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The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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<p><a name="Page_105" id="Page_105"></a></p>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 600px;">
<img src="images/229.jpg" alt="STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND FLATTENED GOLD WIRE." title="" />
<span class="caption smcap">Stripe of gold embroidery in gold thread, purl, and flattened gold wire.</span>
</div>
<hr style="width: 65%;" />
<h2><a name="Flat_stitch_and_Gold_embroidery" id="Flat_stitch_and_Gold_embroidery"></a>Flat stitch and Gold embroidery.</h2>
<p>The terms, flat stitch and gold embroidery, suggest as a
rule, needle-work upon rich materials, such as velvet, brocade,
plush and the like.</p>
<p>Nevertheless, a great deal of beautiful embroidery is to be
met with, in silk and gold thread upon quite common stuffs;
Persian and Moorish embroidery for instance, both remarkable
for their delicacy and minuteness, and executed upon ordinary
linen, or cotton fabrics.</p>
<p>As a fact, the material is quite a secondary matter; almost
any will do equally well as a foundation, for the stitches
described in these pages. Flat stitch, and some of the other
stitches used in gold embroidery, can be worked with any kind
of thread, but best of all with the D.M.C cottons.</p>
<p><b>Flat stitch embroidery</b>.—Decorative designs, and conventional
flowers, are the most suitable for flat stitch
embroidery; a faithful representation of natural flowers should
not be attempted, unless it be so well executed, as to produce
the effect of a painting and thus possess real artistic merit.</p>
<p><b><a name="Encroaching_flat_stitch" id="Encroaching_flat_stitch"></a>Encroaching flat stitch</b> (fig. <a href="#fig_221">221</a>).—Small delicate flowers,
leaves, and arabesques, should in preference, be worked either
in straight flat stitch (figs. <a href="./chapter_5.html#fig_189">189</a> and <a href="./chapter_5.html#fig_190">190</a>) or in encroaching flat
stitch. The stitches should all be of equal length, the length
<a name="Page_106" id="Page_106"></a>to be determined by the quality of the thread; a fine thread
necessitating short, and a coarse one, long stitches. The
stitches should run, one into the other, as shown in the illustration.
They are worked in
rows, those of the second
row encroaching on those of
the first, and fitting into
one another.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_221" id="fig_221"></a>
<img src="images/230.jpg" alt="FIG. 221.
ENCROACHING SATIN STITCH." title="" />
<span class="caption smcap">Fig. 221.
Encroaching satin stitch.</span>
</div>
<p>Work your flowers and
leaves from the point, never
from the calyx or stalk. If
they are to be shaded, begin
by choosing the right shade
for the outside edge, varying
the depth according to the
light in which the object is supposed to be placed. The stitches
should always follow the direction of the drawing.</p>
<p><b><a name="Oriental_stitch" id="Oriental_stitch"></a>Oriental stitch</b> (figs. <a href="#fig_222">222</a>, <a href="#fig_223">223</a>, <a href="#fig_224">224</a>).—The three following
stitches, which we have grouped under one heading, are known
also, under the name of Renaissance or Arabic stitches. We
have used the term Oriental, because they are to be met with
in almost all Oriental needlework and probably derive their
origin from Asia, whose inhabitants have, at all times, been
renowned for the beauty of their embroideries.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/231.jpg" alt="FIG. 222. ORIENTAL STITCH." title="" />
<a name="fig_222" id="fig_222"></a><span class="caption smcap">Fig. 222. Oriental stitch.</span>
</div>
<p>These kind of stitches are only suitable for large, bold
designs. Draw in the vertical threads first; in working with a
<a name="Page_107" id="Page_107"></a>soft, silky material, to economise thread, and prevent the embroidery
from becoming too heavy, you can begin your second
stitch close to where the first ended.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/232.jpg" alt="FIG. 223. ORIENTAL STITCH." title="" />
<a name="fig_223" id="fig_223"></a><span class="caption smcap">Fig. 223. Oriental stitch.</span>
</div>
<p>But if the thread be one that is liable to twist, take it back
underneath the stuff and begin your next stitch in a line
with the first, so that all the stitches of the first layer, which
form the grounding, are carried from the top to the bottom.
The same directions apply to figs. <a href="#fig_223">223</a>, <a href="#fig_224">224</a> and <a href="#fig_226">226</a>.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/233.jpg" alt="FIG. 224. ORIENTAL STITCH." title="" />
<a name="fig_224" id="fig_224"></a><span class="caption smcap">Fig. 224. Oriental stitch.</span>
</div>
<p>When you have laid your vertical
threads, stretch threads
horizontally across, and fasten
them down with isolated stitches,
set six vertical threads apart.
