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The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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<p><a name="Page_127" id="Page_127"></a></p>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 600px;">
<img src="images/260.jpg" alt="INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE PATTERN LEFT BLANK." title="" />
<span class="caption smcap">Insertion in cross stitch, alike on both sides, the pattern left blank.</span>
</div>
<hr style="width: 65%;" />
<h2><a name="Tapestry_and_Linen_Embroidery" id="Tapestry_and_Linen_Embroidery"></a>Tapestry and Linen Embroidery.</h2>
<p>Tapestry is one of the oldest kinds of needlework and
one which has always been popular every where.</p>
<p>There are two distinct sorts of canvas in use for tapestry,
called respectively, 'plain (single thread) canvas', and
'Penelope (double thread) canvas'. The latter is generally preferred,
because it is easier to count the stitches upon it, but
both make an equally good foundation for the embroidery, as
the following examples will show.</p>
<p>Besides canvas, other fabrics bearing a close resemblance
to it, are often used, especially Java linen, the close texture of
which renders grounding unnecessary.</p>
<p>Cloth, velvet or plush can also be overlaid with canvas,
the threads of which are pulled away after the pattern is
finished. For work of this kind, we however prefer a material
with less dressing, such as a twisted tammy, or Colbert linen,
because the pulling out of the harsh rough threads of the canvas
is very apt to injure the material beneath.</p>
<p>Stitches, worked upon two stuffs, must be drawn very tight,
or they will look loose and untidy when the auxiliary fabric
is taken away.</p>
<p>Tapestry can be done either in a frame, or in the hand; in
the latter case, the ends of the piece of canvas should be
weighted with stones or lead, to prevent its puckering.</p><p><a name="Page_128" id="Page_128"></a></p>
<p>The stitches, which ought completely to hide the canvas,
should all lean one way and the underneath ones always from
left to right, as the letters in writing.</p>
<p><b><a name="Marking_out_the_embroidery_ground" id="Marking_out_the_embroidery_ground"></a>Marking out the embroidery ground</b> (fig. <a href="#fig_252">252</a>).—Before
beginning a piece of canvas work and tacking on the auxiliary
fabric, count how many stitches it will contain, and mark them
out in tens, with a coloured thread, as shown in fig. <a href="#fig_252">252</a>, along
two sides at least, in the length and breadth. Having ascertained
the number of stitches both ways, divide them in two, and
starting each time
from the middle
stitch, trace two
lines, one horizontal,
the other vertical,
right across the canvas.
The point of
intersection will be
the centre. This
sort of ground-plan
will be found most
useful, and should
not be pulled out
until, at least, half
the work be finished.
If moreover,
you have corners
to work, or a pattern
to reverse, in the angle of a piece of embroidery, trace a
diagonal line besides, from the corner to the centre.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/261.jpg" alt="FIG. 252. MARKING OUT THE EMBROIDERY GROUND." title="" />
<a name="fig_252" id="fig_252"></a><span class="caption smcap">Fig. 252. Marking out the embroidery ground.</span>
</div>
<p><b>Materials suitable for tapestry</b>.—Hitherto, wool and silk,
were the materials chiefly used for canvas work; a very thick
wool for carpets, as being warmer and more durable. Silk is
too delicate a fibre to resist much wear and tear, and cannot
therefore be recommended for articles that are intended for
constant use, and wool, though stronger, is subject to the
destructive agency of moths; whereas cotton, which is cheaper
than both, and quite as brilliant, is free from all these disadvantages
and is extremely easy to clean.</p><p><a name="Page_129" id="Page_129"></a></p>
<p>For most kinds of tapestry we can therefore with perfect
confidence, recommend the use of Coton à tricoter D.M.C
Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to 15, and even
Coton à repriser D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p><b><a name="Cross_stitch" id="Cross_stitch"></a>Cross stitch</b> (fig. <a href="#fig_253">253</a>).—Cross stitch is the foundation of
every other stitch, and the one in most common use. It is also
called marking-stitch, being used for marking linen. It is
worked in two lines. In the first, the thread is carried diagonally
from left to right across a square of threads, and then,
downwards, underneath the two horizontal threads; in the
second, the stitches are carried from the right-hand lower
corner of the square to the upper left-hand corner, so that
the four points of the two stitches form a perfect square.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/262.jpg" alt="FIG. 253. CROSS STITCH." title="" />
<a name="fig_253" id="fig_253"></a><span class="caption smcap">Fig. 253. Cross stitch.</span>
</div>
<p><b>Half cross stitch</b> (fig. <a href="#fig_254">254</a>).—If the cotton is too coarse,
or the canvas too fine, to make the double stitch, carry the
thread back along the whole line and make the half-stitches
<a name="Page_130" id="Page_130"></a>across it, from left to right; the same in the case of a piece of
work, which you buy with</p>
<div class="figcenter" style="width: 150px;">
<img src="images/263.jpg" alt="FIG. 254. HALF CROSS STITCH." title="" />
<a name="fig_254" id="fig_254"></a><span class="caption smcap">Fig. 254. Half cross stitch.</span>
</div>
<p><b>Gobelin stitch on plain canvas</b> (fig. <a href="#fig_255">255</a>).—This is
worked over two horizontal threads and one perpendicular. In
a frame, you can work the second row, from right to left,
otherwise, you must turn the work round, and bring out your
needle behind the last-made stitch.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/264.jpg" alt="FIG. 255. GOBELIN STITCH." title="" />
<a name="fig_255" id="fig_255"></a><span class="caption smcap">Fig. 255. Gobelin stitch.</span>
</div>
<p><b>Gobelin stitch on Penelope canvas</b> (fig. <a href="#fig_256">256</a>).—For the
same stitch on Penelope canvas, you need rather a coarse
needle, which will make its way easily between the threads of
the canvas.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/265.jpg" alt="FIG. 256. GOBELIN STITCH ON PENELOPE
CANVAS." title="" />
<a name="fig_256" id="fig_256"></a><span class="caption smcap">Fig. 256. Gobelin stitch on penelope
canvas.</span>
</div>
<p><b>Reps stitch</b> (fig. <a href="#fig_257">257</a>).—Contrary to Gobelin stitch, this
stitch which is an imitation of reps, is worked in vertical lines,
over two vertical threads and one horizontal one.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/266.jpg" alt="FIG. 257. REPS STITCH." title="" />
<a name="fig_257" id="fig_257"></a><span class="caption smcap">Fig. 257. Reps stitch.</span>
</div>
<p><b>Tent stitch</b> (fig. <a href="#fig_258">258</a>).—This stitch is simply the first half
of a cross or marking stitch, worked over a single thread each
way. The illustration shows the working of a row, from right
to left, the thread being carried forward, underneath the vertical
threads. Tent stitch is used for the most part, in con<a name="Page_131" id="Page_131"></a>junction
with cross stitch, for the more delicate lines and the
shaded parts of flowers and figures.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/267.jpg" alt="FIG. 258. TENT STITCH." title="" />
<a name="fig_258" id="fig_258"></a><span class="caption smcap">Fig. 258. Tent stitch.</span>
</div>
<p><b>Wide Gobelin stitch</b> (fig. <a href="#fig_259">259</a>).—This stitch covers two
vertical and two horizontal threads, and advances one thread at
a time.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/268.jpg" alt="FIG. 259. WIDE GOBELIN STITCH." title="" />
<a name="fig_259" id="fig_259"></a><span class="caption smcap">Fig. 259. Wide gobelin stitch.</span>
</div>
<p><b>Broad cross stitch</b> (fig. <a href="#fig_260">260</a>).—Worked over two vertical
and four horizontal threads, and very useful for filling in large
surfaces as it can be done twice as quickly as the ordinary
cross stitch. It may be varied by turning the crosses first one
way and then the other.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/269.jpg" alt="FIG. 260. BROAD CROSS STITCH." title="" />
<a name="fig_260" id="fig_260"></a><span class="caption smcap">Fig. 260. Broad cross stitch.</span>
</div>
<p><b>Double stitch</b> (fig. <a href="#fig_261">261</a>).—Begin with a simple cross stitch
over every alternate intersection of the threads then make a
second row of stitches between those of the first, but in this
case, over two and six threads, so that they extend beyond the
first each way. In the subsequent rows, a square stitch should
be opposed to a long one and a long stitch to a square one.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/270.jpg" alt="FIG. 261. DOUBLE STITCH." title="" />
<a name="fig_261" id="fig_261"></a><span class="caption smcap">Fig. 261. Double stitch.</span>
</div>
<p><b>Rice stitch</b> (fig. <a href="#fig_262">262</a>).—Fill in the whole ground first, with
large cross stitches, over four threads each way, then upon
these, make the so-called rice stitches. These cross the four
points of the large cross stitches, and meet in the space between,
where they form another cross. The large cross stitches
should be worked in rather coarse cotton, the rice stitches in
