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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #69723 (https://www.gutenberg.org/ebooks/69723)
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-The Project Gutenberg eBook of An embroidery book, by Anne Knox
-Arthur
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: An embroidery book
-
-Author: Anne Knox Arthur
-
-Release Date: January 7, 2023 [eBook #69723]
-
-Language: English
-
-Produced by: Alan and the Online Distributed Proofreading Team at
-             https://www.pgdp.net (This file was produced from images
-             generously made available by The Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK AN EMBROIDERY BOOK ***
-
-
-
-
-
-AN EMBROIDERY BOOK
-
-
-
-
-  ANCIENT EGYPTIAN, ASSYRIAN,
-  AND PERSIAN COSTUMES AND
-  DECORATIONS.
-
-  By =Mary G. Houston= and =Florence S. Hornblower=.
-
-  _Containing 25 full-page illustrations, sixteen of them
-  in colour, and 60 line diagrams in the text._
-
-  _Small crown quarto._
-
-  In this volume the history of Costume is traced
-  from the earliest ages. The illustrations (which are
-  taken chiefly from the British Museum) are given in
-  facsimile from the drawings of the artists of the period,
-  and, where the drawing is too primitive to be easily
-  understood, a garment is also shown drawn in modern
-  style; in addition, every type of garment illustrated
-  is accompanied by a flat pattern showing the _cut_.
-  Information of this special character on Ancient
-  Costume is usually very difficult to obtain, and it is
-  anticipated that the volume will be of first-rate
-  importance to dress designers, to theatrical designers,
-  and also to the schools in which historical costume
-  and the history of the progress of the human race
-  are subjects for study.
-
-  PUBLISHED BY A. & C. BLACK, LTD., 4, 5 & 6, SOHO
-                SQUARE, LONDON, W. 1.
-
-
-AGENTS
-
-  AMERICA      THE MACMILLAN COMPANY
-                 64 & 66 Fifth Avenue, NEW YORK
-  AUSTRALASIA  OXFORD UNIVERSITY PRESS
-                 205, Flinders Lane, MELBOURNE
-  CANADA       THE MACMILLAN COMPANY OF CANADA, LTD.
-                 St. Martin’s House, 70 Bond Street, TORONTO
-  INDIA        MACMILLAN AND COMPANY, LTD.
-                 Macmillan Building, BOMBAY
-                 309 Bow Bazaar Street, CALCUTTA
-
-
-
-
-[Illustration: PLATE I.
-
-A TABLE MAT. (_See page 41._)]
-
-
-
-
-                                  AN
-                              EMBROIDERY
-                                 BOOK
-
-                                  BY
-                           ANNE KNOX ARTHUR
-                         GLASGOW SCHOOL OF ART
-
-
-              CONTAINING SIXTEEN FULL-PAGE ILLUSTRATIONS
-                --EIGHT OF THEM IN COLOUR--AND EIGHTY-
-                 SEVEN LINE ILLUSTRATIONS IN THE TEXT
-
-
-                          A. & C. BLACK, LTD.
-                 4, 5 & 6, SOHO SQUARE, LONDON, W. 1.
-                                 1920
-
-
-
-
-           “_Go, little booke; God send thee good passage_”
-
-
-
-
-                                  TO
-                               MY MOTHER
-
-
-
-
-NOTE
-
-
-The Author’s thanks are due to the owners of the pieces of
-embroidery illustrated in this book who kindly lent them to her for
-reproduction:--Miss Beatrice Brooks, Miss Marion Boyd, Miss Janetta
-S. Gillespie, Miss Mary A. Gill, Miss Martha Stevenson, Miss Elspeth
-Stewart, Miss Jessie Gibson (students of the Glasgow School of Art);
-also to Miss Kay, Parkhurst, Cedars, Derby, for the loan of three
-pieces worked by her pupils.
-
-
-
-
-FOREWORD
-
-
-Now that many of our busy working people have better regulations as
-regards the hours of the day’s work, there is great need to provide
-occupation for the day’s leisure; and needlework, as a leisure craft,
-is one of the most refreshing and pleasant and profitable sources of
-entertainment--provided always, that those who undertake it realise
-that, with right thought and consideration on the part of every worker,
-each should become, as it were, a law unto herself, so that she should
-realise also that she need, under no circumstance, be the slave of old
-traditions, if she can give fitting reasons for making a change which
-is to the purpose of her work.
-
-To be in a healthy and living state, our art should be constantly
-changing its fashion; if it stands still, it is retrograde, and for
-some few generations we may say this of British embroidery. What
-changes it has undergone are due almost entirely to the commercial
-enterprise of manufacturers of printed patterns--usually foreign
-ones. The importation became very considerable with the introduction
-of so-called Berlin woolwork, and since that period the British
-needlewoman has set aside her own ingenious arrangements and follows
-blindly where the merchant leads, and British design for needlework,
-as an expression of its people, is almost a dead thing.
-
-Most people have a superstition that in knowledge of a multitude of
-stitches lies the whole mystery of needlework. This is emphatically
-not the case. There really is no mystery about stitches; they are
-but the letters of the needleworker’s alphabet, and the words of her
-language--to be used according to her own ideas. One may embroider
-poems; another may embroider prayers and praises for her church;
-another may beautify a fair woman’s garment or sing a little song
-in stitches for a baby’s robe; yet another may be like a treatise
-on surgery, repairing and restoring that which has been damaged.
-But needlework does not exist for the stitches. It is the stitches
-which--as they are well or ill-used--express the worker, and, if
-she is a wise worker, she can find out for herself most of the
-stitches she needs. Nor is it necessary to be at great expense in
-needlework, indeed, for those who take it up as a recreative craft
-half the interest may lie in the fact that no material is too common
-or too homely to be made into something fitting and, therefore,
-beautiful--since the truest art is to make a thing pleasing to the eye
-and yet entirely suited to the purpose.
-
-The commonest failing of the designers of this country is that they
-think that beauty lies in the elaboration of ornament, and this is why
-the fashions of British dressmakers fall short of those abroad. It is
-the little simple contrivances, that are almost no more than a sort
-of loving finish to the actual construction of a piece of work, that
-give the highest standard of style in garments: and the best training
-a needlewoman can have is to make her seams, hems, openings and
-fastenings of garments or household fitments things of beauty, while,
-at the same time, she considers the uses and purpose of her work. It is
-as a piece of engineering we should consider the construction of our
-household hangings and covers of our garments--planning that decoration
-should be coarse or fine, as fits the material, and taking thought also
-for the washing and wearing of it.
-
-The fashions of to-day show a very marked tendency to decorative
-construction, due in great measure to a change in the needlework
-for school children introduced a few years ago. The tendency shows
-most interesting results, especially in the fact that the shaping
-of clothing has become very simple and that garments depend almost
-entirely on stitchery for their decoration, rather than on manufactured
-braids and trimmings; and the styles and shapes are infinitely less
-stereotyped, so that clothing for women tends to express more nearly
-the personality of the wearer than it has done for many generations.
-
-The work of the hand--as apart from that of the machine--is more and
-more in demand, and decorative needlework, even in our shops, is
-becoming more to be desired, for unique and personal characteristics
-and expression, than it has been for a very long period. This being
-the case, let our needlewoman take courage and realise that in each
-mind there are possibilities of new ideas and new inventions--that
-all materials open up new opportunities, and that with little labour
-she may greatly enhance and beautify the things she works and find
-appreciative opening for her skill. Never was there such universal
-demand for handwork of every kind, and for such household fittings,
-which tend towards economy and labour saving in particular, the need
-is almost unlimited. Some of the most interesting embroideries done
-during the last few years have been planned and carried out in some of
-our Scottish schools by untrained workers--designs so simple that the
-workers do not realise that they are designing at all--since they draw
-largely with needle and thread alone, and have little assistance from
-chalk and other markings. And it is this type of work, usually sewn in
-coarse yarns and on rough canvas, flannel or homespun, that is perhaps
-the most happy and most stimulating for a designer of needlework to
-begin on. The work is so quickly achieved--so gallant and bright in
-colour--so utilitarian in purpose and of so little cost in outlay, that
-it is above all others to be recommended. It needs no experience in
-stitchery to work in bright wools, if the material is firm and strong,
-and the writer has pleasant experience of maid-servants and village
-wives in the north country making admirable rugs, garments, and other
-embroideries, which command good prices at the Artificers’ Guilds and
-other places where a high artistic standard of design is required.
-
-It is only by means of such counter attractions in stimulating leisure
-crafts, which pay their way as well as give pleasure to the workers,
-that we can contend with the spirit of restless excitement and craving
-for mere pleasure-giving that is so marked a sign of the early days of
-peace, and reconstruction can only come by countering this mischievous
-tendency in young people by giving them something that gives stimulus
-to their longing for brightness and yet does not unduly tax those
-whose days may be occupied in strenuous employment.
-
-How desirable it is that such gatherings of women and girls as church
-sewing meetings, guilds and clubs, should take up such new ideas in
-needlework and apply for a competent instructor. How almost more
-desirable is it that men might realise the pleasure a needle can give
-if applied to bold construction and original work.
-
-It is by no means universal over the world that needlework is a women’s
-craft; in many countries it is done quite as much, if not more, by the
-men, and it is probable that if our men took up this craft, it would
-show a very marked tendency to individual and original expression.
-
-The power of invention is so great and serious a factor, that it is
-almost too big a thing to touch upon here. We do not exaggerate its
-importance when we say that this faculty in human beings is what we
-can justly call the Holy Ghost, for it is that in us which comes, not
-of ourselves, but from direct inspiration, and the first principle
-of education ought to be to open our minds to it, in howsoever small
-and humble a fashion it comes, and to make clear the way for its
-development and growth towards greater things.
-
-ANN MACBETH.
-
-GLASGOW SCHOOL OF ART.
-
-
-
-
-CONTENTS
-
-
-   CHAPTER                                             PAGE
-
-     I. INTRODUCTORY                                      1
-
-    II. THE ART AND CRAFT OF EMBROIDERY--THE
-        SIX POINTS                                        5
-
-   III. CONSTRUCTION AND DESIGN                          18
-
-    IV. DARNING STITCHES--BACKGROUNDS AND
-        FILLINGS                                         29
-
-     V. NEEDLE-WEAVING--RUSSIAN OPEN-WORK--LINKED
-        STITCHES                                         40
-
-    VI. BUTTON-HOLE AND BORDER STITCHES--HEMSTITCHING
-        AND OPEN FILLINGS                                55
-
-   VII. LAID WORK--BASKET AND LINE STITCHES              67
-
-  VIII. COUCHING--FRENCH KNOTS AND BULLION
-        STITCH                                           79
-
-    IX. BRAIDS AND DESIGN--FAGGOTING--VEINING--ANTIQUE
-        SEAMS--KNOT INSERTION AND
-        EDGING                                           89
-
-     X. INSERTIONS IN NEEDLE-WEAVING--POINT DE
-        RÉPRISE--INTERLACING AND OPENWORK
-        BACKGROUND                                      101
-
-    XI. FRINGES AND TASSELS--HAND-MADE BRAIDS--KNOTS
-        AND PICOTS                                      114
-
-   XII. DRAWN-THREAD AND WHITE WORK--RHODIAN,
-        RICHELIEU AND HEDEBO                            134
-
-  XIII. DECORATIVE FLOWERS AND LEAVES--EDGING
-        AND INSERTION                                   155
-
-  INDEX                                                 179
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-  PLATE                                         FACING PAGE
-
-     I. *A TABLE MAT                         _Frontispiece_
-
-    II. SOME USEFUL STITCHES                             17
-
-   III. A RUNNER IN CRASH                                32
-
-    IV. *A PORTIÈRE                                      49
-
-     V. *A BUREAU SCARF                                  64
-
-    VI. A SIDEBOARD CLOTH                                69
-
-   VII. A TABLE CENTRE IN WHITE AND BLUE                 76
-
-  VIII. *A LUNCHEON MAT                                  81
-
-    IX. *THREE COLLARS                                   96
-
-     X. A TEA-COSY COVER                                101
-
-    XI. A NIGHTDRESS CASE                               108
-
-   XII. *THREE HAT BANDS                                113
-
-  XIII. *A BAG IN CANVAS AND WOOL                       128
-
-   XIV. CORNER OF COT COVERLET, UNFINISHED              149
-
-    XV. TWO SIMPLE BASKETS                              156
-
-   XVI. *A CUSHION COVER                                168
-
-             *These illustrations are in colour.
-
-
-
-
-AN EMBROIDERY BOOK
-
-
-CHAPTER I
-
-INTRODUCTORY
-
- “Give her of the fruit of her hands; and let her own works praise her
- in the gates.”
-
-
-Needlework, as an artistic and practical craft, is highly interesting
-from a decorative point of view, and well within the scope of any
-intelligent worker. It has distinct advantages over most crafts--it
-neither requires great initial outlay for apparatus or materials, nor
-does it demand a special workshop; thus, as a domestic art, it commends
-itself to many of us on account of its adaptability to the conditions
-of life, as well as for its decorative value--as a means of adding
-grace and beauty to our daily surroundings.
-
-During the thirteenth and fourteenth centuries England was famed
-for the beauty and magnificence of its ecclesiastical embroideries.
-These wonderful works found their way into many countries and were
-eagerly sought after by patrons of the beautiful; many pieces still
-exist, preserved in our museums, churches, or in private collections,
-to show us what extraordinary ability and invention these ancient
-embroiderers must have had. After the Reformation, when there was
-no longer the great demand for ecclesiastical work--embroiderers
-turned their attention to the decoration of garments to be worn by the
-wealthier classes. In the “Golden Days of Good Queen Bess,” and for
-some time later, all the ingenuity and skill formerly applied solely
-to church work was bestowed on the decoration and beautifying of
-personal clothing--dresses, cloaks, coats, waistcoats, caps, gloves,
-etc.; neither time, labour, nor expense was spared, the worker’s ideal
-evidently being to obtain the highest result of which he or she was
-capable. Some of the quaint pattern books of those days still exist,
-and they consist mostly of elements--dainty flower sprays, sprigs,
-fruits, birds, animals, fishes, border patterns and geometrical
-forms--all intended to assist the workers in the composition and
-building up of their designs and patterns.
-
-In the busy world of nowadays, we cannot hope ever to attain to such
-perfection, nor to regain for embroidery the high position it once held
-in this country; but we still have many clever needlewomen who could
-produce beautiful work provided they had a better knowledge of how to
-set about it.
-
-This book has been planned with the hope that it may be of use to many,
-and that it may create in both girls and women the desire to construct
-and decorate for themselves those simple articles of daily use which
-cost so much to buy and which can be made and embroidered, in simple
-patterns, with a little knowledge of construction and stitchery, at a
-moderate expenditure of time and money.
-
-Perhaps the reason why so many workers buy their materials already
-stamped with a design, which often proves unsuitable to the purpose
-for which it is intended, and which gives small satisfaction when
-embroidered, is because of a certain distrust of themselves, a want of
-knowledge of their own powers of invention and ingenuity; or it may be
-a lack of energy and initiative, a reluctance to plan and create for
-themselves, due to the fact that they have never been taught to express
-their own ideas, but rather to depend on those of others. Nevertheless,
-the sense of beauty is, in a greater or less degree, common to us all.
-Why, therefore, should a needleworker not develop her own ideas rather
-than those of other workers? The designer, for example, who may have
-as little knowledge of stitchery as the needlewoman has of design, and
-who, therefore, cannot realise the labour involved in its execution,
-may lose much of his effect and may waste the time of the embroiderer.
-It is generally agreed that no two people have the same ideas; it is
-surely, then, of considerable importance that each one should at least
-make some attempt to express his or her own. If scope is given to the
-creative and inventive powers they, like other faculties, will grow
-in a most inspiriting manner; new ideas, inherent instincts, perhaps
-dormant hitherto, will spring up like flowers to encourage the beginner
-on the upward path, and as interest becomes keener and confidence
-grows, difficulties which at first appeared insurmountable will quietly
-disappear as the worker plans and thinks out a piece of embroidery from
-the foundation. How interesting and attractive it will be to execute
-such a piece of work, which will express the personality of the
-worker in all parts, design, colour and stitchery. Greater technical
-excellence, as well as charm, must accrue; the embroideress will work
-with more judgment and understanding, and because it has gained so much
-in interest to her, she will be able to express herself more freely,
-and her work will convey and suggest more to others.
-
-
-
-
-CHAPTER II
-
-THE ART AND CRAFT OF EMBROIDERY--THE SIX POINTS
-
- “Chaires, Stooles and Screen, the same, all of Satten Stitch done in
- Worsteads.”
-
-
-We shall now consider the six important points of design.
-
-=Art and Craft.=--Many women have an inherent instinct for
-needlework--that is, the craft of the needle--for the knowledge of how
-to use a needle and thread is generally easily acquired; but it is
-quite otherwise when the design, the artistic or imaginative part, has
-to be carried out, as it ought to be, by the worker. Then all sorts of
-difficulties arise, mostly imaginary, as those who make an attempt may
-find.
-
-Let us here consider the design as a necessary part of the workmanship.
-We shall be ambitious enough to study embroidery from an artistic
-point, for the art and the craft ought surely to go hand in hand.
-
-=The Habit of Design.=--A special knowledge of drawing is not essential
-for pattern making--a child will make delightful patterns--nor for
-simple designs composed of straight lines and geometrical forms, such
-as might be happily applied to borders for articles of daily household
-use or for personal wear. A ruler, a compass and a sheet of squared
-paper are sufficient for initial efforts: and once the habit of simple
-designing is acquired it can become a wonderfully absorbing pastime,
-for eyes that are opened to see will find designs on every side.
-
-=Good Taste and Common Sense.=--To carry out a piece of work
-successfully, however, the embroideress must possess good taste and
-common sense; these are indeed important qualities, the possession of
-which will help the beginner enormously: add to these an eye for colour
-and form, a practical knowledge of the stitches commonly in use, some
-acquaintance with materials, their utility and adaptability, and the
-worker will find herself fairly well equipped to start her design.
-
-=The Six Points.=--There are about six points to be considered in
-connection with a piece of embroidery:--
-
-_The Object and its Use._--We must decide this, bearing in mind the
-position the work will occupy when finished; choosing a material
-suitable for the purpose, and with due regard to the restrictions of
-economy.
-
-_The Colour Scheme._--Consider the environment, and let the scheme be
-in harmony with or in contrast to the background and surroundings.
-
-_The Construction._--Plan carefully and arrange for the decoration,
-which should never interfere with the usefulness of the finished work.
-
-_The Building up of the Pattern._--This should always be done with a
-view to the limitations of the material.
-
-_The Stitchery._--This must also be adapted to the material--with bold,
-effective types for the coarser woven stuffs, and daintier, closer
-stitchery for the firmly woven textiles.
-
-_Finishing Touches._--A beginner rarely realises the importance of
-these, yet it is well worth while bestowing thought on them; interest
-may be considerably heightened by such additions or an otherwise good
-piece of work rendered less attractive by lack of care and thought at
-the final stages.
-
-It will now be seen that the design--the least mention of which strikes
-terror to the soul of the uninitiated--does not consist in the drawing
-or the making up of the pattern alone, and that there are important
-preliminary stages to be gone through. Indeed the design is well on
-its way by the time the worker reaches the fourth point, _i.e._, the
-building up of the pattern.
-
-
-THE FIRST POINT: ON THE CHOOSING OF MATERIALS, THREADS, TOOLS, ETC.
-
-=Materials.=--Materials, threads, and needles are important items, and
-should be chosen carefully; to spend time and labour on embroidery on a
-poor foundation is an extravagance rather than an economy--the tendency
-being to make up for the poorness of the quality by the profuseness of
-the decoration. Materials need not be costly, but they should be good
-of their kind.
-
-=Homely Materials.=--Charming things can be made out of homely cloths,
-remnants and oddments. Texture, tone and colour should be considered,
-both from a practical and an artistic point of view; a background that
-is pleasant to work upon is always an advantage. Linens, of varying
-quality and texture, can be relied upon for domestic purposes--they
-make for good stitchery, they wash well, and are very durable. (Plate
-VII.) Some unbleached materials are extremely economical.
-
-=Greenhouse Shading.=--A soft creamy netting used for greenhouse
-shading, which may be obtained from any of the large seed merchants, is
-made in different widths from 54 inches to 72 inches. It has an open
-mesh and lends itself to all types of darning and needle-weaving--the
-narrow widths make excellent semi-transparent sash curtains, which
-may be brightened by applied bands of coloured linen or chintz, and
-finished with rows of simple running or tacking stitch in wools or in
-some of the coarser makes of embroidery cottons. (Plate VIII.) The
-thicker quality has a closer mesh and is admirable for coverlets and
-hangings. These, when edged and decorated with lines of bright-coloured
-washing braids, and wide borders of coloured cretonnes--which again
-may be connected with bars of needle-weaving or darning, or any simple
-stitchery--make charming and economical articles, such as any housewife
-might well be proud to possess. (Plates V. and VI.) Covers and
-runners to match might complete the set. This would be a pleasant and
-instructive work for a girl’s leisure hours; she might make just such
-a set for her bedroom, with the addition of chair covers and cushions,
-adorning them beautifully with some simple design and a colour scheme
-of her own choosing.
-
-=Damask and Huckaback.=--Damask linens, with simple-patterned
-backgrounds, twilled sheetings, of various makes, and huckabacks, can
-be used most effectively for runners, mats, and luncheon sets; the
-soft, warm, creamy tone of the unbleached material blends harmoniously
-with bright-coloured threads and wools.
-
-=Titian Canvas.=--Many coarser and more loosely woven textures make
-most charming and desirable backgrounds for bands of needle-weaving.
-(Plate VI.) Coarse canvas in various colourings, woollen hopsacks,
-floor-cloths, etc., are adaptable for many household articles.
-
-=Russian Crash.=--A common roller towelling, or Russian crash, as it is
-also called, is a delightful material (Plate III.), and may be had in
-narrow widths, varying from 12 inches to 24 inches; it is woven by the
-Russian peasantry in small handlooms and varies considerably in texture
-and quality--but in all cases it is a most durable and suitable linen
-for domestic purposes.
-
-=The Scottish Blanket.=--Another pleasing material for wool decoration
-is the well-washed, worn-out Scottish blanket; with the smaller pieces
-one can make hassocks and cushions which look wonderfully well in
-strong colours in any flat stitch; the larger single blanket can be
-used for coverlets or hangings--with applied decoration where the
-material is too frail for general hard wear. Decorated with edgings of
-woollen braids, etc., these will look almost new, and certainly will
-give immense satisfaction to the worker.
-
-Threads are to be had in great variety and in different makes, many
-of which are excellent for embroidery. Cottons and flaxes in various
-sizes and thicknesses in a large range of colours can be combined most
-successfully.
-
-=Embroidery Wools.=--Wools and yarns, particularly the types known as
-fingering, in three, four, and five-ply, are reliable both in colour
-and quality. It is always advisable to shrink wools before using them
-for embroidery if they are to be applied to articles which require
-frequent washing. Crewel and tapestry wools, to be had in hanks, “white
-heather” mending in balls, are very convenient for needle-weaving and
-canvas work, and they may be had in beautiful colours.
-
-=Silks.=--Silks of different makes, embroidery or knitting, filosel,
-filo-floss and a soft, thick variety known as “Tyrian,” are all
-good for various purposes. The latter is particularly useful for
-couching lines; filo-floss--a bright, glossy silk with no twist in
-it--requires some skill in the manipulating of it, therefore filosel
-or mallard floss, each of which has a slight twist on it, is better
-for the less-skilled worker. Carpet chenilles in colours, both cotton
-and woollen, applied to coarse canvas or sacking, are used for the
-making of mats and rugs. Woollen and mohair, cotton and brush braids
-of the common skirt type, carpet and binding braids, cords and French
-tapes, coloured and washing gimps, all may be used with advantage for
-embroidery. It is better to shrink some of the loosely woven skirt and
-carpet braids before applying them to the material, or they are apt to
-pucker the material after washing.
-
-Good needles should always be used, with well-drilled, good-sized
-eyes. Care should be taken to choose them so that they may be exactly
-suited to the thread and to the material; the eye should be large
-enough to hold the thread easily, in which case it will make a hole in
-the foundation of a sufficient size to allow the thread being pulled
-through without roughening it. Scientific sharps are very pleasant to
-use--numbers four, five and six, are suitable for cotton and flaxes,
-crewel and chenille, and long-eyed sharps for general embroidery and
-needle-weaving. For openwork backgrounds such as are shown in Plate
-XI, H, I, J, K, L, where no threads are withdrawn from the material,
-a special needle with a large thick stem and a small eye is used; it
-separates the threads of the material and makes them easier to gather
-into groups by means of the tightened thread.
-
-In working on loosely woven materials--such as canvases--and for
-weaving patterns, tapestry, chenille, or rug needles with blunt points
-are the most comfortable to use; if these are not to hand, work with
-the eye of the needle foremost.
-
-A well-fitting thimble, preferably vulcanite or silver lined with
-steel, is necessary. It should be deeply pitted to catch the eye of the
-needle and well finished, so as not to roughen the thread. Scissors
-of different sizes are required: a large pair with one sharp and one
-rounded point--these for the cutting and preparing of the material;
-a small sharply pointed pair for the snipping of threads; a special
-pair with a little square knob on the one blade and a sharp point on
-the other for cutting out threads and sections between embroidered and
-openworked parts; these are a safeguard and prevent the snipping of the
-work.
-
-Frames are not necessary for the simpler types of work, but for wide
-borders in needle-weaving, particularly for the novice, a frame will
-fix the warp threads by keeping them taut, and prevent puckering of the
-material--little tambour frames which consist of a couple of rings, the
-one fitting into the other, will serve the purpose.
-
-Finally, a small emery cushion, for polishing the needle should it
-get sticky or rusty, a piece of beeswax is useful for flax threads, a
-stiletto for piercing eyelet holes, a yard measure, a bodkin, and some
-small pins, are all necessary items, which should always be at hand
-when wanted.
-
-
-THE SECOND POINT: THE COLOUR SCHEME.
-
-Colour lends an inexpressible charm to our daily life--it is in
-nature that it exists in greatest beauty. The wonderful robe of
-colour which she displays for us throughout all seasons and in all
-countries, through the flowers and fruits, trees and foliage, sea
-and sky, the birds, animal and insect life, all under different
-aspects and ever-varying circumstances, increase our admiration and
-pleasure. We reflect and gratify our need for colour in our intimate
-surroundings--dress, hangings, furniture, carpets, pottery and
-pictures. The embroideress who has a fine instinct for colour will
-arrange a scheme wherein beautiful combinations of hues, tints, and
-shades will mingle and produce a harmonious whole. It is for those
-less favoured that the following hints are given. A knowledge of
-the principles of colour will serve as a guide, while the use of a
-chromatic circle, _i.e._, a colour circle, will be invaluable to the
-beginner. This convenient arrangement wherein successive strips of all
-the colours are placed concentrically in their due proportions--as in
-the prismatic spectrum--will enable her to study the varieties, the
-relations and the peculiarities of colour and help her to arrange and
-select those hues, tints and shades which will combine well together;
-it will aid her to obtain happy effects with some appreciation of its
-harmonies and contrasts.
-
-The three primary colours, green, red and blue--green being now
-generally accepted as a primary instead of yellow--offer the greatest
-contrast to each other. They are the strongest and most powerful and
-exercise a greater influence on the mind than any of the others; add to
-these, orange, yellow, violet, white and black--the sum of these six
-colours constitutes white, and the absence of all, black--and we have
-the eight from which all the other colours and their modifications can
-be made, easily and systematically.
-
-=Red= (=Complementary Colour, Bluish-Green=).--Red, the strongest and
-most powerful, excites and stimulates the eye. It was the first colour
-to be used for decorative purposes by primitive man, and the first to
-receive a name: it is the most predominant of the warm colours, and
-on account of its fresh, bright, cheerful character, is much used by
-beginners; but this very assertive quality makes it rather difficult
-to combine with other hues, therefore it is well to use it in small
-quantities for general purposes. Red, in different hues, has always
-been the symbol of power and distinction. Scarlet has been used for
-regal robes and state ceremonials, as well as for military purposes--it
-indicates bloodshed and war, fierceness and courage. Red of a rosy hue
-signifies divine love. It has been a favourite colour with the poets
-from the days of Homer to our own time. The complementary of red is
-bluish-green.
-
-=Blue= (=Complementary Colour, Yellow=).--Blue followed red--it is of
-a quiet retiring nature, soft and soothing in effect, imparting the
-same quality to all the hues in which it predominates. It is one of the
-cool colours and is symbolically emblematical of heaven, piety, and
-intelligence. The complementary of blue is yellow.
-
-=Green= (=Complementary Colour, Purple=).--Green, the most prevalent
-colour in nature, and the least stimulating, has a remarkably distinct
-and striking effect on the eye. It is highly refreshing as well as
-soothing, and is the necessary restful colour, the opposite of red.
-Yet the nervous power of the eye is sooner exhausted by strong greens
-than by any other hue; thus, a piece of work with a preponderance of
-green is not so pleasing to look at constantly as the piece where blue
-predominates. Symbolically, green is the emblem of bountifulness,
-youth, happiness and prosperity. The complementary of green is purple
-(violet-red).
-
-=Yellow= (=Complementary Colour, Blue=).--Yellow approaches white,
-and is therefore a brilliant and advancing colour. It possesses the
-greatest power of reflecting light; is rather difficult to combine
-unless modified. Bright yellow has been used emblematically, to express
-charity, joyousness, plenteousness and old age--greenish-yellow is the
-symbol of jealousy and envy. Its complementary is blue.
-
-=Orange= (=Complementary Colour, Greenish-blue=).--Orange, coming
-between red and yellow, partakes of the nature of both--it expresses
-warmth, fruitfulness and wealth. The complementary colour is blue with
-a tinge of green.
-
-=Purple= (=Complementary Colour, Green=).--Purple is the quietest of
-the rich colours, being composed of red and blue. It varies in tone
-according to the amount of its constituents. When blue is predominant
-it is symbolical of mourning, expressive of sorrow, sadness, and is
-called violet; when inclining to red it becomes warmer and richer. It
-expresses dignity, pomp, and regal power. Its complementary colour is
-green.
-
-These six bright colours, when used in conjunction with black and
-white, with each other, or with their complementaries, will strengthen,
-intensify and enrich each other without altering their true value--when
-such vivid effects and sharp contrasts offend the taste of the worker,
-when they appear too crude, too conspicuous and too obtrusive--which
-they are apt to do--they may be harmonised quite simply, either by
-modifying the complementaries or by using a tint or a shade, that is, a
-lighter or a darker tone of the same colour. The strength and potency
-of these startling contrasts are in this way tempered; they become less
-glaring, less assertive, pleasanter and simpler to arrange, and lose
-the jarring effect they might have if used in their full brilliancy.
-For simple household articles with little decoration these bright
-colours may be used with charming effect. It is well to remember, in
-choosing the tints and shades of a colour, that the foundation material
-will have a considerable influence on them. On a white ground they will
-appear stronger and brighter, their tone being heightened by the white
-or light background, while on a black ground they appear more distinct
-and brilliant, particularly light ones, the contrast being greater.
-Dull hues gain in brightness when used with black and lose accordingly
-when combined with white.
-
-=Juxtaposition of Colour.=--Colours, then, when associated, influence
-each other simultaneously in various ways, darkening and lightening,
-adding to or detracting from, as the case may be--thus, by placing a
-light and dark one in contact, for example, black and white, the former
-looks blacker, intenser, while the latter looks more startlingly white
-on account of its dark neighbour.
-
-It is advisable, also, in arranging the colour scheme--after taking
-materials and positions into consideration--to determine at the very
-outset what the leading features are to be, and to have _one_ colour in
-the scheme more predominant than the others, either in intensity or in
-area. There should be some central point or points of interest which
-will attract the eye to certain parts of the construction.