The position of these fastening
stitches on the transverse threads
must alternate in each row, as
indicated in fig. <a href="#fig_222">222</a>.</p>
<p>For fig. <a href="#fig_223">223</a>, make a similar
grounding to the one above described,
laying the horizontal threads a little closer together,
and making the fastening stitches over two threads.</p>
<p>In fig. <a href="#fig_224">224</a>, the second threads are carried diagonally across
the foundation-threads, and the fastening stitches are given a
similar direction.</p>
<p>For these stitches, use either one material only, a fleecy
thread like Coton à repriser D.M.C for instance, or else two,
<a name="Page_108" id="Page_108"></a>such as Coton à repriser D.M.C for
the grounding, and a material with a
strong twist like Cordonnet 6 fils
D.M.C or Fil à pointer D.M.C for
the stem stitch.</p>
<p><b><a name="Plaited_stitch" id="Plaited_stitch"></a>Plaited stitch</b> (fig. <a href="#fig_225">225</a>).—When
the vertical stitches are laid, a kind
of plait is formed in the following
way. Pass the thread three times,
alternately under and over three foundation
threads. To do this very
accurately, you must take the thread
back, underneath, to its starting-point;
and consequently, always make your
stitch from right to left.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/234.jpg" alt="FIG. 225. PLAITED STITCH." title="" />
<a name="fig_225" id="fig_225"></a><span class="caption smcap">Fig. 225. Plaited stitch.</span>
</div>
<p>If you have chosen a washing
material, and D.M.C cottons to work
with, use one colour of cotton for the
foundation, and Chiné d'or D.M.C
No. 30, for the plaited stitch.</p>
<p><b>Mosaic stitch</b> (fig. <a href="#fig_226">226</a>).—In old
embroideries we often find this stitch,
employed as a substitute for plush or
other costly stuffs, appliquéd on to
the foundation. It is executed in the
same manner as the four preceding
stitches, but can only be done in thick
twist, such as Cordonnet 6 fils D.M.C
or Ganse turque D.M.C.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/235.jpg" alt="FIG. 226. MOSAIC STITCH." title="" />
<a name="fig_226" id="fig_226"></a><span class="caption smcap">Fig. 226. Mosaic stitch.</span>
</div>
<p>Each stitch should be made separately,
and must pass underneath
the foundation, so that the threads
which form the pattern are not flat,
as they are in the preceding examples,
but slightly rounded.</p>
<p><a name="Page_109" id="Page_109"></a></p>
<p><b>Border in <a name="Persian_stitch" id="Persian_stitch"></a>Persian stitch</b> (fig. <a href="#fig_227">227</a>).—This stitch, of
Persian origin, resembles the one represented in fig. <a href="./chapter_5.html#fig_175">175</a>.
Instead of bringing the needle out, however, as indicated in
fig. <a href="./chapter_5.html#fig_176">176</a>, take it back as you see in the illustration, to the
space between the outlines of the drawing, and behind the
thread that forms the next stitch. Before filling in the pattern,
outline it with short stem stitches, or a fine cord, laid on,
and secured with invisible stitches.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/236.jpg" alt="FIG. 227. BORDER IN PERSIAN STITCH" title="" />
<a name="fig_227" id="fig_227"></a><span class="caption"><span class="smcap">Fig. 227. Border in persian stitch.<br />
Materials:</span> Cordonnet 6 fils D.M.C No. 14, 15, 20 or 25.<br />
<span class="smcap">Colours:</span> Noir grand Teint 310, Vert-Mousse 469 and 471, Rouge-Cardinal 346,
Jaune-vieil-Or 680, Violet-Mauve 315 and 316.</span>
</div>
<p>This graceful design which can be utilised in various ways
is formed of leaves of 7 lobes, worked alternately in dark and
light green; of flowers of 3 petals, worked in red and the
centres in yellow, and of small leaves in violet. The setting,
throughout, is worked either in black or in dark brown.</p>
<p><b>Stripe worked in flat stitch</b> (fig. <a href="#fig_228">228</a>).—This pattern,
simple as it is, will be found both useful and effective for the
trimming of all kinds of articles of dress. The bottom edge
should be finished off with rounded scallops or toothed vandykes
worked in button-hole stitch. The flowers in flat stitch,
<a name="Page_110" id="Page_110"></a>are worked alternately, in Rouge-Géranium 351 and 352, and
the leaves alternately, in Vert-de-gris 474 and 475; the centres
of the flowers are worked in knot stitch, in Jaune-Rouille 308.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/237.jpg" alt="FIG. 228. STRIPE WORKED IN FLAT STITCH." title="" />
<a name="fig_228" id="fig_228"></a><span class="caption"><span class="smcap">Fig. 228. Stripe worked in flat stitch.<br />
Materials</span>—According to the stuff: Fil à dentelle D.M.C, Cordonnet 6 fils
D.M.C or Coton à repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>—For the flowers: Rouge-Géranium 351 and 352.—For the knot stitch:
Jaune-Rouille 308.—For the foliage: Vert-de-gris 474 and 475.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Bouquet in <a name="straight_and_encroaching_flat_stitch" id="straight_and_encroaching_flat_stitch"></a>straight and encroaching flat stitch</b> (fig. <a href="#fig_229">229</a>).
