Twenty-second pattern</b> (fig. <a href="#fig_165">165</a>).—In the closer stuffs,
of a coarse texture, the threads of which do not admit of being
drawn together, as you can those, of a loose thin stuff, where,
<a name="Page_73" id="Page_73"></a>by simply pulling your thread a little tighter you get open
spaces, you must begin by cutting out every fourth or fifth
thread. After which, you overcast all the rows, first one way,
and then the other, with stitches
covering 4 threads, each way.
On this foundation with strong,
loosely-twisted cotton, Coton
à broder D.M.C or Coton à
tricoter D.M.C No. 25, 30, 35,
or 40, make long stitches, as
indicated in the illustration.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/170.jpg" alt="FIG. 165. TWENTY-SECOND PATTERN." title="" />
<a name="fig_165" id="fig_165"></a><span class="caption smcap">Fig. 165. Twenty-second pattern.</span>
</div>
<p><b>Twenty-third pattern</b> (fig. <a href="#fig_166">166</a>.)—From the point where
the thread comes out of the
stuff, make 16 stitches, four
times over, all coming out of
the same hole, over 8, 6, 4 and 6 threads, thus forming a
star. Leave an interval of four threads between the stars, and
unite the intervening threads by cross-stitches one way, and
whip-stitches, the other.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/171.jpg" alt="FIG. 166. TWENTY-THIRD PATTERN." title="" />
<a name="fig_166" id="fig_166"></a><span class="caption smcap">Fig. 166. Twenty-third pattern.</span>
</div>
<p><a name="Page_74" id="Page_74"></a></p>
<p><b>Twenty-fourth pattern</b> (fig. <a href="#fig_167">167</a>).—Make a succession
of diagonal stitches, increasing in length, and advancing one
thread at a time, until the seventh stitch covers seven threads,
and completes the triangle. Then begin a second triangle on
the nearest, adjacent thread.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/172.jpg" alt="FIG. 167. TWENTY-FOURTH PATTERN." title="" />
<a name="fig_167" id="fig_167"></a><span class="caption smcap">Fig. 167. Twenty-fourth pattern.</span>
</div>
<p><b>Twenty-fifth pattern</b> (fig. <a href="#fig_168">168</a>).—Cover your whole surface
with squares of 16 stitches, as in fig. <a href="#fig_147">147</a>, and fill in the
intervening squares with 23 stitches, all radiating from one
centre.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/173.jpg" alt="FIG. 168. TWENTY-FIFTH PATTERN." title="" />
<a name="fig_168" id="fig_168"></a><span class="caption smcap">Fig. 168. Twenty-fifth pattern.</span>
</div>
<p><b>Twenty-sixth pattern</b> (fig. <a href="#fig_169">169</a>).—Diagonal trellised
stripes, made as indicated in fig. <a href="#fig_165">165</a>, and overcast, form the
ground. Twelve threads are to be left between the stripes, upon
which, work six-cornered, lozenge-shaped groups of stitches,
set at right angles to each other, in diagonal rows.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_169" id="fig_169"></a>
<img src="images/174.jpg" alt="FIG. 169. TWENTY-SIXTH PATTERN." title="" />
<span class="caption smcap">Fig. 169. Twenty-sixth pattern.</span>
</div>
<p><b>Twenty-seventh pattern</b> (fig. <a href="#fig_170">170</a>).—We conclude our
chapter with a circular design, which combines a variety of
stitches, and introduces our workers to two new patterns, as
well as to an advantageous way of hiding the junction of
several kinds of stitches by semicircles of button-hole stitching.</p>
<div class="figcenter" style="width: 500px;">
<img src="images/175.jpg" alt="FIG. 170. TWENTY-SEVENTH PATTERN." title="" />
<a name="fig_170" id="fig_170"></a><span class="caption smcap">Fig. 170. Twenty-seventh pattern.</span>
</div>
<hr style='width: 45%;' />
<p class="center"><a href="./chapter_5.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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