-
-=A Dominant Colour.=--A liberal use of a dominant colour, by conveying
-a definite impression, will give decision of character as well as
-beauty of tone to the work, while a vague, uncertain, or too equally
-distributed arrangement will leave an unsatisfied and indefinite
-impression on the mind.
-
-[Illustration: PLATE II.
-
-SOME USEFUL STITCHES (_See p. 29_)]
-
-There are abundant suggestions to be had from fields, hedgerows,
-flowers, plumage of birds, etc., for the embroideress who can adapt
-them to her purpose, but a simpler plan for the beginner is to choose
-her colour scheme from a good picture, a coloured illustration, a
-piece of chintz, cretonne or good brocade, or, when possible, to study
-the various pieces of old embroidery preserved in our museums, as a
-record of the time when we could compete with other countries, when
-embroidery was almost the sole occupation of women of rank, as it was
-of the occupants of the convents.
-
-=Green.=--If we were to use one of the primaries as a dominating
-colour, say green, a bluish-green, we might have as a background a
-deep pomegranate red, the design could be worked out in bluish-greens,
-grey-greens, soft blues and purples, with touches of pale chamois
-yellow here and there; all the colours should have a tinge of
-bluish-green, the combining colour.
-
-=Blue.=--Or we might choose blue, the pleasantest, simplest and most
-harmonious combining colour, and select as a background a warm white or
-cream. The decoration could be carried out in various tones of blue,
-deep rich blue, turquoise, deep and pale orange, and a blue grey--much
-would depend on the tones used in combination and the manner in which
-they were employed. Always avoid a spotty effect, and do not contrast
-colours too suddenly in an endeavour to emphasise special points.
-
-=Red.=--Red, when used as the predominant or combining colour, looks
-best on a dark blue or a cream background. With a dark blue ground,
-white or cream, bright greens and a touch of dull orange will work
-in well with the reds, the former combining to make the latter less
-assertive. With a white ground and the same colours, the work becomes
-suggestive of some of the beautiful Bokhara embroideries in which reds,
-greens, blues and yellows--the latter used sparingly--are combined so
-gaily and instinctively.
-
-
-
-
-CHAPTER III
-
-CONSTRUCTION AND DESIGN
-
- “A cunning workman, an embroiderer in blue and in purple and in fine
- linen.”
-
-
-We shall now discuss the decorative points.
-
-The construction and the building up of the pattern may be taken
-together.
-
-=A Simple Pattern in Needle-weaving.=--The simplest design for an
-initial effort should be one which could be executed in needle-weaving
-such as is illustrated in Plate I. Here the spaces for the decoration
-are marked off on the material, there being no necessity to put any
-design on to paper--the weaving may be done in any simple primitive
-pattern, or from some of the more interesting darning pattern samplers,
-or it may follow some idea or fanciful invention of the worker. It
-should be more or less symmetrical in colour and form, and provided
-that sufficient thought is taken in arranging the colour scheme and
-that the technique is good, the result should be both pleasing and
-decorative. (See Chapter V. on needle-weaving.) Supposing the material
-and the colour scheme to have been already decided, and that a loosely
-woven texture--which demands a simple conventional pattern with bold
-stitchery and bright colour effects--has been chosen (let it be a
-runner, table cover or any article suitable for household use). It
-would be best, as simplicity must be the keynote, to have a marginal
-or border design, built up entirely on straight lines and geometrical
-forms. First plan out the material and arrange for the decoration;
-decide whether the pattern is to be placed on to a wide hem, or inside
-a narrow one, or whether it is to be applied as wide bars at the ends
-and edges of the runner. The limited space at the disposal of the
-designer will often aid and suggest the pattern.
-
-The decoration should, when possible, strengthen the construction.
-Be careful at all times to place it where it will not interfere with
-the usefulness of the object. A cushion, for example, ornamented with
-raised embroidery or with large beads, conveys the idea of _dis_comfort
-rather than of comfort, which is, after all, the _raison d’être_ of a
-cushion, the addition to a room, by means of colour and decoration,
-being a secondary point.
-
-In the early days, when decoration was so freely applied by primitive
-peoples to seams, hems, shoulder-straps, indeed to all objects, it was
-their aim to increase the usefulness of the article rather than to
-decorate it.
-
-=A Border Pattern.=--When the above-mentioned points have been decided,
-take squared paper, ruler, and pencil, and draw a few nicely spaced
-lines; duplicate the outer ones to give weight to the edges. All these
-lines crossing at the corners will form the framework of the design.
-Regularity and order are as essential in needlework as in most crafts,
-therefore the care and precision taken in the earlier stages will aid
-in the working of the later.
-
-=The Construction.=--Plan carefully and arrange for the decoration,
-which should never interfere with the usefulness of the finished work.
-
-=The Corners.=--The treatment of the corners presents the greatest
-difficulty. In a frame they are structurally the weakest parts; for
-this reason the ornamentation is placed at these parts to bind and
-strengthen, as well as to decorate them. In a piece of needlework with
-a simple border design they are again the most important. One expects
-to find unity, enrichment and massiveness there where the lines cross;
-we add, therefore, a few extra lines or chequers to the corners.
-By this means we enlarge them, and by so doing append dignity and
-importance. Still greater emphasis and the necessary note of interest
-will be given by the colour and the stitchery--the treatment of which
-should always be in the foreground of the mind of the designer.
-
-=Principle of Repetition.=--Do not aim at great variety of form;
-repetition is one of the first principles of design. The beginner will
-save herself much worry and labour if she keeps this principle before
-her, instead of striving--as she invariably does--after variety. She
-should make her form--a square, an oblong, or whatever simple element
-she may have chosen--recur at regular intervals, and all corners should
-be alike.
-
-=Masses connected by Lines.=--Masses should be joined by connecting
-lines and the spacing so arranged as to give value to the rest of the
-work.
-
-=Value of Spaces.=--A form or element should never be cramped into a
-space nor stretched out unduly in order to fill one; it should be
-planned and balanced to look as if it just belonged to it. A design is
-well balanced when the elements are so adjusted that they are neither
-too monotonous by over repetition nor confused by too much variation.
-
-=Diagonal Lines.=--It is safer at the earlier stages to avoid diagonal
-lines, or forms made up of such lines, for several reasons: they give
-a restless effect which should be avoided if possible, they present to
-the embroideress considerable difficulty of manipulation--coming, as
-they must, on the bias of the material, which may easily be tightened,
-puckered or pulled out of shape in the working by the inexperienced
-hand.
-
-=The Game of Design.=--There is really no limit to the possible
-patterns which may be built up on straight lines and geometrical forms.
-The needlewoman has only to try with a ruler, pencil and squared paper
-in order to discover that she may, after some little practice, make
-most elaborate designs with interesting results. There are, of course,
-certain fundamental principles which will help her, but they are not
-many, and with the suggestions already given she should be able to
-arrange many simple designs suitable for her own use. It might be
-quite a pleasant occupation for the younger members of a household,
-on a winter’s evening, to start and play at design. A time limit,
-perhaps a quarter of an hour for the first effort, and a longer period
-as the patterns became more elaborate, might be given; afterwards all
-the designs could be exchanged, compared, criticised, and then judged
-by an older member. In this way a “habit” of pattern making might be
-cultivated. Many of the designs should prove valuable to the craft
-worker as well as interesting to the youngsters.
-
-=Circles.=--From the making of patterns with straight lines we go on
-to circular forms, with radiating lines. This opens up a wide field to
-the embroideress, allowing her to extend and vary her simple designs
-indefinitely.
-
-With this new element, the circle, she can formulate some of the more
-definite floral shapes, and arranging them in an orderly manner,
-symmetrically, can make a geometrical pattern suitable to her purpose;
-she can make use of compasses, or if these instruments are not at hand,
-any circular form, such as a plate or a coin, will suit admirably.
-Should these prove too small, there is always the simple device of the
-fixed pin encircled by a thread, with the pencil at the opposite end,
-which, when the pin is held firmly in the centre of the space--as the
-thread must remain taut--will form a circle, the size being fixed by
-the length of the thread.
-
-Circles at once suggest natural forms and growth, but to begin with the
-young designer must keep to the geometrical side of Nature; natural
-floral forms will come later. If she examines carefully a number of
-the flowers of the field or hedgerow she will find that many of these
-beautiful forms are built up on a geometrical basis--she will note
-the radiating lines of the flowers, the sepals, petals and stamens,
-the venation of leaves, the manner in which the mid-rib gives off,
-gradually, the beautiful curving lines which flow into the outer edges,
-and the wonderful orderliness of the little seeds clinging to the
-sides or centre of the seed vessel, and thus she will realise that all
-curving lines are but segments, or parts of circles of various sizes.
-
-To aid the designer in her first efforts let her turn to an elementary
-text-book on botany--she will probably find there a number of diagrams
-of horizontal sections of the commoner wild flowers. These give the
-plan of each flower typical of the family to which it belongs--all the
-parts are arranged symmetrically in circles or whorls, and show how
-the flower is built up. The embroideress should find these sections
-full of suggestions; she might take the simpler forms to begin with
-and elaborate them, adding fresh details where necessary for the
-development of her design. By comparing the sections of one flower with
-another--of the wild rose with the poppy, the purple loosestrife with
-the forget-me-not, the primrose with the daffodil--she will be able
-to obtain variety with simplicity and balance; then she will connect
-and join all the masses with straight or curved lines, and thus give
-completeness to her design.
-
-With increased knowledge of the structure of flowers the embroideress
-will gain a keener sense of observation which will be of great value
-when she studies the natural forms.
-
-Setting forth once more on the high adventure of making her own design,
-she will bring to her aid the principles already learnt in the making
-of straight lines while she was building up her patterns and designs.
-
-
-THE FIFTH POINT: THE STITCHERY.
-
-We express ourselves and our ideas in embroidery by means of stitches
-and colour.
-
-To have pleasure in the craft, the needlewoman must have a fairly
-accurate knowledge of the technique. Stitchery should at all times be
-as simple as possible, and carefully adapted to the material and the
-design.
-
-=Simpler Types of Stitchery.=--The commoner types, those which by
-experience and long use have been proved to be the most beautiful or
-the most practical, are the best. All the more complicated forms are
-merely modifications or combinations of these simple types, many of
-which are used in “plain” needlework. There are, in fact, few stitches
-which a careful worker cannot master in a very short time.
-
-=Stitchery not the Most Important.=--It is wise to remember that
-stitchery is not the most important factor, but only one of the
-many which go to the making of good and artistic work. Beauty, in
-needlework, consists, not in the variation and elaboration of stitch,
-but in the harmony of material and technique, as well as of form and
-colour.
-
-=Unity of Stitch.=--Where coloured threads are used it will often be
-found advantageous to adopt one stitch only. Many of the charming
-pieces of embroidery stored up in our museums give us an idea of what
-can be done in this way, and though we lack, perhaps, both time and
-patience nowadays, there is no reason why we should not, by cultivation
-of our tastes, raise the level of the art considerably above its
-present standard and prove that we can still produce embroidery--of
-the modest, reticent type--adapted to our own conditions of life, which
-will reveal both refinement and artistic delight.
-
-To execute a piece of work in one stitch would be excellent practice
-for the young embroideress, whereby she would learn to know and use
-a stitch in all its varied aspects. She need not fear monotony--the
-coloured threads will give sufficient variety. Let her take the
-simplest of all stitches to begin with--the tacking or basting
-stitch--and keeping it and its many varieties in her mind when planning
-out the pattern, she will find that she has many delightful ways of
-executing it. Tacking or basting stitch, worked in rows, becomes simple
-darning, a background stitch with which she may make charming patterns
-and fillings, _ad libitum_. (Plates II. and XII.) Worked closer, it is
-a running stitch, wherewith braids may be tacked in place (Plate IV.),
-frills gathered up, seams of frocks connected, or smocking prepared.
-Finally, when worked with the same quantity of thread on the under and
-upper surfaces of the material, it attains a new dignity, and becomes
-satin stitch--the stitch beloved of the young modern needlewoman,
-who is generally inspired and stimulated by the wonderful skill and
-precision of the Eastern needleworkers.
-
-=White Backgrounds.=--White backgrounds, when embroidered in white
-or with only a little colour, may have much greater variation in
-stitchery; it is a relief to the worker and an improvement to the
-work--indeed, should the embroideress feel so disposed, she has
-here the opportunity of displaying her knowledge of stitchery to a
-considerable extent, always keeping, of course, within the limits of
-good taste.
-
-She should endeavour to suit the stitchery to the work, to produce
-the desired effect without too much labour--not that work should ever
-be done in a hasty or untidy manner--but, as said before, she should
-adapt it to its purpose. It is well to remember that large pieces of
-embroidery, generally seen from a distance, demand bold, effective
-treatment; detail is lost, so can be omitted; smaller pieces, seen at
-closer range, should bear inspection, therefore more delicate treatment
-may be applied; detail and finer stitches can be seen to advantage.
-(See Chapter XII. for stitches and the method of working.)
-
-
-THE SIXTH POINT: THE FINISHINGS.
-
-The aim of the embroideress is to make her work beautiful, as well as
-suitable for her purpose. If she has the gift of originality she will
-also make it distinctive, possibly unconsciously, by adding here and
-there those little touches of individuality which will mark the work as
-characteristic of herself.
-
-It is in the finishings that she has most scope for these dainty
-devices; for by their means she may add interest and artistic detail to
-the simple garment or article of domestic use and render them charming
-things to look at. She may attain this end, not by obtaining expensive
-fitments, rich cords and silk tassels, such as are sometimes applied,
-most unsuitably, to embroidered cushions, table squares, and other
-objects that require frequent washing, but by the use of braids (Plate
-VI.), and bindings (Plate VIII.), and bands (Plate IV.), hand-made
-cords and tassels, linings, edges, fringes, beads and buttons, raffia
-and plaited straw.
-
-Thus, the amateur will find it well worth while giving some thought
-to the making-up and finishing off of her embroidery. She will soon
-realise, too, the possibilities of making many of these ingenious
-devices herself wherewith to adorn her work, and she will feel well
-repaid in the end when she has contrived some simple embellishment at
-little extra cost.
-
-Hand-made cords and tassels (Figs. 38A and 41), fringes and edgings
-(Figs. 34 and 42), may soon be made by skilful fingers; bright-coloured
-skirt braids and carpet bindings and hand-made cords of dyed string
-or wool give a decorative effect to hems and borders--a wide hem
-looks well with a heading of brush braid or a piping of coloured
-galoon or narrow Russian braid oversewn with wool, or a narrow band
-of needle-weaving. Material and edges may be joined, chair backs and
-runners may be brightened, dress fitments may be completed simply,
-artistically and economically, by means of these braids, connected with
-dainty joining stitches (Figs. 26 and 29).
-
-Wools of various qualities may be brought into service to make fringes
-and cords for cushions, etc.; seams may be decorated and joined with
-insertion stitches, worked by hand (Fig. 25), or by the crochet needle
-(Fig. 63); fastenings may be secured by latchets of wool, thread, or
-silk, or cord, all of which are easy of manipulation and much prettier
-than machine-made articles.
-
-By referring to Plate XIII., it may be seen that much may be achieved
-by means of braid in the decoration of a useful bag; for description,
-see page 153.
-
-Charming hand-made braids which may be used for many purposes, such as
-waist cords, latchets, ties, belts, hat bands (Fig. 40), may be made by
-means of an embroidery frame, a lace cushion or a small hand loom.
-
-For the handles and joinings of bags, see chapter on needle-weaving.
-
-Beads and buttons are useful for ornamentation--they give richness and
-weight wherever they may be placed; and as an addition to fringes (Fig.
-35), tassels and ties, they are most effective. Flat beads and buttons
-may be applied to embroidery provided they do not interfere with the
-use of the object; this they would do if it were in such constant use
-as to require frequent washing.
-
-Small beads may often take the place of French knots, giving much the
-same appearance to a border or hem.
-
-Washing galoons and gimps, bindings and trimmings, may be effectively
-applied to dainty little tea and luncheon sets, as well as to
-children’s dresses and overalls, they may be further embellished with
-narrow borders of needle-weaving worked in coloured cottons or in flax
-threads.
-
-For method of making fringes, tassels and braids, etc., see Chapter XI.
-
-
-
-
-CHAPTER IV
-
-DARNING STITCHES--BACKGROUNDS AND FILLINGS
-
-“The needle’s work pleased her, and she graced it.”
-
-
-There is an infinite variety of pattern to be made with darning
-stitches, and fortunately many needlewomen have sufficient originality
-to invent little variations to suit their work and material. Most of
-the patterns on Plate II. are intended to be worked on a loosely woven
-foundation where the threads are easily counted, such as some of the
-coarser linens, single thread canvases, greenhouse shading, and tammy
-cloth for finer work. These darning patterns are better worked with a
-blunt needle and a long thread, as it is rather awkward, at times, to
-join new threads in the middle of a pattern, especially an openwork
-one (see Fig. H). Simple fillings like these may greatly enhance the
-effect of a piece of embroidery. It will be seen by referring to Plate
-II. that they might be worked so as to form quite a number of patterns
-in straight lines (Fig. A), in waves or chevron pattern (Fig. C), in
-clusters or stars (Fig. F), in lines of slanting stitches (Fig. D), in
-groups of squares or chequers (Fig. E), in vandykes (Fig. G), or in any
-of the openwork stitches as Figs. J and L.
-
-=A Simple Openwork Filling.=--Fig. J is a pretty little pattern
-suitable for a border, for the foot of a child’s frock, for a jumper,
-for table mats, or for any article where a dainty openwork appearance
-is wanted. It consists of straight lines in a vertical overcast stitch,
-worked in rows, from left to right and from right to left.
-
-These upright stitches are in groups of two, worked over four threads
-of the material; each row is separated from the other by two strands of
-the material.
-
-=To Work Fig. J.=--Unfortunately the Fig. J does not show this filling
-to advantage. When the pattern is worked it will be seen that the
-intervening strands, in conjunction with the open spaces, form tiny
-little crosses, which add transparency to the work.
-
-A filling more tedious to work, but with a more open appearance, is got
-by overcasting every stitch on the advancing row, and on the return row
-working the upper part of each stitch into the lower space of the row
-above, thus leaving no strands between the stitches or rows.
-
-=Vandyke Border, Fig. G.=--This pointed pattern, worked in a single
-row, makes a good finish for a border or hem.
-
-To work as Fig. G, each group requires seven stitches to form it, the
-shortest covering four threads and the longest twelve; the last stitch
-of each group forms the first of the next one.
-
-=Pyramid Filling.=--The size of the groups may vary; large and small
-vandykes may alternate. Another filling somewhat similar may be made
-by taking the stitches horizontally instead of vertically; in this way
-groups of little pyramids are formed. Each row should be worked with
-alternating pyramids. The simplest method is to begin at the top with
-a short stitch over two threads, work five more horizontal stitches,
-increasing in width, right and left, by one thread, so that the sixth
-stitch covers twelve threads of the material. Work in oblique rows.
-
-Strips of vandyke pattern may be worked over large backgrounds with
-good effect. Make five horizontal stitches over five strands of canvas,
-each stitch being below the other, but one thread to the right of the
-last; then work four stitches beneath these, each stitch being this
-time one thread to the left of the one above it; continue for length
-required. Start the second row on a level with the first and six or
-seven strands to the right of it.
-
-=Fig. B, Arrow-head Filling.=--This is a useful stitch for covering the
-ground quickly. The three stitches are here formed over six vertical
-and ten horizontal threads, but, of course, the number must always
-depend upon the quality of the material. The vertical stitch is worked
-first, then the left slanting stitch, followed by the right. In working
-with loosely woven cloth, it is necessary to carry the working thread
-up behind the material to the top to start each stitch. This uses
-rather more thread, but the stitches lie better and the work is not
-puckered.
-
-=Fig. F, Star Filling.=--Here, a number of stars are worked in
-successive rows. To make them quite regular, each one should be begun
-at the same point. In the Fig. F they are worked over sixteen strands:
-start at the top left corner with a double stitch, then make the
-horizontal stitch below, and so on till complete. By tightening the
-working thread a little a hole is formed at each corner, and in the
-centre of each star, which makes the pattern an open one, provided the
-working thread is not too thick, in which case it would fill up the
-hole.
-
-An equally good background for a firmer material is to work stars in
-two rows, diagonally, one up, one down, leaving always an equal number
-of strands between each star. In this way the material itself is formed
-into little diamond-shaped panels or lozenges.
-
-=Fig. C, Wave Pattern.=--This is one of the more elaborate darning
-patterns. It makes a more solid filling and takes rather longer to
-work than some of the others. Many pleasing variations may be formed
-with darning stitches, where the background weft or warp threads are
-utilised to form the pattern.
-
-=Damask Darning.=--Materials may be repaired by a linen, twill, or
-damask darn, in which case the weft threads have to be put in first by
-the worker before the pattern can be woven.
-
-Work Fig. C by lifting two weft threads in descending rows and passing
-over seven; after working six rows the pattern is changed by the two
-weft threads being lifted in ascending rows, the last of the descending
-counting as the first of the ascending row.
-
-In a twill darn, the pattern of weft threads descends all the time in
-regular diagonal lines.
-
-It is quite worth while copying some of these damask patterns from
-table napery, and reproducing them on a larger scale in bright
-colours--in order to see what effective designs they are; they might
-well be utilised as fillings for squares, stools, or cushions.
-
-[Illustration: PLATE III.
-
-A RUNNER IN CRASH (_See p. 63_)]
-
-=Fig. A, Single Darning.=--A simple grounding pattern, such as that of
-Fig. A, is useful; it is quickly worked, too, a number of threads being
-lifted by the needle at each stitch. Start at the left corner; pass
-over four and lift two weft threads alternately for the first two rows;
-for the next two rows, lift the two weft threads in a line with the
-centre of the long stitch, and so on.
-
-=Basket Pattern.=--A basket or brick pattern may be got by working
-four rows with the lifted threads in a line, instead of two, as Fig.
-A, before changing the stitch. This pattern looks very well when the
-chequers are worked with contrasting colours. Work four vertical
-stitches first, in lines, and in one colour, over eight strands; then
-take the contrasting colour and fill in all the horizontal stitches.
-If one colour only is used these squares may be worked in rows, the
-vertical and horizontal sections alternately.
-
-=Fig. H.=--This type of work makes a rather more open background than
-some of the others; it is very suitable for filling in small spaces,
-for handkerchief sachets, nightdress bags or borders for collars or
-handkerchiefs.
-
-It should be worked with a fine coloured or white lace thread,
-sufficiently strong to draw the strands firmly together, yet fine
-enough to leave the spaces as clear as possible. As a filling it is
-easily and quickly worked, as no threads are drawn out, which is a
-recommendation.
-
-The pattern is worked over six threads both ways--with the exception of
-the first stitch--and in two horizontal lines. It will be noted that
-the stitches are not quite vertical, being inclined towards each other
-in twos.
-
-=A Good Filling.=--To form the first stitches, bring the needle out
-at the top left corner; count down over six strands and three to the
-right; insert the needle and take a horizontal stitch under six strands
-to the right. The slanting stitch is now formed by inserting the needle
-into the hole on the upper line made by the first stitch, and taking
-a horizontal stitch under six strands to the right on that line--the
-upper one; proceed in this way to the end of the space. The next row is
-worked from right to left. The thread should be tightened after each
-stitch to increase the open space.
-
-=Fig. D, Diagonal Filling.=--This grounding pattern consists of rows
-of slanting stitches, worked downwards over six strands of material;
-the working thread is taken across from corner to corner of a square,
-each successive stitch being taken three strands below the upper one;
-a strand of the material forms a mid-rib between the inverted rows. If
-preferred, these rows might be separated by a line of backstitching,
-in which case two threads should divide each row of slanting stitches;
-this gives a clear line for the backstitching.
-
-These backgrounds and darning stitches described above are well suited
-for working on coarse materials with thick threads--as well as with
-finer ones; although the patterns for the majority of workers are too
-laborious for very fine stuffs, they may be used for small spaces in
-linen embroidery such as fillings for flowers, or initials.
-
-Charming open groundings may be worked without removing the threads
-of the foundation material, but by drawing them in clusters tightly
-together, by means of stitches. Compare Plate II., where the fillings,
-Figs. H, I, B, K, L, and M, are worked in this way.
-
-These patterns can be only shown properly on a loosely woven cloth,
-such as canvas, linen, or cambric. For fine material a fine lace thread
-is required.
-
-=Fig. I.=--This pattern consists of little squares and crosses. In Fig.
-I it has been worked with a thick thread and the strands have not been
-pulled together--in order to show the method of working; but as already
-explained, it requires a fine thread and tightened strands to show to
-advantage.
-
-=A Filling in Squares.=--Begin the pattern with vertical stitches,
-in horizontal rows over six strands, exactly as in Fig. 10, until
-the required space is filled, drawing each group of threads tightly
-together; then work the horizontal stitches over five strands to
-complete the squares, tightening them also, but not to such an extent
-as to pucker the material. The squares may be made smaller and the open
-spaces larger if each stitch is worked over twice with a very fine
-thread.
-
-=Fig. K, Squares and Stars.=--Here, each square takes up sixteen
-strands of linen, and each one is completed before going on to the
-next. Work by overcasting all round the outside of the square over
-four strands, and make an inner square, as Fig. I, with a cross stitch
-in the centre, taking care to finish with the needle in a position to
-begin the next square.
-
-=Fig. L, Square Stitch and Rhodian Embroidery.=--This pattern is
-made up of rows of square stitches separated by vertical ones. It
-is usually worked without removing any threads from the material,
-although with a very firm cloth it is rather an advantage to do so
-when an insertion is wanted; in the latter case the vertical threads
-connecting the rows of square stitch are left out.
-
-This is a stitch one frequently finds in old linen embroideries,
-particularly of old German and Italian work--where it is used either
-as a border or insertion, or as a separating line between squared or
-diamond-shaped forms; there is a similarity in the working of it to the
-stitches used by the people of the Island of Rhodes--latterly known
-as Rhodes embroidery or punch work--the only difference being that it
-covers the entire background in Rhodian embroideries and the threads
-are more closely drawn together. In these Rhodian embroideries the
-rose is frequently to be met with. It is the symbol which invariably
-accompanies the head of Helios on its coins, and to which the classic
-isle owes its name. Square stitch can be worked in straight or in
-slanting lines, see Fig. M--the former is the simpler, as each square
-is completed in one row, while the latter requires two rows to complete
-it.
-
-To work on horizontal lines, Fig. L, begin at the right-hand side and
-make an upright stitch over six threads; take a slanting stitch at the
-back and bring the needle out six threads to the left at the base. Take
-a horizontal stitch to the right, inserting the needle at the foot
-of the vertical stitch; take an upwards slanting stitch at the back
-to the left and insert the needle into the top of the first stitch.
-This forms three sides of the square. Now bring the needle out in
-position to start as for the first upright stitch. If properly worked,
-the reverse side forms a series of crosses. Fig. L has a row of these
-square stitches with an alternate row of upright stitches worked from
-left to right between them. This is a pretty and unusual combination
-of stitches, and it makes a charming border worked in colour on a
-loosely textured material for a collar or other small article. Another
-variation of the same type, and still more open, is to have double rows
-of square stitch between each row of vertical stitches, the lower row
-of little squares coming between those of the upper row.
-
-=Fig. I, Square Stitch in Slanting Lines.=--To work this stitch in
-slanting lines is rather a slower process. The first row forms a series
-of zig-zags or little steps on the right side, while on the wrong
-side it forms two single lines on the bias of the material. Begin at
-the right-hand side of the work; take a horizontal stitch from left
-to right over six threads; a slanting stitch at the back to the left
-brings the needle out six threads below the starting-point. Take an
-upright stitch and put the needle into this point--two sides of the
-square are now formed. Take a slanting stitch at the back and bring the
-needle out six threads to the left of the base of the upright stitch
-and continue for the distance required. This slanting line of square
-stitch is easily acquired if the worker remembers the appearance of the
-stitch, on the “wrong” side as well as the right.
-
-=A Table Scarf in Russian Crash.=--This design is another of the direct
-type in which the needle-woven border forms the principal subject.
-The material is very pleasant to work--it is of a soft greyish-cream
-colour, which combines well with the wools and braids, and the texture
-is sufficiently open to allow of the threads being easily removed,
-which is a recommendation when preparing for the needle-weaving and the
-fringe. The stitchery is all done in wools, and the colours are dark
-heliotrope with two lighter tints, blues (two tones), greens, a dark
-and light emerald, and deep orange. The broad braid is of soft blue,
-the narrow of straw colour. The design forms a deep border divided into
-panels by bands of braid; the bands are tacked into place by short
-button-hole stitches in the darker shade of emerald green, between
-which are tiny little loop stitches (Fig. 3), in orange. The centre
-panel has a wide band of needle-weaving, about three inches deep, which
-is divided up into five groups; the groups are worked from the outside,
-inwards, as in Plate I., and the various colours are introduced into
-them. The most prominent colour in the scheme is blue, accentuated in
-this case by the blue braid, the blue edging, and the second and fourth
-groups of weaving, which are worked in two shades of blue. The first
-and fifth groups are woven in heliotrope with orange in the centre; the
-middle group has light heliotrope on the outer parts and pale green on
-the inner. This same green is worked in oriental stitch on each side of
-the central 3-inch bar, while the stitchery between the rows of wide
-blue braid is in the lightest tint of heliotrope, tacked down with tiny
-stitches of the darkest shade. The two side panels are worked in satin
-stitch in two tones of heliotrope, each row of chequers being connected
-by small chequers in light green--they also are worked in satin
-stitch. The lines of straw-coloured braid are sewn down with French
-knots in heliotrope (Figs. 22A, 22B). The pattern of the stitching on
-the bands of braid which border the design is worked in the same way
-as loop or oriental stitch; the needle is brought out on one side of
-the braid and inserted on the other side, just opposite, then brought
-out again in the centre to the right, where the wool is tacked down
-with a tiny stitch; the needle is again brought out on the edge of the
-braid, about half an inch further on, inserted on the lower edge and
-brought out in the middle again in order to tack the wool down. These
-two stitches reversed give the diamond shape of the insertion; three
-satin stitches in orange give a bright little note to the edging. These
-looped or petal stitches worked in different ways can be used to form
-many pretty headings. The narrow edging on the selvedges between the
-lines of blue braid is charming; it consists of two loops of heliotrope
-in two shades--the one worked within the other--with a closed looped
-stitch in orange between each pair. When all the embroidery is
-finished, the weft threads are withdrawn from the remaining ends of the
-material, which have been left for the fringe. Sometimes a fringe of a
-closer texture or of a different type is worked, or the material may
-be too short to allow of one--in all of which cases a strip of cloth
-could be inserted under the braid and sewn down with the pattern, then
-fringed.
-
-It is generally advisable when working with narrow braids to take the
-ends through the material where they can be stitched firmly in place;
-wider ones are often tied at the ends to prevent spreading, then turned
-in and stitched.
-
-
-
-
-CHAPTER V
-
-NEEDLE-WEAVING--RUSSIAN OPEN-WORK--LINKED STITCHES
-
- “A web made fair in the weaving.”
-
-Needle-weaving is a form of decoration common to all countries; it
-was practised by primitive peoples and must have preceded embroidery.
-It was a means of adding richness and colour much in favour with the
-early Egyptians, who decorated their garments with fringes and bands of
-needle-weaving. Mummy cloths treated in this way are to be seen in the
-British Museum; also specimens of early Coptic work, preserved in the
-Victoria and Albert Museum, show that they were in the habit of weaving
-little panels and borders with the needle, with which to decorate
-their garments. This desire to enrich and decorate with the needle, by
-means of colour and pattern, the more important parts of their apparel
-followed on the discovery of how to weave cloth, and so we find that
-these early workers frequently left out the weft threads and wove in
-beautiful patterns, rich in colour, with the needle into these spaces.
-Later, little panels, bars and medallions were worked in this way and
-inserted into their garments. This needle-weaving, which is practically
-tapestry with the needle, seems to have reached a great degree of
-perfection in the fifth century. There is very little to distinguish
-needle-weaving from tapestry, except that the latter is done with the
-shuttle instead of the needle.