one of a finer quality.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/271.jpg" alt="FIG. 262. RICE STITCH." title="" />
<a name="fig_262" id="fig_262"></a><span class="caption smcap">Fig. 262. Rice stitch.</span>
</div>
<p><b>Double stitch, set two ways</b> (fig. <a href="#fig_263">263</a>).—This consists of
diagonal and upright cross stitches, alternately. Work from left
to right, and carry the thread over four vertical threads and
downwards, under two horizontal ones, then diagonally upwards,
over four threads and downwards under two, then again
over four vertical threads, and so on. Coming back, you cross
the first threads, and pass the working thread each time in a
straight line, underneath the two threads of the canvas. The
stitches of the third and fourth rows are set, as the illustration
shows, the opposite way to those of the two first, the thread
being laid the contrary way. Gold thread is generally used for
this second set of stitches; Or fin D.M.C pour la broderie, or
Chiné d'or D.M.C will be found to be the most suitable for the
purpose.<a href="#Footnote_A" class="fnanchor">[A]</a></p><p><a name="Page_132" id="Page_132"></a></p>
<div class="figcenter" style="width: 150px;">
<img src="images/272.jpg" alt="FIG. 263. DOUBLE STITCH SET TWO WAYS." title="" />
<a name="fig_263" id="fig_263"></a><span class="caption smcap">Fig. 263. Double stitch set two ways.</span>
</div>
<p><b>Plait stitch</b> (fig. <a href="#fig_264">264</a>).—It requires great attention to work
this stitch, to and fro; the easier way is to carry the thread
back each time, to the starting point.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/273.jpg" alt="FIG. 264. PLAIT STITCH." title="" />
<a name="fig_264" id="fig_264"></a><span class="caption smcap">Fig. 264. Plait stitch.</span>
</div>
<p>Carry the thread from left to right, over two horizontal
threads, and downwards under four perpendicular ones, then
under two threads, from right to left, as the figure indicates.</p>
<p><b>Stem stitch</b> (fig. <a href="#fig_265">265</a>).—Here, the stitches are worked in
separate rows, over four threads each way. The working
thread passes first under the two middle threads, from right to
left, and then under the two upper ones.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/274.jpg" alt="FIG. 265. STEM STITCH." title="" />
<a name="fig_265" id="fig_265"></a><span class="caption smcap">Fig. 265. Stem stitch.</span>
</div>
<p><b>Leaf stitch</b> (fig. <a href="#fig_266">266</a>).—Carry the thread diagonally over
two double threads each way, and back under one double
thread, to the row whence the stitch started. Make rows of
back-stitches in a different colour between the rows of long ones.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/275.jpg" alt="FIG. 266. LEAF STITCH." title="" />
<a name="fig_266" id="fig_266"></a><span class="caption smcap">Fig. 266. Leaf stitch.</span>
</div>
<p><b>Fish-bone stitch</b> (fig. <a href="#fig_267">267</a>).—The difference between this
and the preceding stitch is, that the working thread after
<a name="Page_133" id="Page_133"></a>passing over three perpendicular and three horizontal threads,
is secured by a back-stitch over the last intersection of the
canvas threads. These back-stitches lean to the right or left,
according to the direction of the long stitches.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/276.jpg" alt="FIG. 267. FISH-BONE STITCH." title="" />
<a name="fig_267" id="fig_267"></a><span class="caption smcap">Fig. 267. Fish-bone stitch.</span>
</div>
<p><b>Diagonal web stitch</b> (fig. <a href="#fig_268">268</a>).—Stretch diagonal threads
across the whole surface you are going to embroider, and secure
them with rows of overcasting stitches, set, if you are working
on Penelope canvas, between the double threads of the canvas.
In the next rows the stitches must be set the opposite way,
which produces the effect of diagonal or twilled cloth.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/277.jpg" alt="FIG. 268. DIAGONAL WEB STITCH." title="" />
<a name="fig_268" id="fig_268"></a><span class="caption smcap">Fig. 268. Diagonal web stitch.</span>
</div>
<p><b>Cashmere stitch</b> (fig. <a href="#fig_269">269</a>).—To imitate this texture in
needlework first make one stitch over one crossing of the
canvas threads, and then two stitches over two crossings.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/278.jpg" alt="FIG. 269. CASHMERE STITCH." title="" />
<a name="fig_269" id="fig_269"></a><span class="caption smcap">Fig. 269. Cashmere stitch.</span>
</div>
<p><b>Florentine stitch</b> (fig. <a href="#fig_270">270</a>).—Florentine stitch is worked
in slanting lines, the thread being carried, diagonally first over
one and then over two double threads of the canvas.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/279.jpg" alt="FIG. 270. FLORENTINE STITCH." title="" />
<a name="fig_270" id="fig_270"></a><span class="caption smcap">Fig. 270. Florentine stitch.</span>
</div>
<p><b>Mosaic stitch</b> (fig. <a href="#fig_271">271</a>).—The first row consists of one short
and one long stitch, alternately; the second, of short stitches
only, set between the long stitches of the first row; the third
row is a repetition of the first, and so on.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/280.jpg" alt="FIG. 271. MOSAIC STITCH." title="" />
<a name="fig_271" id="fig_271"></a><span class="caption smcap">Fig. 271. Mosaic stitch.</span>
</div>
<p><b>Knotted stitch</b> (fig. <a href="#fig_272">272</a>).—Carry the working thread over
two threads in width and six in height, bring the needle back,
four threads lower down, in front of the double threads, and
insert it behind the preceding stitch, and over the middle
threads, and then carry it down to the line of the stitches. In
the subsequent rows, the stitches extend over four threads
and encroach on two of the previous row, so that the stitches
of the second row lie between those of the first.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/281.jpg" alt="FIG. 272. KNOTTED STITCH." title="" />
<a name="fig_272" id="fig_272"></a><span class="caption smcap">Fig. 272. Knotted stitch.</span>
</div>
<p><b>Star, or Smyrna stitch</b> (fig. <a href="#fig_273">273</a>).—- Make a plain cross
stitch over four threads, each way, and then over that, another
cross stitch, standing upright. The same stitch can be made
over six or seven threads; if you work over more than four
threads, it follows that you increase the number of stitches
accordingly.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/282.jpg" alt="FIG. 273. STAR, OR SMYRNA STITCH." title="" />
<a name="fig_273" id="fig_273"></a><span class="caption smcap">Fig. 273. Star, or smyrna stitch.</span>
</div>
<p><b>Rococo stitch</b> (figs. <a href="#fig_274">274</a>, <a href="#fig_275">275</a>, <a href="#fig_276">276</a>).—After fastening in your
thread, lay it over four single or two double threads, as the
case may be, and carry the needle through to the left, under one
double thread; then, as fig. <a href="#fig_274">274</a> shows, bring it back over the
<a name="Page_134" id="Page_134"></a>first stitch, put it in by the side of it, and bring it out below,
under half the horizontal threads covered by the first stitch.
Then make a stitch to the right, similar to the one just made
to the left.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/283.jpg" alt="FIG. 274. ROCOCO STITCH.
FIRST STITCHES ON THE WRONG SIDE." title="" />
<a name="fig_274" id="fig_274"></a><span class="caption smcap">Fig. 274. Rococo stitch.
First stitches on the wrong side.</span>
</div>
<p>When you have finished one stitch, carry the needle under
one thread, in an oblique line, to the next stitch, see fig. <a href="#fig_273">273</a>.
The whole pattern is worked in diagonal lines.</p>
<div class="figcenter" style="width: 350px;">
<a name="fig_275" id="fig_275"></a><a name="fig_276" id="fig_276"></a>
<div class="figleft" style="width: 150px;">
<img src="images/284.jpg" alt="FIG. 275. ROCOCO STITCH.
STITCHES ON THE RIGHT SIDE." title="" />
<span class="caption smcap">Fig. 275. Rococo stitch.
Stitches on the right side.</span>
</div>
<div class="figright" style="width: 150px;">
<img src="images/285.jpg" alt="FIG. 276. ROCOCO STITCH. COMPLETED." title="" />
<span class="caption smcap">Fig. 276. Rococo stitch. Completed.</span>
</div></div>
<p><b>Parisian stitch</b> (fig. <a href="#fig_277">277</a>).—This stitch, though it is generally
worked on silk canvas, can also be worked on the different
cotton and linen materials already referred to more than once in
this Encyclopedia. It makes a very good grounding in cases
where the material is not intended to be completely hidden.
It consists of a long stitch over three threads, and a short
stitch over one thread, alternately.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/286.jpg" alt="FIG. 277. PARISIAN STITCH." title="" />
<a name="fig_277" id="fig_277"></a><span class="caption smcap">Fig. 277. Parisian stitch.</span>
</div>
<p><b>Greek stitch</b> (fig. <a href="#fig_278">278</a>).—This differs from the ordinary
cross stitch, in the oblique inclination given to the threads, and
the manner in which it is begun. Instead of taking up the two
threads that follow the first stitch, you bring your needle back
from right to left, under the vertical threads of the first stitch,
<a name="Page_135" id="Page_135"></a>carry it downwards, and then from right to left, to a distance of
four threads beyond the first stitch. The next stitch is made like
the first. The rows may be joined together, either by the short
or the long stitches, but you must follow one rule throughout.