As we have already observed, it is by no means easy to
arrange the colours in an embroidery of this kind, so as to
obtain a really artistic effect. Whether the design be a conventional
one or not, the great point is to put in the lights and
shadows at the right place. If you want to make a faithful
copy of a natural flower, take the flower itself, or a coloured
botanical drawing of it, and if possible, a good black and white
drawing of the same, match the colours in 6 or 7 shades, by the
<a name="Page_111" id="Page_111"></a>flower itself, keeping them all rather paler in tone, and take
the black and white drawing as a guide for the lights and
shadows. The colours for the leaves and petals, which should
always be worked from the outside, should be chosen with
a view to their blending well together. The stamens and
the centres of the flowers should be left to the last, but the
veins and ribs of the leaves, should always be put in before
the grounding.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/238.jpg" alt="FIG. 229. BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH" title="" />
<a name="fig_229" id="fig_229"></a><span class="caption"><span class="smcap">Fig. 229. Bouquet in straight and encroaching flat stitch.<br />
Materials:</span> Coton à repriser D.M.C No. 50.<br />
<span class="smcap">Colours</span>—For the forget-me-nots: Bleu-Indigo 312, 322 and 334.—For the
other flowers: Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache
369.—For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471
and 472.—For the stalks: Brun-Havane 455 and 457.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>For embroideries of this kind, suitable materials must be
selected; the more delicate and minute the design, and the
more varied the colouring, the softer and finer should be the
quality of the material employed. Specially to be recommended,
as adapted to every form of stitch and as being each of them
capable of being subdivided,
are Filoselle, Marseille, open
Chinese silk and Coton à
repriser D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p><b>Flowers embroidered in
the <a name="Chinese_manner" id="Chinese_manner"></a>Chinese manner</b> (fig. <a href="#fig_230">230</a>).—All Chinese embroidery
displays undoubted originality
and wonderful skill
and judgment in the choice of
material and colour. It excels
particularly, in the representation
of figures, flowers, and
animals, but differs from European
work in this, that instead of using flat stitch and
making the colours blend together as we do, the Chinese put
them, side by side, without intermediate tones, or they sometimes
work the whole pattern in knot stitch. The little knots,
formed by this stitch are generally set in gold thread.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/239.jpg" alt="FIG. 230.
FLOWERS EMBROIDERED IN THE CHINESE
MANNER." title="" />
<a name="fig_230" id="fig_230"></a><span class="caption smcap">Fig. 230.
Flowers embroidered in the chinese
manner.</span>
</div>
<p>Often too, instead of combining a number of colours, as
we do, the Chinese fill in the whole leaf with long stitches and
upon this foundation, draw the veins in a different stitch and
colour. Even the flowers, they embroider in the same way, in
<a name="Page_112" id="Page_112"></a>very fine thread, filling in the whole ground first, with stitches
set very closely together and marking in the seed vessels afterwards,
by very diminutive knots, wide apart.</p>
<p><b>Chinese encroaching flat stitch</b> (fig. <a href="#fig_231">231</a>).—Another easy
kind of embroidery, common in China, is done in encroaching
flat stitch. The branch represented in our drawing, taken from
a large design, is executed in three shades of yellow, resembling
those of the Jaune-Rouille series on the D.M.C colour card.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<div class="figcenter" style="width: 400px;">
<a name="fig_231" id="fig_231"></a>
<img src="images/239a.jpg" alt="FIG. 231 CHINESE ENCROACHING FLAT STITCH" title="" />
<span class="caption"><span class="smcap">Fig. 231. Chinese encroaching flat stitch.<br />
Materials:</span> Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chiné d'or D.M.C.<br />
<span class="smcap">Colours</span>—For the cotton: Jaune-Rouille 363, 308, 366.—For Chiné d'or:
Red and gold, blue and gold, green and gold.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The stitches of the different rows encroach upon one another,
as the working detail shows, and the three shades
alternate in regular succession. Flowers, butterflies and birds
<a name="Page_113" id="Page_113"></a>are represented in Chinese embroidery, executed in this manner.