-
-This weaving of patterns directly on to the material is fascinating
-work. It is so effective, so rich in result, and so charmingly
-appropriate to the material; there must always be a certain stiffness
-and rigidity in the pattern, caused by the upright warp threads, which
-demand simplicity of treatment. Weaving, whether done with needle,
-bobbins or shuttle, is just a method of interweaving the warp threads
-with the weft; these weft-threads may consist of wools, silks, cottons,
-or--decoratively, of raffia, or even gold and silver threads.
-
-This type of work may be applied to all kinds of useful household
-articles--table linen, bed linen, cushions, bags, chair backs,
-footstools, book covers; also bands and insertions for garments.
-There is room for such simple pattern, combined in some cases with
-other stitchery, on these and many other articles, where a marginal
-decoration is appropriate.
-
-=Description of Frontispiece.=--Plate I. shows a table square worked
-on “Titian” canvas of a soft brown tint. The original was 36 inches by
-18 inches. The edges of the canvas should be turned up and the spaces
-arranged for the needle-weaving and coloured bands before the weft
-threads are removed. Allow about 3 inches for the open-work. Cut the
-weft threads and pull them out. Fig. 31 shows method of working; begin
-at the right-hand corner and weave the pattern over six groups, three
-strands in each group--these are worked in gold and yellow; repeat
-the same pattern on the opposite side--it simplifies the work and
-saves time and trouble if the weaving is done from the ends, working
-inwards; thus two similar patterns are woven, one after the other. If
-the band of weaving is carefully examined, it will be seen that the
-gold-coloured threads form a definite pattern on the background; if
-these are woven in first, it will aid the worker and act as a guide
-for the interlacing of the other colours. The next group, in lemon
-and purple, is worked on nine groups of threads: throughout all these
-patterns a group consists of three strands. The purple lines are sewn
-in with a back stitch. The third group is formed of a large cross
-in orange surrounded with gold-coloured squares, which in turn are
-completed with blue squares at the corners.
-
-The fourth, or central group, has two narrow bars on each side, worked
-in soft green, blue, purple and gold.
-
-The inner cross of lemon wool with purple and gold can be easily
-followed from the plate.
-
-The broad band of needle-weaving is edged by rows of variegated chain
-stitch in brown and cream (for the working of which, see Fig. 1, p.
-46), and followed by rows of button-hole in orange (Fig. 11).
-
-The wide braid-like line in oriental stitch, along the top, is worked
-very closely; along the sides the same stitch is seen with wider
-spacing. This stitch is of the herring-bone type--the needle is
-inserted vertically, instead of horizontally, as in the case of the
-commoner and better-known stitch. It is effective and economical, as
-the bulk of the thread is on the surface.
-
-The tassels are of soft brown and bright blue wool hung on to
-button-holed loops, for the making of which, see Fig. 57, Chapter
-XIII.; and for the tassels, Fig. 41. The ribbon border is worked in
-gold and purple silk.
-
-A sideboard runner worked similarly, but with two wide bands of
-needle-weaving at each end and rather wider lines of stitchery at the
-sides, was made to match this table runner; the light colours of the
-border gave a very gay touch to an otherwise sombre room.
-
-Plate II., Fig. N, illustrates another type of open-work which is
-practised by the peasantry of Russia. It is interesting and quite
-different in appearance from some of the other peasant work. One
-distinguishing feature is that two rows are worked in conjunction,
-and another is the number of rows and the manner in which they are
-worked. This form of open-work deserves to be better known in this
-country. The pattern is formed by means of blocks of stitches, which
-are not worked in the ordinary darning or weaving stitch but by the
-overcasting of laid threads; indeed, with the exception of the first
-and final rows--which are hemstitched--the entire work consists of the
-overcasting of threads; bars, strands or groups, all are worked from
-right to left. The Russian peasantry work most elaborate borders on
-handsome linen of an open texture; these borders vary in width from
-2 inches to 18 inches, and are applied to all kinds of articles for
-household and personal use. This form of open-work is more durable
-than the type usually done in this country; indeed, the material is
-strengthened by the stitchery rather than weakened, as is frequently
-the case with the usual method of treating drawn-thread work.
-
-To work a border similar to Plate II., Fig. N, begin by removing two
-threads; work a row of single hemstitch into the space, over four
-threads, dividing the material into clusters with six warp threads in
-each--the hemstitching is done from left to right in the usual way. To
-prepare for the next two rows, leave a narrow bar of five weft threads
-and draw out six threads--the number of threads to be removed will,
-of course, vary according to the quality of the material, but the
-horizontal intervening bars are always narrower than the open spaces.
-Begin at the right hand; make the number of upright stitches necessary
-to carry the thread to the left of the group, which is to be worked
-into a solid block; lay the thread across this group, and returning,
-bring the needle out between the first and second cluster of threads,
-on the right of the cluster; now put the needle over the laid thread
-and bring it out under the laid thread at the next group. Put the
-needle over the thread again and bring it out at the left of the entire
-group; in other words, overcast the laid thread from right to left of
-the group--always pass the needle behind a cluster of threads between
-each overcasting stitch; continue to lay the thread and overcast back
-until the space is filled, then work one straight stitch over the upper
-horizontal bar; overcast one vertical cluster; slip the carrying thread
-up behind; work another upright stitch; overcast the second vertical
-cluster; again slip the thread up through the back of the stitchery;
-then work the upright stitches and repeat the laying and overcasting to
-make the solid pattern again. Once the method is acquired, it will be a
-simple matter to arrange these solid masses in such a way as to form a
-pattern. It is better to prepare and cut the threads of each row just
-before working it; there is, in this way, less risk of making mistakes
-by cutting the wrong threads. Another reason for preparing the rows
-step by step is that the material is easier to hold before the removal
-of the weft threads than it would be after they have been withdrawn.
-
-LINKED STITCHES.
-
-=Chain and Tambour Work= (=Fig. 1=).--Chain stitch, which is said to
-have come to us from China, has been for a long time little used in
-this country. Tambour stitch--in high favour and greatly used by our
-grandmothers--was produced later by the machine in such quantities and
-in so mechanical and inartistic a manner that it fell into disfavour,
-and unfortunately chain stitch--which is practically the same, except
-that it is worked with the needle instead of with a crochet hook--fell
-with it. Nevertheless, it is a stitch which is most useful and
-charming in its even and somewhat monotonous regularity, especially
-where a great variety of colour is used and a broad effect is wanted.
-A particularly adaptable stitch, it lends itself, on account of its
-linked nature, to the following of curves and spirals, outlines and
-the filling of circular and oval forms. It can be worked singly--as a
-powdering--or in a zig-zag pattern--with two colours at once--which
-produces an interesting result (Plate I.), or with a twist. Worked
-openly with the needle inserted first to the left then to the right
-to give a broader line, it is known as ladder stitch, while twisted
-chain, worked closely, is known as rope stitch. Linked chain and cable
-chain (Fig. 8) are more elaborate forms of the same stitch. Much of the
-beautiful Persian quilting done on linens is worked in chain stitch
-on the wrong side, which gives the “quilting,” or back stitch, on the
-right side.
-
-=The Working of Tambour Stitch.=--Tambour stitch, though of little use
-for small work, might still be employed very effectively as a quilting
-stitch, and for large pieces of work, such as table covers or hangings;
-it is worked on a frame, and one can quickly acquire facility with the
-hook and accuracy in the working of it.
-
-_Method_:--The material is put in a frame; the thread is kept
-underneath, where the left hand guides it; a sharp-pointed hook is kept
-in the right hand and passed through the material from the surface; it
-catches the thread from the under side and bring it up in a loop; the
-hook is inserted again and the thread is again brought up in a loop
-through the preceding loop.
-
-[Illustration: FIG. 1.]
-
-=To Work Chain Stitch= (=Fig. 1=).--To work chain stitch, bring the
-thread out at the beginning of the line; hold it down with the left
-thumb; place the needle into the hole, which the thread already
-occupies, and take up a small piece of the material--this will vary
-from one-sixteenth to one-eighth of an inch according to the thread and
-material; draw the thread through, and the first link of the chain is
-complete; insert the needle again at the spot where the thread comes
-out and proceed as before. A cord-like effect may be got by overcasting
-each link of the chain with another colour: the eye of the needle
-should be used, as the overcast stitch is taken over the links only.
-
-=Chain Stitch in Two Colours.=--A variation to a border may be given by
-working alternate links of different colour.
-
-_Method_:--Take two threads in the needle, a black and a white, or a
-blue and a green, or any two contrasting colours; bring the needle out
-at the starting point; hold the black thread, which should be to the
-left, under the thumb--the white thread is placed aside out of the way;
-insert the needle, as for chain stitch, beside the held thread and draw
-through--a chain stitch of black has been formed. Next, hold the white
-thread under the thumb, and form the white link, the black thread being
-placed aside to the right this time. Work in this way alternate black
-and white links; a little manipulation is sometimes required to keep
-the thread not in use out of sight (Plate I.).
-
-=Split Stitch.=--Split stitch may be used for very fine work, or for
-fixing down laid stitches, for which it is particularly suitable; it
-has the appearance of a fine chain stitch, but is in reality a single
-stitch which is split, in the process of working, by the needle. Up to
-the fourteenth century, it was generally used in figure embroidery to
-express form, folds of drapery, and features, and was a stitch well
-adapted for the purpose; but as figure embroidery is quite beyond the
-scope of this book and the simpler pieces of embroidery it advocates,
-it is sufficient perhaps to explain the method of working, rather than
-go into the particulars of its history. It is worked from left to right.
-
-_Method_:--Bring the thread to the surface at the left; take a stitch,
-one-sixteenth of an inch, to the right with the point of the needle
-towards the left; pierce the thread which covers this space and draw
-the needle through it, splitting the thread and forming a link-like
-stitch.
-
-[Illustration: FIG. 2.]
-
-=Coral Stitch= (=Fig. 2=).--Coral stitch is a good decorative line
-stitch, easily and quickly executed. It is known under several names,
-such as snail-trail and knotted stitch, etc. It is composed of single
-knots, worked with the connecting thread on the surface; sometimes
-the knots are worked so closely together as to have the appearance of
-beads, or they may be worked half an inch apart, and in rows, when they
-make good lines for filling large spaces or borders.
-
-_Method of working_:--Bring the thread through to the front; place the
-left thumb on it, beyond the point where the knot is to be made; take a
-stitch under the held thread and at right angles to it; draw the needle
-through, still holding the thread under the thumb, and tighten. This
-stitch is suitable for working with wools on fine material.
-
-[Illustration: PLATE IV. A PORTIÈRE.]
-
-=Petal or Loop Stitch= (=Fig. 3=).--Another useful stitch is shown
-in Fig. 3. It is invaluable for the making of small flowers and
-borders, for picking out edges, and for emphasising lines (Plates IV.,
-XIII.). The working of a small flower is shown in Figs. 3 and 3A.
-
-[Illustration: FIG. 3.]
-
-[Illustration: FIG. 3A.]
-
-[Illustration: FIG. 3B.]
-
-_Method_:--Bring the needle out in the centre of the space; insert it
-again at the same point; bring it out near the tip of the petal, as in
-Fig. 3A, and tack it down with a small stitch.
-
-Larger flowers can be quite artistically worked by beginning with a
-small stitch at the foot of the petal, and increasing by successive
-stitches until the outline is reached (Fig. 3B). The outer stitch can
-be worked in a different colour or tone with pleasing effect. One of
-the large conventional flowers in Plate XI. has an outline of these
-stitches, while another has the inner circle worked in the same way
-(Plate IV.).
-
-[Illustration: FIG. 4.]
-
-=Feather Stitch= (=Fig. 4=).--One of the feather stitches, all of which
-are composed of button-hole stitches, is illustrated in Fig. 4. It is
-worked vertically, a stitch being made alternately from left to right.
-The width of the stitch may vary, but it must be regularly worked and
-uniform in size, to look well, when it presents a braid-like appearance
-which is most ornamental for underlinen and other purposes. The diagram
-explains the method of working.
-
-=Fish-bone Stitch= (=Fig. 5=).--Fish-bone stitch is another of the
-feather or button-hole type. There are so many variations of those
-stitches, which are well known to most needle-women--having been used
-for the decoration of underlinen for the last generation or two--that
-only a few need be mentioned here.
-
-[Illustration: FIG. 5.]
-
-Quite a pretty and uncommon variety (Fig. 5) is useful for the filling
-of leaf forms, as well as for borders. The stitch appears to be made
-up of two long outer and two short inner ones, but as will be seen by
-looking carefully at the diagram, there are only two movements. It
-is worked just as in Fig. 4, from left to right. It is very easily
-worked on loosely-woven material, but where the texture is close, it is
-simpler and safer to mark four lines on the material for guidance, two
-outer and two inner, the latter closer together.
-
-TO WORK FIG. 5.--Begin to work from one of the central lines--the
-one to the right; insert the needle on the left outer line and bring
-it out on the left inner line, keeping the working thread under the
-needle; continue in this way, working vertically and keeping the
-stitches regular and equally spaced. The outside stitches may be made
-still longer and closer than those in the diagram with good effects,
-particularly when used for a filling for petals and leaves.
-
-=Cretan Stitch.=--A still more pleasing variety, known as Cretan stitch
-and frequently seen on Cretan or Eastern embroideries, is worked
-similarly in horizontal lines, but the outer and longer stitches are
-small, straight and closely worked together, so that it makes an
-excellent solid border stitch, which looks very handsome when worked in
-metal threads.
-
-=To work Cretan or Oriental Stitch.=--Draw four lines on the material;
-start as in Fig. 5, on the right inner line; insert the needle on
-the left outer line, and bring it out on the left inner one with
-the thread under the needle; take a stitch on the right outer line;
-bring it out on the left inner line with the thread under the needle;
-continue alternately from left to right, taking care to keep the
-stitches exactly below each other. The appearance of the line can be
-slightly varied by increasing or decreasing the outer stitches. The
-inner plaiting is regulated by the size of the stitches taken on the
-outer edges. See Plate I., where the solid blue line enclosed within
-the chequered chain-stitched lines is worked in this way. The lines on
-either side of the runner show the stitch worked more openly.
-
-[Illustration: FIG. 6.]
-
-=Link Stitch= (=Fig. 6=).--This is rather an unusual stitch, being
-formed of links connected by short stitches. To be effective, it should
-be worked with thick twisted thread. It is easily done on a ground
-where the warp and weft threads are sufficiently open to guide the
-worker, otherwise two lines parallel should be marked from a quarter to
-half an inch apart.
-
-[Illustration: FIG. 6A.]
-
-=To work Link Stitch= (=Fig. 6a=).--Begin with the smaller stitches
-(Fig. 6A); bring the needle out in the middle of the space to be
-covered; insert on the upper edge to the left, and bring out still
-further to the left on the lower edge. Pass the eye of the needle down
-through the small stitch and insert again on the lower edge slightly
-to the left of the previous one; take a vertical stitch upwards and a
-little beyond the centre, having the thread under the needle as in Fig.
-6; pull the needle through. These three movements complete the stitch,
-the thread being now in position to make the first small stitch again.
-This stitch is called linked, or knotted chain.
-
-[Illustration: FIG. 7.]
-
-[Illustration: FIG. 7A.]
-
-=To work Tête de Bœuf= (=Fig. 7=).--Another variation of the loop or
-petal stitch is called Tête de Bœuf. Work a loop stitch as Fig. 7A,
-then take a stitch across from left to right; bring the needle out
-above the stretched thread. Make another loop stitch, which fixes this
-in place. This stitch is often used as a powdering. It makes a good
-border stitch.
-
-=To work Cable Chain= (=Fig. 8=).--Cable chain can be worked in two
-ways. Two guiding lines will be of assistance. Bring the needle out
-at the starting point in the middle of the space; form a small loop by
-throwing the thread round as Fig. 8; insert the needle in the centre of
-this loop, which will vary in size according to the thickness of the
-thread and the size of the cable wanted; bring it out about a quarter
-of an inch lower down, taking care to keep the thread under the point
-of the needle; tighten the small loop to the proper size with the right
-hand, then, placing the thumb on the stitch, pull the thread through.
-This forms both the small and large link and the thread is in position
-to start again. When worked in a firmly twisted thread, such as Knox’s
-linen “cord” floss thread, it makes a pretty border or line stitch. A
-row of couching makes a good edging and emphasises the line if required.
-
-[Illustration: FIG. 8.]
-
-By the second method, the small stitch is made first, and the needle
-brought out to the surface about a quarter of an inch lower down; put
-the needle through the small stitch from left to right and place the
-thumb on it; put the needle through the large loop in process of making
-from right to left and tighten the thread sufficiently. The small
-stitch has now to be made.
-
-[Illustration: FIG. 9.]
-
-=Braid Stitch= (=Fig. 9=).--When a fairly heavy line is necessary, Fig.
-9 can be used. It has a braid-like appearance, and for that reason is
-generally known as braid stitch. Work from right to left and start on
-the lower edge. Bring the thread out and place the thumb on it, and
-twist the needle round the held thread, so forming a loose twist on it
-(Fig. 9A). Then insert the needle in the upper line, a little to the
-left of the starting point; bring it out on the lower line, exactly
-beneath; place the thread under the needle, and draw through, keeping
-the thumb on the stitch till tightened sufficiently to form the link.
-
-[Illustration: FIG. 9A.]
-
-
-
-
-CHAPTER VI
-
-BUTTON-HOLE AND BORDER STITCHES--HEMSTITCHING AND OPEN FILLINGS
-
- “And she that is wise, her time will pris.”
-
-
-=Part of a Curtain.=--This illustration (Plate IV.) gives a part of
-a curtain, which is a fine piece of work. The design has been well
-considered. The simple masses are admirably juxtaposed; they have been
-skilfully arranged in a manner singularly appropriate to the work.
-As a piece of embroidery that would generally be looked at from some
-distance there has been no time spent on minute detail which would
-involve unnecessary labour. The bold, yet dainty treatment of the
-needlework is first-rate, and the whole arrangement of the design,
-colour and stitchery show that the purpose for which the embroidery was
-meant must have been continually in the mind of the worker.
-
-The circular massed forms in rich reddish-orange are set, most
-successfully, the one against the other; the green masses, so simple
-in shape and satisfactory in colour, are clearly silhouetted against
-the dark background; the white oblongs with the little orange circles,
-the applied hem and bands in vivid blue, the interesting variation
-in stitchery, all go to make a charmingly harmonious piece of simple
-decoration. Work of this type can be made from materials which are
-quite inexpensive, and its value on that account is increased tenfold.
-In the illustration, the various parts of the design, colour and
-stitchery are so clearly brought out that a detailed description is not
-required. The background is of linen of a firm quality; the applied
-forms may be of linen or of any firm material in wool or cotton; the
-embroidery is in wools, cottons and silks. For the method of working
-the button-hole filling, see Fig. 11. The large circular forms are
-fixed to the foundation with a row of chain stitch; the little orange
-circles on the white ground are in the same stitch (Fig. 1). The
-blue bands are applied with darning or tacking stitch outlined with
-coral stitch (Fig. 2), the hem with button-hole stitch. The effective
-little groups of white on the green ground are in petal stitch (Fig.
-3). All the little square blocks are in satin stitch. How interesting
-this constructional design can become to the needlewoman who uses her
-powers of mind and brain, and who applies her ideas to decorate all
-manner of things. She would no longer be content to work detached
-sprays of flowers and leaves, strewn promiscuously over her work, once
-she discovered what good patterns she could make with simple shapes
-and with the aid of small pieces of bright-coloured patches and short
-lengths of material, which she might adapt and use for many purposes.
-
-=Various Button-hole Stitches.=--Button-hole stitch is one of the most
-useful of stitches, owing to its construction and adaptability, and
-the decision with which it marks a line. It can be used equally well
-for plain needlework, embroidery, or needle-point lace; for borders or
-fillings, either open or solid, for the covering of raw edges, the
-outlining of _appliqué_ forms, or the working of flowers or leaves. The
-direction, spacing and grouping of the stitch may be arranged to suit
-the work and curved lines may be followed with the utmost facility.
-
-Indeed, the interesting variations and combinations which may be
-obtained by an ingenious worker are endless.
-
-[Illustration: FIG. 10A.]
-
-There are two ways of working the stitch, single button-hole (Fig.
-10A), and double or tailor’s button-hole; the former, when worked
-with rather a wide space between each stitch, is generally known as
-blanket stitch. Fig. 10A gives a corner for a border, which will also
-make a suitable finish or heading to the neck of a dress or blouse;
-it may be spaced in various ways, worked in slanting lines, or with
-stitches of equal lengths, worked over threads or narrow braids of a
-different colour or tone. When the heading forms a close line, it is
-usually considered as a button-hole stitch. Plate I. shows two lines of
-button-holing worked in groups of three, in orange wool, between two
-rows of chequered chain stitch, where they serve to connect the broad
-bands of orange which surround the border of the runner.
-
-For the making of an actual button-hole, or where a firmer and more
-decorative heading is wanted, it is better to use the variety known as
-tailor’s button-hole, which has an extra knot added to it; it is this
-knot which gives greater firmness as well as beauty to the stitch.
-
-=To work Blanket Stitch= (=Fig. 10a=).--Blanket, or single button-hole
-stitch, is so well known that it is hardly necessary to describe it.
-Bring the needle out at the left end of the line or border; place the
-thread under the left thumb and insert the needle as shown in Fig. 10A;
-draw it through, still keeping the thumb on the thread--the needle is
-thus brought out over it.
-
-=Tailor’s Button Stitch.=--Tailor’s button-hole--the method of
-working:--Put the needle into the same position, with the thread under
-it, as for the single stitch, then take the thread, near the eye of
-the needle, in the right hand and pass it from right to left again
-under the needle; draw the needle through both loops and the stitch is
-complete.
-
-[Illustration: FIG. 10.]
-
-=Crossed Button-hole= (=Fig. 10=).--Fig. 10 shows another variety
-of the stitch. The threads are crossed by sloping the needle to the
-right for the one, and to the left for the other. When worked on a
-loosely-woven material they can easily be kept exact. The knotted edge
-may be further strengthened by a row of chain stitch, which always
-improves the line. As may be seen from the figure, either the under or
-upper stitches may be the longer, but they should not be varied on the
-same border, otherwise the regularity of the work will be impaired.
-
-=Flowers in Button-hole Stitch= (=Plate XIII.=).--Fig. 11 may be used
-for a solid or open groundstitch; it makes a charming filling when
-worked over the material for the petals of large flowers, each petal
-being outlined with chain stitch, couching, or back stitching (Plate
-XI.). When working over a foundation, the first row and the last only
-are fixed to the material; the intervening rows are worked into the
-headings or loops of the preceding rows. When the spaces to be filled
-with stitchery of this type are not of such a form as to allow of
-working continuously, each row of stitchery must be attached to the
-material at the sides, to keep it in position; the rows are then worked
-to and fro from right to left, or _vice versâ_.
-
-=“A Portière”= (=Plate IV.=).--In this piece of work an excellent
-example of this method of filling is seen; the groups of five stitches
-worked in lemon wool, on a black linen background, make a bright
-chequered effect, which adds both interest and distinction to the
-design.
-
-[Illustration: FIG. 11.]
-
-=Button-hole Filling of a Space= (=Fig. 11=).--Fig. 11 shows clearly
-the method of filling an open space in this way. The edges must be
-button-holed in the manner described for white work, unless a braid is
-used, when the firm edge which it gives is sufficient without extra
-stitching. Begin at the right upper corner; make three small overcast
-stitches to carry the thread into position for working the first row,
-which consists of groups of three button-hole stitches worked loosely
-into the edges of the braid or material; at the end of the row fasten
-the thread to the braid; again overcast three stitches; work the second
-row of button-hole into the loops or spaces of the previous row;
-continue in this way until the space is filled; the last row should be
-worked into the braid, in order to keep the others in position.
-
-Plate X. has the central portion enriched by a filling worked in
-button-hole in blue flax thread. It is commenced from the centre; the
-lines of the pattern are then followed towards the outer edges (see
-description on p. 112). Plate XI. shows a similar filling, in the
-flower at the corner, which is also worked in colour and finished on
-the inner row of button-holing by a line of back stitch.
-
-[Illustration: FIG. 12A.]
-
-=A Diapered Border= (=Fig. 12a=).--Quite an interesting solid diapered
-background may be obtained by working these stitches in rows, in groups
-of three or five. The clusters are worked closely at the top; the
-second row has the apex of each cluster fitting into the base of the
-preceding one. A very pleasing border in contrasting colours may be
-obtained in this way; the two firm lines of button-holing will, of
-course, form the outer edges.
-
-[Illustration: FIG. 12B.]
-
-=Double Button-hole= (=Fig. 12b=).--Double button-holing has two rows
-of button stitch (Fig. 12B). The first must have the stitches spaced
-so as to allow of the second row of stitches dovetailing into those of
-the first. This variety can be applied very successfully to braid or
-galoons, in which cases the stitches need not reach to the opposite
-side as in Fig. 12B.
-
-=Leaves in Button-hole Stitch.=--A very good method of filling leaves
-is to work them in two rows of button-holing, back to back, the firm
-central line forming the mid-rib of the leaf and the rather broken
-outer line suggesting the serration of the edges. Small flowers, flower
-centres and berries are frequently worked in this way (Plate XIII.).
-The heading of the stitch forms the outline. An old-fashioned, but
-quaint variety of ground-filling to be seen on some of the earlier
-samples consisted of successive rows of these little eyelet stitches.
-The material was first pierced by a stiletto at regular intervals;
-each hole was then button-holed or overcast round. The insertion of
-the needle into a common centre formed an opening which gave a lighter
-effect to the background.
-
-[Illustration: FIG. 13.]
-
-=Decorative Back Stitch= (=Fig. 13=).--This figure is simply back
-stitch. To be effective and to make room for the interlacing thread,
-it should be worked rather larger than usual, and with a thicker
-thread, from one-eighth to a quarter of an inch in length. A thread of
-a contrasting tone is then laced through, eye of the needle foremost,
-the loops of each stitch being regulated before passing on to the next.
-Back stitch was greatly in use in the seventeenth and early eighteenth
-centuries, for the adornment of all sorts of articles. Quilts,
-hangings, and personal clothing were ornamented in this way with bands
-and patterns. These were sometimes produced by chain stitch worked on
-the wrong side of the material, which, as an embroideress knows, forms
-a row of back stitching on the reverse side--the right side in this
-case.
-
-=Reversible Back Stitch.=--Sometimes these patterns were worked in
-reversible back stitch, in order to make both sides of the stitching
-alike, for in those days needleworkers did not grudge either the time
-or the patience spent on their embroideries.
-
-Reversible back stitch, so-called, is a running or darning stitch.
-All should be regular and equal in length, or the appearance of the
-work, when finished, will not resemble back stitch. The “back” stitch
-is formed by going over the line a second time with a running stitch,
-which fills up the spaces on both sides of the material and renders it
-reversible.
-
-[Illustration: FIG. 14.]
-
-=Honeycomb Filling= (=Fig. 14=).--This pattern has an advantage over
-some of the more elaborate background stitches; it is easily and
-quickly worked, and most of the thread is on the surface. It is known
-to some needlewomen as honeycomb stitch, to others as Mexican stitch.
-
-=To work Honeycomb or Mexican Stitch.=--To obtain the best result
-work the small foundation stitches in one tone and the interlacing
-in another. If worked on a material where the warp and weft threads
-are distinct the small stitches may be kept quite regular without
-difficulty, otherwise it is better to mark their position by means of a
-ruler and pencil. The spacing will vary according to the material and
-the thread used; about half an inch should be left between each small
-stitch for bold effective work, and the second row should alternate
-with the first. When all are in position, a long thread is taken for
-the interlacing, which is done in rows. Fasten the thread at the right
-top corner, and, eye of needle foremost, pass through the first stitch
-in the top row, down to the second, up to the top row again, and so on,
-as shown in Fig. 14. As the edges are undefined, this stitch requires a
-good firm outline round it.
-
-=Table Runner= (Plate V.) of cream cotton canvas, or netting, is of a
-very open texture; it is treated in a simple direct manner, which is
-both pleasing to the eye and interesting to the worker.
-
-It may be made of half-a-yard of material, 54 inches by 18 inches. The
-pattern is worked in wools and thick cottons, in stitchery eminently
-suited to the loosely-woven texture.
-
-_Method of working_:--Turn over on to the front surface a single fold
-of about 1 inch on each side and tack in place to prevent fraying;
-later on these raw edges will be covered with galoon or braid. Allow
-about 12 inches at each end for the wide hem, and from there about
-14 inches for the needle-weaving. Get the centre line by means of a
-measuring tape; cut ten warp threads at each end of the bar, which in
-this material is about three-quarters of an inch. Great care must be
-taken in cutting the top threads to see that they correspond exactly
-with those already cut. It is a good plan to draw the two outer threads
-a little, the tightening of which will indicate the exact place to
-cut the upper ones. This bar should be worked before the adjacent
-bars are cut. Leave a strip of material about half an inch wide on
-either side, then proceed to cut the weft threads, as before, for the
-broader bands--each is about one-and-three-quarter inches wide, so that
-twenty-four threads are withdrawn.
-
-[Illustration: PLATE V.
-
-A BUREAU SCARF.]
-
-In weaving these wide strips, a frame is of assistance on account of
-the very soft nature of the material: the pattern should be easily
-followed from the illustration, but perhaps a few suggestions might
-help the beginner. Fig. 31 gives the method of weaving. Start with
-cream cotton or flax; run a few stitches on the under side; bring the
-needle to the point and weave, by passing over three of the double
-warp threads and under three, backwards and forwards, until these
-upright threads are completely covered--it is necessary during this
-process to press down the threads closely from time to time, and care
-must be taken not to tighten the groups too much or the material will
-get puckered. Repeat these woven bars in different groups of colour
-to the end of the strip, which gives five groups in cream flax and
-three in colour, jade green, reddish-purple, royal blue. Cover the
-half-inch bands of material with a herring-bone or oriental stitch,
-worked in cream linen floss embroidery thread. Take up the strands in
-groups of three on either side--this separates the threads into groups
-and simplifies the weaving of the next strip. Proceed now with the
-more elaborate weaving. It will be noticed that the weaving moves in
-a step-like manner, and that the pattern changes three times in each
-ascending or descending line, so that each line from edge to edge is
-divided into threads. Begin with the green group and pass under and
-over four groups of thread (in Plate V. the group worked in purple is
-the most distinct). Each group, as before, consists of three double
-warp strands; weave one-third of the space, then leave out the fourth
-group; continue to weave on three groups for another third of the
-space; leave out the third group; finish with two groups. Overcast one
-stitch into the canvas and weave over two fresh groups downwards for
-one-third of the distance, then over the next two groups of the second
-third; then take up the two next groups and weave to the edge of the
-threads--thus weaving diagonally in groups of two from the bottom of
-the bar, this last row produces a series of steps. Repeat the same in
-ascending groups; finish exactly in the same manner as before, with the
-exception that the weaving over four groups is this time at the top of
-the bar--these masses of weaving are separated by plain bars of cream,
-woven over four groups. The cut threads at the top are button-holed
-to keep them secure. Lines of darning stitches connect the edges with
-the woven bars. The bands of galoon are now laid over the turned-over
-folds, hemstitched on the one side and button-holed on the other, with
-dull blue; a line of tacking stitch in cerise gives a touch of bright
-colour to the outer edge.
-
-Turn up about 6 inches at each end to give weight to the hems; fill
-the central parts with darning stitches worked in rows--it is best
-to mark off the central unworked space with lines before beginning
-this darning; this serves as a guide and prevents the stitching from
-encroaching on the space.
-
-The galoon on either side is attached with button-holing and French
-knots--the spaces being filled with laid threads in cream, couched in
-the same colour. Latchet darns give emphasis and connect the green
-bars. Finally, the band of green is placed over the hem to finish it.