This stitch is much used in Slavonic countries, for the adornment
of linen garments, and there we have observed that the
short stitches are generally made to encounter the long ones. A
coarse material that covers the ground well, such as, Coton à
tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/287.jpg" alt="FIG. 278. GREEK STITCH." title="" />
<a name="fig_278" id="fig_278"></a><span class="caption smcap">Fig. 278. Greek stitch.</span>
</div>
<p><b>Scotch stitch</b> (fig. <a href="#fig_279">279</a>).—Squares, composed of slanting
stitches, made over one, three, five, three threads respectively,
and then again over one thread, and separated from each
other by rows of Gobelin stitches, constitute what is ordinarily
known by the name of Scotch stitch.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/288.jpg" alt="FIG. 279. SCOTCH STITCH." title="" />
<a name="fig_279" id="fig_279"></a><span class="caption smcap">Fig. 279. Scotch stitch.</span>
</div>
<p><b>Moorish stitch</b> (fig. <a href="#fig_280">280</a>).—For this stitch, instead of surrounding
squares of stitches, made in the way we have just
described, with Gobelin stitch, the squares are made to touch,
rising like steps one above the other, and bordered only at the
sides by Gobelin stitch.</p><p><a name="Page_136" id="Page_136"></a></p>
<div class="figcenter" style="width: 150px;">
<img src="images/288.jpg" alt="FIG. 280. MOORISH STITCH." title="" />
<a name="fig_280" id="fig_280"></a><span class="caption smcap">Fig. 280. Moorish stitch.</span>
</div>
<p><b>Oriental stitch</b> (fig. <a href="#fig_281">281</a>).—Here, you make four diagonal
stitches over one, two, three and four double threads respectively;
which four stitches form so many triangles, one above
the other. The empty spaces between are filled up with Gobelin
stitches covering two threads.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/290.jpg" alt="FIG. 281. ORIENTAL STITCH." title="" />
<a name="fig_281" id="fig_281"></a><span class="caption smcap">Fig. 281. Oriental stitch.</span>
</div>
<p><b>Shell stitch</b> (fig. <a href="#fig_282">282</a>).—Carry your thread upwards over
six horizontal threads, then from right to left, under one vertical
thread and downwards over six horizontal ones. When you
have made four vertical stitches in this way, bring the needle
out behind the third double thread, counted lengthways, and
between the third and fourth, counted across, and fasten the
four long stitches together with a back-stitch, to the middle
thread of the canvas. Draw a thread of a different colour twice
through these back-stitches, so as to form small knots like
shells, and then fill in the ground between the rows of long
stitches, with back-stitches.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/291.jpg" alt="FIG. 282. SHELL STITCH." title="" />
<a name="fig_282" id="fig_282"></a><span class="caption smcap">Fig. 282. Shell stitch.</span>
</div>
<p><b>Jacquard stitch</b> (fig. <a href="#fig_283">283</a>).—If you have a large plain surface
to cover, you should choose a stitch that forms a pattern
in itself. Jacquard stitch and others which we shall describe
later on, will be found to produce the effect of brocaded stuff. To
work Jacquard stitch, make six stitches underneath one another,
over two double threads, and six by the side of one another,
from left to right, over two double threads. The second row
consists of the same number of stitches, similarly worked
downwards and to the side, but over one double thread only.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/292.jpg" alt="FIG. 283. JACQUARD STITCH." title="" />
<a name="fig_283" id="fig_283"></a><span class="caption smcap">Fig. 283. Jacquard stitch.</span>
</div>
<p><b>Byzantine stitch</b> (fig. <a href="#fig_284">284</a>).—Here, you make the same
number of stitches as in the preceding figure but with this
difference, that the two rows of stitches are made either over
two, or four threads.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/293.jpg" alt="FIG. 284. BYZANTINE STITCH." title="" />
<a name="fig_284" id="fig_284"></a><span class="caption smcap">Fig. 284. Byzantine stitch.</span>
</div>
<p><b>Milanese stitch</b> (fig. <a href="#fig_285">285</a>).—In the first row, the back-stitch
is made alternately, first over four diagonal crosses and then
over one; in the second row, over three and two; in the third,
over two and three, in the fourth, over one and four. The last
long stitches should come under the last short ones and the
short ones, in the middle of the last long ones.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/294.jpg" alt="FIG. 285. MILANESE STITCH." title="" />
<a name="fig_285" id="fig_285"></a><span class="caption smcap">Fig. 285. Milanese stitch.</span>
</div>
<p><b>Plush stitch</b> (fig. <a href="#fig_286">286</a>).—This stitch, also called Astrachan
stitch, by means of which a very good imitation of an Oriental
<a name="Page_137" id="Page_137"></a>rug can be produced, consists of loops, each secured by a cross
stitch; the best way to ensure these loops being even and
regular is to make them over a narrow wooden ruler, or a piece
of whalebone.</p>
<p>The effect can be varied by cutting the loops, which gives
the surface the appearance of velvet.</p>
<div class="figcenter" style="width: 200px;">
<img src="images/295.jpg" alt="FIG. 286. PLUSH STITCH." title="" />
<a name="fig_286" id="fig_286"></a><span class="caption smcap">Fig. 286. Plush stitch.</span>
</div>
<p>The illustration represents the middle loops only, as cut, for
the cut and the uncut stitch can both be introduced into the
same piece of embroidery. For example, the borders in
figs. <a href="#fig_290">290</a>, and <a href="#fig_291">291</a>, are worked in open or cut plush stitch,
whilst in the centres, the stitch is left uncut. Two stitches
of a similar kind, called Smyrna and Malta stitch, suitable for
making rugs or carpets, are described in the last chapter but
one in the book.</p><p><a name="Page_138" id="Page_138"></a></p>
<p><b>Chain stitch</b> (fig. <a href="#fig_287">287</a>).—Generally speaking, this stitch is
only used for the adornment of under-linen or small articles of
fancy-work but it can also be employed in copying cross stitch
patterns. In old collections we often meet with very interesting
pieces of needlework, which were used for hangings or screens,
where the figure-subjects, are executed in chain stitch. Patterns
in many colours, gain immensely
by being worked
in this stitch, the
colours blend together
better than in any other,
and even the shape of
the stitch contributes to
soften the contrasts of
colour.</p>
<p>Chain stitch cannot,
like other stitches, be
worked to and fro, nor
can all the stitches of
one row be finished first,
as is generally possible
in cross stitch work, each
row must be begun separately, and always from the same
side, and a different needle should be used for each colour,
as the material has often to be changed.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/296.jpg" alt="FIG. 287. CHAIN STITCH." title="" />
<a name="fig_287" id="fig_287"></a><span class="caption smcap">Fig. 287. Chain stitch.</span>
</div>
<p>The stitch is worked as follows; after fastening in your
thread, insert the needle at the same hole it came out of,
and bring it out two threads lower down. Keep the loop,
formed by the working thread, under the point of the needle.
The thread should not be drawn up tightly but left to
form a rather loose, round loop. For the next stitches, insert
the needle close to the thread that issues from the last loop.</p>
<p><b><a name="Pattern_for_borders" id="Pattern_for_borders"></a>Pattern for borders or grounding</b> (fig. <a href="#fig_288">288</a>).—This simple
but most effective design, copied from one of the most beautiful
of Oriental carpets, can be executed in, either cross stitch,
plush stitch, or chain stitch. To make a wider border still, the
diagonal lines that divide the figures shaped like an S, have
only to be prolonged, and the figures repeated.</p><p><a name="Page_139" id="Page_139"></a></p>
<p>The colours have been chosen with the view of reproducing
as nearly as possible the subdued and faded tones, which time
has imparted to the original.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_297.jpg"><img src="images/297.jpg" alt="FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS." title="" /></a>
<a name="fig_288" id="fig_288"></a><span class="caption"><span class="smcap">Fig. 288. Pattern for borders or groundings.<br />
Materials:</span> Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos.
3 to 15, Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25.<br />
<span class="smcap">Explanation of the signs prefixed to the colours: </span>(<img src="images/297a.jpg" alt="" title="" />) Rouge-Cardinal 346,
(<img src="images/297b.jpg" alt="" title="" />) Rouge-Cornouille 449, (<img src="images/297c.jpg" alt="" title="" />) Bleu-Indigo 311, and (<img src="images/297d.jpg" alt="" title="" />) Bleu-Indigo 322,
(<img src="images/297e.jpg" alt="" title="" />) Gris-Cendre 414, (<img src="images/297f.jpg" alt="" title="" />) Bronze doré 585 and (<img src="images/297g.jpg" alt="" title="" />) Vert-Mousse 470.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Pattern for grounding</b> (fig. <a href="#fig_289">289</a>).—Diagonal lines, intersected
by balls, serve here as a setting for quaintly shaped
flowers and leaves. The outlines are all worked in cross stitch,
and the solid parts, in either tent stitch or Gobelin stitch.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_298.jpg"><img src="images/298.jpg" alt="FIG. 289. PATTERN FOR GROUNDING" title="" /></a>
<a name="fig_289" id="fig_289"></a><span class="caption"><span class="smcap">Fig. 289. Pattern for grounding.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C
Nos. 5 to 15 or Coton à broder D.M.C No. 16. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg" alt="" title="" />) Noir grand Teint 310, (<img src="images/297f.jpg" alt="" title="" />) Jaune
d'Ocre 676, (<img src="images/298b.jpg" alt="" title="" />) Violet-Mauve 315, (<img src="images/298c.jpg" alt="" title="" />) Rouge-Géranium 349, (<img src="images/298d.jpg" alt="" title="" />) Rouge-Aurore 360,
(<img src="images/297b.jpg" alt="" title="" />) Bleu-Indigo 312, (<img src="images/297e.jpg" alt="" title="" />) Bleu pâle 668, (<img src="images/297g.jpg" alt="" title="" />) Rouge-Cornouille 449, (<img src="images/297c.jpg" alt="" title="" />) Vert-de-gris 474,
(<img src="images/297a.jpg" alt="" title="" />) Vert-de-gris 475, (<img src="images/297d.jpg" alt="" title="" />) Grounding.<a href="#Footnote_A" class="fnanchor">[A]</a></span></div>
<p><b>Part of a design, suitable for carpets</b> (figs. <a href="#fig_290">290</a> and <a href="#fig_291">291</a>).