It is a style, that is adapted to stuffs of all kinds, washing
materials as well as others, and can be worked in the hand
and with any of the D.M.C threads and cottons.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p><b><a name="Raised_embroidery" id="Raised_embroidery"></a>Raised embroidery</b> (figs. <a href="#fig_232">232</a> and <a href="#fig_233">233</a>).—Raised embroidery
worked in colours, must be stuffed or padded first, like the
white embroidery in fig. <a href="./chapter_5.html#fig_191">191</a>. If you outline your design with
a cord, secure it on the right side with invisible stitches, untwisting
the cord slightly as you insert your needle and thread,
that the stitch may be hidden between the strands. Use Coton
à repriser D.M.C No. 25, for the padding. These cottons are
to be had in all the colours,
indicated in the D.M.C
colour card, and are the
most suitable for the kind
of work.</p>
<div class="figcenter" style="width: 500px;">
<a name="fig_232" id="fig_232"></a><a name="fig_233" id="fig_233"></a>
<div class="figleft" style="width: 200px;">
<img src="images/239b.jpg" alt="FIG. 232. RAISED EMBROIDERY.
PREPARATORY WORK." title="" />
<span class="caption smcap">Fig. 232. Raised embroidery.
Preparatory work.</span>
</div>
<div class="figright" style="width: 200px;">
<img src="images/239c.jpg" alt="FIG. 233. RAISED EMBROIDERY.
WORK COMPLETED." title="" />
<span class="caption smcap">Fig. 233. Raised embroidery.
Work completed.</span>
</div>
</div>
<p>Use Coton à broder
D.M.C for the transverse
stitches and over the smooth
surface which is thus formed,
work close lines of
satin stitch in silk or cotton;
the effect produced, will
bear more resemblance to
appliqué work than to embroidery.
The centres of
the flowers are filled in with
knot stitches, which are
either set directly on the
stuff or on an embroidered
ground.</p>
<p><b>Embroidery in the
<a name="Turkish_style" id="Turkish_style"></a>Turkish style</b> (figs. <a href="#fig_234">234</a>
and <a href="#fig_235">235</a>).—This again is a
style of embroidery different
from any we are accustomed to. The solid raised parts are
<a name="Page_114" id="Page_114"></a>first padded with common coarse cotton and then worked over
with gold, silver, or silk thread.</p>
<p>Contrary to what is noticeable in the real Turkish embroidery,
the preparatory work here is very carefully done, with
several threads of Coton à repriser D.M.C used as one. A
rope of five threads is laid down, and carried from right to
left and from left to right, across the width of the pattern.
After laying it across to the right, as explained in fig. <a href="#fig_234">234</a>,
bring the needle out a little beyond the space occupied by
the threads, insert it behind them and passing it under the
stuff, draw it out at the
spot indicated by the arrow.
The stitch that secures the
threads, should be sufficiently
long to give them a
little play, so that they
may lie perfectly parallel,
side by side, over the whole
width of the pattern.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/240.jpg" alt="FIG. 234. EMBROIDERY IN THE TURKISH STYLE.
PREPARATORY WORK." title="" />
<a name="fig_234" id="fig_234"></a><span class="caption smcap">Fig. 234. Embroidery in the turkish style.
Preparatory work.</span>
</div>
<p>This kind of work can
be done on wollen or cotton
materials, and generally
speaking, with D.M.C cottons,
and gold thread shot
with colour (Chiné d'or
D.M.C.)</p>
<p>Very pretty effects can
be obtained, by a combination
of three shades of
Rouge-Cardinal 347, 346
and 304, with Chiné d'or
gold and dark blue or with
Chiné d'or, gold and light
blue.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p>This kind of embroidery may be regarded as the transition
from satin stitch to gold embroidery.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/241.jpg" alt="FIG. 235. EMBROIDERY IN THE TURKISH STYLE
WORK COMPLETED." title="" />
<a name="fig_235" id="fig_235"></a><span class="caption smcap">Fig. 235. Embroidery in the turkish style.