-The edges of the galoon are button-holed with blue to correspond with
-the rest of the runner.
-
-Latchet darns are bands of weaving; the upright threads are laid, not
-too closely, to represent the warp threads, then the weft threads are
-woven in backwards and forwards; the edges are kept free exactly as
-in the other woven bars. These latchet darns make an excellent finish
-either to a bag, where they serve to hold the drawing-up cords, or to a
-dress, where they ornament or keep the belt in position.
-
-All strands withdrawn, when of a useful length, should be carefully
-kept. They can be used in many different ways to make cords, tassels,
-or fringes.
-
-
-
-
-CHAPTER VII
-
-LAID WORK--BASKET AND LINE STITCHES
-
- “And thou shalt embroider the coat of fine linen, and thou shalt make
- the girdle of needlework.”
-
-
-=A Sideboard Cloth.=--Plate VI. gives an example of a very handsome
-sideboard cloth. The canvas is of the tough hard-wearing type,
-generally used to cover basket hampers, but under the skilful fingers
-of the embroideress it became a beautiful piece of work, with which
-one might well adorn a good piece of furniture. The illustration shows
-the design, which is of the simple straight-line type. The canvas,
-of rather a heavy weight, is of a rich warm brown; the threads of
-floss embroidery linen are in rich blue, tussore colour, emerald
-green, grey-green, a pale blue-green and brown. The design is placed
-at the ends, where it forms bars and blocks of rich colouring. It
-occupies about 8 or 9 inches, 6½ inches for the embroidery, and 2½
-inches for the wide band of braid. The stitchery is made up of bars
-of needle-weaving with bars and blocks of solid embroidery. The wide
-bands at the top and foot, enclosing the central portion, are of
-needle-weaving in a perfectly simple pattern. Each band is about 1 inch
-wide; they are worked in blue-brown and three shades of green. The bar
-in the central panel is woven in tussore and light green, surrounded
-by a border in satin stitch of emerald green. The upright bars or
-straps on either side are woven in bright blue with blue-green crosses
-in the centre; the chequered squares in tussore and blue are enclosed
-by emerald green bands in satin stitch. The background of the central
-panel is worked in chequers of blue tussore and light bluish-green; the
-little crosses, hardly visible in the illustration, are all in emerald,
-while the darning stitch, which forms the background, is in bright blue.
-
-=Square Stitch.=--The remainder of the background is worked in square
-stitch (see Figs. L and M). A fold of the canvas turned over on to the
-right side has a frayed edge; three or four threads are withdrawn--this
-gives a pretty soft effect; the fold is tacked down over a creamy-fawn
-skirt braid, with lines of couching in tussore. These lines have the
-appearance of back stitching, but are in reality couched down; they
-are sewn in that interesting method of bygone days, when embroiderers
-worked much in gold threads.
-
-“=Point rentré et retiré.=”--The surface thread is pulled through
-and caught underneath by means of another thread which never appears
-upon the surface at all; this method has been applied to backgrounds
-worked in silk, as well as in gold (p. 81). It is economical in use
-and very durable. One can well understand the reason of its use, but
-not the cause of its falling out of use. Probably this was due to the
-gradual decadence of embroidery in this country towards the end of the
-fourteenth century, or perhaps the then new method of couching--in use
-at the present day--involved less time and labour.
-
-[Illustration: PLATE VI.
-
-A SIDEBOARD CLOTH]
-
-The wide dark bar at the end of the work is of dark brown braid,
-about 2½ inches wide, with straps of the lighter braid couched down in
-brown thread; these straps are carried down over the fringe which has
-been added in the various colours with a crochet hook (p. 115). The
-sideboard cloth is 54 inches by 22 inches wide. The fringe is about 4
-inches deep.
-
-=Laid Work.=--Laid work is particularly effective for the filling of
-large surfaces, where a bold definite mass of colour is required.
-It is a method of applying threads which gives a rich appearance
-almost similar to that achieved by the _appliqué_ of some rich silk
-material. The stitches are on the surface only and are generally very
-long; they have to be crossed and recrossed by other strands, which
-in their turn are tied down by little stitches. When worked in floss
-silk, a favourite medium with Eastern embroiderers, it is a stitch
-_par excellence_ for showing off the beauty and lustrous sheen of the
-thread, but it is not a very durable type of work, and is therefore
-only suitable for such articles as are not exposed to hard wear, unless
-worked in wools or thick cottons. All the threads on the surface
-are “laid,” as the term is, in parallel lines either vertical or in
-whatever direction is best, in order to allow the couching lines to
-accentuate the form or pattern; it adds to the durability of the work
-if these threads are laid rather widely apart to begin with, as it
-allows the needle to get a firmer hold of the material; the spaces
-are then filled up by working over the surface a second time. Compare
-Fig. 15 and note first layer of stitches. For example, let us suppose
-the vertical threads are laid--the horizontal ones, of another colour
-perhaps, could be placed over them, about three-quarters of an inch
-apart; small upright stitches, about half an inch apart, could couch,
-or fasten these down, one row alternating with the other. This is a
-most decorative method of filling in large flowers or leaves. Single
-petals can be laid diagonally, crossed and tied down, or a complete
-flower may have laid lines radiating from the centre, with the second
-layer of threads in concentric circles couched down with small stitches
-of a contrasting colour.
-
-[Illustration: FIG. 15.]
-
-=Chequered or Basket Pattern= (=Fig. 15=).--Fig. 15 gives a plaited
-or basket pattern; after the vertical threads are laid or placed in
-position in such a way as to lie easily--just filling the form--the
-weaving in of the cross threads is a simple matter.
-
-=To work a Chequered Pattern.=--Begin at the right-hand corner and pass
-the needle over and under three strands for three rows, then reverse
-the chequer by lifting the stitches previously passed over. This work
-looks much better if the darning is all done from right to left. It
-is not so economical in thread, but much more practical on account of
-its greater durability, as the threads all lie the same way; they are
-carried back behind the material instead of being worked to and fro as
-in ordinary darning.
-
-The Italian, Spanish and Japanese embroiderers make great use of these
-laid stitches which, like most other stitches, probably originated in
-the East, as they are to be met with in most oriental embroideries.
-
-[Illustration: FIG. 16.]
-
-=Basket or Stroke Stitch= (=Fig. 16=).--This figure gives another good
-line in rather high relief stitchery. It is sometimes called plaited
-stitch, sometimes fishbone, but it is really a stroke stitch; it is
-most effective and useful for a solid line, whether worked on coarse
-material with a thick twisted thread, or on fine material with a
-correspondingly fine twisted silk thread. It has a strong resemblance
-to some of the plaited Slav or Algerian stitches. It may be easily
-worked on most materials, especially if a couple of guiding lines are
-traced before setting to work. Quite a broad border may be attempted
-which will look well if worked in a coarse thread.
-
-=To work Basket Stitch.=--Bring out the needle at the top of the line
-on the left; make a slanting stitch downwards to the right line; pass
-the needle under the material and bring it out on the left opposite;
-take a slanting stitch upwards over the first stitch to the right and
-insert the needle a little lower than the level of the first stitch;
-then pass under the material to the left side again and bring it out
-just under the first stitch; take a slanting stitch downwards again and
-continue by taking a cross and a slanting stitch alternately.
-
-[Illustration: FIG. 17.]
-
-Net stitch can also be used as a surface stitch or as a filling for an
-open space. It is a method of interlacing which one frequently finds
-on the seats of small chairs, in the construction of baskets and other
-wicker articles. It may be worked with the lines set further apart than
-those in the figure. The horizontal lines are stretched first, not
-too tightly; these are followed by oblique lines which start from the
-left lower corner. The final row, also in oblique lines, starts at the
-right; each row is interlaced with two others. It is useful and most
-effective when used as a surface stitch, as a filling for geometrical
-forms; when used as a lace stitch worked in a linen thread the lines
-may be duplicated. This net is generally the foundation on which the
-design is made.
-
-=Openwork Hems= (=Fig. 12=).--Openworked hems may usually be applied to
-all types of woven materials, to drawn thread work, and to household
-linen. They are more decorative than the ordinary hem.
-
-_Method_:--Draw out the number of threads required--this will always
-depend on the quality of the material, and varies from two to six;
-lay the folds for the hem and tack them just above the open space;
-fasten the thread on the left and insert the needle from right to
-left under four, five, or six threads; pull through the needle and
-re-insert, taking a vertical stitch under three or four threads of the
-folded material. Plate V. shows a border of green galoon fixed with
-hemstitching on the inner side; as the material is very loosely woven,
-no threads have been withdrawn. The same stitch is used for a heading
-for a fringe (Fig. 34); it prevents the material from fraying and
-collects the strands into groups.
-
-=Ladder Hemstitch=.--A more open appearance may be given by withdrawing
-a few more threads and hemstitching the lower edges also; this makes
-a narrow insertion, for by grouping the same threads together, as in
-the upper row, little perpendicular strips are formed which gives wider
-spacing--the bars suggest the rungs of a ladder, and on this account it
-is generally known as ladder hemstitching.
-
-=Vandyke Insertion.=--A vandyke form is also effective; it is worked by
-grouping the stitches of the second or lower row, after hemstitching
-the upper row, in the following method:--Take up half the threads of
-the first cluster and half of the second on the needle, then proceed
-as in upper row; by dividing the groups of the upper row in this way a
-series of slanting stitches is formed when the lower row is complete.
-
-=Antique Hemstitch.=--There are several other ways of hemstitching
-which only vary slightly; perhaps the most decorative form is that
-usually seen on old embroideries, where the thread is carried round a
-narrow rolled hem, not a folded one.
-
-_Method_:--Work from right to left, beginning at the right corner; pass
-the needle over and under a cluster of four threads; draw it out at the
-place inserted; pass it over the edge of the rolled hem and bring it
-out on the left of the cluster, ready to take the next stitch, over and
-under the second group of four strands.
-
-[Illustration: FIG. 18.]
-
-=Roumanian Stitch= (=Fig. 18=).--Cretan, oriental, or Roumanian are
-the various names applied to this well-known stitch. It is frequently
-to be met with in the early English embroideries, particularly those
-of the seventeenth century. It is one of those adaptable stitches
-which are so helpful for the decoration of borders, fillings, leaves,
-flowers; it has therefore always been much used by embroiderers.
-
-=To work Fig. 18.=--This figure hardly needs description, being merely
-a long stitch tacked down. Begin on the left of the space to be filled;
-insert the needle on the right edge and bring it up in the centre; take
-a small stitch over the stretched thread to fix it down and bring the
-needle out at the left edge again, just below the first stitch. If the
-thread is stretched loosely across as in the V-shaped portion of the
-braid collar, Plate IX., a broad and effective means of filling narrow
-spaces or tacking a braid in position can be obtained with economy of
-time and material.
-
-[Illustration: FIG. 19.]
-
-=To work Fern or Fish-bone Stitch= (=Fig. 19=).--This stitch, somewhat
-similar in form, also makes a good border line or even a filling, if
-worked in rows, see Fig. D, Plate XI., where a centre line of material
-gives the rib. In Fig. 19 the stitches meet in the centre and have a
-definite central rib. A central line should be marked on the material
-before starting to work it. Bring the thread out at the left; take a
-slanting stitch towards the centre and insert the needle just beyond
-the line; bring it out at the opposite edge; take another slanting
-stitch and insert just beyond the line again. This slight overlapping
-of the stitches in the middle gives the solid effect to the stitch.
-
-=Chequered Fern Stitch.=--A pleasing variation may be introduced into
-a quiet border by working this stitch in two colours; two or three
-stitches worked in each colour will give a chequered effect, and help
-to relieve monotony if necessary. Work with two threads, bringing
-each to the surface as required. This stitch makes a good filling for
-leaves, the mid line being suggestive of the mid-rib.
-
-[Illustration: FIG. 20.]
-
-=Loop-stitch Border= (=Fig. 20=).--This border is of the familiar loop
-or petal stitch. It has been already described (Figs. 3A and 3B). It
-makes a very pretty border between broad bars of needle-weaving. The
-method of working is quite the same, the only difference being in the
-length of the tying stitch, which in this border forms the stem, while
-in the flowers it ties the edges of the petals; the loops are thus
-reversed in the working. The border may easily be followed from Fig.
-20. Plate VIII. shows this stitch applied to the edges of the squares
-at the corners, where it serves to accentuate them as well as to soften
-their outline.
-
-=Table Mat of White Linen.=--Plate VII. gives a table mat embroidered
-in blue; it is the central mat of an afternoon tea set. The design is
-of a very simple nature, composed by the loops and curves of the French
-tape. The main curves are formed of four short lengths which meet at
-the ends and sides. Each piece of tape takes a curve at the centre
-and begins and ends with a spiral; the outer sides can be put in with
-one length of braid--eight short pieces will do equally well; little
-remainders may be economically disposed of in this way. The inner parts
-of the curves give the opportunity for openwork detail which enriches,
-while it lightens the background. The design should be drawn out on
-paper. All lines which represent the braid must be parallel and spaced
-as nearly as possible to correspond to the width of it; it is important
-to remember that braid spreads when curving and therefore the centres
-of loops or circles become smaller when placed on the material; this
-must be allowed for in the drawing out of the design. Care and accuracy
-are necessary both in forming the curves and in tacking on the braid;
-the beauty of the work would be marred by uncertain lines and unequal
-curves.
-
-[Illustration: PLATE VII.
-
-A TABLE CENTRE IN WHITE AND BLUE]
-
-Plate VII. has not much variety of stitch; the relief given by the blue
-stitches prevents any feeling of monotony.
-
-_Method_:--Tack on the braid round the outer edges; overseam the
-inner edges of the parts which take the curves; prepare for the more
-open spaces by snipping the linen, the way of the warp and the weft,
-quite close to the braid; then turn the edges in under the braid and
-button-hole with blue thread, not too closely, the needle should
-enter easily into the head of the stitches for the making of the lace
-stitch--“_Point de Réprise_.” These openings may be backed by small
-pieces of _toile cirée_; a little medallion of button-holed linen
-should be placed in the centre and tacked firmly in place. The
-connecting threads for the weaving of the little bars or bridges are
-laid in two or four strands, according to the fineness of the thread.
-Begin at the outer edge; carry the thread to the inner medallion, and
-slip the needle, eye first, through a loop of button-hole stitch;
-overcast the next one, and carry the thread from there back to the
-outer edge; then weave over and under these two strands till the centre
-is reached. Oversew one or two button-hole loops and lay the threads
-for the next bridge; this, when woven, will finish at the outer edge
-again. Oversew the stitches until the position for the next bar is
-reached, and continue till the circle is filled in. The corners are
-worked similarly with a few added bridges here and there to fill in
-spaces, which would otherwise be rather empty. These oval openings and
-ends might be worked in what is known as Richelieu work, instead of in
-the manner described. It is rather a quicker method, but not quite so
-firm, nor are the bars so flat.
-
-_Method_:--Button-hole the inner edge of the space, also round the edge
-of the little inside medallion; then lay three strands of thread as the
-foundation of the bridges (see Fig. 24); button-hole these to the edge
-and oversew the button-hole stitches of the outer edge until the thread
-is in position for the next strap.
-
-When the work is finished, the linen under the bars is carefully cut
-away with a very sharp pair of embroidery scissors.
-
-Run round the outer edges of the spaces which are to be filled in with
-a filet or net pattern with two rows of tacking stitch to strengthen,
-and button-hole over this.
-
-To prepare the mesh background, turn on the wrong side, then cut six
-and pass six horizontal threads alternately; remove the cut threads;
-turn the work half round and prepare the threads, previously the
-vertical ones, in the same way, that is, cut and withdraw six, pass
-six. Turn the work to the right side again and oversew the strands,
-one stitch into each little space, taking care to let the stitches
-slant in the same direction on the return row. This groundwork is also
-described in connection with Plate XV. The braid has a row of French
-knots in blue to finish the inner edge. For the finishing of the edges
-of the mat, a firmer edge will be made by cutting the linen a quarter
-of an inch beyond the braid and turning it back under the braid, then
-button-hole this double edge and the braid together in blue. The little
-lace edge may be worked with the needle or with the crochet hook; in
-Plate VII. the latter was used. The lower loops are worked in white,
-the edging in blue with picots is worked into it. For description, see
-Chapter XIII. on crochet edgings.
-
-
-
-
-CHAPTER VIII
-
-COUCHING--FRENCH KNOTS AND BULLION STITCH
-
- “When she rode in coach abroad, was always knotting thread.”
-
-
-Couching is a pleasant and most useful method of applying threads,
-cords or braids to materials of various kinds. For filling in forms,
-circles, or squares it is equal to chain stitch, and should be worked
-similarly--all forms, whether squares or curves, are better to be
-commenced from the outer edge and worked inwards, in order to preserve
-the shape. Special care is required for the outlining of squares or
-angular forms where the tendency is to tighten the applied material,
-whether threads or braids, in turning the corners. At these points the
-threads or braids should lie easily and they should be firmly sewn
-down with closer stitchery. Couching is one of the simplest means of
-decorating velvet, a material always difficult of manipulation, and
-particularly so for the beginner, on account of the pile, which is apt
-to cause irregularity in the stitchery.
-
-[Illustration: FIG. 21.]
-
-[Illustration: FIG. 21A.]
-
-=Couching= (=Figs. 21, 21a=).--This stitch is often worked in a
-frame--it is easier to keep the material stretched; when working
-diagonal lines or circles, where much of the stitchery comes on the
-cross of the material, it is advisable to do so. By means of couching,
-the embroideress may sharply define an outline, fill in various forms,
-geometric or otherwise, repair a worn surface, work diaper patterns, or
-attach metal threads and braids to her embroidery (Plate XVI.).
-
-It is a name applied to a method of attaching threads singly or in
-groups to a foundation by means of another thread, usually a single
-one. Under all circumstances this should be finer than the thread or
-cord sewn down. It is most economical in use as the threads lie on the
-surface--a point well worth consideration (Plate III.).
-
-Probably it was originally used for the sewing on of gold
-threads, which were too precious to be wasted, being made of pure
-metal--naturally the difficulty of drawing these metal threads through
-the material would lead to the simplest means of attachment. At any
-rate, this method of sewing on gold threads was in general use all over
-Europe as early as the twelfth century.
-
-[Illustration: PLATE VIII.
-
-A LUNCHEON MAT. (_See page 86._)]
-
-Couching is particularly useful as an outline to stitching, especially
-where a weak line requires defining. An irregularly sewn form, whether
-floral or geometrical, may be much improved, and the colour may also
-be enhanced, by a firmly couched outline. It is most convenient for
-sewing down applied work. Primarily it covers the join, and is of
-considerable importance in aiding the colour scheme (Plate IV.).
-Where simple treatment shows to advantage, couched threads, outlined
-with metal cord, give the necessary means of expressing taste and
-choice of colour, and with a little extra stitching to indicate
-veinings or whatever detail there may be, couching can again be applied
-with good results, instead of resorting to another stitch. It is worked
-from right to left; the small tying down stitches may be straight or
-slanted, but they ought not to be placed too far apart--for simple
-decorative work, from a sixteenth to a quarter of an inch, the latter
-for the attaching of wools or yarns and narrow braids, the former for
-finer work. One of the commonest mistakes of a beginner is to couch
-with a thick thread, each stitch varying from a half to one-and-a-half
-inches apart. This entirely destroys the character and effect of the
-applied threads. When couching a straight line with cord or braid
-it should be held rather tightly, while with wool or silk a pretty
-bead-like appearance can be got by holding the thread rather loosely
-(Plate XVI.).
-
-The fashion of sewing on a cord invisibly--as in upholstery--by
-untwisting the cord slightly between each stitch should never be
-resorted to for embroidery.
-
-=Ancient method of Couching, “Point rentré et retiré.”=--A most
-interesting method of couching, which unfortunately fell out of use,
-was practised up till the middle of the fourteenth century. The
-couching thread was on the reverse side, and was generally of strong
-waxed linen thread, which did not appear on the surface at all. The
-ground material was formed of two layers of linen, and the gold or silk
-thread was kept on the surface, only penetrating the layers of linen
-at intervals where the linen couching thread had drawn it through.
-
-Some of the beautiful specimens of early English work, the famous Syon
-Cope and the Jesse Cope, to be seen in the Victoria and Albert Museum,
-the backgrounds of which are covered with couching done in this quaint
-and durable fashion, are well worth studying. The linen background of
-the Syon Cope is couched in coloured silk, that of the Jesse Cope in
-fine gold.
-
-The two lines on the outer edges of the sideboard runner, which has
-almost the appearance of back stitching, are worked in this way (Plate
-VI.).
-
-[Illustration: FIG. 22A.]
-
-[Illustration: FIG. 22B.]
-
-=French Knots= (=Figs. 22a, 22b=).--French knots can be applied with
-artistic effect in many ways, not as an outline, but as an adjunct to
-some of the line stitches, such as chain stitch, couching, back stitch,
-etc. (Plate XIV.). They may be used to add touches of colour to a
-pattern, to modify or enrich it (Plate XIII.); to powder backgrounds,
-either single or in clusters, qualifying both texture and colour; to
-outline or fill in flower centres, to form stamens (Plate XI.); to fill
-in lattice patterns or any form that requires some contrast of stitch
-or colour.
-
-_Method_:--To work a French knot, bring out the needle at the point
-where the knot is to be; place the thumb of the left hand over the
-thread (Fig. 22A); twist the needle once round this tightened thread;
-turn the point to the right--thumb still holding the thread--and insert
-it just behind the point where it came out, and draw the thread through
-to the back, or when some experience has been gained, the needle may be
-drawn through on the right side in position for the next knot.
-
-The Chinese, who are adepts, frequently work entire pieces of
-embroidery in knots with such care and precision that they are almost
-mechanical in appearance. They have a method of knotting their thread
-first, then sewing each knot down. This method was also common in
-England about the seventeenth century. At that time ladies used to work
-up hanks of thread, and, by means of a small cushion and a netting
-needle, work a succession of knots on the entire length; these hanks
-were wound up into balls ready for applying to the work in hand.
-
-It is better in making French knots to use a thick thread, or if a
-large knot is required, two or more threads in the needle are more
-satisfactory than twisting one several times round the needle. Plate V.
-shows knots applied to the edges of the galoon, which serve to fix it
-down, as well as to give a finish to the latchet darns.
-
-[Illustration: FIG. 23.]
-
-=Bullion Knots= (=Fig. 23=).--Bullion knots are frequently used in
-white embroidery where variety of stitch is made use of in order to
-relieve the monotony. They consist of little tight coils of thread and
-can be used most successfully to form the centres of large flowers,
-either in a mass or in pattern. Squares or lozenge-shaped forms with a
-French knot in each space make rather interesting fillings.
-
-Fig. 23 shows how bullion knots might be applied in lines radiating
-from the centre to form small flowers.
-
-=Flower Centre in Bullion Stitch.=--_Method of working_:--Bring the
-thread up on the surface at the centre; insert the needle at the outer
-edge of the circle, and draw it out for half its length at the centre,
-beside the thread, which now take hold of with the right hand, and
-twist firmly, but not too tightly, round the needle six or eight times
-according to the size of knot required. Then place the thumb of the
-left hand on the coil and draw the thread carefully through till it is
-tight. It is always advisable to keep the thumb over the coil during
-the whole process if possible.
-
-=A Good Flower Centre.=--Make a number of bullion knots to fit the
-circle, then surround the outer circle with one or two rows of close
-regularly-sized French knots. Bullion stitch may be used for small
-flowers--each petal being made of two knots, meeting at the tip--for
-leaves, inside fillings, ground powderings and sprigs.
-
-Fig. 23 _a_ shows how to make picots in bullion stitch. They are
-generally worked into a bar or loop of button-hole stitch, which may
-form an edging, as in Fig. 37, or an open loop, as in Fig. 23 _b_.
-Picots of this type when worked in a fine linen thread are used for
-the outlines and edgings of laces. To work as Fig. 23 _a_, make the
-required number of button-hole stitches, then insert the needle for
-half its length through the head of the last one; twist the thread
-round the needle from left to right six, eight, or ten times,
-according to the thickness of the thread and the size of the picot
-required; place the thumb of the left hand over the coil and draw the
-needle and thread gently through; keeping the thumb still on the coil,
-tighten the thread until the stitch has been drawn up into a small
-semi-circle; then continue the button-hole stitch till the next picot
-is reached. Note Fig. 23 _b_--the thread is placed under the needle
-before it is drawn through.
-
-If a larger picot is required, it may be made in button-hole stitch
-instead of bullion stitch. Button-hole the bar or loop to the left of
-the required picot, and lay the foundation or padding threads for the
-picot by carrying a thread to and fro three times from the left to the
-right; pass the needle each time through the edges of the button-hole;
-when the third thread is laid the needle is at the right side of the
-picot; button-hole the loop closely till it is covered, then continue
-on to the next point. Open-looped button-hole edging looks very well
-with three bullion stitch picots, but the worker requires to be of a
-patient temperament, as each loop takes some time to work.
-
-Bullion knots are used very frequently in Mount-mellick work. This
-type of needlework originated in Ireland; it is of a very elaborate
-nature, generally done in coarse white threads on a strong white linen
-or jean foundation. Here monotony in tone allows for a great variety of
-stitching. Openwork is not combined with it, as the patterns in which
-it is worked are mostly of a bold conventional floral type; most of
-the stitches used are those which give a raised effect, such as the
-different linked stitches, chain, cable, raised-stem stitches, French
-and bullion knots, and padded satin stitch. The flowers are filled in
-with a great variety of lace stitches.
-
-Button-hole bars are useful for connecting two edges such as the two
-sides of a lined bag, the seams of a child’s frock, or for adding a
-false hem to any dainty article. They are in common use for modern
-openwork embroidery, where they form connecting links between the
-various parts of the design.
-
-[Illustration: FIG. 24.]
-
-=Button-hole Bars= (=Fig. 24=).--Fig. 24 shows the method of working
-connecting bars. The objects to be joined together may be of any
-shape, provided the lines are more or less parallel with each other.
-Begin by button-holing one part of the work, which will give a basis
-or line into which the bars may be worked, then button-hole the part
-to be joined to it a few stitches, until the place where the bar is
-to be is reached; lay each of the threads into a different loop of
-the button-holing--this gives a greater strength and wider surface to
-work upon; when finished, button-hole along the edge as before, until
-the next point where a bar is to be worked is reached. These bars are
-worked over three threads, and should, when worked in lines, be made
-before the material is cut, otherwise it is better to have the two
-parts to be joined tacked down on to a piece of stiff linen, glazed
-calico, or brown paper.
-
-=A Luncheon Set.=--This illustration gives a table centre in cream
-canvas embroidered in bright blue, green, red, cream, yellow,
-heliotrope and black. The design is simple; it is more or less governed
-by the mesh of the material and the method of working it, which
-renders the construction so simple and gives a quaintness and rigidity
-admirable in effect. By examining the illustration it will be seen
-that the central portion of the design is occupied by a broad band of
-needle-weaving, about two inches wide, worked on the weft threads,
-the warp or vertical threads having been withdrawn to the required
-depth. The weaving forms seven separate groups, each of which is
-composed of two colours. The whole mass, rich in effect, is finished
-on either side with two bars of latchet darning; these are worked
-similarly to repairing darns, but are left free at the sides. They are
-edged with an oriental stitch in blue which may be worked much closer
-and more regularly (see Plate I., where, as a heading to the band of
-needle-weaving, it has almost the effect of a braid). The corners,
-which balance the wide needle-woven bar, are worked in chequers of red,
-green, and blue; the larger squares are in green, worked in a simple
-stitch similar to Fig. 18. A row of equally distributed petal or loop
-stitches (Fig. 3, p. 49) breaks the severity of the line; seven lines
-of couching--sewn in self-colours--connect the two ends. The edges of
-the cloth are turned over on the surface and finished with a row of
-blue galoon--Prussian binding; this is tacked in place on each side
-with little triangular stitches in green embroidery cotton. Through
-these stitches a thread of bright red is interlaced; this is followed
-by a second one in cream colour. Large tassels (Fig. 41, p. 120) in
-blue make a finish to the corners. Six little mats, 12 inches by 9
-inches, when finished, were made to match, each having a border and
-couched lines similar to those of the scarf. Little blue tassels of
-appropriate size completed this useful little set.
-
-One yard of material, 54 inches wide, is required to make the complete
-set, that is the table scarf, 54 inches wide by 24 inches, and six
-little mats, 14 inches by 10 inches; this allows for folds at ends and
-sides. If braid is used for finishing the hems, after calculating the
-quantity an extra yard should be allowed, as with so many corners to
-turn one is apt to be too short in the end, and these braids are often
-difficult to match.
-
-Wools and thick cotton threads may be used and a large-eyed
-blunt-pointed needle for the weaving and darning.
-
-
-
-
-CHAPTER IX
-
-BRAIDS AND DESIGN--FAGGOTING--VEINING--ANTIQUE SEAMS--KNOT INSERTION
-AND EDGING
-
-  “There’s nothing neere at hand, or fartherest sought,
-  But with the needle may be shap’d and wrought.”
-
-
-=Braids.=--Braids in different widths are invaluable to the
-embroideress who wishes to execute rapidly a piece of work suitable for
-daily household use, which may possibly be exposed to the smoky and
-foggy city atmosphere, and on which she does not wish to expend much
-time, labour, or money.
-
-Braids of various kinds and qualities--mohair, alpaca, woollen, cotton
-or silk--can be utilised in many ways, and for different objects, as
-well as for the finishing and decoration of hems and borders (Plates
-IX. and XII.).
-
-Those which have an unbroken edge are the best for ornamental purposes.
-They may form the basis of simple geometrical patterns (Fig. 45); lines
-may be arranged to go in different ways, running vertically from end
-to end of a table scarf (Plate VI.), horizontally, as Plate III., or
-diagonally--the direction is immaterial; all are simple to arrange,
-with the exception of diagonal lines, which always require care in the
-placing and stitching, on account of the different stretching qualities
-of the braid and of the material. Sometimes the bands of braid are
-placed singly, sometimes in pairs, one braid--usually in a contrasting
-colour--being superimposed on the other. They may cross each other at
-right angles, they may entwine or interlace (Plate X.), or they may be
-formed into circles or spirals (Figs. 45, 51).
-
-The manner in which braids themselves are made, with the twistings
-and interlacings of strands and groups of threads, is interesting;
-this renders them peculiarly suitable for the designing of interlacing
-patterns, both simple and intricate (Figs. 49, 50).
-
-The word “braid” is taken from the verb of the old Anglo-Saxon
-“bregdan,” or “bredan,” signifying to weave, to entwine, to braid; the
-latter word bearing, in those days, the meaning “to plait,” a word
-which came into use at a later date.
-
-The use of braid for decorative purposes has come down to us from very
-early times--it has always been used by Eastern peoples much more than
-by those of the Western countries. Some of the elaborately worked
-pieces of Indian and Persian work, where tinsel braids are freely
-employed, are things to marvel at.
-
-The peasant costumes of many countries--particularly those for gala
-days--are made gorgeous by the addition of bands of brilliantly
-coloured braids, enriched in many cases by embroidery. Braids are used
-on uniforms, in an official sense, where they are considered as symbols
-of honour--the higher the grade, the more elaborate the decoration.
-
-Care must be taken with the arrangement of these patterns--all curves
-must be exact, interlacing designs must be correct, the series of
-bands always passing alternately the one under the other.
-
-The possibilities for the treatment of braids and bands, for the
-decoration and enrichment of them, open up an interesting field to the
-young designer. By comparing some of the plates it will be seen that
-much has been done in a simple way by the use of these braids and tapes.
-
-Many of the old illuminated manuscripts show wonderful interlacing
-designs, many of which were copied or adapted by embroiderers of the
-period.
-
-An old Venetian pattern book, published in 1562, gives beautiful
-examples of the letters of the alphabet worked first with an outline in
-narrow braid, an elaborate twisted design being then woven in and out
-of the double lines with a narrow braid, with the help of a tapestry
-needle; the delicate points and finishings of the letters being
-finished in satin stitch.