Our space will not admit of our reproducing more than a
quarter of this design. Colours of the softest shades should
be selected for it. A black line divides the pattern into four
quarters. The upper quarter on the right, and the lower one,
on the left, should be worked in blue, and the upper one
on the left, copied from fig. <a href="#fig_290">290</a>.</p>
<div class="figcenter" style="width: 600px;">
<a name="fig_290" id="fig_290"></a>
<a href="images/full_299.jpg"><img src="images/299.jpg" alt="FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS." title="" /></a>
<span class="caption"><span class="smcap">Fig. 290. Part of a design suitable for carpets.<br />
Materials:</span> Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6
to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser D.M.C No. 12.<br />
<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg" alt="" title="" />) Noir grand Teint 310,
(<img src="images/297b.jpg" alt="" title="" />) Rouge-Grenat 358, (<img src="images/298b.jpg" alt="" title="" />) Rouge-Cornouille 450,
(<img src="images/297c.jpg" alt="" title="" />) Bleu-Indigo 311, (<img src="images/297f.jpg" alt="" title="" />) Bleu-Indigo 322,
(<img src="images/297g.jpg" alt="" title="" />) Vert métallique 465, (<img src="images/297e.jpg" alt="" title="" />) Gris-Noisette 424.<a href="#Footnote_A" class="fnanchor">[A]</a></span></div>
<p>The narrow border, in red, blue and green, is to be repeated
<a name="Page_140" id="Page_140"></a>after the broad band, which is represented in fig. <a href="#fig_291">291</a>, has been
added to the grounding. A very good effect is obtained, if in the
broad border, fig. <a href="#fig_291">291</a>, you vary the background of the different
subjects.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_300.jpg"><img src="images/300.jpg" alt="FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG. 290" title="" /></a>
<a name="fig_291" id="fig_291"></a><span class="caption"><span class="smcap">Fig. 291. Outer border of the design for carpets fig. <a href="#fig_290">290</a>.<br />
Materials:</span> Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos.
6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton à repriser D.M.C No. 12. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg" alt="" title="" />) Noir grand Teint 310,
(<img src="images/297b.jpg" alt="" title="" />) Rouge-Grenat 358, (<img src="images/297c.jpg" alt="" title="" />) Bleu-Indigo 311,
(<img src="images/297a.jpg" alt="" title="" />) Vert métallique 465, (<img src="images/298d.jpg" alt="" title="" />) Jaune-vieil-Or
679, (<img src="images/297e.jpg" alt="" title="" />) Gris-Noisette 424, (<img src="images/298b.jpg" alt="" title="" />) Rouge-Cornouille 450.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Linen embroidery.</b>—The stitches used in linen embroidery
are very similar to those used in canvas work. The ordinary
cross stitch, as represented in fig. <a href="#fig_253">253</a>, is the one most
commonly used, but it is not so effective as the two-sided
stitches, which in the beautiful old needlework of the 15th,
16th and 17th centuries, have always excited our wonder and
admiration.</p>
<p><a name="Page_141" id="Page_141"></a></p><p><a name="Page_142" id="Page_142"></a></p>
<p><b>Stuffs suitable for linen embroidery.</b>—Most embroidery
of this kind, and more especially the Italian, is done on very
fine linen. Such fine work however, requires more time and
patience than people, in these days, are as a rule disposed to
bestow on work intended merely for pleasure and recreation.
To meet the requirements of the day, therefore, in addition
to the finer kinds of linen, a great variety of textures, are
now manufactured, the threads of which, being thick and
round, can be easily counted. The cross stitches that are worked
on Cuba, Ceylon or Batavia linen, are large and coarse, those
on linen-canvas, Russian linen, twisted tammy, and Rhodes
linen, small and fine.</p>
<p>Linen fabrics are either white, unbleached or cream-coloured.
All three are used for embroidery, but the coloured cottons
show up best on the cream ground; on the white, they look
hard and crude, and on the unbleached, dull and faded.</p>
<p><a name="Page_143" id="Page_143"></a></p>
<p><b>Materials suitable for linen embroidery</b>—As most linen
embroidery is executed on articles that are subjected to frequent
washing, the D.M.C cottons, which are to be had in
every shade and colour, are the best for the purpose. For
coarse stuffs, coarse cotton should be used, such as knitting
cotton, Coton à tricoter D.M.C Nos. 6, 8, 10, 12 and 14,<a href="#Footnote_A" class="fnanchor">[A]</a>
which will be found a very good substitute for wool; or six-cord
crochet cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10
and 15,<a href="#Footnote_A" class="fnanchor">[A]</a> which gives quite as full and brilliant a stitch, as
silk-twist. Finer cottons should be used
for the finer stuffs, such as embroidery cotton
(Coton à broder D.M.C) Nos. 6 to 200,<a href="#Footnote_A" class="fnanchor">[A]</a>
and lace thread (Fil à dentelle D.M.C) Nos.
30 to 150.<a href="#Footnote_A" class="fnanchor">[A]</a> In many cases, even darning
cotton (Coton à repriser D.M.C) can be
used, as like Algerian silk, it can be
split or taken double, to suit the stuff.</p>
<p><b><a name="Plain_cross_stitch" id="Plain_cross_stitch"></a>Plain cross stitch on auxiliary canvas</b>
(fig. <a href="#fig_292">292</a>).—Plain cross stitch, commonly
called marking stitch, has already been described in fig. <a href="#fig_253">253</a>. But it may be well to observe, that when an auxiliary
material is used, it should be most carefully tacked upon the
stuff following the thread of the same, and a sufficient margin
left to allow of the drawing out of the canvas threads, when
the work is finished.</p>
<div class="figcenter" style="width: 150px;">
<img src="images/301.jpg" alt="FIG. 292.
PLAIN CROSS STITCH ON
AUXILIARY CANVAS." title="" />
<a name="fig_292" id="fig_292"></a><span class="caption smcap">Fig. 292.
Plain cross stitch on
auxiliary canvas.</span>
</div>
<p><b>Two-sided cross stitch, worked in four rows of
stitches</b> (figs. <a href="#fig_293">293</a>, <a href="#fig_294">294</a>, <a href="#fig_295">295</a>).—Straight lines of cross stitch,
alike on both sides, can be worked in two journeys to and fro.
Working from left to right, begin by fastening in your thread,
never with a knot, but by two or three little running stitches,
which are hidden afterwards by your first cross stitch. Directing
your needle to the right, pass it diagonally over a double
cross of the warp and woof of the canvas, and so on to the
end of the line.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/302.jpg" alt="FIG. 293.
FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY STITCH
FOR RETURNING." title="" />
<a name="fig_293" id="fig_293"></a><span class="caption smcap">Fig. 293.
First half of the first journey and auxiliary stitch
for returning.</span>
</div>
<p>Having reached the last stitch, draw out your thread in
the middle of it, make an auxiliary diagonal stitch downwards
<a name="Page_144" id="Page_144"></a>to the right, bring the needle up in the middle of the last
stitch, take it thence, upwards to the left, across two threads,
and begin the return journey, from right to left, crossing and
thus completing the first row of stitches. In the auxiliary
stitch with which you begin the backward journey, the thread
lies double on
both sides. Fig.
<a href="#fig_295">295</a> shows how to
pass down to the
next row.</p>
<div class="figcenter" style="width: 400px;">
<img src="images/303.jpg" alt="FIG. 294.
ONE JOURNEY AND FIRST HALF OF THE SECOND FINISHED,
AND AUXILIARY STITCH LEADING TO THE SECOND RETURN." title="" />
<a name="fig_294" id="fig_294"></a><span class="caption smcap">Fig. 294.
One journey and first half of the second finished,
and auxiliary stitch leading to the second return.</span>
</div>
<div class="figcenter" style="width: 400px;">
<img src="images/304.jpg" alt="FIG. 295.
THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
OF CROSS STITCH, BOTH SIDES ALIKE." title="" />
<a name="fig_295" id="fig_295"></a><span class="caption smcap">Fig. 295.
The two journeys to and fro, completing one row
of cross stitch, both sides alike.</span>
</div>
<p><b>Two-sided
marking stitch</b>
(figs. <a href="#fig_296">296</a> and <a href="#fig_297">297</a>).
The above mode
of working two-sided
cross stitch
cannot be applied
to letters, or patterns
in broken
lines, which both
consist chiefly of
isolated stitches.
Figs. <a href="#fig_296">296</a> and <a href="#fig_297">297</a>
explain the course
of the stitches in
embroidery of this
kind.</p>
<div class="figcenter" style="width: 600px;">
<a name="fig_296" id="fig_296"></a>
<img src="images/305.jpg" alt="FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE." title="" />
<span class="caption smcap">Fig. 296. Two-sided marking stitch. Different positions of the needle.</span>
</div>
<p>The working
detail A, Fig.
<a href="#fig_296">296</a>, indicates the
spot for the thread
to enter the stuff, and the position of the needle for the
first and second stitches; B, the first two stitches completed,
with an auxiliary stitch to the right, the thread drawn out on
the right, and the position of the needle for the fifth stitch
that completes the cross; G shows the completion of the stitch
begun at B and the position of the needle for a second stitch
to the right; D, one cross stitch completed and another begun,
<a name="Page_145" id="Page_145"></a>immediately beneath A. In fig. <a href="#fig_297">297</a>, E shows how to work
stitches to the left; F, an auxiliary stitch to reach an isolated
cross stitch on the right, G, auxiliary stitches between two
isolated cross stitches, and H, a second and last auxiliary
stitch to complete the cross.</p>
<div class="figcenter" style="width: 600px;">
<a name="fig_297" id="fig_297"></a>
<img src="images/306.jpg" alt="FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE." title="" />
<span class="caption smcap">Fig. 297. Two-sided marking stitch. Different positions of the needle.</span>
</div>
<p>It requires both practice and care to do this two-sided
marking stitch, so as not to disfigure the stuff by superfluous
stitches.</p>
<p><b>Cross stitch forming a square at the back</b> (figs. <a href="#fig_298">298</a> and
<a href="#fig_299">299</a>).—Many of the alphabets we so admire in old samplers
are worked in cross stitch, that forms a square at the back.