Work completed.</span>
</div>
<p><a name="Page_115" id="Page_115"></a></p>
<p><b><a name="Gold_embroidery" id="Gold_embroidery"></a>Gold embroidery</b>.—Up to the present time, dating from
the end of the eighteenth century, gold embroidery has been
almost exclusively confined to those who made it a profession;
amateurs have seldom attempted what, it was commonly supposed,
required an apprenticeship of nine years to attain any
proficiency in.</p>
<p>But now, when it is the fashion to decorate every kind of
fancy article, whether of leather, plush, or velvet, with monograms
and ingenious devices of all descriptions, the art of
gold embroidery has revived and is being taken up and practised
with success, even by those to whom needlework is
nothing more than an agreeable recreation.</p>
<p>We trust that the following directions and illustrations
will enable our readers to dispense with the five years training,
which even now, experts in the art consider necessary.</p>
<p><b>Implements and materials</b>.—The first and needful requisites
for gold embroidery, are a strong frame, a spindle,
two pressers, one flat and the other convex, a curved knife, a
pricker or stiletto, and a tray, to contain the materials.</p><p><a name="Page_116" id="Page_116"></a></p>
<p><b>Embroidery frame</b> (fig. <a href="#fig_236">236</a>).—The frame, represented
here, is only suitable for small pieces of embroidery, for larger
ones, which have to be done piece by piece, round bars on
which to roll up the stuff, are desirable, as sharp wooden
edges are so apt to mark the stuff.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/242.jpg" alt="FIG. 236. EMBROIDERY FRAME FOR GOLD EMBROIDERY." title="" />
<a name="fig_236" id="fig_236"></a><span class="caption smcap">Fig. 236. Embroidery frame for gold embroidery.</span>
</div>
<p>Every gold embroidery, on whatever material it may be
executed, requires a stout foundation, which has to be sewn
into the frame, in doing which, hold the webbing loosely,
almost in folds, and stretch the stuff very tightly. Sew on a
stout cord to the edges of the foundation, which are nearest
the stretchers, setting the stitches, 3 or 4 c/m. apart. Then
put the frame together and stretch the material laterally to its
fullest extent, by passing a piece of
twine, in and out through the cord
at the edge and over the stretchers.
Draw up the bracing until the foundation
is strained evenly and tightly.
Upon this firm foundation lay the
stuff which you are going to embroider,
and hem or herring-bone
it down, taking care
to keep it perfectly even
with the thread of the
foundation and, if possible,
more tightly stretched
to prevent it from
being wrinkled or puckered
when you come to take it off the backing. For directions how to
transfer the pattern to your stuff, and prepare the paste with
which the embroidery has to be stiffened before it is taken out
of the frame, see the concluding chapter in the book.</p>
<p><b>The spindle</b> (fig. <a href="#fig_237">237</a>).—The spindle to wind the gold
thread upon, should be 20 c/m. long and made of hard wood.
Cover the round stalk and part of the prongs with a double
<a name="Page_117" id="Page_117"></a>thread of Coton à broder D.M.C No. 16, or pale yellow Cordonnet
D.M.C No. 25, and terminate this covering with a
loop, to which you fasten the gold thread that you wind
round the stalk.</p>
<div class="figcenter" style="width: 500px;">
<img src="images/243.jpg" alt="FIG. 237. THE SPINDLE." title="" />
<a name="fig_237" id="fig_237"></a><span class="caption smcap">Fig. 237. The spindle.</span>
</div>
<p><b>The pressers</b> (figs. <a href="#fig_238">238</a> and <a href="#fig_239">239</a>).—These, so called 'pressers',
are small rectangular boards with a handle in the middle.
The convex one, fig. <a href="#fig_238">238</a>, should be 15 c/m. long by 9 broad;
the other, fig. <a href="#fig_239">239</a>, which is quite flat, should be 32 c/m. by 20.</p>
<div class="figcenter" style="width: 400px;">
<a name="fig_238" id="fig_238"></a><a name="fig_239" id="fig_239"></a>
<div class="figleft" style="width: 150px;">
<img src="images/244.jpg" alt="FIG. 238.
CONVEX PRESSER, FOR PRESSING
THE STUFF ON THE WRONG SIDE." title="" />
<span class="caption smcap">Fig. 238.
Convex presser, for pressing
the stuff on the wrong side.</span>
</div>
<div class="figright" style="width: 200px;">
<img src="images/245.jpg" alt="FIG. 239.
FLAT PRESSER FOR LAYING ON THE PATTERN." title="" />
<span class="caption smcap">Fig. 239.