-
-Perhaps the best way to go about a design in which bands of braid
-are to form the foundation of the design would be to take one form
-and try how it might be adapted to suit the conditions of space and
-material. A border for a circular form is simpler in construction than
-one for a square--the corners of the latter always requiring special
-attention--but after a few preliminary trials it will be readily seen
-what the possibilities are.
-
-=Interlacing Knots.=--Interlacings of knots and bands are always
-interesting, and the working out of these designs should be a
-profitable exercise for a beginner. There is such variety in their
-construction, such simple or intricate patterns to be made out of
-these continuous and interlacing lines, that all craft workers have
-found in them a ready means of ornamentation. Knot designs of a
-simple kind may be applied in the form of braids and cords to many
-useful articles of domestic use; the most direct way to work out some
-elementary designs would be to take a length of soft cord and some
-pins, and using the back of a cushion as a foundation, or a covered
-table, pin out a geometrical design--a square would be suitable for the
-first attempt--and develop it. The first square might have the braids
-twisted into small loops at the corners, the second might have the
-sides indented or looped, and so on. Make a series of these with every
-possible variation; then all could be drawn in a note-book, in squared
-paper--for the sake of ease and accuracy. The ends of the cords or
-braids should be pinned together in order to form a continuous band.
-
-The next step would be to interweave a second length of cord into those
-already formed. Care is necessary to interlace the bands, so that
-each passes over and under the other in regular rotation. This second
-band might take the form of another square, set the reverse way, or a
-circular form might be introduced. When all possibilities have been
-worked out, they also should be noted. By degrees more complicated and
-intricate knots may be attempted.
-
-Sometimes an elaborate form may be worked out on paper to begin with,
-then interlaced and pinned out in cord. The embroideress will find
-a note-book and a square of canvas very useful for reference, also
-as aids to memory: in the former, she can make notes of designs and
-suitable detail, of colour schemes taken from pictures, materials and
-embroideries, suggestions for finishing and fastenings of garments,
-little notes and quotations suitable for embroidery--all sorts of
-interesting matter which the eye is quick to see but which the memory
-cannot always recall at the right moment. In the square of canvas
-or coarse linen, divided into sections, might be worked some of the
-more interesting or unusual stitches, or groups of stitches; or
-pleasing combinations of stitches and colour might be preserved as the
-opportunity occurred. These might serve to suggest or recall methods
-and varieties suitable to some work in hand.
-
-=Faggoting.=--Faggoting is a stitch which is used to connect two edges,
-particularly such edges as require a dainty finish, or to fill in an
-open space, or to serve as a foundation for some interlacing stitch. It
-is much used for joining ribbons, braids, or thin materials, such as
-ninon, chiffon, or crêpe.
-
-_Method_:--Prepare the material for faggoting by tacking it on to a
-piece of stiff _toile cirée_, glazed calico, or if that is not at hand,
-stiff brown paper will answer the purpose. This is done in order to
-keep the edges at an equal distance. The width of the space may vary
-from one-quarter to three-quarters of an inch; the joining thread
-should vary in thickness--the wider the space, the thicker the thread.
-Draw two parallel lines on the foundation as a guide, if necessary, and
-tack the material to these lines. If a braid or ribbon or any material
-with a finished edge is used, there is no need for turnings, but with
-a raw edge it is necessary to turn in three-eighths of an inch and to
-press them with an iron before starting.
-
-To work the stitch, begin at the upper end of the left-hand corner with
-a small stitch; cross to the opposite side; take a stitch, keeping the
-thread under the needle; work alternately from side to side, always
-inserting the needle from the outside. Keep the stitch regular, the
-same size and the intervals of equal distance.
-
-Faggoting is practically a herring-bone stitch, but the needle is
-inserted vertically. See Plate I. and compare the stitchery in blue
-which forms a line up either side. It forms the foundation for many
-interlacing stitches of which there are quite a variety adaptable to
-various purposes.
-
-[Illustration: FIG. 25.]
-
-By interlacing threads as in Fig. 25, where the dotted line represents
-the interwoven thread, the whole of the foundation stitches can be
-covered. It must be done in rows, one after the other. The first row
-is drawn much tighter than the one in Fig. 25, each successive row
-being placed on the outside of the previous row, till eventually the
-faggoting foundation has almost disappeared.
-
-A very good line of raised stitchery can be worked on to a foundation
-of herring-bone stitching. The threads are laced in, one row at a time,
-as shown in Fig. 25. See Plate XIV., where it is worked round the outer
-edge, also in the nightdress case (Plate XI.), where it forms the
-narrow inner border.
-
-“=Point d’Alencon.=”--Faggot or Russian is one of the stitches used in
-the making of point lace or Honiton point. As a lace stitch, it goes
-under the name of “_Point d’Alencon_.” It is used to join the braids;
-it also makes one of the principal filling stitches for leaves or oval
-spaces.
-
-[Illustration: FIG. 26.]
-
-=Veining= (=Fig. 26=).--Fig. 26 shows a well-known joining stitch,
-which looks well if done in a twisted silk, wool, or linen. It makes
-a pretty insertion, and adds much to the appearance of a seam. It is
-a narrow line stitch, therefore the two edges of the material should
-not be too widely spaced. Prepare the edges in the same manner as for
-faggoting and tack them on to a stiff foundation.
-
-_Method_:--Fasten the thread to the edge of the material; carry the
-needle across to the opposite edge; insert it under and bring it
-through the material; twist the thread twice round the needle and
-insert it on the opposite side from underneath, as shown in the
-diagram; oversew a few stitches along the edge to carry the thread into
-position for the next stitch. This insertion is useful for joining
-braids, for dress fitments and other purposes; it is much in vogue for
-the joining of thin materials, such as chiffon and ninon or crêpe;
-these require to have a fold laid and pressed before being tacked on to
-the paper.
-
-A very pretty addition to a border, whether for a piece of ornamental
-work, for the edging of a collar, the joining up of a bag, or for the
-foot of a jumper, is made by inserting between the material a line of
-gold tinsel or velvet ribbon, braid, or even material of a contrasting
-colour. This must be tacked on firmly to a foundation of stiff calico
-or brown paper, then attached by an insertion to the edges of the
-material.
-
-This stitch, whether used as an insertion or as a filling, must also
-in this case be carefully arranged and regularly worked, otherwise the
-appearance of the work is spoiled. The threads should in all cases be
-tightened sufficiently to give the necessary firm twist to the line.
-To obtain the technique of many of these insertion stitches it is only
-needful to practise them for a few minutes on a piece of material as
-a preliminary to the actual working of them. This enables the worker
-to see what size of thread to use, and it gives her the opportunity
-of trying and comparing various colours without the irksome task of
-unpicking.
-
-[Illustration: FIG. 27.]
-
-Fig. 27 is worked much the same as Russian stitch (Fig. 25), except
-that it is worked closer and the thread picked up by the point of the
-needle before it is inserted on the opposite side--this twisted faggot
-stitch is really a combination of the veining and faggot insertion and
-is used for the same purposes.
-
-[Illustration: PLATE IX.
-
-THREE COLLARS. (_See page 162._)]
-
-=Antique Seam= (=Fig. 28=).--In earlier times, when the linens were
-woven in narrower widths, the seams were always connected in a more
-interesting method than at the present day, when, if a flat seam is
-wanted, the selvedges are invariably oversewn. One of the older
-methods is shown in Fig. 28. It makes a firm, flat and decorative
-row of stitching. For the joining of selvedges of bed-linen a narrow
-slanting stitch sewn in white was used; for more decorative purposes a
-coloured and a larger straight stitch was used, as Fig. 29. To work,
-lay the two selvedges parallel to each other and tack or pin them quite
-flat. Begin on the left side and insert the needle from below on the
-right and left sides alternately; in this way the threads cross each
-other between the selvedges. In connecting a very thin material in this
-way it makes a good finish.
-
-[Illustration: FIG. 28.]
-
-[Illustration: FIG. 29.]
-
-[Illustration: FIG. 29A.]
-
-Fig. 29 gives an effective stitch for a decorative joining of two
-edges. It may be applied to bands, cushion covers and household
-embroideries generally.
-
-_To work_:--Prepare the seams by placing the two selvedges flat on to
-a stiff foundation, say quarter of an inch apart; secure the thread on
-the left upper edge; insert the needle at the lower edge a little to
-the right; pull through with the thread to the right of the needle;
-make a little stitch, as Fig. 29; pull through with the thread under
-the needle. This makes a good firm insertion; a thick twisted thread is
-the most suitable. Fig. 29 shows the insertion rather widely spaced.
-Plate XII. shows this stitch worked in wool, where it is applied to the
-edges of braids, which form the foundation for a useful collar.
-
-[Illustration: FIG. 30.]
-
-=A Useful Edging.=--Fig. 30 gives a knotted loop stitch which is again
-borrowed from the many useful lace stitches. It is an edging which may
-be worked in silks, flax, cotton, threads, or wools. In Plate XII.
-it forms the finish to the braid collar, where it is worked in thick
-cotton thread. This loop stitch makes a charming insertion if worked on
-to the edges of any suitable material--narrow ribbon or hat straws. The
-working of the stitch is clearly shown in Fig. 30. The two edges are
-joined with an interlacing stitch of a contrasting colour, with raffia,
-cord, or narrow ribbon. Bands of hat straw could be joined in this way
-and made up into delightful light and economical summer hats. The shape
-could be then placed over a foundation of wire and the brim stiffened
-with wire, button-holed on to the straw with a silk, flax, or raffia
-thread.
-
-=A Collar of Braid.=--Plate XII. illustrates an interesting piece of
-work, built up of oddments of skirt braid, silver tinsel, braid, silks
-and wools.
-
-Very charming dress and coat fitments may be made in this way, and all
-sorts of scraps and remainders of trimmings and braids, silk patches
-and patterns may be utilised. The construction is very simple. The best
-way to set about the making of these braid collars, cuffs, or bands
-is to cut out the desired shape--the exact size wanted. The pattern
-is then placed on to a piece of glazed calico and the outline traced
-firmly upon it. A still more direct method is to cut out the pattern
-in stiff brown paper and utilise it as the foundation on which to
-tack the braids. Care must be taken to have the shape correct before
-starting to work with the materials. This being assured, arrange a
-braid or cross-bar of material round the outer part; tack it at the
-outer edge with bright-coloured wool on to the paper foundation, then
-adjust the bars and panels, allowing the ends of the braids to slip
-under the outer braid. Circles or squares of ribbon, velvet, or tinsel,
-placed in the most important parts and tied to the outer edges with
-lines of braid or ribbon, which, in turn, might be connected with open
-stitchery, fork-pin insertion (Fig. 73), or some small beads, are very
-pretty. All give scope for individual taste and ingenuity in colour
-and material. If the collar is on the round, the outer bands must be
-flexible, in order to take the curve nicely.
-
-The collar in the illustration has for the outer row a skirt braid of a
-soft dove grey. It is tacked in place with a line of couching in royal
-blue wool, sewn on with a silk thread--reel twist is very good--of the
-same colour; the stripes of cream-coloured braid are ornamented with
-coral-coloured wool in long stitches, tacked down the centre to form
-a point. The smaller panels have been placed in position previously;
-they consist of chequered silk ribbon in grey and heliotrope. All the
-short lines are connected with Russian stitch worked in coral wool,
-the bands of cream braid being laid on over them and then sewn down;
-finally the inner edge of the border is couched down. The edges are now
-all tucked out of sight, the brown paper is cut away from the back, all
-ends, edges and tags are secured and made neat with tiny overcasting
-stitches, and the collar may either be lined or sewn on in place
-without lining, as the case may be.
-
-It is often necessary to confine the cut edges of the broad braid,
-in order to prevent them from spreading, by winding a thread round
-and tying it just above the part to be cut--this often saves time and
-trouble in the long run.
-
-[Illustration: PLATE X.
-
-A TEA-COSY COVER (_See p. 112_.)]
-
-
-
-
-CHAPTER X
-
-INSERTIONS IN NEEDLE-WEAVING--POINT DE RÉPRISE--INTERLACING AND
-OPENWORK BACKGROUND
-
-  “There she weaves, by night and day,
-  A magic web with colours gay.”
-
-
-=A Chequered Pattern= (=Fig. 31=).--Chequered patterns look well in
-needle-weaving. A number of colours may be introduced if the spacing
-permits.
-
-[Illustration: FIG. 31.]
-
-Fig. 31 shows a diagram of needle-weaving which gives the method of
-working a chequered pattern on the upright or warp threads. Prepare the
-bar or band by removing the weaker (weft) threads; a little decorative
-line of stitchery may then be added by hemstitching, button-holing,
-or herring-boning the edges; this adds a finish and groups the warp
-threads into clusters which is an advantage--it saves trouble when
-the actual weaving begins by keeping the weft threads in place; cross
-stitch and oversewing are useful stitches for the same purpose. The
-worker should be careful to group the strands equally by dividing them
-into clusters of three, four, or six threads. In Fig. 31 the upper row
-is hemstitched loosely, to show the method (see also Fig. 34, p. 114,
-for hemstitching). The lower edge of the diagram is not hemstitched; if
-the threads are woven in closely it is not always necessary to do so,
-although a line of stitchery is an improvement--it softens the edge and
-adds to the appearance of the weaving (see Chapter V.).
-
-_Method of working Fig. 31_:--Withdraw the threads of the material for
-three-quarters of an inch wide, and of the desired length; cut the weft
-threads at one end and the corresponding threads at the opposite end.
-If the bar is long, correctness of line may be ensured by pulling and
-tightening a single thread on the upper and lower edges--these will
-indicate the exact spot for cutting them without risk of mistake. Take
-a fairly long thread of wool and a blunt-pointed tapestry needle; a
-loose but regularly-woven canvas is the best material to work on to
-begin with, and wool or flax threads give the best results. The threads
-are easily seen and counted, and there is not the same chance of their
-being dragged or over-tightened. Secure the thread by running a few
-stitches on the under side; bring the needle up between two groups of
-threads; pass it alternately over one group and under the other until a
-piece the size of the chequer wanted has been filled in. As the needle
-passes to and fro it should press down each row of weaving closely
-together; this has the same effect as the “comb” which the weaver uses
-to press down the weft threads of his fabric. The first block being
-finished, pass to the next two groups by carrying the needle over and
-under as before, and pressing down each row with the needle; the
-second compact mass will then be woven as in the diagram. To reach
-the next block, slip the needle down the back of the second chequer;
-this will bring it into position to work the lower block. Continue
-in this way to the end of the row, always passing the needle--at the
-back--through the group of woven threads to get into position for the
-next block.
-
-=Reversible Needle-weaving.=--These chequers may be worked in slanting
-rows, or they may form a vandyke pattern, ascending and descending in a
-series of little steps; the V-shaped spaces between at top and bottom
-of the line may be filled in with another pattern or with rows of
-chequers in a contrasting colour. Both sides of the patterns are alike,
-and when the beginnings and finishings of threads are neatly done it
-may be reversible. This is one difference between needle-weaving and
-tapestry-weaving; in the latter the work is done with the wrong side or
-back of the pattern uppermost; it shows the starting and fastening off
-of threads, as well as the passing of threads from one part to another,
-all of which makes the one side unpresentable.
-
-=Another Pattern.=--Some simple insertions may be worked by varying,
-slightly, the arrangement of the groups. Begin as in Fig. 31, but weave
-over three groups of threads instead of two; having arrived at the
-centre, carry on weaving over two more groups to the right and include
-the last group of the block just darned, to form the beginning of the
-new block. By repeating these groups of three alternately at the top
-and at the foot, always using the last of the previously darned block
-as the first of the next, a pretty little pattern is formed--a central
-cluster of threads is left between each block, which may afterwards
-be oversewn with a contrasting colour, or left with the warp threads
-of the material exposed. A very open and particularly effective
-insertion for a hem is made by working over two groups of four threads
-each--three or six strands of thread in each cluster if preferred.
-Begin exactly as in Fig. 31, at the left lower corner, and weave to the
-centre; then take in one more cluster and weave in with it the last one
-of the previous block; work to the top; slip the thread down to the
-centre; weave over two clusters, adding one of those previously woven
-with another group; continue in this way to the end. By adding a new
-cluster to the one already in use the threads are pulled further apart,
-and a wider opening between the groups is the result. With these few
-suggestions, the worker will find that she can arrange and vary these
-insertions to suit her material and her own taste.
-
-=Filet Background.=--Small squares, ovals, circles, or indeed any
-shaped space may be filled in with a net or filet background, then
-darned in with a simple pattern. The usual way of opening a square or
-oval (Plate X.) is to button-hole the form round the outside, then
-turn the work on to the wrong side and cut the horizontal threads at
-the edge--near the button-holing; draw and cut again at the opposite
-side these same threads. The whole of the space is cut and divided
-up; a bar of threads is left between each of the open spaces, always
-leaving the same number of threads between each three or four, and
-cut and draw the next three or four. When the horizontal threads are
-cut and drawn, cut the vertical ones in the same way; when these are
-finished, begin to oversew each line, with one stitch into each hole
-backwards and forwards, until each line, horizontal and vertical, is
-oversewn. Care must be taken to make all oversewn stitches lie the
-same way. Note--the preparation of the background is done on the wrong
-side. Little geometrical shapes and patterns may now be darned in. As
-said above, the number of threads left in between these open spaces
-may vary; the fewer there are, the more open the squares will be. The
-result of this cutting and pulling of threads is a net background which
-can be worked in many different ways. The usual method is to oversew
-all the horizontal lines first, taking care to let the stitches lie the
-same way in each row; turn the work half round to oversew the remaining
-lines in the same way.
-
-There is another way of making an open background which might commend
-itself to those who are averse to removing the threads, that is, by
-cutting the material which forms the background into narrow strips
-and oversewing the bars. It should be marked off in double horizontal
-lines rather less than an eighth of an inch apart; place these double
-lines at regular intervals about half an inch apart; rule them in chalk
-or pencil, then mark off the half-inch spaces into vertical lines an
-eighth of an inch apart; these vertical lines are then cut two or three
-at a time with a sharp pair of scissors and oversewn one by one in
-rows, overseaming the upper and lower horizontal bars by the way.
-
-Very charming needle-woven bands can be arranged for different
-purposes by button-holing squares or oblongs, cutting and withdrawing
-four threads each way and leaving eight between. When a square is
-button-holed--with twenty-eight vertical and horizontal threads in the
-enclosure--there will be four solid squares connecting nine open ones,
-that is, one open square in the centre with the four solid squares at
-each corner, and the open ones surrounding them. Each solid square has
-eight single threads surrounding it; divide these into two groups by
-interweaving four threads under two and over two. When finished, there
-will be two woven bars connecting each side of the small squares with
-each other and with the outer button-holed square. These woven bars
-could occur at regular intervals among the more solid needle-woven
-portions.
-
-Many very charming things may be made in this way with woven threads.
-These primitive patterns can be worked with ease in such varied forms,
-alone or as adjuncts to embroidery (Plate VI.), that an inventive
-needle-woman can ornament in rich colours, or without the aid of
-colour, many interesting pieces of work, provided she takes care to
-weave regularly and keeps her design simple and suited to the material.
-
-[Illustration: FIG. 32.]
-
-=“Point de Réprise” or Darning Stitch.=--Fig. 32 shows an insertion
-worked on a foundation or trellis. This stitch, which may be used as a
-filling for open spaces or for the decoration and joining of two edges,
-is an interesting one, and most effective when worked. In cottons,
-wools, or silks it could be applied to many different purposes quite
-suitably; worked on linen with silk or flax threads, it might provide
-a dainty insertion for some article of personal wear; worked in wool,
-it could decorate simply collars, cuffs and bands for a dress or jumper
-suit. Fig. 32 gives merely one form with the method of weaving, but
-there are many others to which the woven pyramid is applied. It is much
-quicker and simpler in execution than the button-hole pyramid, which
-is firmer but much more tedious to work--the former, too, looks well
-in wools and thick threads, while the latter requires lace thread.
-Woven pyramids are frequently used by point lace workers; this is
-called by them “_point de réprise_,” and applied to the fillings of
-circles and leaf shapes where the little cone-like forms work in very
-appropriately. The foundation of Fig. 32 is a double line of faggoting
-in Russian stitch; a single line is worked first; the stitches are
-taken widely apart, then a second row is worked between the spaces of
-the other, so that a series of little diamond-shaped spaces are formed
-as in Fig. 25. Begin at the edge of the braid and weave the pyramid
-from the base so that the points may meet at the centre; be careful to
-weave an equal number of threads into each cone-like shape, or they
-will vary in size.
-
-=Pyramid Insertion.=--An insertion of alternate pyramids, with the
-bases at the centre, is more open and does not take so long to work.
-Make a foundation of faggot stitch, a single row this time, then carry
-the thread to the point of one of those stitches and weave over two
-threads to the centre. As these little cones should always be worked
-from the point, carry the thread to the top of the braid by overcasting
-the faggot thread; weave again towards the centre; when finished, the
-bases of the pyramids will form a central line.
-
-An equally simple insertion and quite as effective is to work the
-pyramids in button-hole stitch on to each faggot thread. After forming
-the foundation stitches--the trellis--begin at the point as before,
-and work two button-hole stitches on each side before crossing over
-to the other side; otherwise it is worked exactly as the former
-pattern detailed above. Two rows of faggot stitch may be used for
-the foundation of quite a number of different woven patterns. Little
-rosettes or wheels are formed by five threads; at the junction of the
-stitches--at the centre of the space--are four threads; add another by
-carrying a central thread to the first group; work the rosettes over
-the five threads in a similar manner to Fig. 54, weaving the threads in
-and out; when finished, slip the needle under the finished rosette to
-the next intersection of the stitches and work the second rosette and
-so on. Descriptions are always tedious to follow--the best way is for
-one to work with needle and thread while another reads the directions
-aloud.
-
-[Illustration: PLATE XI.
-
-A NIGHTDRESS CASE (_See p. 128_.)]
-
-=Interlacing Stitch= (Fig. P, Plate II.).--This interesting insertion
-stitch is one which will well repay the worker for her trouble in
-mastering it. Although not a complicated stitch, there are little
-points to be noted in the laying of the foundation threads which, if
-omitted, prevent the interlacing threads from working in properly.
-
-[Illustration: FIG. 33.]
-
-Fig. 33 shows a diagram with the method of laying the foundation
-stitches:--One row is worked over the other; this lattice work supports
-the interlacing threads, which also require two rows to work them. Fig.
-P shows the insertion completed. At a casual glance, Fig. 33 appears to
-consist of two rows of herring-bone stitch, the one superimposed upon
-the other; but if a short line of herring-boning is worked and compared
-with the diagram the difference will be noted at once. In working the
-foundation, let the threads lie loosely on the surface to allow for the
-interlacing threads.
-
-_Method_:--Secure the thread at the left lower line; take a short
-horizontal stitch, three-quarters of an inch to the right on the upper
-line. Note--place the thread under the needle when drawing the stitch
-through; this keeps the working thread under the diagonal stitch
-just formed. Cross to the lower line, and three-quarters of an inch
-further on take a horizontal stitch, but this time the thread is not
-kept under the needle, as it comes out on top and lies over the last
-diagonal. Proceed in this way until the end of the row is finished,
-then compare carefully with the diagram. Make sure before starting
-the second row that all the diagonal stitches beginning at the left
-of the upper row pass under those crossing from right to left; this
-is achieved, as said above, by keeping the thread under the needle on
-the upper row. The first row of the lattice being finished, start at
-the left of the upper line and work in the same way as before; cross
-to the lower line, and take the horizontal stitch exactly beneath that
-of the previous row; then slip the eye of the needle under the thread
-of the diagonal stitch and take the horizontal stitch on the upper
-line with the thread under the needle. Working in this way, little
-diamond-shaped spaces are formed. With the completion of the second
-row, it will be seen that the stitches are all interlaced over and
-under each other with the utmost regularity. For the inter-threading of
-the pattern, take a long thread and a blunt-pointed needle; the thread
-only enters the material at the starting and finishing of the work.
-Secure the thread at the left in the middle of the space between the
-upper and the lower lines; if an open insertion, it must be secured at
-the top. In Fig. 33, the thin dotted line represents the interlacing
-thread, which passes over and under the little crosses on the upper
-line and down to the crossing at the centre; thus the first row of
-interlacing threads are all worked on the upper half of the foundation
-stitches. When the end of the line is reached, turn the thread round
-the last central cross and return, interlacing the threads on the
-lower half of the herring-bone foundation. Note, in passing to the
-centre of the line, that the threads interlace regularly with those
-of the upper row, as they must pass to the upper side of the central
-crosses. By this time it will be seen how beautifully these threads fit
-into one another, but should any little mistake have occurred in the
-foundation stitches--the supporting lattice work--the equal and regular
-inter-threading will be found impossible. The thread must be chosen
-to suit the size of stitch--the foundation threads are practically
-covered. In Fig. P they are shown rather too clearly at the edges; also
-in Fig. 33 the interlacing thread is not in proportion to the size of
-the lattice work, but a little practice will soon show the worker the
-size of thread suitable for a border; a half-inch border requires a
-good stout thread to fill the space--too thin a thread will make the
-insertion rather poor in appearance, while too thick a thread will make
-the interlacing difficult to manipulate. This insertion looks well
-with all types of threads, therefore it can be used for many purposes.
-For making decorative hems for household linen it is most useful, and
-gives one quite a pleasant change from the usual hemstitch; it is also
-more practical, because much more durable. No threads are withdrawn;
-a single fold of the material turned over to the front surface is the
-preliminary; this is firmly secured by the two lines of herring-bone
-stitch. Large decorative initials could be worked with the same stitch;
-placed in the centre just below the hem, they would look very well--it
-would be better to draw these out on squared paper for the first trial,
-one or four squares to each cross, according to the size of the initial
-wanted. The insertion could be used for many purposes. In some of the
-old German linen work of the fourteenth century this stitch is applied
-to household linen--in geometrical patterns to borders, insertions
-and corners, where it looks very appropriate; they are worked with
-white thread on white linen, but there is no reason why they should
-not be embroidered on a coloured linen--blue would look very effective
-worked in white threads or _vice versâ_. At a later date, some of the
-Eastern countries adapted this stitch to their own type of work and
-design, conventional flowers being carried out with admirable effect in
-coloured silks. The worker would find this adaptation rather difficult
-unless she had done a fair amount of line work.
-
-=Cosy Cover.=--Plate X. illustrates a piece of work suitable for
-everyday use. It is a washable cosy slip worked in white linen with
-a pattern in braid. In this example the braid is flexible enough to
-take the curves of the design easily; it is tacked on, as previously
-described in the nightdress case (Plate XI.), on the outer edges, and
-gathered up with tiny oversewn stitches on the inner, to make the
-curves lie nicely. The design is very simple; it is made up with French
-braid in varying lengths formed into curves at the corners; the ground
-is of white linen. The braid is sewn on in blue cotton with a small
-button-hole stitch; the little daisies of loop stitch and the surface
-filling of the centre are also in colour. The open web in the centre is
-a simple lace stitch worked in button-holing.
-
-[Illustration: PLATE XII.
-
-THREE HAT BANDS (_See p. 129._)]
-
-_Method_:--Cut away the linen (see description, Plate X.); work round
-the opening a row of button-hole stitch not too closely set, then
-work ten loose loops similar to Fig. 54. Catch the last loop of the
-circle into the first to join; then on the last-formed loop work six
-button-hole stitches; pass the next loop; work six button-hole stitches
-again into the following loop--the third; proceed in this way to the
-end of the row. Work on in continuous rows until the centre is reached;
-each group of pyramids must have one stitch less in each row as the
-circle becomes smaller. Finally, at the apex, the thread is twisted
-once round each loop; carry the thread to the edge of the material by
-overseaming the edge of the first pyramid; finish it off on the back of
-the linen. The square mesh for the open-work is prepared as described
-on p. 127. The open-work clusters of the background may be grouped
-differently from those in the illustration, where they are oversewn
-horizontally and vertically. Quite a pretty variety would be to work
-them in diagonal lines securing each cluster with a knot stitch.
-
-_Method_:--Start the thread at a part on the left where a definite
-oblique line may be laid. Work a stitch with the thread under the
-needle, through the stitch and tighten the knot; carry the thread
-obliquely to the next cluster and repeat the knot. Another method is,
-after preparing the background, to fill up the spaces with four open
-loops of button-hole stitch; work each loop into half the cluster of
-surrounding threads--the other half is used in working the adjacent
-square; in other words, the open square is filled in with four little
-loops, the needle being passed through the first loop to join it with
-the last before passing on to the next square, and the clusters of
-loose warp and weft threads are divided and pulled apart by the loops,
-leaving a little oval-shaped opening. The edges of the cosy are worked
-round with loops (see Fig. 57). These finish the sides and serve as a
-means of lacing the two halves together. This manner of finishing makes
-for simplicity in the washing and ironing.
-
-
-
-
-CHAPTER XI
-
-FRINGES AND TASSELS--HAND-MADE BRAIDS--KNOTS AND PICOTS
-
- “And bid them that they make them fringes in the borders of their
- garments.”
-
-
-Fringes are used to form an ornamental border for various articles;
-they seem to be the most natural finish to many of the loosely-woven
-textures. They can be knotted in different ways into simple or
-elaborate patterns, or they can be enriched with groups and bands
-of coloured threads or beads. The most simple are those produced by
-the unravelling of the horizontal or weft threads. In planning out a
-piece of work to be finished off with a fringe, allow 6 or 7 inches
-for it--or whatever depth is wanted; finish it after the rest of the
-work has been completed, as the frayed edges are apt to get soiled and
-untidy if unravelled before.
-
-[Illustration: FIG. 34.]
-
-=To prepare a Fringe.=--Withdraw a few threads at the head of the
-space and work a row of single hemstitching, or overcast it with
-large stitches. There is only a single ply of material, but this
-stitching, while giving firmness, adds a decorative value and prevents
-the loosening of the weft threads. Fig. 34 explains the method of
-hemstitching; if the strands or warp threads look rather poor and thin,
-additional weight may be given to the whole by darning in either some
-of the weft threads, which have been removed, or by adding various
-coloured ones.
-
-[Illustration: Fig. 35.]
-
-Fig. 35 shows one way of adding threads. These are fixed into place
-most easily by means of a crochet hook.
-
-_Method_:--Wind the thread round a piece of cardboard sufficiently
-wide--that is, almost twice the depth of the required fringe; cut the
-threads along one edge of the cardboard, and the strands are ready for
-use. Put the hook into the material near the edge from behind; lay the
-loop of the doubled length of thread on the hook and draw it through,
-then slip the two ends through this loop and tighten (Fig. 35).
-
-Many pretty variations may be made by adding beads or narrow ribbons,
-tassels or knots (Plate VI.). Those tasteful finishing touches add
-greatly to the appearance of the work.
-
-[Illustration: Fig. 36.]
-
-=Knotted Fringe.=--Fig. 36 has the strands in groups knotted together,
-then divided and knotted again. These knots take up a fair quantity
-of thread, thus the length allowed for the fringe must depend on the
-number of rows of knots, as well as on the coarseness or fineness
-of the thread used. The thicker and firmer the texture of the
-strands, the greater the length of thread required for the knots.
-The method of making the knots being shown in the figure, it needs
-little explanation. After the first row of knots is formed, the
-second row is made up of the groups of threads hanging from these
-knots--they are divided, and half a group is taken from the right and
-left respectively. Three or four rows may be added in this way, each
-succeeding row of knots coming between those of the row above.
-
-[Illustration: Fig. 37.]
-
-=A Flat Knot.=--Fig. 37 gives a flat knot used in fringe-making by
-macramé workers. At one time (in the sixteenth century), priests’
-vestments were frequently trimmed with this handsome type of fringe,
-consisting chiefly of knots grouped into various patterns. It was
-then known under the name of “_punto a gruppo_”; later it was called
-macramé, from an Arabic word meaning ornamental fringe or trimming. The
-Genoese used it for the trimming of bridal dresses. These knots can be
-added directly to a hem, or worked over a cord.