Each stitch has to be finished off before another is begun;
if you carefully examine figs. <a href="#fig_298">298</a> and <a href="#fig_299">299</a>, which show
severally the right and the wrong sides of the stitch, you will
find no difficulty in mastering it. Letter A, fig. <a href="#fig_296">296</a>, shows the
entrance of the thread, the position of the needle for half the
cross stitch on the right side, and the second side of the
square at the back, as shown in fig. <a href="#fig_299">299</a>, A. Letter B, fig. <a href="#fig_298">298</a>,
shows the cross stitch finished, and the position of the needle
for the third side of the square on the wrong side, indicated
by the same letter in fig. <a href="#fig_299">299</a>. C, in both figures, indicates a stitch
<a name="Page_146" id="Page_146"></a>which is double on the right side, and on the wrong side
forms the fourth side of the square, whilst letter D, explains
how to continue the stitches.</p>
<div class="figcenter" style="width: 600px;">
<a name="fig_298" id="fig_298"></a>
<img src="images/307.jpg" alt="FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING A SQUARE AT THE BACK." title="" />
<span class="caption smcap">Fig. 298. Right side of the cross stitch, forming a square at the back.</span>
</div>
<div class="figcenter" style="width: 600px;">
<a name="fig_299" id="fig_299"></a>
<img src="images/308.jpg" alt="FIG. 299. SQUARE STITCH FORMING THE BACK OF THE CROSS STITCH." title="" />
<span class="caption smcap">Fig. 299. Square stitch forming the back of the cross stitch.</span>
</div>
<p><b>Two-sided Italian stitch</b> (figs. <a href="#fig_300">300</a>, <a href="#fig_301">301</a>, <a href="#fig_302">302</a>, <a href="#fig_303">303</a>).—Two-sided
Italian stitch consists of cross stitches, alike on both sides,
divided from each other by horizontal and vertical stitches.
The upper and lower stitches should all slope one way, as
in plain cross stitch.</p>
<p>Italian stitch is worked in one journey, to and fro. Fig. <a href="#fig_300">300</a>
shows how to fasten in the thread, and place the needle for
the first stitch, from right to left; fig. <a href="#fig_301">301</a>, the position of the
needle from left to right, to form the cross at the back, and
the vertical stitch to the left, on the right side; fig. <a href="#fig_302">302</a>, the
position of the needle, for a two-sided horizontal stitch at the
bottom of the cross, where upon you proceed as in fig. <a href="#fig_300">300</a>.
Fig. <a href="#fig_303">303</a> explains the return of the thread, which completes
the double crosses and the lines between.</p>
<div class="center">
<a name="fig_300" id="fig_300"></a><a name="fig_301" id="fig_301"></a>
<div class="figcenter" style="width: 300px;">
<div class="figleft" style="width: 150px;">
<img src="images/309.jpg" alt="FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH." title="" />
<span class="caption smcap">Fig. 300. Two-sided italian stitch. Introduction of the
thread and position of the needle for the first stitch.</span>
</div>
<div class="figright" style="width: 100px;">
<img src="images/310.jpg" alt="FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE
FOR THE 2ND AND 3RD STITCHES." title="" />
<span class="caption smcap">Fig. 301. Two-sided italian stitch. Position of the needle
for the 2nd and 3rd stitches.</span>
</div></div></div>
<p style="clear:both">The horizontal lines, not made on the first journey, are
added on the way back. In conclusion, pass the needle back,
<a name="Page_147" id="Page_147"></a>horizontally, from left to right, to make the final stitch over
the cross, and then make the stitch between,
as shown in fig. <a href="#fig_303">303</a>. On a thin
stuff, this stitch produces an extremely
pretty effect, resembling lattice-work, provided
the thread be tightly drawn in the
working.</p>
<div class="center">
<a name="fig_302" id="fig_302"></a><a name="fig_303" id="fig_303"></a>
<div class="figcenter" style="width: 400px;">
<div class="figleft" style="width: 150px;">
<img src="images/311.jpg" alt="FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE
FOR THE 4TH AND 5TH STITCHES." title="" />
<span class="caption smcap">Fig. 302. Two-sided italian stitch. Position of the needle
for the 4th and 5th stitches.</span>
</div>
<div class="figright" style="width: 200px;">
<img src="images/312.jpg" alt="FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
COMPLETES THE CROSS STITCH." title="" />
<span class="caption smcap">Fig. 303. Two-sided italian stitch. Return journey, which
completes the cross stitch.</span>
</div></div></div>
<p style="clear:both"><b>Montenegrin cross stitch</b> (figs. <a href="#fig_304">304</a>,
<a href="#fig_305">305</a>, <a href="#fig_306">306</a>).—The Slavonic tribes of the
southern districts of E. Europe, especially
the Montenegrins, have a great partiality
for this stitch, which has been rarely
noticed, hitherto, in books on needlework.
The right side shows cross
stitches with a double
thread underneath, and
divided by vertical stitches;
the wrong side, regular
cross stitches, also divided
by vertical stitches. Coarse
cotton should be used for
this stitch; it produces a
richer effect and not only
covers the stuff better, but
also the underneath stitch
which in the Slavonic
work, is entirely hidden
by the cross stitches.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_304" id="fig_304"></a>
<img src="images/313.jpg" alt="FIG. 304.
MONTENEGRIN CROSS STITCH.
1ST, 2ND, 3RD, 4TH AND 5TH STITCH AND TRANSVERSAL STITCH" title="" />
<span class="caption smcap">Fig. 304.
Montenegrin cross stitch.<br />
1st, 2nd, 3rd, 4th and 5th stitch and transversal stitch</span>
</div>
<p>Begin, as letter A indicates,
with a long, slanting stitch, across
4 and 8 threads, then, bringing
your needle back from right to
left, under four threads, draw it
out, carry it over the first long
stitch, and insert it again from
left to right, under the first four
threads of the canvas. These four
stitches finished, proceed to the
<a name="Page_148" id="Page_148"></a>fifth and sixth, which as B shows, cross the first four, then
repeat the first stitch.</p>
<div class="figcenter" style="width: 300px;">
<a name="fig_305" id="fig_305"></a>
<img src="images/314.jpg" alt="FIG. 305.
MONTENEGRIN CROSS STITCH.
POSITION OF THE STITCHES ON THE WRONG SIDE." title="" />
<span class="caption smcap">Fig. 305.
Montenegrin cross stitch.<br />
Position of the stitches on the wrong side.</span>
</div>
<p>The threads that form the stitches on the wrong side,
should always be opposed to
each other, that is, one cross
should lean to the right, the
other to the left, as shown in
fig. <a href="#fig_305">305</a>. This variation in
the inclination of the stitches,
which is regarded as a fault in
plain cross stitch, is indispensable
here, and produces
a charming effect on the wrong
side.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/315.jpg" alt="FIG. 306.
MONTENEGRIN CROSS STITCH.
A ROW OF STITCHES FINISHED." title="" />
<a name="fig_306" id="fig_306"></a><span class="caption smcap">Fig. 306.
Montenegrin cross stitch.<br />
A row of stitches finished.</span>
</div>
<p><b>Plaited Algerian stitch</b> (fig. <a href="#fig_307">307</a>).—The distinguishing
feature of this stitch is, that it
only advances one thread at
a time. It should be begun
on an uneven number of
threads, and like the Montenegrin stitch, should be worked
with coarse cotton. The rows may touch, either at the top
or at the bottom of the stitch, so long as you keep to one plan
throughout.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/316.jpg" alt="FIG. 307.
PLAITED ALGERIAN STITCH." title="" />
<a name="fig_307" id="fig_307"></a><span class="caption smcap">Fig. 307.