Flat presser for laying on the pattern.</span>
</div>
</div>
<p>Having cut out your
pattern in cartridge paper,
lay it down, on the wrong
side, upon a board thinly
spread with embroidery
paste. Let it get thoroughly
impregnated with the paste
and then transfer it carefully
to its proper place on the stuff; press it closely down with
the large presser, and with the little convex one rub the stuff
firmly, from beneath,
to make
it adhere closely
to the pasted
pattern; small,
pointed leaves and
flowers will be
found to need sewing
down besides,
as you will
observe in fig. <a href="#fig_242">242</a>, where each
point is secured
by stitches. The
embroidery should not be begun until the paste is perfectly
dry, and the pattern adheres firmly to the stuff.</p>
<p><b>The knife</b> (fig. <a href="#fig_240">240</a>).—Most gold embroideries require a
foundation of stout cartridge paper, and, in the case of very
delicate designs, the paper should further be covered with kid,
pasted upon it.</p><p><a name="Page_118" id="Page_118"></a></p>
<div class="figcenter" style="width: 300px;">
<img src="images/246.jpg" alt="FIG. 240. THE KNIFE. REDUCED SCALE." title="" />
<a name="fig_240" id="fig_240"></a><span class="caption smcap">Fig. 240. The knife. Reduced scale.</span>
</div>
<p>Transfer the design on to the paper or kid, in the
manner described in the concluding chapter, and cut it out
with the knife.
You can only
make very
short incisions
with this tool,
which should
be kept extremely
sharp
and held, in
cutting, with
the point outwards,
and the
rounded part
towards you,
as shown in
the drawing.</p>
<p><b>Tray to
contain the
materials</b> (fig. <a href="#fig_241">241</a>).—Cut out as many divisions in a thin board, or
sheet of stout cardboard, as you will require materials for
your embroidery; these include not only gold thread
of all kinds,
but likewise
beads and
spangles of all
sorts and sizes
as well as
bright and
dead gold and
silver purl, or
bullion, as it
is also called.
For the pieces of purl alone, which should be cut ready to
hand, you should have several divisions, in order that the
different lengths may be kept separate.</p>
<div class="figcenter" style="width: 350px;">
<img src="images/247.jpg" alt="FIG. 241. TRAY TO CONTAIN THE MATERIALS." title="" />
<a name="fig_241" id="fig_241"></a><span class="caption smcap">Fig. 241. Tray to contain the materials.</span>
</div>
<p><a name="Page_119" id="Page_119"></a></p>
<p><b>Use of the spindle</b> (fig. <a href="#fig_242">242</a>).—Gold embroidery thread
should be wound double upon the spindle. It is laid backwards
and forwards and secured with two stitches at each
turn, as described in fig. <a href="#fig_234">234</a>. Small holes where the stitches
are to come, have first to be pierced in the material with the
pricker, from the right side, for the needle to pass through.
In soft stuffs, this is unnecessary, but in brocaded materials,
and in plush and leather, where every prick shows and would
often spoil the whole effect, it is indispensable.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/248.jpg" alt="FIG. 242. USE OF THE SPINDLE" title="" />
<a name="fig_242" id="fig_242"></a><span class="caption smcap">Fig. 242. Use of the spindle</span>
</div>
<p>Gold thread which is stiff and difficult to work with, can
be rendered soft and pliable by putting it into the oven, or
any other warm place, for a short time.</p>
<p><b><a name="Embroidery_with_gold_purl" id="Embroidery_with_gold_purl"></a>Embroidery with gold purl</b> (fig. <a href="#fig_243">243</a>).—Embroidery
is the easiest kind of gold embroidery; you
have only to thread the little pieces of purl, cut into the
required lengths beforehand, like beads on your needle, and
fasten them down upon the foundation like the beads in bead-work.
Smooth and crimped gold purl, or silver and gold purl
used together, look exceedingly well, particularly where the
pattern requires effects of light and shade to be reproduced.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/249.jpg" alt="FIG. 243. EMBROIDERY WITH GOLD PURL." title="" />
<a name="fig_243" id="fig_243"></a><span class="caption smcap">Fig. 243. Embroidery with gold purl.</span>
</div>
<p><b>Embroidery in diamond stitch</b> (fig. <a href="#fig_244">244</a>).—The diamond
stitch is a charming novelty in gold embroidery.