-
-_Method_:--Arrange the thread in groups of two double strands, as in
-Fig. 37 _a_; take the two outside strands, and passing the left one
-under the middle strands, and the right-hand one over them--these
-middle strands meanwhile being held taut between the second and third
-fingers--bring the left-hand strand out, as Fig. 37, and the right-hand
-strand under so that their positions are reversed. Complete the knot
-by crossing the reverse way again and tighten to finish. Quite a
-pretty fringe can be made by working a row of four of these flat knots
-in succession over four strands, one knot below the other; the second
-row has the knots made on four strands--two strands taken from each of
-the groups immediately above--this brings the knots of the second row
-alternating with those of the upper row, as in Fig. 36.
-
-[Illustration: FIG. 38.]
-
-=Twisting and Crossing.=--Fig. 39 gives a little hand-made braid, very
-useful for many purposes, for small headings, or for finishings, edges,
-or seams. It is a simple plait made with four strands of any firm
-thread or narrow braid--the latter is the more suitable for embroidery.
-Lace plaits similar to this require bobbins and a pillow, as well as a
-suitable lace or linen thread; but the gimps for embroidery can be made
-quite nicely by fixing the knots to some firm foundation and winding
-the cord, string, or braid on to a piece of cardboard. The plait is
-done by means of twisting and crossing. These terms are used in the
-making of pillow lace. “Twisting” always means passing the right-hand
-strand over the left (Fig. 38 A), and “crossing” means the passing of
-the inner left-hand strand over the inner right-hand strand (Fig. 38 B).
-
-[Illustration: FIG. 39.]
-
-[Illustration: FIG. 39A.]
-
-=Hand-made Gimp.=--Fig. 39 shows the braid in process. Each pair of
-threads is twisted once, then the inner threads are crossed; this is
-repeated to the end, care being taken to keep all threads as equal as
-possible. Fig. 39A is the same braid with picot edgings. These picots
-may be placed at every second loop instead of every fourth as in the
-figure. They are made with the help of pins fixed into the foundation;
-the outside thread is passed round the pin before twisting with the
-next strand.
-
-=To make a Lace Pillow-Cushion.=--Fig. 40 is a still more elaborate
-braid, consisting of five double strands. It could be more easily
-worked on a cushion--a large pin-cushion tilted against a table would
-do, or the worker could make a pillow-cushion for herself, such as
-some lace-makers use, in the following way: Cut a piece of firm cotton
-or linen about 20 or 22 inches wide and 22 to 24 inches long; join up
-the length by the machine; hem the two ends and run a drawing string
-through them to close the ends. Cut two circles of cardboard 4 or 5
-inches in diameter; draw up one end of the pillow and place a circle
-of cardboard in against the closed end; fill the cushion with bran or
-cork--such as is used for packing grapes--horsehair, or sawdust; stuff
-tightly; then place the other circle of cardboard on top and tighten up
-the second end by means of a strong cord run through the edges. This
-little cushion can be placed into a wooden box or basket, which is
-better to be weighted a little to keep it steady. Some pillows are made
-like a cylinder and fitted into a box, which is higher at the back than
-at the front; others are made with an axis which is fitted into grooves
-cut in the side of the box; this enables the worker to turn the pillow
-and also allows the lace as it is worked off to fall behind into the
-box.
-
-[Illustration: FIG. 40.]
-
-=Braid.=--To work Fig. 40, fix on to the cushion in a straight line
-five lengths of braid, knotted as in Fig. 38.
-
-_Method_:--Twist the first and second pair once; cross; twist the
-second and third pair once; cross; twist the third and fourth pair
-once; cross; twist the fourth and fifth pair once; cross; place a pin
-at the right-hand edge; twist the fourth pair once; twist the fifth
-pair once; cross; twist the third and fourth pair once; cross; twist
-the second and third pair once; cross; twist the first and second
-pair once; cross; place a pin at the left-hand edge; twist the first
-pair twice; twist the second pair once; cross, and repeat from: twist
-the second and third pair once; cross, and so on for length required.
-This braid when worked with bobbins and a stout linen thread will be
-excellent for teaching the method of making grounds for some of the
-simpler pillow laces.
-
-=Simple Tassels.=--Fig. 41 gives a small tassel.
-
-[Illustration: FIG. 41.]
-
-[Illustration: FIG. 41A.]
-
-[Illustration: FIG. 41B.]
-
-_Method_:--Take a piece of cardboard, rather wider than the length of
-the finished tassel, and wind some wool rather slackly round it, twelve
-to twenty times, according to the size and thickness of the tassel to
-be made. Take a long large-eyed needle with a doubled thread; slip it
-through the wool close to the cardboard; pass the ends through the loop
-and pull firmly to tighten. Cut the wool at the opposite edge of the
-cardboard. Pass the thread through the centre of the bunch of wool and
-knot it two or three times to form a padding for the head. Sometimes a
-wooden bead helps to fill out the head, the needle being passed through
-it to keep it in place; after which the thread is knotted. Figs. 41
-and 41B give the making of the neck of the tassel. Take a needle with
-a double thread and wind it round the neck two or three times; pass
-the needle through the loop, then up the centre of the head and out
-at the top--here another bead adds to the appearance of the finished
-tassel--the ends serving to attach it to the embroidery. A much more
-elaborate finish may be made by button-holing the head of the tassel,
-beginning at the neck and working in rows towards the top. If the
-tassel is large enough to admit of it, a crochet-covered top, beginning
-with a chain and working upwards, is very quickly made; long chains
-ending with beads may finish the lower part effectively. Plate VIII.
-shows simple tassels made in this way--those on Plate I. are rather
-more elaborate.
-
-[Illustration: FIG. 42.]
-
-=Needle-made Picots= (=Fig. 42=).--This edging requires a good stout
-thread, linen, twisted silk, wool, or fine string, according to the
-purpose for which it is required. It may be worked on a braid, a
-cord, or the edge of the material. There is no great difficulty in
-the working of these picots, but absolute regularity of the loops and
-knots is essential--in order to secure this, a mesh, or if that is not
-to hand, a pencil may be used to keep the loops uniform in size. After
-some practice, the worker will probably dispense with a mesh and use a
-pin to keep the loops in place while making the knot.
-
-Fig. 42 shows the method of working. Fasten the thread securely and
-take the first stitch, which is of the button-hole type, with the
-thread under the needle; then slip the thread round the mesh, passing
-it behind and bringing it out over the front of it; put the needle
-behind the loop (see Fig. 42) and twist the thread round the needle,
-over and under it; pull through and tighten the knot. If a pin is used,
-pass the needle behind the first little loop, then put the pin into
-position--a quarter or half an inch below the edge; pass the thread
-round the head of it; make a loop round the point of the needle and
-tighten.
-
-[Illustration: FIG. 43.]
-
-Fig. 43 shows the same edging with an additional row worked over a
-narrow braid--several threads could be substituted for the braid.
-
-=Button-holed Rings.=--Button-holed rings are useful. They are
-generally made over a foundation of soft threads, which serves the
-double purpose of padding and strengthening them.
-
-[Illustration: FIG. 44.]
-
-=Laces, Edgings, Central Fillings.=--Danish needle-workers use these
-rings a great deal as foundations for making both laces, and edgings,
-also central fillings. The former they apply to their beautifully
-worked embroideries as insertions or finishings; the latter have some
-arrangement of grouped stitches worked round a button-holed ring, then
-sewn on to the parts prepared for them. They use a ring stick, which
-is graduated in such a way as to enable them to make rings in several
-sizes, also to make any number in the one particular size desired.
-Rings are quite simply made. The thread is wound round the stick six to
-ten times, according to the size of the ring, and a stitch or two of
-button-holing is worked before removing it; then work round the threads
-until it is complete and finish by passing the needle through the head
-of the first stitch and slipping it inside--and along the line of
-strengthening threads; cut off neatly. Rings may have pyramids worked
-round them, in which case a definite number of button-hole stitches
-should be made. If a ring is covered with twenty-eight button-hole
-stitches, four pyramids of six stitches each could be made, with
-one stitch between each pyramid; with thirty stitches, six smaller
-pyramids, with one stitch between each, could be worked in.
-
-Rings could be made over a metal or bone foundation when they are used
-to support any weight, as for the draw strings of a bag, or to attach a
-splasher to a wall; for lacing or connecting the front or shoulders of
-a jumper or child’s frock they can be either made on threads or metal
-rings.
-
-Note the interesting method of applying rings in Plate XIII.; see also
-Fig. 23 _b_, which shows method of working rings with picots of bullion
-stitch.
-
-Very useful indestructible buttons can be made of very thickly padded
-small rings in which the stitches practically fill up the centre;
-twisted bars, crossed, should be worked at the back for the purpose of
-attaching these buttons to the garments which they are to adorn.
-
-=Ornamental Knot= (=Fig. 45=).--Knot work, like embroidery and lace,
-seems to have originated in the East.
-
-All of the following knots may be worked more simply from the diagram
-than from the description.
-
-[Illustration: FIG. 45.]
-
-Fig. 45 is commenced at the top or foot, where the =X= is marked.
-The braid is joined there under the curve; it is formed of one piece
-of braid, and can make a very good centre for a cushion, applied in a
-coloured braid, if sufficiently enlarged. It could have a decoration
-within the curves of conventional flowers, or, on the other hand, it
-might be enclosed by a narrow geometrical border. It could also be
-worked in chain, couching, or oriental stitches instead of braid.
-
-[Illustration: FIG. 46.]
-
-=Weaver’s Knot= (=Fig. 46=).--The weaver’s knot, used by all weavers
-for the joining of warp threads--weft threads are worked with the
-weaving--is a well-known knot. It is illustrated in Fig. 46 and
-consists of two loops interlaced; when finished, one loop has the ends
-crossed while the other has the two lines lying parallel. It can be
-easily followed from the figure. A simple method of tying it is to take
-the end of the new joining thread and form it into a loop with the
-threads crossed; note that the short end is under and pointing to the
-left, and the long upper end is pointing to the right. Place this loop
-between the finger and the thumb of the left hand and hold it upright;
-take the end of the working thread in the right hand, and putting it
-from behind up through the loop, pass it round between the thumb and
-the first finger, under the short end of the new thread and over the
-long one, down into the upright loop again. Tighten the ends of both
-threads.
-
-[Illustration: FIG. 47.]
-
-=The Carrick Bend= (=Fig. 47=).--This knot is simple and ornamental.
-It could be used quite successfully for embroidery and braiding. It is
-used by sailors for tying hawsers. To arrange the knot take one piece
-of narrow braid or cord and form it into a loop on the table; cross the
-ends--the under and shorter one points towards the worker; take the
-second cord in the right hand and pass it under the complete curve of
-the loop in a diagonal direction (see Fig. 47); passing then over the
-long and under the short end, enter into the loop and pass it under the
-diagonal line and out over the loop. This knot looks well--tighter or
-looser according to the width--when placed at intervals on a border and
-connected by lines of stitches.
-
-[Illustration: FIG. 48.]
-
-=The Reef Knot.=--This knot varies slightly from Fig. 46. It forms a
-rather neater one than the weaver’s knot and is also more ornamental.
-
-_Method_:--Make a loop as before at the end of the new thread. Hold it
-upright between the thumb and the first finger of the left hand, but do
-not cross the ends; take the end of the working thread and pass it up
-through the loop from behind: put it round between the thumb and the
-finger, under the two ends of the held thread, then down through the
-loop again; draw up both pairs of threads. The reef knot, as its name
-indicates, is used by sailors for tying the reef points of a sail.
-
-[Illustration: FIG. 49.]
-
-Fig. 49 shows a knot which may be made of braid or of two rows of cord,
-on a larger scale, or it may be worked in chain stitch as a smaller
-knot. When made in narrow braid or cord the second cord is laced
-through after the knot has been formed by the first cord. This knot
-could be used for a border, placed at regular intervals with lines of
-cords connecting the one knot with the next; to fill up a corner the
-central loop could be made larger. It looks well when worked in chain
-stitch or in couched lines.
-
-[Illustration: FIG. 50.]
-
-=The Chinese Knot= (=Fig. 50=).--This knot, used for the ornamentation
-of a sailor’s collar, is made of one cord. One loop is made long enough
-to pass round the neck, under the collar. Used as a part of the border
-design the end loops may be made as long as required to fill the space.
-The Chinese knot makes an ornamental fastening for anything that might
-require it. To make it, start at the =X=; from there it can be
-easily followed from Fig. 50. It takes the form of two hearts reversed
-and interlaced; the outer loops are formed in the process.
-
-Fig. 51 is made up of two pieces of braid. The crosses show where the
-ends disappear under the curves. This knot could be used similarly to
-Figs. 45 and 49.
-
-Knots are not generally used in embroidery for the starting or
-finishing of threads, but sometimes a new thread has to be joined
-directly on to the old one, in which case a firm, non-slipping knot is
-necessary. Figs. 46, 47, 48 are all useful for joining threads.
-
-[Illustration: FIG. 51.]
-
-=Nightdress Case in Blue and White.=--Plate XIV. shows a charming
-and useful nightdress case in white linen, embroidered in white and
-blue flax. The simple interlacing design is laid on in white French
-tape, which develops into leaves at the centre and corners, and gives
-scope for a pleasant change in stitchery. The braid is fixed in place
-on the outer edge by a button-hole stitch worked in flax thread
-over three strands of blue. The material is cut and turned in and
-button-holed--this gives a little raised edge and accentuates the outer
-line; the inner edge is marked out by a line of back stitching (Fig.
-13), and French knots worked in blue (Fig. 22). The spaces between
-the interlacing braids are worked in a filet or net pattern--which
-is simply worked but rather tedious on account of the necessary
-preparation.
-
-_Method_:--Remove four vertical threads and leave four of the linen;
-repeat this within the space; then remove four horizontal threads and
-leave four; repeat. These little groups of threads are kept closely
-together by means of overcasting stitches--which should be done with
-a very fine thread--worked in rows over the warp threads, then over
-the weft. The linen in the centre of the leaf forms at the centre and
-corners should be cut, turned under the braid and button-holed, as
-described in Plate XIV. The outer ones are filled in with button-holed
-bars, which may be worked as described in Fig. 24, or they may be
-inserted after the button-hole edge is finished, by laying two or three
-strands, button-holing them, and overcasting three or four stitches
-along the edge to carry the needle into position for the next bar. The
-opening in the centre is worked in pyramids and bars, alternately (see
-description of Plate XIV.). It will be seen that the two outer leaves
-of the centre group are worked in a weaving stitch which gives the
-appearance of mid-rib and veins.
-
-_Method_:--After the inner edge is button-holed, carry six threads
-to and fro from point to base to form the foundation; then weave by
-passing the thread over three and under three strands until the point
-for the first vein is reached. Press the threads closely together
-with the needle to make the line solid; then carry the working thread
-across to the edge to and fro and back to the edge; weave into and
-out of these three strands until the mid-rib is reached again; weave
-a couple of threads into the centre rib, then form the vein on the
-opposite side in the same way, and proceed in this way until the base
-is reached. The stitch must be very evenly worked and well pressed up
-by the needle continuously to get the right effect. The inner leaves
-are worked with a row of open button-holing, after which button-holed
-loops (Fig. 59) and pyramids are arranged to fill up the space.
-The braid-like appearance of the inner border is obtained by working
-a row of herring-bone stitch to form a foundation; a long flax thread
-is then interlaced as shown in Fig. 25. See also border to Plate XIV.
-This interlacing thread is worked in, row after row, until the desired
-thickness has been got. In Plate XI. the foundation stitch is in blue
-and the interlacing in white flax thread--the little blue points of the
-herring-bone stitch peeping out on either side give a pretty effect.
-Two rows of fine chain stitch (Fig. 1) finish the dainty border.
-
-[Illustration: PLATE XIII.
-
-A BAG IN CANVAS AND WOOL. (_See page 153._)]
-
-The outer edges following the curves of the braid are worked in open
-button-holed loops (Fig. 59) which in Plate XI. are done with the
-needle; but this edging may be done more simply, if desired, with a
-crochet hook, by forming a row of chain loops, then covering them with
-double crochet stitch (see p. 157 for description).
-
-The edging of needle-made loops is, of course, preferable to any other,
-but in these days, when most of the household linen must go to the
-laundry, these little crochet edgings might quite suitably be worked
-directly on to little mats, table-napkins, and many other articles.
-They are quickly worked and wear excellently.
-
-=Hat Bands.=--The illustration shows two hat bands, both of which might
-be made in a colour to go with a hat or suit.
-
-=A Flowered Hat Band= (=Plate XIIa.=).--Plate XIIA. consists of a piece
-of cotton--celtic canvas--about 5 inches wide; the length will vary
-and must depend on the shape and size of the hat. To make a similar
-band, prepare a fringe about half an inch deep on one side only; turn
-the fringed edge over the plain one and tack into position; crochet
-two lines of insertion (Fig. 65) in wool or in any material preferred.
-Make the flowers as in Figs. 66 and 67; those in the centre of the
-illustration are made up of three separately worked flowers, the
-smallest one is in silver tinsel. The large flower groups are placed
-on the band alternately with the smaller sprigs. For the making of the
-leaves see Fig. 68, p. 160. This band may be made in a very short time;
-it is a very suitable hat decoration for rough weather, as rain does
-not destroy either the foundation or the crochet flowers.
-
-=A Velvet Hat Band with Cross Stitch= (=Plate XIIc.=).--Cross stitch,
-so little used nowadays in this country, except for the marking of
-household linen, seems to have been well known from a very early date
-by all needle-workers. It, and many other varieties of a similar
-nature, was worked on canvas or linen in patterns where the threads
-were counted. At one time these embroideries were so characteristic
-of the various countries that their origin was generally recognised
-by the pattern and the colour in which they were worked. The Italian
-cross stitch, embroidered on a very fine linen, was mostly done in
-a reddish-purple, and frequently worked in a two-sided stitch. Red,
-blue and yellow were the predominating colours of the Slav, Hungarian
-and Swedish peasantry. Very large pieces, destined for wall hangings,
-were worked in tent stitch or cross stitch, in designs suggestive
-of those used for tapestry weaving. These have even been called
-tapestries on that account. The famous Bayeux tapestry represents an
-interesting series of events of English history from the accession of
-Edward the Confessor to the death of Harold at Hastings; it is worked
-in coloured wools on linen canvas: this is, of course, not really
-tapestry; a true tapestry is formed by the interlacing or weaving of
-warp and weft threads by means of a needle or a shuttle (see chapter on
-needle-weaving).
-
-Plate XIIc. shows a dainty band made on velvet ribbon; the quaint
-little basket of flowers in cross stitch on a gold-coloured foundation
-may be worked quite simply on to any material, but in order to keep
-the rigidity which is characteristic of the stitch it is necessary to
-have a piece of fine canvas as a foundation. The ribbon is tacked on
-over it, and the design is worked over the two materials. In the case
-of velvet this method is reversed, as the pile is always an obstacle in
-the way of accurate sewing. The canvas is laid on top of the velvet;
-the cross stitch is then easily worked and the threads of the canvas
-are removed, one by one, when the work is finished. The centre piece of
-Fig. C is of gold-coloured velvet worked in this way. It is caught down
-on the outer edges by gold tinsel threads, couched closely to keep them
-in position; the strips of orange-coloured velvet applied on either
-side and peeping through the stitchery give a gay little touch to the
-panel, which is finished off by lines of gold thread and two little
-gold beads. The strips of decoration at equal intervals are somewhat
-similar, but not so elaborate. No cross stitch is used except in the
-front.
-
-Much may be done with canvas stitches, provided they are applied to
-designs which are treated in a conventional manner. The form of the
-stitch, occupying a square space, would enable the worker to make out
-patterns on squared paper; chair seats and cushions could be worked
-very satisfactorily in geometrical designs.
-
-Baskets and bags, worked on canvas in wools, cottons and raffia, can
-be very useful; the canvas should always be worked with a thread which
-fills the mesh. For fine embroidery it is often better to work it in
-a frame, particularly for fine cross stitch or petit point, or when
-worked over two plies of cloth--the frame prevents the under cloth from
-puckering.
-
-Some of the darning stitches, too (Plate II.), could be applied
-successfully to bags; if small, they could be worked in silk on a
-fine-meshed canvas. Cross stitch requires no description, except that
-it is worked in two rows; this allows the threads of the second row--on
-the return journey--to cross over those of the first. A quick method of
-filling a line is to work a half-stitch over a stretched thread.
-
-=Tent Stitch or Petit Point.=--the finest of the canvas stitches--is,
-like the first half of the cross stitch, worked over a single thread of
-canvas.
-
-Goblin stitch is worked over one vertical and two horizontal strands.
-A close herring-bone stitch looks well alternating with rows of an
-upright stitch for a canvas-made basket in various colours.
-
-There are many other canvas stitches, but varieties will be easily
-constructed by the worker. Canvas may be bought with a single or double
-thread, of a coarse or fine quality. A wide-meshed canvas of a stiff
-quality, used for rugs, is very satisfactory for the making up of work
-bags or baskets with raffia.
-
-=A Braid Hat Band= (=Plate XIIb.=).--A hat band or collar made from
-remainders of braids is illustrated on Plate XIIb. The original was
-made as a collar to wear with a suit, but it looked so fascinating
-as a hat band that it was worn as such. It is a perfectly straight
-band and the illustration shows very clearly some of the insertion
-stitches already mentioned (see Figs. 25 and 29). Prepare it in the
-manner already described for the braid collar (Plate IX.). Cut a
-piece of brown paper to the size wanted and tack the braids upon it.
-In the illustration three rows of black skirt braid, with a row of
-black chenille in the centre, go to form the foundation. The upper and
-central rows have a line of blue braid laid over them, just close to
-the chenille. Join the braids with faggot stitch on the one side (Fig.
-25) and a knot stitch (Fig. 29) on the other. The knot stitch is in
-turquoise blue wool, the faggot in jade green with a stronger green
-interlaced. The lines of bright blue braid are connected at one side
-and the edging (Fig. 30) is worked over the other. This edging has a
-thread intertwined with it so that the loops are connected, instead of
-being detached as in Fig. 30. When all the braids are connected the
-paper is cut away from the back.
-
-
-
-
-CHAPTER XII
-
-DRAWN-THREAD AND WHITE WORK--RHODIAN, RICHELIEU AND HEDEBO
-
- “Be rich in patience if thou in goods be poor.”
-
-
-Many of the pretty delicate lace stitches which look so complicated
-when worked in fine lace threads, on a net or cambric foundation, can
-be used with admirable effect for the filling in of spaces and the
-covering of surfaces of some of the coarser stuffs; worked in wools
-and thick threads they lose their filmy and lace-like appearance,
-and can be adapted quite nicely to the more utilitarian articles.
-The arrangement of the stitches may be chosen to suit all kinds of
-materials; they may be very open or only partly so, but as a rule, the
-simpler these surface stitches are, the better they look. The main idea
-being to bring the background into tone with the rest of the work,
-the worker should choose a stitch which will have just the amount of
-colour to give the right tint or shade to the material. Diapers are
-also commonly used to tone in the background; single spots or groups
-of spots, which may be represented by French knots or bullion knots,
-flower or leaf sprigs worked in loop stitch, and all simple types of
-darning may be requisitioned for the purpose. Interlacing patterns can
-frequently be made up of two or more stitches combined, and may often
-be invented on the spur of the moment by the interested needlewoman.
-There are endless varieties to be made out of button-hole stitch, which
-is the foundation stitch of most needle-point laces (Figs. 53 and
-11). Weaving stitch--interweaving of threads--is another upon which
-many laces, needle-point and pillow, are built up (Figs. 32, 62, 17
-and 40). These two are often combined (Figs. 54 and 55); add to them
-darning stitch, both simple and patterned, and we have got one step
-towards lace-making. But lace-making is not for the busy woman or
-householder, who has her day fully occupied, but rather for the few
-who possess skill, good patience, and many unoccupied hours--these
-must belong to the woman who would excel in the art of producing the
-delicate fabric. It is most interesting to trace the development of
-lace; how needle-weaving of the more simple, primitive type later
-became drawn-thread work or openwork, in which finer threads and
-materials were used; under the skilful fingers of the inhabitants
-of the convents works of exquisite skill were produced, vestments
-and hangings, all destined to ornament the church. In England in the
-sixteenth and seventeenth centuries lace came into general use, and was
-worn in great profusion by Queen Elizabeth and her Court. Fine steel
-needles were made in England during this reign. Naturally this must
-have had some effect on embroidery, but the change does not appear to
-have been noticeable. Linen was embroidered in silk in various colours,
-and further ornamented with drawn work. This drawn work was followed by
-cut work, and from these we have the origin of lace. These first laces
-were of two kinds: Lacis and Cut Work. They were heavy in texture and
-suited to the costumes of the period.
-
-=Lacis.=--In lacis the background consisted of a network of squared
-meshes upon linen on which a pattern was darned in linen thread,
-coloured silks, or gold threads; it was worked usually in large pieces,
-for coverlets and bed hangings, curtain borders, and altar cloths.
-
-=Cut Work.=--Cut work had the background at certain parts drawn, other
-parts were cut away and the edges button-holed. Probably this stitch
-was invented for the purpose of protecting these cut edges. This darned
-netting and cut work, _point coupe_, were often combined on the one
-piece.
-
-=Reticella.=--The next step, of course, was to work without a linen
-foundation. The threads were arranged in a frame, on a foundation which
-was only there to hold the threads in position while they were worked
-into various patterns, and filled with button-hole stitches. All the
-laces of this period were geometric in design--squares and circles
-combined with cut work, drawn work and embroidery. It was not until
-about the end of the seventeenth century that these gave place to
-flowing lines and more elaborate and complicated workmanship with a net
-background.
-
-Some of the earlier peasant embroideries are singularly interesting.
-There is a personality and a quaintness of thought combined with those
-spontaneous designs, a brightness of colour so instinctive, and an
-inventiveness of method so freely displayed that one has only to see
-the embroideries to realise their charm.
-
-The art and craft has passed from generation to generation. Some
-nations are distinguished by the exquisite skill with which the work
-is executed, others by the multiplicity of colours; the patterns
-predominating are mostly of the geometrical type. Some of the sixteenth
-and seventeenth-century Italian drawn work (_punto tirato_), in which
-the weft or warp threads were removed; _punto tagliato_ (cut work),
-in which both the weft and warp threads were cut away, leaving only
-connecting bars of the linen, are inspiring to the needlewoman of
-leisure.
-
-From these embroidered and cut-linen works reticella and needle-point
-laces arose.
-
-=Hedebo Embroidery.=--The embroidery done by the peasantry of Denmark
-is worked almost entirely in button-hole stitch, on a firm linen
-ground, and with a coarse linen thread. (The Danish women always wear a
-little shield of metal when they are working on the second joint of the
-little finger to protect it--the constant friction would be apt to cut
-the finger otherwise.)
-
-It is an exceedingly durable type of embroidery or lace--for it
-partakes of the nature of both--and is simple to work. The designs are
-mostly of the geometrical type, consisting of squares, circles, ovals,
-etc., worked in button-hole stitch, arranged to form borders, corners,
-or centres for table and bed linen. By combining other embroidery
-stitches with the button-hole stitch many charming pieces of work might
-be produced without much difficulty. Many of the Danish peasantry earn
-their livelihood by means of this beautiful work.
-
-Plate XIV. illustrates the corner for a panel for a pram or cot
-coverlet in process. The centres of the forms are all worked in the
-typical hedebo work, while the outer parts are filled in with a variety
-of stitches. To prepare the simple design, make a series of squares
-and circles in paper and connect them with double lines; arrange and
-space them symmetrically. Leave sufficient space between each circle to
-allow for the surrounding stitchery (see chapter on design). Then, when
-finished, draw directly on to the linen with compasses or any small
-round shape; leave sufficient material for a hem or border. The linen
-should be of a good firm quality. Use a sewing needle--No. 6 scientific
-sharp--and a lace thread--Taylor’s Mecklenberg, No. 6, or Knox’s
-two-cord linen lace thread, No. 25 or 30, are suitable.
-
-_Method_:--To prepare a circle, outline it with two rows of tacking
-stitch, keeping most of the thread on the surface by lifting a tiny
-stitch of linen. Tack the piece to be worked over _toile cirée_ or
-over a stiff piece of brown paper; with sharp pointed scissors snip a
-small piece out of the centre of the circle, and by the warp and weft
-threads, cut up almost to the edge to allow the material to be turned
-back quite close to the edges of the double row of tacking, about six
-cuts to the half-circle. Begin to work in the following way:--Secure
-the thread at the edge nearest the worker by running it along the
-outline for a short distance--knots are never used--and bring it out
-on the surface; hold the material so as to be able to work towards the
-centre of the circle--that is, away from the worker; make the first
-stitch by inserting the needle from underneath; draw up the thread
-until there is only a small loop left; put the needle through the loop
-from underneath and tighten with a jerk of the thread. Repeat these
-stitches, but not too closely, round the circle, turning the material
-under as the work proceeds; finish with the last stitch into the first
-loop. The button-hole stitches should not be worked either too closely
-or too tightly--about six or seven stitches to a quarter of an inch.
-The inner row is worked in open button-hole loops (see Fig. 52), one
-loop into the head of every fourth stitch; this can be strengthened by
-working back along the top, one stitch into each loop. A close row of
-button-holing, or, if preferred, another row of open button-holing,
-should be sufficient to fill the circle. Carry the thread down over the
-first button-hole loop, which is a single thread, and secure it at the
-back of the linen.
-
-The centre filling, composed of groups of three loops and pyramids, is
-worked as in Fig. 59. The working of continuous pyramids is described
-in connection with the cosy slip. Isolated pyramids are worked in
-a slightly different manner. Starting from the left, work seven
-button-hole stitches into the heads of the seven stitches surrounding
-the open space; overseam back to the left; work six button-hole
-stitches into the previous row; overseam back; work five button-hole
-stitches and overseam back, when there is only one stitch left;
-overseam down the right side of the pyramid; this brings the needle
-into position to work the next group of loops. When all pyramids and
-loops are finished, pick up a pyramid and a loop alternately with a
-button-hole stitch into each; overseam one stitch into each loop, then
-down the side of the last-made pyramid; fasten off at the edge.
-
-The flowers in Plate XIV. are worked down the outer edges in blue and
-white linen embroidery thread. The stitchery used can be fairly well
-seen from the illustration. The largest flower in the corner has a row
-of eyelet holes, made at equal distances to finish the hedebo centre;
-the space is further ornamented with open button-holing (Fig. 53,
-Plate X.) in blue. This stitching should be commenced at the centre;
-the final row is worked into the linen and headed by a line of back
-stitch in white; a line of chain stitch in blue finishes the flower.
-The flower on the left has a waved line of closely set French knots,
-filling up the space, followed by a row of chain stitch in white. The
-little outer spaces between the curves are filled in with oriental
-stitch (Fig. 18); these alternate with French knots worked in blue.
-The flower on the right is filled in with loop or petal stitch, and
-finished with a double row of blue knots.
-
-Rhodes embroidery is rather different from the other peasant
-embroideries. It is less varied, and so it is more monotonous and
-less interesting to work than many of the openwork or drawn-thread
-varieties. It seems to be of very ancient origin, and though it has
-been brought into prominence lately, under different names, it is only
-a revival of the old form of needlework done by the people of the
-Isle of Rhodes and adapted to modern methods. The old work was done
-on hand-made linen; the background was worked in red and the design
-left in the linen, with an outline stitch to define it; it was thrown
-strongly into relief by the colour of the worked background.
-
-“=Punch Work.=”--In America this embroidery is known under the name
-of “Punch work.” It is much used as dress trimmings and for bed linen
-and table wear; as the fabric is not weakened by the withdrawal of the
-threads, it stands wonderfully well for articles of daily household use.