Plaited algerian stitch.</span>
</div><p><a name="Page_149" id="Page_149"></a></p>
<p><b>Two-sided Spanish plaited stitch</b> (figs. <a href="#fig_308">308</a> and <a href="#fig_309">309</a>).—This
stitch has the advantage of being, not only very effective, but
also very quickly executed. It is worked in two rows, forwards
and backwards. All cross stitch patterns can be worked
in Spanish stitch. The gaps, which are occasioned by the long
stitches, have to be filled in with short ones. In itself, the
stitch consists of slanting stitches, three threads a part, alike
on both sides, and advances three threads at a time, as shown
in figs. <a href="#fig_308">308</a> and <a href="#fig_309">309</a>.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_308" id="fig_308"></a><a name="fig_309" id="fig_309"></a>
<div class="figleft" style="width: 300px;">
<img src="images/317.jpg" alt="FIG. 308. TWO-SIDED PLAITED SPANISH STITCH." title="" />
<span class="caption smcap">Fig. 308. Two-sided plaited spanish stitch.</span>
</div>
<div class="figright" style="width: 300px;">
<img src="images/318.jpg" alt="FIG. 309. TWO-SIDED PLAITED SPANISH STITCH." title="" />
<span class="caption smcap">Fig. 309. Two-sided plaited spanish stitch.</span>
</div></div>
<p><b>Two-sided line stitch</b> (figs. <a href="#fig_310">310</a> and <a href="#fig_311">311</a>).—Square stitch,
Holbein stitch, line, or stroke stitch, as it is sometimes called,
and setting stitch, are all worked on one principle. Though
all these two-sided stitches are related to each other, and by
no means difficult of execution, those new to the work will
find a little practice necessary, to make the stitches follow in
their proper order. Fig. <a href="#fig_310">310</a> explains how the needle has to
pass, alternately, step by step, over and under the threads of
<a name="Page_150" id="Page_150"></a>the stuff, and fig. <a href="#fig_311">311</a>, how the threads, left blank the first
time, are covered on the way back. The great difficulty is how
to place your first row of stitches so as to
ensure an unbroken course back. It is as
well before setting out, to ascertain
clearly the most direct course back, so
that you may not come to a stand-still,
or be obliged to make unnecessary
stitches on the wrong side. If you have
to pass obliquely across the stuff, as in
patterns figs. <a href="#fig_326">326</a>, <a href="#fig_327">327</a>, <a href="#fig_328">328</a>, <a href="#fig_329">329</a>, <a href="#fig_331">331</a> and
<a href="#fig_333">333</a>, proceed in the same way as though
you were covering the straight threads
of a fabric.</p>
<div class="figcenter" style="width: 550px;">
<a name="fig_310" id="fig_310"></a><a name="fig_311" id="fig_311"></a>
<div class="figleft" style="width: 250px;">
<img src="images/319.jpg" alt="FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW." title="" />
<span class="caption smcap">Fig. 310. Two-sided line stitch. Forward row.</span>
</div>
<div class="figright" style="width: 250px;">
<img src="images/320.jpg" alt="FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW." title="" />
<span class="caption smcap">Fig. 311. Two-sided line stitch. Backward row.</span>
</div></div>
<p><b>Two-sided insertion</b> (figs. <a href="#fig_312">312</a>, <a href="#fig_313">313</a>,
<a href="#fig_314">314</a>, <a href="#fig_315">315</a>, <a href="#fig_316">316</a>, <a href="#fig_317">317</a>, <a href="#fig_318">318</a>).—We conclude
this series of stitches with a description
of a pretty, two-sided insertion, suitable
for joining stripes of work of different
widths together. In pieces of old needlework,
we often find handsome, coloured
patterns, joined together by a piece of lace or some quite different
kind of work. The insertion represented in fig. <a href="#fig_317">317</a>, is a
very good substitute for either. Fig. <a href="#fig_312">312</a> explains the first stitch
and the course of the second, from left to right, under 3 vertical
and 3 horizontal threads; the 3rd stitch to the left, over
6 vertical threads, and the beginning of the 4th stitch.
Fig. <a href="#fig_313">313</a> shows the 4th stitch completed, and the direc<a name="Page_151" id="Page_151"></a>tion
the 5th and 6th stitches have to take; fig. <a href="#fig_314">314</a>, the 6th
completed, and the position of the needle for the 7th and 8th;
fig. <a href="#fig_315">315</a>, the 9th lower, horizontal stitch, over 6 vertical threads,
the 10th backward stitch, and the position of the needle for
the 11th and last stitch. Fig. <a href="#fig_317">317</a> represents a whole series
of stitches, and fig. <a href="#fig_318">318</a>, the back of the work, which though
quite a different pattern, will combine very well with any two-sided
embroidery.</p>
<div class="center">
<div class="figcenter" style="width: 400px;">
<div class="figleft" style="width: 200px;">
<img src="images/321.jpg" alt="FIG. 312. TWO-SIDED INSERTION.
FIRST DETAIL." title="" />
<a name="fig_312" id="fig_312"></a><span class="caption smcap">Fig. 312. Two-sided insertion.<br />
First detail.</span>
</div>
<div class="figright" style="width: 150px;">
<img src="images/322.jpg" alt="FIG. 313. TWO-SIDED INSERTION.
SECOND DETAIL." title="" />
<a name="fig_313" id="fig_313"></a><span class="caption smcap">Fig. 313. Two-sided insertion.<br />
Second detail.</span>
</div></div>
<div class="figcenter" style="width: 350px;">
<div class="figleft" style="width: 150px;">
<img src="images/323.jpg" alt="FIG. 314. TWO-SIDED INSERTION.
THIRD DETAIL." title="" />
<a name="fig_314" id="fig_314"></a><span class="caption smcap">Fig. 314. Two-sided insertion.<br />
Third detail.</span>
</div>
<div class="figright" style="width: 150px;">
<img src="images/324.jpg" alt="FIG. 315. TWO-SIDED INSERTION.
FOURTH DETAIL." title="" />
<a name="fig_315" id="fig_315"></a><span class="caption smcap">Fig. 315. Two-sided insertion.<br />
Fourth detail.</span>
</div></div>
<div class="figcenter" style="width: 250px;">
<img src="images/325.jpg" alt="FIG. 316. TWO-SIDED INSERTION.
FIFTH DETAIL." title="" />
<a name="fig_316" id="fig_316"></a><span class="caption smcap">Fig. 316. Two-sided insertion.<br />
Fifth detail.</span>
</div>
</div>
<p>These insertions can be worked on any stuff, but the stitches,
must be done, both ways, on a number of threads, divisible by
3. Thus, the first stitch may cover 6, 9, or 12 threads, but
never 8, 10, 12 or 14. [Transcriber's note: 12, here, appears to be an error in the original.]</p>
<div class="figcenter" style="width: 500px;">
<img src="images/326.jpg" alt="FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED." title="" />
<a name="fig_317" id="fig_317"></a><span class="caption smcap">Fig. 317. Two-sided insertion. Row of stitches finished.</span>
</div>
<div class="figcenter" style="width: 450px;">
<img src="images/327.jpg" alt="FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG. 317." title="" />
<a name="fig_318" id="fig_318"></a><span class="caption smcap">Fig. 318. Two-sided insertion, showing the back of fig. <a href="#fig_317">317</a>.</span>
</div>
<p><b><a name="Gothic_borders" id="Gothic_borders"></a>Gothic borders in Gobelin and cross stitch</b> (figs. <a href="#fig_319">319</a> and
<a href="#fig_320">320</a>).—We are indebted for both these pretty patterns, which
are quite Gothic in their character, to a visit we paid to the
national museum at Munich, where we discovered them
amongst a heap of other old valuables, lying un-heeded in a
remote corner. Their simple graceful outlines render them
peculiarly suitable for the decoration of table-cloths, counterpanes,
curtains, etc. All embroideries of this kind should be
finished off with a deep fringe, made in the stuff itself, or
knotted on to it or may be trimmed with a heavy thread lace,
of a wide width, corresponding with the work in character.</p><p><a name="Page_152" id="Page_152"></a></p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_328.jpg"><img src="images/328.jpg" alt="FIG. 319. GOTHIC BORDER IN CROSS STITCH." title="" /></a>
<a name="fig_319" id="fig_319"></a><span class="caption"><span class="smcap">Fig. 319. Gothic border in cross stitch.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos.