Short lengths of purl, not more than
1-1/2 m/m. long, are threaded on the
needle, and the needle is put in and drawn
out at the same hole. These stitches which
resemble knot stitches, form so many little
glittering knots, turned alternately to the
right and left, and look like seed-diamonds
in appearance, more especially, when they
are made in silver purl. The shorter the
pieces are, and the more closely you set the
knots together, the handsomer and richer
the effect will be.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/250.jpg" alt="FIG. 244. DIAMOND STITCH." title="" />
<a name="fig_244" id="fig_244"></a><span class="caption smcap">Fig. 244. Diamond stitch.</span>
</div>
<p><b><a name="Chinese_gold_embroidery" id="Chinese_gold_embroidery"></a>Chinese gold embroidery</b> (figs. <a href="#fig_245">245</a>
and <a href="#fig_246">246</a>).—We recommend the imitation of Chinese gold
embroidery to our readers as an easy and grateful recreation.
It consists simply in laying down a gold thread, on a deli<a name="Page_120" id="Page_120"></a><a name="Page_121" id="Page_121"></a><a name="Page_122" id="Page_122"></a>cately
outlined pattern and securing it by stitches. It can be done
on any material, washing or other, the costliest as well as the
most ordinary.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/251.jpg" alt="FIG. 245. CHINESE GOLD EMBROIDERY. First part." title="" />
<a name="fig_245" id="fig_245"></a><span class="caption"><span class="smcap">Fig. 245. Chinese gold embroidery.</span> First part.</span>
</div>
<p>For a washing material use, Or fin D.M.C pour la broderie,
No. 20, 30 or 40,<a href="#Footnote_A" class="fnanchor">[A]</a>
which, as it washes
perfectly, is well adapted
for the embroidery
of wearing apparel,
and household linen.
Plain gold thread and
gold thread with a
thread of coloured silk
twisted round it, are
very effective used together.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/252.jpg" alt="FIG. 245. Second part" title="" />
<span class="caption"><span class="smcap">Fig. 245.</span> Second part</span>
</div>
<p>Thus in fig. <a href="#fig_245">245</a>,
the trees, foliage and
flowers, are worked in
plain gold, the grasses,
in gold shot with green,
the butterflies in gold
with red, the two birds
in gold with dark blue,
and gold with light blue.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/253.jpg" alt="FIG. 246. CHINESE GOLD EMBROIDERY. First part." title="" />
<a name="fig_246" id="fig_246"></a><span class="caption"><span class="smcap">Fig. 246. Chinese gold embroidery.</span> First part.</span>
</div>
<p>Two threads of gold
should be laid down
side by side and secured
by small catching
stitches, set at regular
intervals from one another,
and worked in
Fil d'Alsace D.M.C No. 200,<a href="#Footnote_A" class="fnanchor">[A]</a> of the same colour. Where the
design requires it, you may separate the gold threads, and
work with one alone.</p>
<p>The second specimen of Chinese embroidery, fig. <a href="#fig_246">246</a>,
<a name="Page_123" id="Page_123"></a>resembles the first, as far as materials and execution are concerned,
but the design is different. The grotesque animals,
flowers and shells it represents, can be worked separately, or
connected together so as to form a running pattern.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/254.jpg" alt="FIG. 246. Second part." title="" />
<span class="caption"><span class="smcap">Fig. 246.</span> Second part.</span>
</div>
<p><b>Stripe worked in various stitches</b> (fig. <a href="#fig_247">247</a>).—All the
designs described thus far, are worked in the same way, but
the stripe now presented to our readers introduces them to
several kinds of gold thread, and a variety of stitches. The
small, turned-back petals of the flowers are worked in plain
gold thread, and outlined with crimped; the rest of the petals
are worked in darning stitch, with plain gold thread. The
latticed leaves are edged with picots, worked with bright
purl. The other parts of the design are all worked with a
double gold thread, the stalks in dead gold, the leaves in
crimped. The gold thread is secured by overcasting stitches
in gold-coloured thread, Jaune d'or 667, but it looks very well
if you use black or red thread for fastening the crimped gold
and dark or light green for the leaves and tendrils.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/255.jpg" alt="FIG. 247. STRIPE WORKED IN VARIOUS STITCHES." title="" />
<a name="fig_247" id="fig_247"></a><span class="caption smcap">Fig. 247. Stripe worked in various stitches.</span>
</div>
<p><b>Gold embroidery on a foundation of cords</b> (fig. <a href="#fig_248">248</a>).—In
the old ecclesiastical embroideries, especially those representing
the figures of saints, we often find thick whip cords
used as a foundation, instead of cardboard, for the good reason
that the stiff cardboard does not give such soft and rounded contours
as a cord foundation, which will readily take every bend
and turn that you give to it. In the following illustrations, we
have adhered strictly to the originals, as far as the manner of
working the surface is concerned, but have substituted for
the cord, which in their case has been used for the foundation,
Cordonnet 6 fils D.M.C No. 1, which is better for
padding than the grey whip cord, as it can be had in white or
yellow, according to whether it is intended to serve as a
foundation to silver or gold work.</p>
<div class="figcenter" style="width: 200px;">
<a name="fig_248" id="fig_248"></a>
<img src="images/256.jpg" alt="FIG. 248
EMBROIDERY IN FLATTENED GOLD
WIRE AND PURL." title="" />
<span class="caption smcap">Fig. 248.