-
-The linen should be loosely-woven so that the warp and weft threads can
-be gathered easily together without puckering the work--if hand-made,
-so much the better; a linen working thread, strong but fine, and
-a thick needle are required so as to separate the strands of the
-material. Special needles may be had from needlework depots at 1_d._
-each. The strong fine thread draws the clusters together and yet does
-not fill up the open spaces which are a feature of the background. Fig.
-M, Plate II., gives an idea of how the stitch is worked, but in the
-figure the working thread is cotton, and each group of five threads is
-gone over twice, so that the open spaces are rather smaller than they
-would be if a linen thread had been used. When the material has been
-chosen and the design traced on, fix the work on to a drawing-board,
-and with a ruler mark off the dots in rows one-eighth of an inch apart;
-note particularly in starting the first row of dots, that they are in
-a perfectly straight line--with the warp or weft of the linen; this is
-very important, as the work will not look well unless care is taken
-in marking these dots. If the warp and weft lines of the material are
-easily followed without strain to the eyes, these dots need not be
-marked, but in many cases it is better to have a guide of some sort,
-particularly when fine linen or muslin is used. Another method of
-marking in the pattern of dots is to use an open canvas as a guide;
-this can be placed over the linen and fixed with drawing-pins at the
-top; the dots can be marked with a knitting needle or traced at regular
-intervals through the threads of the canvas with a sharp-pointed
-pencil. The only difficulty in using the canvas is that the lines of
-warp and weft of the linen are hidden, so care must be taken to make
-both materials correspond, otherwise the dots will be off the straight
-line and the work will prove most unsatisfactory when finished.
-Some workers prefer to do the outlining of the design first and the
-background afterwards, others reverse the process--much depends on
-the worker herself; the background can be kept free from puckering by
-placing the work in a frame.
-
-=To work Fig. M.=--Tie the thread to begin with; bring the needle out
-at the first dot of the top left-hand corner; put it down through
-the dot to the right; pull the three or four strands together and
-repeat this horizontal stitch to tighten; pass the needle diagonally
-under to the second left-hand dot--exactly under the first; make an
-upward stitch into the first dot; pull strands together; repeat stitch
-and tighten--this brings the needle to the surface again with one
-horizontal and one vertical stitch completed. Repeat these two stitches
-to the end of the row. These stitches should form three sides of a
-square, the fourth side being added with the second row.
-
-When the edge of the space is reached, turn the work round so as to be
-able to work from the top down, as at starting. Make a little stitch to
-keep the thread firm, on the wrong side, then bring the needle out at
-the dot to the left; put it down through the previous hole--horizontal
-stitch; repeat; take a vertical stitch, putting the needle down into
-the previous hole, and, completing the square (Fig. M), repeat; pass
-the needle diagonally under the material to the next dot, and so on.
-When a very fine material is used the groups of threads may be held
-together by a single stitch instead of a double one. This background
-may be worked in a different way, all the horizontal stitches being
-worked first, and then the whole turned half round and the vertical
-stitches, which are now horizontal, worked next. This may commend
-itself to some, being rather a simpler method; it is done entirely in
-horizontal stitches and needs no description after studying the first
-method. After the background is finished the design may be worked in
-with satin stitch, chain stitch, outline stitch or button-hole stitch.
-This should be done in the hand.
-
-=Richelieu Embroidery.=--Richelieu embroidery--another of the
-embroideries worked in button-hole stitch--is even simpler in
-execution than Danish work, as the material is not cut away until the
-button-holed bars--which connect the pattern--are finished. It is
-worked in the hand, generally over a piece of _toile cirée_--American
-cloth specially made for embroidery. The entire design is outlined in
-small tacking stitches with embroidery cotton; the bars are then worked
-in--they always have picots, which is characteristic of Richelieu work.
-For the working of bars see Fig. 24, and of picots, Fig. 57. Care
-must be taken to secure the ends of the bars, by passing the needle
-through the linen to the back and making a stitch, before running the
-stitches along the outline to the point for the making of the next
-bar. The design is then button-holed all over in equal-sized stitches;
-the flower centres are worked in, and finally the linen is cut away
-very close to the button-holed design with a sharp pair of embroidery
-scissors.
-
-[Illustration: FIG. 52.]
-
-=Edging: Point de Bruxelles= (=Fig. 52=).--This Fig. 52, which consists
-of a piece of Honiton braid with an edging, shows the working of one of
-the most elementary of the lace stitches. It will be seen at a glance
-that it is the familiar button-hole stitch worked in loose loops;
-to lace-makers it is known as _point de Bruxelles_. It is a stitch
-constantly in use with them as it forms a good foundation net, and
-charming patterns may be made with it when worked in rows, backwards
-and forwards. _Point de Bruxelles_ is frequently found in laces of
-different types as it may be worked closely or openly to suit various
-styles and designs. The stitches are worked into the loops of the
-previous row; sometimes a strengthening thread is stretched from right
-to left, in which case the button-hole loops are worked from left to
-right over this thread, as well as into the loops of the upper row.
-There are many beautiful varieties of patterns for covering spaces or
-openwork fillings to be made from this simple foundation stitch, by
-varying the grouping of some and duplicating others (Fig. 53). What is
-known as double-net stitch has two button-hole stitches worked into
-each of the loops of the previous row. When used as a surface stitch
-worked in coarse threads the loops may be fairly loose, provided care
-is taken to keep them regular in shape and size. For those who are not
-expert a frame is helpful or a piece of stiff glazed calico or brown
-paper--either might be utilised to keep the material stretched.
-
-As a filling for an open space they should be worked much smaller and
-closer in a linen thread, the size mainly depending upon the opening to
-be filled in.
-
-[Illustration: FIG. 53.]
-
-=Point de Sorrento.=--In this (Fig. 53) there is a pleasing variety of
-the same stitch. It also has a special name among laceworkers--_point
-de Sorrento_, although only varying slightly in the arrangement of the
-loops from _point de Bruxelles_. It is used principally for the filling
-of open spaces and is comparatively quickly worked. Good results, too,
-can be had by filling in large spaces with woollen threads of the
-twisted type. In the first row the stitches are taken rather closely
-together but equally distributed in the second row; one stitch is
-worked into the last loop of the first row; one loop is missed; one
-stitch into each of the two following loops, and so on across the
-space. The pattern starts on the left side and is worked to and fro,
-the third row, therefore, starts from the left again with one stitch
-into the smaller loop and three into the wider loop.
-
-[Illustration: FIG. 54.]
-
-[Illustration: FIG. 54A.]
-
-Fig. 54 is rather a favourite pattern, but the making of the small
-wheels or roses is just a little tedious. The foundation is a row of
-looped button-hole stitches, similar to Fig. 52, worked into a circle
-of braid or a row of not too closely worked button-holed material as
-described on p. 138. If the circle is small, another row added to this
-and drawn up by overcasting the inner circle will often be sufficient.
-The little wheels take up quite a large space themselves, but where
-such elaborate stitching is wanted they look very effective.
-
-_Method_:--After the row of open loops has been made, overcast a single
-stitch into each loop and draw up the thread to tighten the circle; the
-first row of open button-holing should be nicely spaced to leave room
-for the forming of the little wheels. The little wheel-like forms are
-woven in and out of the connecting stitches as is clearly shown in Fig.
-54A. Another method of filling in a circle is as follows:--Make a row
-of open button-holing as Fig. 52, spaced widely, so that there may be
-eight or ten loops in the round. This done, draw them up by overcasting
-one stitch into each loop; then carry the thread back to the edge of
-the braid at the starting point of the first button-hole loop--this
-is necessary to complete the first loop, the last half of which, so
-far, has only got one strand. Add two more threads to this half-loop
-by carrying the needle to the centre and back again; this acts as a
-strengthening or padding thread to the half-loop, which has now to be
-button-holed from the outer edge to the inner circle. Each loop is
-worked in the same way, always adding the padding threads and starting
-the button-holing from the braid, and from there working towards the
-centre. When each loop has been worked, button-hole round the inner
-circle with the heading towards the outer ring; slip the thread up
-through the first bar and finish off neatly.
-
-[Illustration: FIG. 55.]
-
-Fig. 55 gives a simple method of filling in a square opening with a
-circular form. It is not so complicated as one might suppose. Start at
-the lower left-hand corner and lay the threads for the square; then
-the first diagonal line is stretched across to the top right-hand
-corner; overcast it back--in the method shown in the diagram--as far
-as the centre only. From this point--the centre--each thread is laid
-in succession to the edge--vertical, diagonal, horizontal, each one in
-turn--and overcast back to the centre; when the circle is complete,
-overcast the second part of the first diagonal back to the edge. The
-loose button-hole loops are then worked, two into each side of the side
-and the thread, passing round the first incomplete loop, is interlaced
-round the inner circle to strengthen and tighten it (compare Fig.
-55). Now complete the first button-hole loop; make the final outside
-circle and finish off the thread. If the filling looks rather thin when
-finished it may be solidified by working a row of close button-holing
-round the inner circle.
-
-This stitch is an interesting one and rather less used than the common
-_point de Bruxelles_, on account of the initial difficulty of keeping
-it quite regular; a little practice very quickly gives facility to a
-careful worker.
-
-[Illustration: FIG. 56.]
-
-=A Netting Knot= (=Fig. 56=).--The knot is similar to that used for
-netting. In working an open space as in Fig. 56, it will be found of
-considerable aid--towards the equalising of the loops--if horizontal
-lines are drawn on the foundation material. The loop may be fixed with
-a pin into position, and the needle being inserted behind the loop of
-the upper row and the stretched thread, the working thread is then
-twisted over and under the needle before the thread is drawn up. This
-stitch can also be worked without the strengthening horizontal lines,
-either in diagonal or straight lines. To work it diagonally, make
-the first loop in the left top corner of the square; overcast a few
-stitches along the top to reach the position for starting the second
-row; each loop is secured with the knot as in Fig. 56, their regularity
-and equal length being ensured by the pin which is stuck into the
-foundation. In netting, a knitting needle or small mesh is used
-instead of a pin.
-
-[Illustration: PLATE XIV.
-
-CORNER OF COT COVERLET--UNFINISHED (_See p. 138_)]
-
-=Edgings.=--A very dainty and durable little edging may be made by
-working this knot on to a coloured or a lace braid. In Fig. 30 the knot
-comes at the edge of the material, while with this _point Turc_ knot
-the edge of the loop is knotted. If the loop in the edging in Fig. 30
-is worked rather tighter, it also makes a very durable finish.
-
-[Illustration: FIG. 57.]
-
-=Picots= (Fig. 57).--The little pin picot is occasionally used as a
-finish to a button-hole edging. It is rather ineffective, having only a
-single thread, which is apt to disappear after a little wear. Fig. 23
-gives a much more substantial picot in bullion stitch.
-
-To work Fig. 57, button-hole a few stitches along the edge or bar as
-the case may be; fix a pin into the material or bar and pass the thread
-under it; take a stitch into the material; bring the needle out at the
-back; slip it under the three threads from left to right (see Fig. 57)
-and draw through. Make a firm knot close to the edge of the material,
-then continue the button-holing till the next point is reached.
-
-=Venetian Picot.=--A more substantial picot is used in Venetian lace
-and embroidery as follows:--Make a connecting bar by stretching three
-threads across from one edge of the opening to the other, as in Fig.
-26. Button-hole half-way across, then insert a pin as Fig. 57, but
-pass the thread under the pin and over the bar twice; then begin to
-button-hole the picot at the point where the pin is inserted and work
-five or six button-hole stitches till the bar is reached; the point
-must be closely covered, then continue the button-holing of the bar.
-
-[Illustration: FIG. 58.]
-
-Fig. 58, _a_, _b_, _c_, show how a solid little picot may be worked as
-an edging; it should have some decorative stitch to join up the picots,
-such as large overcasting, button-hole, chain or couching stitch. It
-is generally easier to work the picots with the edge held away from
-the worker. Make a loop as at _a_; fasten it with a pin; then take the
-thread to the top of the loop and pass it round as _b_. Then interlace
-backwards and forwards, passing the needle under the thread before
-going over to the opposite side, _c_. Repeat four or five times until
-the loop is filled. A twisted thread of a fairly thick make is most
-suitable for these picots.
-
-[Illustration: FIG. 59.]
-
-=A Button-hole Edging.=--Fig. 59 shows how to work an edging which is
-particularly suitable for household linen, table mats, towels, etc.;
-being both strong and durable, it will stand the hard wear which
-household articles in daily use are subjected to.
-
-Figs. 60 and 61 are very good surface stitches, both of which make
-bold and most effective headings to a border or band of needle-weaving.
-Both depend considerably on the care with which the foundation stitches
-are worked; if these are not equally distributed and the interlacing
-thread carefully adjusted to form the circles or links of the pattern
-the decorative value of the line or filling is spoilt.
-
-[Illustration: FIG. 60.]
-
-=A Border Stitch= (=Fig. 60=).--To work as Fig. 60 three rows are
-required to complete the stitch. First make a row of horizontal
-stitches on a level with each other; then take a long thread and pass
-the needle, eye foremost, up under the first small stitch, down through
-the second, and so on, till the first row is finished--the second row
-of interlacing completes the link.
-
-[Illustration: FIG. 61.]
-
-=An Interlacing Border or Filling= (=Fig. 61=).--The stitch may also be
-used as a background or filling, in which case the ground must first
-be patterned over with alternating rows of horizontal and vertical
-stitches, equally spaced. The vertical stitches hold the lower and
-upper edges of the links together--one such stitch is seen on the left
-of Fig. 60. Fig. 61 looks well if the foundation stitches are worked
-in one colour and the interlacing threads in another. By looking at
-the figure it will be seen that four small horizontal stitches are
-required to support the interlacing threads, in groups of two. These
-must be equally spaced so that the rings may be equal in size. After
-the foundation stitches are worked proceed exactly as in Fig. 60. Take
-a long thread for the interlacing of the first row; pass the eye of the
-needle foremost through the small stitches to prevent splitting of the
-threads; follow by a second row, which completes the ring.
-
-Fig. 13 gives a row of large back stitching with an interlacing thread
-which is worked in a similar way, and which makes a good firm line or
-heading to a border or hem.
-
-[Illustration: FIG. 62]
-
-=Two Leaf Fillings= (=Fig. 62=).--This filling for a leaf or oval form
-is quickly worked; it may be used equally well for a surface stitch.
-Fig. 62 represents a leaf with a lace braid for the outline. The
-central thread which forms the mid-rib is stretched first, the loosely
-worked loops are then threaded over this. This very simple arrangement
-looks remarkably well, and can be still further enriched by spacing the
-loops much wider apart, stretching horizontal lines across the spaces
-and forming little woven wheels, or rosettes, over them, down the
-mid-rib. This is, of course, a much more elaborate type of leaf, and
-would be used to fill quite a large space.
-
-There are many simpler methods of filling leaf forms or oval spaces--a
-row of button-holing, _point de Bruxelles_ (Fig. 52) worked round the
-inner edge, followed by one or two rows of looped button-hole stitch
-(Fig. 53), and closed down the centre by a line of faggot, or Russian
-stitch, finally overcasting a few stitches to the edge in order to
-finish off the thread neatly.
-
-Similarly, Fig. 62 _b_, may also be worked either as a surface filling
-or as an open one. The horizontal lines are stretched first, then
-overcasting from left to right of the straight lines fixes these
-transverse threads; otherwise they would be apt to get out of place, as
-they are only threaded over the one line and under the other.
-
-=Point de Venise= (=Fig. 62= _a_).--This can be worked on to baby
-garments, or to any article where a dainty finish is required. It looks
-even better if the heading is of some of the lace braids. The thread is
-secured at the edge and a looped stitch is taken as a foundation thread
-into which are worked four button-hole stitches--to form a scallop.
-This charming edging is much used in _point de Venise_. The same stitch
-also makes a beautiful filling pattern.
-
-=A Useful Bag.=--Plate XIII. illustrates what may be done with such
-simple materials as canvas, braid and wool. The foundation of canvas
-has the design traced on to the material; it consists of a series
-of little circles and half-circles, which overlap here and there,
-and which are eventually turned into gay little conventional flowers
-by means of bright-coloured wools. These flowers are mostly worked
-in petal stitch (Fig. 3A), and French knots (Fig. 22A). The band is
-enclosed by two rows of braid, oversewn with green, blue and purple
-wool. The foot of the bag is made up of an oval of braid worked in rows
-from the centre outwards; the tassels, also of braid, are brightened
-by rings and tags of wool; little thin lines of tinsel threads are
-darned into the canvas--these serve to connect the embroidered band
-with the upper decoration. The embroidered rings which hold the draw
-strings are extremely pretty. This note of originality, and indeed,
-the whole bag, conveys to one’s mind the impression of the bright
-personality of the worker who thus gives outward expression of the joy
-it gives her to work with her needle.
-
-
-
-
-CHAPTER XIII
-
-DECORATIVE FLOWERS AND LEAVES--EDGING AND INSERTION
-
- “Take the gifts, too, to serve as monuments of my hand labour.”
-
-
-These little flowers are a dainty trimming for hat bands (Plates IX.
-and XII.), collars, ribbon, ties and jumpers, for dress decoration, or
-as an addition to almost any article of daily wear: further, they are
-so simple to work that a very few directions will enable any one to
-make and apply them to whatever object may be chosen for decoration.
-
-=Crochet.=--All crochet consists of a series of little loops made by a
-needle or hook, these being worked or drawn together in various ways
-to form patterns or designs suitable for edgings, insertions, motifs,
-etc., for domestic use, and innumerable articles of personal wear.
-
-The foundation stitch is a chain, and all patterns commence with
-it--two or three or more, according to the article to be formed. Most
-crochet patterns are worked in rows, backwards and forwards, or all
-from one end; in the former case, the work must be turned at the end
-of the row, after making two or three stitches to allow for turning;
-therefore, the second, fourth, and sixth row, etc., will be worked on
-the opposite side from the first, third, and fifth, etc. When the rows
-are all started from the same end, the wool must be cut off at the end
-of each row, and commenced again at the beginning of the next. Crochet
-is worked, as in ordinary needlework, from right to left.
-
-[Illustration: FIG. 63.]
-
-=Chain Slip-knot= (=Fig. 63=).--We will start then with a slip-knot,
-which forms the first loop for the chain (Fig. 63). Wind the wool once
-round the first two fingers of the left hand and pull the long end of
-the wool through the circle thus made in a such a way as to form a
-loop; insert the hook; pull both ends of the wool and tighten the knot
-sufficiently to leave an easy passage for the hook through it. The next
-stitch is made by taking up the long end of the wool with the hook and
-drawing it through the loop. Repeat this process until the length of
-chain required has been obtained (Fig. 64). A little practice will soon
-give the regularity of stitch necessary.
-
-[Illustration: FIG. 64.]
-
-=Single Stitch.=--To practise single crochet, make a chain about 12
-inches long; put the hook into the upper half-loop of the second chain;
-throw the wool over the point and draw it through this half-loop and
-through the loop which is already on the hook. Proceed in this way to
-the end of the chain; work one chain; turn and work back again, taking
-care to put the hook into the upper half of the stitch of the previous
-row. Thus the first stitch of each succeeding row is always worked into
-the back of the last stitch of the preceding row.
-
-[Illustration: PLATE XV.
-
-TWO SIMPLE BASKETS (_See p. 169_)]
-
-
-=Double Stitch.=--Double stitch is not very different from single
-stitch. Put the hook into the upper half of the third chain from the
-hook, as in single stitch; pass the wool over the hook and draw it
-through. There are now two loops on the hook. Pass the wool over again
-and draw it through these two loops; continue to the end of the chain
-and turn as in single stitch.
-
-=Treble Stitch.=--This stitch uses up much more wool than the two
-preceding ones. Begin by passing the wool over the hook, then insert it
-in the upper half of the chain already made; draw the wool through and
-there will be three loops on the hook. Put the wool over the hook and
-draw it through two loops; put it over a third time and draw through
-the two remaining stitches. That completes a treble stitch. It will now
-be noticed that for a single stitch the wool passes over the hook once,
-for a double stitch it passes over twice, and for a treble stitch it
-passes over three times.
-
-=Long Treble Stitch.=--Long trebles are made by passing the wool twice
-over the hook to begin with, then working it by drawing the needle
-through two by two, always remembering to pass the wool over the hook,
-just as in treble stitch. When working trebles to and fro, four or
-five chain stitches must always be made at the end of each row before
-turning. When the work is turned, these chain stitches form, or rather
-replace, the first treble, which is skipped. This keeps the edges more
-regular.
-
-[Illustration: FIG. 65.]
-
-=Ladder Insertion= (=Fig 65=).--Fig. 65 forms a useful little insertion
-or ladder on which to place the crochet flowers. It connects the
-groups and prevents the spotty appearance which would be rather a
-disadvantage if the flowers were scattered in arrangement (Plate XII.).
-It is very simply worked. Make a chain the required length, then add
-three or four stitches for turning, to allow for the depth of the
-treble; insert the hook into the fifth half-loop, counting backwards,
-and make a treble stitch as described (p. 157); crochet one or two
-chain between each treble stitch to correspond with the number of chain
-stitches passed over.
-
-=Hooks.=--In making the flowers, it is better for a novice to work with
-a bone crochet hook and wool; steel hooks are used for fine threads,
-flax, silk, or cotton, and are not quite so easy to manipulate as bone
-or wooden ones. The point of the hook ought to be quite free from
-roughness, as the wool or thread of any kind is so easily ruffled.
-
-[Illustration: FIG. 66.]
-
-=Flowers= (=Fig. 66=).--To make the simplest flower, work five chain
-and join (Fig. 66 _a_). This figure is worked very loosely in order to
-show the method. Then make seven chain and one double crochet into the
-ring; five chain and one double crochet into the ring. Work in this way
-until seven little petals have been formed, then join into the third
-chain; finish off by cutting the wool and pulling it through. Thread a
-needle with the cut end, and slip it down the chain to fasten off. This
-forms a tiny flower, which may be duplicated in various tones of the
-same colour and sewn on to the foundation with cross stitch or French
-knots. The sizes of the flowers will vary considerably according to
-the thickness of the hook and thread used, as well as to the method of
-working, but it is always better to crochet flowers firmly to keep them
-in shape.
-
-[Illustration: FIG. 67.]
-
-=A more elaborate Flower= (=Fig. 67=).--Fig. 67 gives a slightly more
-elaborate flower.
-
-_Method_:--Work six or seven chain and join by pulling the loop through
-the first stitch. To make the petals, work four chain; three treble
-stitches into the ring; four chain and one single or double stitch into
-the ring--this completes a petal. Notice that the four chain at the
-beginning and end form the sides of the petal. Be careful not to split
-the wool while working, as this spoils the appearance of the flower.
-Make five, six, or seven petals and join at the ring as before.
-
-If a larger flower is wanted, make a small flower as Fig. 66 for the
-centre, and work the petals into the openings instead of into the ring;
-the petals may be made fuller also by adding more treble stitches to
-each one.
-
-Figs. 66 and 67, if worked in silk, cotton, or flax, make quite a
-pretty decoration; the flowers may be folded into various shapes and an
-interesting touch of colour or a stitch here or there, or an outline of
-button-holing will add richness and variety to the work (Plate XV.).
-
-[Illustration: FIG. 68.]
-
-=Leaves= (=Fig. 68=).--Leaves are quite simple to make, and, of course,
-will vary in size and form, just as the flowers do, according to the
-size of the hook and the thickness of wool used. A chain forms the
-mid-rib of the leaf, and into this double, treble and long treble
-stitches are worked up one side of the chain and down the other, the
-long trebles coming at the widest part and decreasing towards the tip.
-
-_Method_:--Make nineteen chain as a foundation; work one single stitch
-into the second chain from the hook, one double crochet into each of
-the next two chain, one treble stitch into each of the next two chain,
-one long treble into each of the next eight chain, one treble into each
-of the next two chain, one double crochet into the next chain, three
-double crochet into the last chain. These three stitches form the tip
-of the leaf. Continue with one double crochet into the next chain; on
-the other side of the chain a treble stitch into each of the next two
-chain, and so on--repeating the stitches as on the ascending side--to
-the end of the chain (Plate XII.). This leaf may be enlarged by working
-a row of double stitch all round, while a smaller one may be made
-by starting with thirteen or fifteen chain and putting in fewer long
-trebles.
-
-[Illustration: FIG. 69.]
-
-=Wired Leaves= (=Fig. 69=).--Another type of leaf (Fig. 69) is made
-with two lengths of covered green millinery wire--any wire will do
-so long as it is covered--which are tied together in the centre with
-green silk and then bent into the form of a leaf and fastened at
-the foot with silk or wool. The wire is then interlaced with wool,
-flax, or silk, or chenille, in green, blue, or any colour desired. As
-the weaving proceeds in and out, take care to push the rows closely
-together until the tip is reached; pass the needle and thread twice
-round the tip and slip the needle down the centre to the stem, where
-the thread is wound round and round until it is firm and a sufficient
-length of stem is covered.
-
-=Wired Flowers.=--Flowers may be made in the same way, each petal being
-treated as a leaf; five or six are then tied together to form the stem,
-and French or bullion knots added in another colour--to give stamens
-and pistil for the centre.
-
-[Illustration: FIG. 70.]
-
-A USEFUL CORD (FIG. 70).--Fig. 70 makes a very good finish for various
-purposes; it is a chain made with double stitch. Begin with two chain;
-put the hook into the first chain; pass the thread over and draw it
-through in a loop; pass the thread over again and draw it through the
-two loops on the hook; put the hook into the left side of the stitch
-just made; pass the thread over the hook and draw it through; pass the
-thread again over the hook and draw it through both stitches; continue
-in this way till length required has been worked. This little cord
-will be useful for bags, edgings for coats and jumpers and many other
-articles.
-
-[Illustration: FIG. 71.]
-
-=Tricot= (=Fig. 71=).--Fig. 71 represents another type of crochet,
-sometimes called Victorian or Tunisian crochet or simply crochet
-tricot. It makes a firm, close, yet elastic piece of work, and is
-specially suited to the making of children’s slippers, scarves,
-bonnets, reins, braces, collars, hat bands, etc. It is always worked
-in rows--never in rounds--and a long straight hook with a knob at the
-end is necessary as all the stitches on the advancing row are kept on
-the hook and worked off on the return row--these two rows complete the
-stitch, which is worked on the right side backwards and forwards.
-
-Tricot crochet is commenced with a chain the exact length and finished
-off with single stitch.
-
-=A Tricot Collar= (=Plate IX.=).--The collar in Plate IX. is worked in
-Knox’s linen “cord” floss thread. Make sixteen chain and work three
-rows of double stitch to keep the ends from curling up as they would
-do if the tricot stitch was started right away. For the tricot, the
-loop row is worked thus:--Put the hook through the first stitch; pass
-the thread over and draw it through in a loop; put the hook through
-the second stitch and pass the thread over; draw through in a loop;
-continue in this way to the end of the row, when there should be
-sixteen loops on the hook. Put the thread over the hook and draw it
-through one loop; pass the thread over and draw it through two loops;
-keep on repeating this, passing the thread over and drawing through
-two loops until there is only one stitch left on the hook. These two
-rows complete the stitch. In the next row, the loop row, put the hook
-through the hole between the first and second stitches; pass the thread
-over and draw it through; pass the thread over the hook again and draw
-it through the first of the two loops on the hook; repeat to end of
-row, always putting the hook into the hole between the stitches; count
-the stitches at the end of the rows, as it is quite a common mistake
-for a beginner to increase or decrease by missing or making stitches.
-
-The collar is finished with a row of single stitch right round, a deep
-picot fringe to the ends with flowers worked in Knox’s linen “cord”
-floss thread in delicate tints edged with silver thread and placed in
-groups to give weight, interest and finish to the whole.
-
-=Picots.=--Picots (Fig. 72) make a dainty finish for an edging of
-crochet, needlework, or lace. Collars, table mats and many small
-articles may be improved by these light points of various shapes; the
-one objection to them is that they lose in appearance after washings
-and so are not suitable for rough wear unless substantially made.
-
-=Plain Crochet Picots.=--Crochet picots are quickly and easily worked.
-For a plain triangular point, make six chain, then work one treble
-stitch into the first chain made, that is the stitch furthest from the
-hook. Repeat six chain and one treble into the first chain for the
-length required--the six chain form the little triangular points or
-picots, the treble stitch forms the heading.
-
-=Dropping Picots.=--These dropping picots are a little more solid in
-appearance than the plain picots. Make five chain; withdraw the hook
-from the loop and insert it in the second of the five chain stitches
-just made; take up the loop dropped; pass the thread over the needle
-and draw it through the two loops; repeat with five chain; drop the
-last loop; insert in second chain; take up the dropped loop; put the
-thread over the hook and draw through both loops. Continue in this way
-for the length required.
-
-=Crochet Lace Picots= (=Fig. 73=).--Lace picots, as the name suggests,
-are generally worked in fine threads; nevertheless, they can make very
-effective trimmings if worked in wool or stout thread over a mesh, and
-will wear wonderfully well.
-
-=Two-chain Picots.=--Commence with two chain; put the hook into the
-first chain; pass the wool over and draw it through the stitch--there
-are now two loops on the hook; work two chain, then slip the loop
-nearest the end of the hook off on to a thin wire or mesh and repeat.
-Put the hook into the first of the two chain; pass the wool over
-and draw it through the stitch; work two chain and slip off the last
-loop. It is sometimes easier to withdraw the needle from the two loops
-instead of slipping the last loop off the end of the hook and to
-replace it into the front loop.
-
-This edging may be sewn to a piece of work.
-
-[Illustration: FIG. 72.]
-
-=Picots= (=Fig. 72=).--The following picot is worked directly on to
-the edge of the finished piece of crochet, or it may be worked into a
-length of chain and overcast to the edge of any article suitable. Put
-the hook into the first stitch; pass the wool over and draw through;
-work one double crochet (see p. 157) into the next chain; draw out
-the loop to the desired length for the picot and slip it on to a mesh
-or pencil; insert the hook into the horizontal stitch at the foot of
-the loop; pass the wool over the hook and draw a loop through; make a
-double crochet stitch into the next chain; draw out the loop and slip
-on to the mesh; repeat to the end of the work.
-
-=Two-pronged Fork.=--A very quickly worked insertion, fringe, or edging
-may be made by means of a two-pronged fork. The little implement can
-be manufactured quite easily at home. For a fringe, a wooden fork is
-necessary, with one wide and one narrow prong. The usual fork is of
-thick steel wire and varies in size, but as steel wire is too hard
-for the unskilled worker to manipulate, a softer metal would be more
-satisfactory. A length of copper wire about one-eighth of an inch in
-diameter and 15 inches long, could be beaten into the form of a hairpin
-(Fig. 73) by means of a hammer; if the metal is too hard to take the
-curve it can be softened by annealing it. The width between the prongs
-may vary in different forks according to the width of the insertion
-to be made, from half an inch to 3 inches apart is the usual spacing.
-The stitch is made with a crochet needle, which will also vary in size
-according to the material used; for working in fingering wool, three or
-four ply, a No. 1 steel crochet needle does very well. Cotton, flax,
-wool, raffia, string and metal threads, all may be worked up to form
-various useful articles for decorative purposes. An effective fringe
-could be made by threading beads into the wool; the beads could be kept
-at the edge of the wide prong.
-
-[Illustration: FIG. 73.]
-
-=An Insertion or Fringe.=--Method of working:--This insertion may be
-worked in two ways. By looking at Fig. 73 it will be seen that the
-stitch is a very simple one. Make a slip-knot as Fig. 63, and one
-chain; withdraw the hook. Place the fork with the prongs upwards in
-the left hand, between the thumb and the middle finger; slip the chain
-stitch on to the left prong with the thread towards the worker. Insert
-the hook from below into it, then carry the thread round the right
-prong and pass it over the point of the hook; pull it through the loop;
-make one chain; put the thread round the left prong and turn the fork
-to the right--slipping the hook over the right prong at the same time
-so that it remains in the same position between the prongs with the
-handle to the worker; insert the hook into the stitch on the left prong
-from below; catch the thread and pull through; there are now two loops
-on the hook; close these by putting the thread over and drawing it
-through both. Repeat with the thread round the left prong as before.