16 to 35, or Cordonnet 6 fils D.M.C Nos. 3 to 15.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Turc 321, or two shades of Bleu-Indigo, 311 and 334, or
two shades of Rouge-Grenat, 358 and 359 or two shades of Brun-Acajou,
300 and 402.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The design may be worked either in one shade, as in fig. <a href="#fig_319">319</a>, or in two, as in fig. <a href="#fig_320">320</a>, where all the outside stitches
are worked in the darker shade of the given colours.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_329.jpg"><img src="images/329.jpg" alt="FIG. 320. GOTHIC BORDER IN CROSS STITCH." title="" /></a>
<a name="fig_320" id="fig_320"></a><span class="caption"><span class="smcap">Fig. 320. Gothic border in cross stitch.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 16 to 35.<br />
<span class="smcap">Colours:</span> Bleu-Indigo 311 and 344, or Rouge-Cardinal 346 and Rouge-Géranium
335, or Gris-Tilleul 391 and 331.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Powdering and border. Albanian subjects</b> (figs. <a href="#fig_321">321</a> and
<a href="#fig_322">322</a>).—The arrangement of colours for these charming patterns,
of Albanian origin, should be as follows; the dark-coloured
crosses, red, the lighter ones, alternately blue and green, the
lightest, yellow.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_330.jpg"><img src="images/330.jpg" alt="FIG. 321. POWDERING. ALBANIAN SUBJECT." title="" /></a>
<a name="fig_321" id="fig_321"></a><span class="caption"><span class="smcap">Fig. 321. Powdering. Albanian subject.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Coton à repriser D.M.C No. 12, 25 or 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465,
Jaune-Orange 444, Gris-Brun 409.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>In fig. <a href="#fig_321">321</a>, most of the stitches in every other diagonal
row, are worked in red, the others in green or blue; in the
intermediate rows the flowers are worked alternately, in green
and red, or blue and red, and throughout, the centre of each
figure should consist of 4 stitches in yellow.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_331.jpg"><img src="images/331.jpg" alt="FIG. 322. ALBANIAN SUBJECT." title="" /></a>
<a name="fig_322" id="fig_322"></a><span class="caption"><span class="smcap">Fig. 322. Albanian subject.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6 fils D.M.C Nos. 3 to 25. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Cardinal 347, Bleu-Indigo 312, Jaune-Orange 444, Vert
métallique 465, Gris-Brun 409.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><a name="Page_153" id="Page_153"></a></p>
<p>In fig. <a href="#fig_321">321</a>, which serves as a border to the above, only the
stalks of the 4 conventional pinks, which, with the cross in
their middle, form a square, are in brown.</p>
<p>These squares are separated from the bottom border by an
insertion, in Gobelin stitch, worked over 6 threads, in red,
blue, green and yellow, from 20 to 25 stitches of each. This
band is edged on both sides with a row of stem stitches,
worked in yellow over 4 threads. The Holbein stitches that
border the band, can be made in whichever colour the worker
prefers, or else in red and gold thread.</p>
<p><b>Borders in stroke stitch</b> (figs. <a href="#fig_323">323</a>, <a href="#fig_324">324</a>, <a href="#fig_325">325</a>).—These three
patterns will give our readers an opportunity of perfecting
<a name="Page_154" id="Page_154"></a>themselves in two-sided, square stitch (see figs. <a href="#fig_310">310</a> and <a href="#fig_311">311</a>),
also called stroke, or line stitch, according as it is worked, in
oblique, or straight rows.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/332.jpg" alt="FIG. 323. BORDER IN STROKE STITCH." title="" />
<a name="fig_323" id="fig_323"></a><span class="caption"><span class="smcap">Fig. 323. Border in stroke stitch.<br />
Materials:</span> Coton à marquer D.M.C Nos. 5 to 200. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Turc 321 or Bleu-Indigo 312. <a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/333.jpg" alt="FIG. 324. BORDER IN STROKE STITCH." title="" />
<a name="fig_324" id="fig_324"></a><span class="caption"><span class="smcap">Fig. 324. Border in stroke stitch.<br />
Materials:</span> Coton à repriser D.M.C No. 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Vert-Pistache 319, or Vert-Mousse 470. <a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<div class="figcenter" style="width: 600px;">
<img src="images/334.jpg" alt="FIG. 325. INSERTION IN STROKE STITCH." title="" />
<a name="fig_325" id="fig_325"></a><span class="caption"><span class="smcap">Fig. 325. Insertion in stroke stitch.<br />
Materials:</span> Coton à broder D.M.C Nos. 16 to 60. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Turc 321, or Rouge-Grenat 309, or Bleu-Indigo 311.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>We again recommend our readers, to begin by ascertaining
the course the stitches should take, in order to avoid all unnecessary
stitches and be sure of finding their way back according
to the prescribed rule.</p>
<p><a name="Page_155" id="Page_155"></a></p>
<p><b>Corners in stroke stitch</b> (figs. <a href="#fig_326">326</a> and <a href="#fig_327">327</a>).—These pretty
little patterns are suitable for the decoration of ladies' and
children's collars, fine pocket-handkerchiefs and finger napkins,
and can be worked in one or two colours, as preferred. If two
colours be used, the darker should be taken for the interior, the
lighter for the narrow outside edge.</p>
<div class="figcenter" style="width: 650px;">
<a name="fig_326" id="fig_326"></a><a name="fig_327" id="fig_327"></a>
<div class="figleft" style="width: 300px;">
<img src="images/335.jpg" alt="FIG. 326. CORNERS IN LINE STITCH." title="" />
</div>
<div class="figright" style="width: 300px;">
<img src="images/336.jpg" alt="FIG. 327. CORNERS IN LINE STITCH." title="" />
</div>
<span class="caption"><span class="smcap">Fig. 326. & fig. 327.
Corners in line stitch.<br />
Materials:</span> Coton à broder D.M.C
Nos 35 to 200 or Fil à dentelle D.M.C
Nos. 25 to 70. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Bleu-Indigo, or Rouge-Cardinal,
or Brun-Caroubier, or Violet-Lie-de-vin. <a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Stripe in stroke stitch</b> (fig. <a href="#fig_328">328</a>).—This is copied from a
piece of Italian work, though from a resemblance in the different
subjects to the rose, thistle and shamrock, if might have
been supposed to be of English origin. The original work was
<a name="Page_156" id="Page_156"></a>executed in a most brilliant purple red which time has toned
down to the colour of Jaune-Rouille 308, or Brun-Cuir 432,
one or other of which we recommend, as being the only colours
<a name="Page_157" id="Page_157"></a>with which any thing approaching the refined distinguished
look of the old embroidery, can be given to the new.</p>
<div class="figcenter" style="width: 600px;">
<img src="images/337.jpg" alt="FIG. 328. STRIPE IN STROKE STITCH." title="" />
<a name="fig_328" id="fig_328"></a><span class="caption"><span class="smcap">Fig. 328. Stripe in stroke stitch.<br />
Materials:</span> Cordonnet 6 fils D.M.C Nos. 15 to 50, Coton à broder D.M.C
Nos. 16 to 35, or Coton à repriser D.M.C No. 12, 25 or 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Jaune-Rouille 308, or Jaune-vieil-Or 680.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p><b>Grounding in diagonal lines</b> (fig. <a href="#fig_329">329</a>).—This pattern
can be worked, in any of the previous stitches, or in back-<a name="Page_158" id="Page_158"></a>stitch.
It is only suitable for large surfaces, on account of the
diagonal lines, and should be worked, all in one colour. It can
be varied by adding sprays to the upper sides of the slanting
stalks, like those on the lower sides, turned either the same
way, or upwards. Skilled workers will readily contrive the
middles for themselves, by combining the different subjects
and putting them together in various positions, either diagonally
or at right angles to each other, with the help of the Penelope
mirror.<a name="FNanchor_2_45" id="FNanchor_2_45"></a><a href="#Footnote_2_45" class="fnanchor">[1]</a></p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_338.jpg"><img src="images/338.jpg" alt="FIG. 329. GROUNDING IN DIAGONAL LINES." title="" /></a>
<a name="fig_329" id="fig_329"></a><span class="caption"><span class="smcap">Fig. 329. Grounding in diagonal lines.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 6 to 16, or Coton à broder D.M.C
Nos. 16 to 100.<br />
<span class="smcap">Colours:</span> Bleu-Indigo 322, or Rouge-Cardinal 347.</span>
</div>
<p><a name="Page_159" id="Page_159"></a></p>
<p><b>Powdering in cross, stroke and star stitch</b> (fig. <a href="#fig_330">330</a>).—This
charming combination of cross, stroke and star stitches,
can be made use of wherever embroidery is available as a
means of decoration.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_339.jpg"><img src="images/339.jpg" alt="FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH." title="" /></a>
<a name="fig_330" id="fig_330"></a><span class="caption"><span class="smcap">Fig. 330. Powdering in cross, stroke and star stitch.<br />
Materials:</span> Coton à repriser D.M.C No. 50 and Chiné d'or D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours</span>—For the Cotton: Rouge-Grenat 326.—For the Chiné:
Bleu-Indigo and gold.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The cross stitches, in which the solid parts of the pattern
are worked, should be in one colour only, the stroke and star
stitches, in Chiné d'or D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a></p>
<p><b>Border in Greek stitch</b> (fig. <a href="#fig_331">331</a>).—All the darker lines
here, should be worked in black, colour 473, the leaves in the
<a name="Page_160" id="Page_160"></a>form of steps, alternately in light and dark red up to the stalks,
the line of demarcation being indicated by the different direction
of the stitches, so that two light leaves, and two dark leaves,
should always face each other.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_340.jpg"><img src="images/340.jpg" alt="FIG. 331. BORDER IN GREEK STITCH." title="" /></a>
<a name="fig_331" id="fig_331"></a><span class="caption"><span class="smcap">Fig. 331. Border in greek stitch.<br />
Materials:</span> Coton à broder D.M.C Nos. 16 to 25, or Coton à repriser D.M.C
Nos. 12 to 50.<br />
<span class="smcap">Colours:</span> Rouge-Géranium 349 and 351, Jaune-Rouille 364, Bleu de France 341,
Bleu pâle 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30 and
Chiné d'or D.M.C No. 30.</span>
</div>
<p>In the original, the cross bars that unite the leaves, are in
yellow, whilst the detached figures that separate them, are
worked, those that come between the light red leaves, in pale
blue, and those between the dark red ones, in gold thread.
The exterior part of the figure is filled in with the different
colours, indicated above; with the exception of the small squares
in Gobelin stitch, which should all be worked in plain gold,
or Chiné d'or D.M.C, green and gold. The SS in the narrow
outside border, should be worked in two shades of blue;
the outside stitches in colour 341 and the solid parts in colour
668. The little figures with the transverse bars that unite the
SS, should be set in black, and filled in, alternately, in light
and dark red, and in yellow.</p><p><a name="Page_161" id="Page_161"></a></p>
<p><b>Grounding</b> (fig. <a href="#fig_332">332</a>).—This grounding was copied from
a beautiful old cushion-cover
and will be found
particularly useful in the
confection of small embroidered
articles, because the
pattern will always form a
centre point in itself. A
light, brilliant red, such as
either of the two colours
indicated beneath the
figure, will best reproduce
the tone of the original.</p>
<div class="figcenter" style="width: 300px;">
<img src="images/341.jpg" alt="FIG. 332. GROUNDING." title="" />
<a name="fig_332" id="fig_332"></a><span class="caption"><span class="smcap">Fig. 332. Grounding.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 6 to
10, or Coton à broder D.M.C Nos. 16 to 100.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Cardinal 804, or Rouge-Cornouille 450.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>In making the little
stars that connect the different
squares, the mode
we recommended for working
stroke stitch should be
adopted, that is, beginning,
by bringing the needle out in the middle, making 7
stitches, and at the eighth, carrying the needle back under
the first, to the spot whence you started. The stitches will
then be alike on both sides.</p>
<p><b>Wallachian border</b> (fig. <a href="#fig_333">333</a>).—A piece of Wallachian
needlework, executed on rough linen, and uncommon, both in
colour and design, suggested the charming embroidery, here represented.