Embroidery in flattened gold
wire and purl.</span>
</div>
<p>Lay down as many cords as are necessary to give the design
the requisite thickness, in many cases up to 8 or 10 m/m. in
height, taking care to lay them closely and solidly in the centre,
and graduate them down at the sides and ends. When you
have finished the foundation, edge it with a thick gold cord,
such as Cordonnet d'or D.M.C No. 6 and then only begin the
<a name="Page_124" id="Page_124"></a>actual embroidery, all the directions just given, applying merely
to the preparatory work.</p>
<p>Only four of the many stitches that are already in use and
might be devised are described here. For the pattern, represented
in fig. <a href="#fig_248">248</a>, flattened gold or silver wire is necessary,
which should be cut into pieces, long enough to be turned in
at the ends so as to form a little
loop through which the thread
that fastens them down is passed.
Over each length of gold or silver
wire small lengths of purl are
laid at regular intervals, close
enough just to leave room for the
next stitch, the pieces of one row,
alternating in position with those
of the preceding one.</p>
<p><b>Plaited stitch in gold purl
on a cord foundation</b> (fig. <a href="#fig_249">249</a>).
—Distribute the stitches as in
the previous figure, substituting
purl, for the flattened gold wire,
and covering the purl with short lengths of gold thread of
the same kind. All these stitches may be worked in gold and
silver thread, mixed or in the one, or the other alone.</p><p><a name="Page_125" id="Page_125"></a></p>
<div class="figcenter" style="width: 200px;">
<img src="images/257.jpg" alt="FIG. 249.
PLAITED STITCH IN GOLD
PURL ON A CORD FOUNDATION." title="" />
<a name="fig_249" id="fig_249"></a><span class="caption smcap">Fig. 249.
Plaited stitch in gold
purl on a cord foundation.</span>
</div>
<p><b>Scale stitch worked in gold thread and purl on a cord
foundation</b> (fig. <a href="#fig_250">250</a>).—Begin by covering the whole padded
surface with gold or silver thread, then sew on short lengths
of purl, long enough to cover six or eight threads, 2 or 3 m/m.
apart, as shown in the engraving. These stitches in dead gold
purl are then surrounded by shining or crimped purl.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/258.jpg" alt="FIG. 250.
SCALE STITCH IN GOLD THREAD
AND PURL ON A CORD FOUNDATION." title="" />
<a name="fig_250" id="fig_250"></a><span class="caption smcap">Fig. 250.
Scale stitch in gold thread
and purl on a cord foundation.</span>
</div>
<p>You bring out the working thread to the left of the purl
stitch, which you take on your needle, put the needle in on the
other side, draw it out above the little stroke, and secure
the crimped purl with an invisible stitch.</p>
<p><b>Conventional flower worked on a cord foundation</b>
(fig. <a href="#fig_251">251</a>).—The half finished flower, represented here, was
<a name="Page_126" id="Page_126"></a>copied from a handsome piece of ecclesiastical embroidery
enriched with ornament of this kind. The three foregoing
stitches and a fourth, are employed in its composition. The
finished portions on the left hand side, are executed in silver
and gold purl, whilst the egg-shaped heart of the flower is
formed of transverse threads, carried over the first padding,
and secured by a stitch between the two cords. In the subsequent
row, the catching stitch is set between the cords, over
which the first gold threads were carried.</p>
<div class="figcenter" style="width: 500px;">
<img src="images/259.jpg" alt="FIG. 251. CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION." title="" />
<a name="fig_251" id="fig_251"></a><span class="caption"><span class="smcap">Fig. 251. Conventional flower worked on a cord foundation.<br />
Materials.</span>—For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5 or
Fil à pointer D.M.C No. 10.—For sewing on the gold thread and purl:
Soie de coton D.M.C No. 50 or 70, Fil à dentelle D.M.C on reels Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The heavier the design is, the thicker your padding should
be, and cords a good deal thicker than those which are represented
in the drawing should be used, as the more light and
shade you can introduce into embroidery of this kind, the
greater will be its beauty and value.</p>
<hr style='width: 45%;' />
<p class="center"><a href="./chapter_7.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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