In place of the somewhat violent colours, which indicate
an undeveloped taste, we have substituted softer and more
refined ones. All the stroke stitches of the middle stripe and
of the two border stripes, top and bottom, as well as the
darker portions of the small dice, subdivided into eight, in
the bottom border, and of the small diagonal squares in the
top border, worked in Gobelin stitch, are in red, colour 346.
The setting of upright stroke stitches round the large centre
figures, as well as the straight lines that divide these same
<a name="Page_162" id="Page_162"></a><a name="Page_163" id="Page_163"></a>figures into four, are
worked in yellow, colour
680.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_342.jpg"><img src="images/342.jpg" alt="FIG. 333. WALLACHIAN BORDER." title="" /></a>
<a name="fig_333" id="fig_333"></a><span class="caption"><span class="smcap">Fig. 333. Wallachian border.<br />
Gobelin stitch, stroke stitch and spanish half-stitch.<br />
Materials.</span>—For Rhodes linen No. 1: Cordonnet 6 fils D.M.C No. 15, and Or fin
D.M.C pour la broderie No. 30.—For other stuffs: Coton à tricoter D.M.C Nos.
6 to 16, or Coton à repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Cardinal 346, Rouge-Géranium 326, Vert-Pistache 319 and
Jaune-vieil-Or 680.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<p>The squares and the
half-squares are worked in
colour 326, green 319, and
gold thread; colour 326
is indicated in the illustration
by the darkest
shade, green 319, by the
medium shade, and the
gold thread by the lightest
shade.</p>
<p>The stitches in the
right bottom quarter and
top left one, incline upwards
from left to right,
in the two other quarters
they incline the contrary
way. The Spanish half-stitch
as shown in fig. <a href="#fig_309">309</a>,
can only be done over 4
and 2 threads and worked
one way, not to and fro.</p>
<p>The general effect is
very much heightened by
the introduction of one
or two rows of stitches,
worked in gold thread,
into the straight lines on
either side of the stripes;
all the light parts of the
design moreover, should
be worked in gold thread.</p>
<p><a name="Page_164" id="Page_164"></a></p><p><a name="Page_165" id="Page_165"></a></p><p><a name="Page_166" id="Page_166"></a></p>
<p><b>Borders in several shades of one colour</b> (figs. <a href="#fig_334">334</a> and
<a href="#fig_335">335</a>). In some beautifully embroidered Chinese hangings, that
latterly came under our notice, the principal subject was the
figure of a mandarin, in a very richly decorated dress. The
pretty pattern, given in fig. <a href="#fig_334">334</a>, was
copied from the collar and cuffs of
this dress. We should advise working
it in several shades of pink or red,
or in a single one of the colours indicated
above.</p>
<div class="figcenter" style="width: 300px;">
<a href="images/full_343.jpg"><img src="images/343.jpg" alt="FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR." title="" /></a>
<a name="fig_334" id="fig_334"></a><span class="caption"><span class="smcap">Fig. 334. Border in several shades of one colour.<br />
Materials:</span> Coton à tricoter D.M.C Nos. 12 to 20, Coton à broder D.M.C Nos.
16 to 35 or Coton à repriser No. 12, 25 or 50.<br />
<span class="smcap">Colours:</span> Three shades of either Bleu-Indigo, Rouge-Grenat,
or Violet-Mauve etc. etc.</span>
</div>
<p>The border of these hangings
furnished us with pattern <a href="#fig_335">335</a>, which
will be found to look best, worked
in three very distinct shades of
blue.</p>
<div class="figcenter" style="width: 1200px;">
<a href="images/full_344.jpg"><img src="images/344.jpg" alt="FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR." title="" /></a>
<a name="fig_335" id="fig_335"></a><span class="caption smcap">Fig. 335. Border in several shades of one colour.</span>
</div>
<p>The grotesque heads of animals,
and the flowers and branches which
break the running pattern, and are a Chinese speciality,
distinguish this design from the more conventional patterns
of the present day.</p>
<p>We recommend these two pretty patterns, to our readers
notice, as likewise adaptable by transposition, to centres, or by
repetition, to broad stripes. With very little trouble they
can be converted, into a variety of subjects, such as it is
often difficult to find ready made, and exactly suited to the
purpose in hand.</p>
<p><b>Border in Greek stitch with a footing, composed of
branches</b> (fig. <a href="#fig_336">336</a>).—This design can be worked in Greek,
Slavonic, Montenegrin, or plaited Algerian stitch. Our illustration
worked in Greek stitch, shows how one stitch encroaches
upon another, and how the thread is carried from one
isolated stitch, to another.</p>
<div class="figcenter" style="width: 1200px;">
<a href="images/full_345.jpg"><img src="images/345.jpg" alt="FIG. 336. BORDER IN GREEK STITCH WITH A
FOOTING, COMPOSED OF BRANCHES." title="" /></a>
<a name="fig_336" id="fig_336"></a><span class="caption smcap">Fig. 336. Border in greek stitch with a
footing, composed of branches.</span>
</div>
<p>It will be found to be an improvement if the stitches are so
made as to follow the direction of the lines. The central subject
may be repeated two or three times, according to the width of
border required. The edging is the same throughout. The use
of the 'Penelope mirror' for repeating patterns is described
in the concluding chapter of the book.</p><p><a name="Page_167" id="Page_167"></a></p>
<p><b>Table-cover in Gobelin and stroke stitch</b> (figs. <a href="#fig_337">337</a>, <a href="#fig_338">338</a>,
<a href="#fig_339">339</a>, <a href="#fig_340">340</a>).—This tasteful little table-cover provides excellent
practice in working two sided, square stitch. The square
represented in fig. <a href="#fig_339">339</a>, forms the middle of the cloth. The
Gobelin stitches, set very closely, unite and form a star in the
centre of the principal subject. They begin in the corners, in
red and continue in green, violet and blue, successively; the
little branches in stroke stitch, on each side of the Gobelin
stitches, correspond with them in colour, and the small figures,
that form the border of the square, may be worked, indiscriminately,
in any of the colours used for the Gobelin stitches of
the centre. Four branches run inwards from the corners of the
square, and four more advance to meet, and pass them, from
the inner angles of the wide border. Four figures, copied from
the outside border, fig. <a href="#fig_339">339</a>, and worked in yellow, and the
little star, fig. <a href="#fig_337">337</a>, besides the little subjects, borrowed from
the outside border, fig. <a href="#fig_338">338</a>, are strewn lightly over the foundation,
interspersed between the branches. In fig. <a href="#fig_340">340</a>, nevertheless,
which represents the whole table-cover, the edge is
formed of the small subjects contained in the wide border and
<a name="Page_168" id="Page_168"></a>not of the little stars. The Gobelin stitches in the centre of
fig. <a href="#fig_337">337</a>, are in dark green, the star stitches and the stroke
stitches on the outside in red. The wide border consists of
stars, every other row of which, is worked in red; the intermediate
rows, successively, in blue, green, and yellow. The
corners are composed of four detached stars, framed by a row
of stroke stitches, one red and one blue, alternately. This line
skirts both sides of the border, and forms the base to the
quaint figures, that terminate the design and which can be
worked in all the colours used for the inside.</p>
<div class="figcenter" style="width: 250px;">
<img src="images/346.jpg" alt="FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340." title="" />
<a name="fig_337" id="fig_337"></a><span class="caption smcap">Fig. 337. Small detached subject of fig. <a href="#fig_340">340</a>.</span>
</div>
<div class="figcenter" style="width: 600px;">
<a href="images/full_347.jpg"><img src="images/347.jpg" alt="FIG. 338. OUTER BORDER OF FIG. 340." title="" /></a>
<a name="fig_338" id="fig_338"></a><span class="caption smcap">Fig. 338. Outer border of fig. <a href="#fig_340">340</a>.</span>
</div>
<div class="figcenter" style="width: 600px;">
<a href="images/full_348.jpg"><img src="images/348.jpg" alt="FIG. 339. MIDDLE OF FIG. 340." title="" /></a>
<a name="fig_339" id="fig_339"></a><span class="caption smcap">Fig. 339. Middle of fig. <a href="#fig_340">340</a>.</span>
</div>
<p>The original of our illustration, which is on fine Rhodes
linen, in Coton à broder D.M.C No. 25, is only a small table-<a name="Page_169" id="Page_169"></a><a name="Page_170" id="Page_170"></a>cover;
for a larger one, if you wish strictly to adhere to the
pattern, Java or Ceylon linen will be the best material to
select, with Coton à tricoter D.M.C No. 12, for the stroke
stitches and Coton à repriser No. 25 for the Gobelin stitches.</p>
<div class="figcenter" style="width: 600px;">
<a href="images/full_349.jpg"><img src="images/349.jpg" alt="FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH." title="" /></a>
<a name="fig_340" id="fig_340"></a><span class="caption"><span class="smcap">Fig. 340. Table-cover in gobelin and stroke stitch.<br />
Materials.</span>—According to the stuff: Coton à tricoter D.M.C Nos. 6 to 16, Coton
à broder D.M.C Nos. 16 to 35, Coton à repriser D.M.C Nos. 12, 25, 50, Fil à
pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3 to 20.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
<span class="smcap">Colours:</span> Rouge-Cornouille 450, Vert-Pistache 319, Violet-Lie-de-vin 372,
Jaune-Rouille 364, Bleu-Indigo 322.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
</div>
<hr style='width: 45%;' />
<p class="center"><a href="./chapter_8.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_2_45" id="Footnote_2_45"></a><a href="#FNanchor_2_45"><span class="label">[1]</span></a> See, the directions for its use, given in the concluding chapter.</p></div>
<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
and the list of colours of the D.M.C threads and cottons.</p></div>
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