-
-=Raffia.=--A simple braid is done in three movements, the fork being
-turned between each three. When the fork is filled, closely covered,
-slip off the loops and reinsert the two prongs into the last five
-or six loops, then continue for the required length. Two or three
-braids may be joined together by slipping one loop over another, or a
-contrasting thread may be taken and two loops on the one side may be
-joined together by a double stitch; then make three chain; two loops on
-the other side, joined again, then three chain; working in this way,
-the joining forms a little row of vandykes in chain stitch. The outer
-edges are then strengthened by one double stitch into two loops; two
-chain; one double stitch into the next two loops; two chain, and so on.
-
-Carpet and skirt braids may be joined together by means of an insertion
-made in twine or raffia--the latter being the more decorative. After
-making a row of gimp on a wide-pronged fork, connect it to the carpet
-braid by working two double crochet stitches into each loop and two
-into the braid--if a sufficient number of rows are joined together a
-strong and useful shopping bag may be made, finished with handles of
-plaited raffia and braid.
-
-A pretty crochet edging suitable for finishing off many articles of
-personal wear or for domestic use, which wears and washes well, may
-be worked directly on to the material. Work a row of button-hole
-stitch into the edges of the material; space the stitches rather
-widely so as to allow of an easy entrance for the crochet hook--this
-makes a daintier edging than inserting the needle directly into the
-material. It is worked in three rows--a linen thread gives the best
-effect. To work the first row, begin with one double stitch into a
-button-hole loop, then two chain, and one double crochet into every
-second button-hole loop; on approaching the corners, work into every
-loop so as to allow the next row to lie easily round them--nothing
-spoils good work so much as to see the stitching tightened and strained
-round the edges and corners. When the first row is finished join the
-stitches with a single stitch and commence the second row. Make eight
-or ten chain according to the thread used and size of loop wanted, then
-work double crochet into every third or fourth loop of the previous
-row--give ease to the corners by working three double crochet into each
-loop at the finish of the row; join as in second row. For the third
-row work ten or twelve double crochet stitches over the chain loops,
-as these stitches should cover the chain loops closely, when they look
-similar to button-hole stitching. The appearance of this edging will
-naturally vary considerably according to the size of the needle and
-thread used. A very serviceable edging, not too minute, is made with
-a No. 4 steel crochet hook and linen “L.C.” crochet thread, No. 14.
-
-[Illustration: PLATE XVI.
-
-A CUSHION COVER.]
-
-=Another Edging= (=Plate VII.=).--A very effective edging is worked
-into a row of needle button-hole stitch. Like the one above, it wears
-and washes well. First row: work one double crochet into one of the
-button-hole headings; make ten chain; pass six button-hole loops and
-work one double crochet into sixth loop; continue making ten chain and
-one double crochet until the row is complete. Break off the thread.
-Start the second row with one double crochet in the centre of the chain
-loop; make ten chain and work one double crochet into the centre of the
-next loop, and so on to the end of the row; then join and break off the
-thread. The third row is worked in a coloured thread. Take a blue linen
-or cotton thread and start this row by working into the first loop.
-Two double crochet, four chain, four double crochet, four chain and
-two double crochet. Work the same number of stitches in each loop. The
-chain stitches form little picots; this makes a dainty little finish to
-a table centre. Compare Plate VII.
-
-Plate XVB. gives an example of a work bag made from rug canvas. It
-is worked in cross stitch in two shades of blue, light green and a
-reddish-purple raffia. The edges are turned in and finished off with a
-border of soft blue brush braid; the handles are of raffia, plaited, in
-the different colours; the basket is lined with a printed silk which
-matches the various colours.
-
-Plate XV. gives a Japanese basket woven in grass, trimmed with
-cherry-coloured braid and crocheted flowers--the flowers are sewn on
-with dark blue; the lining consists of two shades of blue. The handles
-are of cherry-coloured carpet braid. These baskets are so very useful
-for the holding of odds and ends, mending, or embroidery. Some of the
-simplest woven Japanese baskets look very well when trimmed with braids
-in gay colourings and little crochet flowers. The busy woman might well
-have one of these useful little baskets with work ready to her hand, or
-suitable in their contents to her various rooms.
-
-=A Cushion Case= (=Plate XVI.=).--The original is a charming piece
-of work. The background, of a soft blue tone, is worked in blues,
-bright greens, heliotrope and cream. The design, in straight lines and
-circles, has two bars of needle-weaving, the definite pattern of which
-is shown to advantage by the plain woven bars on either side. The bars
-are worked similarly to the latchet darns which are frequently used
-instead of rings to support the draw strings of bags.
-
-The design is so simple that it might be drawn directly on to the
-material--this should not be a difficult matter if the threads of
-the canvas are regularly woven. Put in the main lines first--in the
-illustration these lines are worked in satin stitch; use a ruler
-and a chalk pencil--the latter is easily rubbed out if a mistake is
-made--then run in the design in wool or thread. Measure off the bars
-for needle-weaving, but do not cut and draw the threads until ready to
-work them. Great care must be taken in planning out the various parts
-of the design to have all lines running accurately with the warp and
-weft of the material, otherwise, when the woven bars are put in, they
-will accentuate any mistake made. The corners are in “laid” stitch,
-that is, the threads are stretched loosely across from one side of the
-square to the other, horizontally, then vertically--or _vice versâ_;
-they are then sewn down at the junctions with tiny cross stitches,
-which requires some care if the squares are not to be displaced. The
-rows of running or tacking stitches accentuate the oval in the centre.
-Cut and draw the threads for the needle-weaving after the outer band
-of satin stitch has been worked. The plain bars should be worked in
-first, as they are simpler in construction. When these plain bars are
-finished, divide up the strands into groups of seven for the pattern,
-and one group of eight--the latter forms the start and finish of the
-pattern which should have four groups in each. Weave in all the purple
-blocks to begin with; these, as may be seen from the illustration,
-are widest at the base. Weave over seven groups for one-eighth of the
-space; leave out a group of threads on either side and weave over five;
-then over three, and then over one group; each step is fully one-eighth
-in height. This process is then reversed, and the weaving finishes at
-the opposite side over seven groups. The start and finish over four
-groups can be followed from the illustration. The central figures
-alternating in green and blue will then be woven in without difficulty.
-
-The circles in the centre are worked in rows of satin stitch; the flat
-green beads are surrounded by French knots in cream, and each circle is
-surrounded on the outer edge by button-holing in blue of a lighter tint
-than the canvas.
-
-=Useful Hints.=--As a preliminary to the embroidery of a piece of work
-comes the putting on of the pattern. This may be done in different
-ways, but whichever way is chosen, it is well to realise from the
-outset that accuracy is essential. All possible care should be taken
-with the drawing on or tracing of the pattern or design; all straight
-lines should follow the warp and the weft of the material, when they
-are visible--the slightest unevenness causes unnecessary trouble in the
-after-working.
-
-_Transferring the Design_.--As previously mentioned, in a design for
-coarse canvas a geometric pattern may be put on with a ruler and a
-chalk pencil, but as chalk gives a thickish blunt line and is also
-very easily rubbed off, it is necessary to fix the design, either by
-running it round with a needle and thread, or by taking a fine brush
-and going over the chalk lines with Chinese white or oil paint thinned
-with turpentine. Another method is to lay a sheet of tracing paper over
-the design and trace it through clearly and accurately; then, following
-the plan of the little ones in the kindergarten with their embroidery
-cards, lay the traced design, face up, on a pad of felt, or on two or
-three folds of woollen material, and prick little holes very closely
-together, along the lines of the design.
-
-_Pouncing_.--A needle or a fine glass-headed steel pen will serve
-as a pricker. Lay the pricked design face downwards on to the
-material--which has previously been pinned on to a drawing board; fix
-the tracing, and with a soft pad dipped in powdered chalk and charcoal
-rub lightly across the holes from left to right--keep always rubbing
-in the same direction; on removing the tracing, the pattern should
-be perfectly clear. Take a fine brush and go over the design with
-Chinese white or red oil paint thinned with turpentine; this is called
-pouncing. The superfluous chalk or charcoal will blow off.
-
-_Carbon Paper._--A simpler method is to use carbon paper, which may be
-had in yellow, blue and red. Fix the material on a board and place the
-design carefully and evenly on to it. Secure with drawing-pins at the
-top line--leave the lower part free; raise the design--like a flap--and
-place the carbon paper, colour downwards, on to the material, then pin
-down the lower edges of the design. Do not put the pins through the
-carbon paper as they leave an ugly mark wherever pressure is applied;
-thus rings and bracelets should be removed before tracing. The upper
-pins keep the design in position, and progress may be noted by removing
-the lower pins and lifting the tracing and the carbon paper without
-disturbing the position of the design.
-
-Yet another way is to trace the design through on to a piece of
-tarlatan--an open-meshed muslin; this being done, place the tarlatan
-over the material, take a drawing pen, and with Indian ink run over the
-lines already there. If this is quickly done, a clear line should show
-on the material.
-
-_Stretching._--Embroidery sometimes gets rather puckered while working.
-It can be much improved, not by ironing, which is apt to flatten too
-much, but by stretching. Simple needle-weaving with flat stitchery may
-be laid on to two or three folds of blanket and pressed without harm.
-For most other kinds of work it is better to lay it face downwards on
-a board which has already been covered with a napkin or a fine towel;
-fix it at regular intervals with drawing-pins, and while doing so
-stretch the material into its right shape, if possible; be careful not
-to stretch it out of shape, which would be worse than ever; then lay a
-damp cloth over the work, leave it over-night to dry, and the puckering
-should have disappeared by the time it is dry.
-
-There is really no need to pucker work if it is held properly. Some
-stitches are more inclined to tighten than others, but it is generally
-when working across the material that they tighten it. The work should
-always be held in a convex position over the fingers, and when working
-in wools--which are sometimes very elastic--the needle-worker should
-see that the threads lie easily over the surface. If the background
-appears rounded at the worked part on the under-side, the wools are too
-tightly strained. When mistakes are made it is always wiser to cut them
-out than to unpick--it does not harm the material in the same way, and
-it is not extravagant, as threads are generally too much roughened for
-use after unpicking.
-
-_Knots_, as a rule, should be avoided; threads should always be cut,
-not broken off. The best way to commence a new thread is to run a few
-stitches on the right side on a part which will be covered afterwards
-by embroidery. This keeps the wrong side tidier, and the threads more
-secure. A long thread does not make for good work, as a rule; it gets
-roughened before it is finished and takes longer to pull through.
-
-Braids and thick threads can be taken through to the wrong side by
-making a hole with a stiletto, or by using a needle and thread. Bring
-the needle through the hole and pass it round the braid, then pass
-it back through the same hole and pull the braid through the hole
-with it; in the case of a coarse thread, the needle will make a large
-enough hole. In working with flax, note the direction of the fibre by
-drawing it through the fingers. The needle should be threaded at the
-smooth end, so that when the thread is drawn through the material it
-is not roughened. In working with double wool, cotton, or silk, pass
-two separate threads through the eye--both threads are then running the
-same way. Always keep the finished part of the embroidery covered up
-while working, if possible; it keeps it fresher and the threads do not
-get rubbed. Hot hands discolour the threads, roughened fingers ruffle
-them. Washing in warm water with the free use of pumice stone will help
-in both cases.
-
-_Washing Woollen Embroideries._--The soap should be of a good quality
-and free from alkali, which injures the colours. Flake the soap and
-dissolve it in boiling water; whip it into a lather; add cold water
-until it is of a comfortable heat for the hands, and put the embroidery
-in. Squeeze and work it gently--but on no account rub it--until it is
-clean, then rinse in warm water, and again in cooler water; squeeze
-the water out; hang up immediately--in the open air, if possible; dry
-quickly and pin out on a board, and iron damp on the wrong side on a
-folded blanket. White work may be washed in a lather of Lux--any soap
-which does not contain alkali may be used. Proceed as for coloured
-work, squeezing the dirt out, not rubbing; rinse and stretch over a
-towel or put in the open air till almost dry. It is then laid face
-downwards on several folds of blanket, a damp cloth placed over it, and
-a hot iron passed backwards and forwards until it is quite dry--the
-cloth prevents the iron from soiling the material on the back and
-equalises the moisture. Velvet should be held while being pressed, or
-the iron should be fixed face up and the velvet passed over it. All
-wools should be shrunk before being worked on to articles such as sash
-curtains and coverlets, which require washing. Steep them in a bath of
-hot water for some hours; hang them up--in the hank--to drip; when dry,
-they will be as soft as when new.
-
-Braids should be subjected to the same treatment--they may probably
-lose a very little colour if they are not reliable of their kind.
-
-=Practical Hints about Materials.=--There is sometimes difficulty in
-obtaining threads and materials of a coarse make and weave suitable for
-carrying out articles similar to those illustrated throughout the book.
-A short list of the names of firms where such may be bought is given
-below for the benefit of readers.
-
-Canvases and crashes particularly suited to needle-weaving may be
-obtained from Messrs. Brown and Beveridge, Ltd., 194, Bath Street,
-Glasgow. These are of good quality, in great variety and excellent
-colouring.
-
-Titian canvas, one of the heaviest makes, is very suitable for runners,
-table covers and large objects generally; it may be had in three
-widths, 27 inches, 50 inches and 72 inches, in mole, blue and soft
-brown. Art canvas and antique canvas, both of a regular weave in quiet
-colours, are lighter in make.
-
-In vandyke canvases the warp and weft threads, which are of different
-colours, blend very harmoniously. Art linens and bloom linens are
-charming; the latter are woven in two colours. Celtic canvas in cream,
-fawn, red, green, and a beautiful rich blue, are guaranteed fast dyed.
-
-Cotton repps and Sundour unfadeable materials are also suitable and
-useful for household decoration.
-
-Messrs. Brown and Beveridge, Ltd., also supply tapestry and crewel
-wools and a soft thick silk thread known as Tyrian embroidery silk.
-
-Linens of different makes and colours can be obtained so easily that it
-is not necessary to mention any special firm. Heavy unbleached linen
-sheetings and towellings can be procured from some of the Irish linen
-manufacturers.
-
-Messrs. Murphy and Orr, Donegal Street, Belfast, make a heavy twill
-unbleached linen to be recommended for coverlets.
-
-Messrs. J. and J. Baldwin and Partners, Ltd., supply, through their
-various agents, wools and yarns of a soft quality and in excellent
-ranges of colour. “White Heather,” three-ply, and a thicker “Rainbow”
-embroidery wool, sold in balls, are both good.
-
-Fingering wools, three, four and five-ply, in light colours, may be had
-from any of the numerous Scotch wool shops--Messrs. Fleming and Reid,
-Greenock.
-
-Messrs. W. and J. Knox, Ltd., Kilbirnie, manufacture linen and lace
-crochet threads in cream, ecru and Paris white, also linen floss
-embroidery threads in a wide range of beautiful colours. L.C. linen
-lace thread in various thicknesses, numbering from 8 to 70. The
-medium sizes from 35 to 50 are suitable for the background of Rhodian
-embroidery.
-
-“Cord” floss, a thick twisted thread, is suitable for knitting; hats,
-collars, short jumpers, bags, etc., may be made from it.
-
-Messrs. Kirkby, Beard & Co., Redditch, supply needles of a reliable
-quality.
-
-Blunt-pointed tapestry needles, No. 18, suitable for needle-weaving,
-crewel and chenille needles, and the excellent “Scientific Sharps” may
-be had from most of the needlework depots, or through any of their
-agents.
-
-Simple wooden looms for the making of braids, hat bands, ties, girdles,
-etc., with instructions and with a piece of work started, may be had
-from the Dryad Works, 42, Nicholas Street, Leicester. The same firm
-supplies raffia in brilliant colours and raffia needles.
-
-
-
-
-INDEX
-
-
-  American cloth, 143
-
-  Antique hemstitch, 73
-
-  Antique seam, 96
-
-  Applied work, 80
-
-  Arrow-head filling, 31
-
-  Art and craft, 5
-
-  Art canvas, 177
-
-
-  Background, open, 105
-
-  Backgrounds, 25, 29, 82, 104
-
-  Back stitching, 152
-
-  Bag, a useful, 153
-
-  Bag, work, 169
-
-  Bags, 132
-
-  Balance, 23
-
-  Bands, needle-woven, 105
-
-  Basket, Japanese, 169
-
-  Basket or stroke stitch, 71
-
-  Basket pattern, 33, 70
-
-  Basket stitch, 67
-    to work, 71
-
-  Baskets, 132
-
-  Beads, 19, 28
-
-  Blanket, Scottish, 9
-
-  Blanket stitch, to work, 58
-
-  Bokhara embroideries, 17
-
-  Border, 129
-    diapered, 60
-    geometrical, 124
-    interlacing, 151
-    pattern, 19
-    stitch, 151
-    vandyke, 30
-
-  Braid hat band, 133
-
-  Braid, Honiton, 144
-
-  Braid stitch, 53
-
-  Braids, 28, 76, 89, 119
-
-  Braids, hand-made, 28, 117
-
-  Brocade, 16
-
-  Building up of the pattern, 6
-
-  Bullion knots, 83
-
-  Bullion stitch, 84
-
-  Button-hole stitches, 56
-    bars, 86
-    crossed, 58
-    double, 61
-    edging, 150
-    filling of a space, 59
-    loops, open, 139
-    pyramid, 107
-    rings, 122
-
-  Button-hole stitch, flowers in, 59
-
-  Button-hole stitch, leaves in, 61
-
-  Buttons, 28
-
-  Buttons, indestructible, 123
-
-
-  Cable chain, 52
-
-  Cable chain, to work, 52
-
-  Canvas, 8, 67, 129, 131, 132, 177
-
-  Canvas stitches, 131
-
-  Carbon paper, 173
-
-  Carpet chenilles, 10
-
-  Carrick bend, 125
-
-  Celtic canvas, 129
-
-  Central fillings, 122
-
-  Chain stitch, 45, 79, 126, 143
-    in two colours, 47
-    to work, 46
-    twisted, 45
-
-  Chenilles, carpet, 10
-
-  Chequered fern stitch, 75
-
-  Chequered pattern, 70, 101
-
-  Chequered pattern, to work, 70
-
-  Chequers, 29
-
-  Chinese knot, 126
-
-  Circles, 22, 79
-
-  Colour, 12-17
-
-  Colour, juxtaposition of, 16
-
-  Colour, restful, 14
-
-  Colour scheme, 6, 80
-
-  Colours, six bright, 15
-
-  Colours, warm, 13
-
-  Common sense, 6
-
-  Construction, 6, 20
-
-  Cool colours, 14
-
-  Cope, Jesse, 82
-
-  Cope, Syon, 82
-
-  Coptic work, 40
-
-  Coral stitch, 48
-
-  Cords, 66
-
-  Cords, hand-made, 27
-
-  Corners, 20
-
-  Cosy cover, 112
-
-  Cot coverlet, 138
-
-  Couching, 68, 79
-
-  Couching, ancient method of, 81
-
-  Crash, Russian, 9, 37
-
-  Cretan stitch, 51
-
-  Cretonne, 16
-
-  Crochet, 69, 155
-    a useful cord, 161
-    chain slip-knot, 156
-    double stitch, 157
-    dropping picots, 164
-    flowers, 158
-    hooks, 78, 158
-    insertion, an, 166
-    lace picots, 164
-    ladder insertion, 157
-    leaves, 160
-    long treble stitch, 157
-    mesh, 165
-    picots, 163, 165
-    plain picots, 164
-    raffia, 167
-    single stitch, 156
-    treble stitch, 157
-    tricot, 162
-    two-chain picots, 164
-
-  Crossed button-hole, 58
-
-  Cross stitch, 101, 130, 131
-
-  Cross stitch, Italian, 130
-
-  Curtain, part of a, 55
-
-  Curving lines, 23
-
-  Cushion case, 170
-
-  Cut work, 136
-
-
-  Damask, 8
-
-  Damask darning, 32
-
-  Darning patterns, 29
-
-  Darning, single, 33
-
-  Darning stitches, 29, 106
-
-  Darns, latchet, 66, 170
-
-  Decorative back stitch, 61
-
-  Decorative initials, 111
-
-  Design, 21
-
-  Design, habit of, 5
-
-  Design, transferring the, 172
-
-  Designs, interlacing, 90, 127
-
-  Diagonal filling, 34
-
-  Diagonal lines, 21, 79
-
-  Diapered border, 60
-
-  Dominant colour, 16
-
-  Double button-hole, 61
-
-  Double-net stitch, 144
-
-  Drawing, 5
-
-  Drawn work, Italian, 137
-
-
-  Eastern embroiderers, 69
-
-  Ecclesiastical embroideries, 1
-
-  Edgings, 9, 27, 122, 149
-
-  Embroiderers, Eastern, 69
-
-  Embroideries, Bokhara, 17
-
-  Embroideries, ecclesiastical, 1
-
-  Embroideries, peasant, 136, 140
-
-  Embroideries, washing woollen, 175
-
-  Embroidery, Hedebo, 137
-
-  Embroidery, Rhodian, 35, 36, 140
-
-  Embroidery, Richelieu, 143
-
-  Embroidery threads, linen floss, 177
-
-  Embroidery, white, 83
-
-  Emery cushion, 12
-
-  Eyelet holes, 140
-
-
-  Faggoting, 93
-
-  Fern stitch, 74
-
-  Filet background, 104
-
-  Filet pattern, 77
-
-  Fillings, 29
-    arrow-head, 31
-    central, 122
-    diagonal, 34
-    honeycomb, 62
-    in squares, 35
-    leaf, 152
-    openwork, 29, 144
-    pyramid, 30
-    star, 31
-
-  Fingering wools, 177
-
-  Finishing touches, 6, 115
-
-  Finishings, 26
-
-  Fishbone, 71
-
-  Fishbone stitch, 50
-
-  Fitments, 26, 27
-
-  Flat knot, a, 116
-
-  Flowered hat band, 129
-
-  Flowers in button-hole stitch, 59
-
-  Fork-pin insertion, 99
-
-  Foundation net, 144
-
-  Frames, 11, 79
-
-  French knots, 28, 82
-
-  French tape, 75
-
-  Fringe, knotted, 115
-
-  Fringe, to prepare a, 114
-
-  Fringes, 28, 66, 68, 114
-
-
-  Galoon, 65, 66, 83
-
-  Galoons and gimps, washing, 28
-
-  Geometrical border, 124
-
-  Geometrical forms, 5, 19
-
-  German linen work, 111
-
-  Gimp, 117
-
-  Goblin stitch, 132
-
-  Good filling, a, 34
-
-  Good taste, 6
-
-  Greenhouse shading, 8
-
-  Groundings, open, 34
-
-
-  Habit of design, 5
-
-  Hand-made braids, 28, 117
-
-  Hand-made cords, 27
-
-  Harmony, 24
-
-  Hat bands, 129
-
-  Hedebo embroidery, 137
-
-  Hems, openwork, 72
-
-  Hemstitch, antique, 73
-
-  Hemstitching, method of, 115
-
-  Herring-bone, 65
-
-  Herring-bone foundation, 110
-
-  Herring-bone stitch, 94
-
-  Hints about materials, practical, 176
-
-  Hints, useful, 172
-
-  Honeycomb filling, 62
-
-  Honeycomb, to work, 63
-
-  Honiton braid, 144
-
-  Huckaback, 8
-
-
-  Indestructible buttons, 123
-
-  Indian work, 90
-
-  Individuality, 26
-
-  Initials, decorative, 111
-
-  Insertion stitches, 133
-    pyramid, 107
-    simple, 103
-    vandyke, 73
-
-  Interlacing border, 151
-
-  Interlacing designs, 90, 127
-
-  Interlacing knots, 91
-
-  Interlacing stitch, 108
-
-  Isolated pyramids, 107
-
-  Italian cross stitch, 130
-
-  Italian drawn work, 137
-
-
-  Japanese basket, 169
-
-  Jesse Cope, 82
-
-  Joining of selvedges, 97
-
-  Juxtaposition of colour, 16
-
-
-  Knot, a flat, 116
-
-  Knot work, 123
-
-  Knots, 83, 126, 127
-
-  Knots, French, 28, 82;
-    netting knot, 148;
-    ornamental knot, 123;
-    reef knot, 125;
-    weaver’s knot, 124
-
-  Knotted fringe, 115
-
-
-  Lace edge, 78
-
-  Lace-making, 135
-
-  Lace pillow-cushion, to make a, 118
-
-  Lace stitch, simple, 112
-
-  Lace stitches, 144
-    _Point d’Alencon_, 95
-    _Point de Bruxelles_, 144
-    _Point de Réprise_, 76, 106, 107
-    _Point de Sorrento_, 145
-    _Point de Venise_, 153
-    _Point rentré et retiré_, 81
-    _Point Turc_, 149
-
-  Laces, 122
-
-  Laces, needle-point, 135, 137
-
-  Lacis, 136
-
-  Ladder hemstitch, 72
-
-  Ladder stitch, 45
-
-  Laid stitches, 70, 171
-
-  Laid work, 67, 69
-
-  Latchet darns, 66, 170
-
-  Latchets of wool, 27
-
-  Leaf fillings, 152
-
-  Leaves, 130
-
-  Leaves in button-hole stitch, 61
-
-  Line stitch, 67
-
-  Linen floss embroidery threads, 177
-
-  Linen work, German, 111
-
-  Linens, 7
-
-  Lines, 20
-
-  Lines, curving, 23
-
-  Lines, diagonal, 21, 79
-
-  Lines, straight, 5, 19, 22, 23, 29
-
-  Link stitch, 51
-
-  Link stitch, to work, 52
-
-  Linked chain, 46
-
-  Loop stitch, 98
-
-  Loop stitch border, 75
-
-  Luncheon set, 86
-
-
-  Macramé, 116
-
-  Masses, 20
-
-  Material, practical hints about, 176
-
-  Materials, 7
-
-  Mesh, 121
-
-  Metal rings, 123
-
-  Mexican stitch, 63
-
-  Mexican stitch, to work, 63
-
-  Mount-mellick work, 85
-
-
-  Needle-made picots, 121
-
-  Needle-point laces, 135, 137
-
-  Needle-weaving, 28, 67, 87, 101
-
-  Needle-weaving, pattern in, 18
-
-  Needle-weaving, reversible, 103
-
-  Needle-woven bands, 105
-
-  Needles, 10
-
-  Net stitch, 71
-
-  Netting knot, 148
-
-  Nightdress case in blue and white, 127
-
-
-  Oddments, remnants and, 7
-
-  Open background, 105
-
-  Open button-hole loops, 139
-
-  Open groundings, 34
-
-  Openwork fillings, 29, 144
-
-  Openwork hems, 72
-
-  Orange, 14
-
-  Oriental stitch, 42, 51, 65
-
-  Originality, 29
-
-  Ornamental knot, 123
-
-  Oversewing, 101
-
-  Outline stitch, 143
-
-
-  Pattern book, venetian, 91
-
-  Pattern, building up of the, 6
-
-  Pattern in needle-weaving, 18
-
-  Pattern making, 5
-
-  Pattern, primitive, 18, 106
-
-  Pattern, wave, 32
-
-  Patterns, 29, 70, 137
-
-  Peasant embroideries, 136, 140
-
-  Persian quilting, 46
-
-  Persian work, 90
-
-  Personality of the worker, 4
-
-  Petal or loop stitch, 48
-
-  Petit point, 132
-
-  Picot, Venetian, 149
-
-  Picots, 149
-
-  Picots in bullion stitch, 84
-
-  Picots, needle-made, 121
-
-  Plaited stitch, 71
-
-  _Portière_, a, 59
-
-  Pouncing, 172
-
-  Primitive pattern, 18, 106
-
-  Principle of repetition, 20
-
-  Principles of colour, 12
-
-  “Punch work,” 141
-    to work, 142
-
-  _Punto a gruppo_, 116
-
-  Pyramids, 123
-    filling, 30
-    insertion, 107
-    isolated, 139
-
-
-  Quilting, Persian, 46
-
-
-  Raised stitchery, 94
-
-  Reef knot, 125
-
-  Remnants and oddments, 7
-
-  Repetition, principle of, 12
-
-  Restful colour, 14
-
-  Reticella, 136
-
-  Reversible back stitch, 62
-
-  Reversible needle-weaving, 103
-
-  Rhodian embroidery, 35, 36, 140
-
-  Ribbon, velvet, 96
-
-  Richelieu embroidery, 143
-
-  Richelieu work, 77
-
-  Ring stick, 122
-
-  Rings, 123
-
-  Rings, metal, 123
-
-  Rope stitch, 46
-
-  Rosettes, 108
-
-  Roumanian stitch, 73
-
-  Rugs, 133
-
-  Runner, table, 63
-
-  Russian crash, 9, 37
-
-  Russian stitch, 96
-
-
-  Satin stitch, 25, 67, 143
-
-  Seam, antique, 96
-
-  Selvedges, joining of, 97
-
-  Scissors, 11
-
-  Scottish blanket, 9
-
-  Sideboard cloth, 67
-
-  Silks, 10
-
-  Simple insertions, 103
-
-  Simple lace stitch, 112
-
-  Simplicity, 23
-
-  Single darning, 33
-
-  Six bright colours, 15
-
-  Snail-trail, 48
-
-  Snail-trail, method of working, 48
-
-  Spaces, value of, 20
-
-  Split stitch, 47
-
-  Square stitch, 35, 36, 68
-
-  Square stitch in slanting lines, 37
-
-  Star-filling, 31
-
-  Stitches, antique hem, 73;
-    arrangement of, 134;
-    back, 152;
-    basket or stroke, 71;
-    blanket, 58;
-    border, 151;
-    braid, 53;
-    bullion, 84;
-    button-hole, 56;
-    canvas, 131;
-    chain, 45, 79, 126, 143;
-    chequered fern, 75;
-    coral, 48;
-    Cretan, 51;
-    decorative back, 61;
-    double-net, 144;
-    fern, 74;
-    fish-bone, 50;
-    goblin, 132;
-    herring-bone, 94;
-    insertion, 133;
-    interlacing, 108;
-    Italian cross, 137;
-    lace, 112;
-    ladder hem, 72;
-    ladder, 45;
-    laid, 70, 171;
-    line, 67;
-    link, 51;
-    loop, 98;
-    Mexican, 63;
-    net, 71;
-    Oriental, 42, 51, 65;
-    outline, 143;
-    petal or loop, 48;
-    plaited, 71;
-    raised, 94;
-    reversible back, 62;
-    rope, 46;
-    Roumanian, 73;
-    Russian 9, 37;
-    satin, 25, 67, 143;
-    simple lace, 112;
-    split, 47;
-    square, 35, 36, 68;
-    square stitch in slanting lines, 37;
-    surface, 151, 152;
-    tacking, 25, 66;
-    tailor’s button, 58;
-    tambour, 45;
-    tent, 130, 132;
-    unity of, 24;
-    weaving, 128.
-
-  Stitchery, 6, 24
-
-  Straight lines, 5, 19, 22, 23, 29
-
-  Stretching, 173
-
-  Stroke stitch, basket or, 71
-
-  Surface stitches, 151, 152
-
-  Syon Cope, 82
-
-
-  Table mat of white linen, 75
-
-  Table runner, 63
-
-  Tacking stitch, 25, 66
-
-  Tailor’s button stitch, 58
-
-  Tambour stitch, 45
-
-  Tape, French, 28, 82
-
-  Tapestry-weaving, 103
-
-  Tassels, 28, 66
-
-  Tassels, simple, 120
-
-  Technique, 24
-
-  Tent stitch, 130, 132
-
-  _Tête de Bœuf_, 52
-
-  _Tête de Bœuf_, to work, 52
-
-  Thimble, 11
-
-  Threads, 9
-
-  _Toile cirée_, 76, 93
-
-  Transferring the design, 172
-
-  Treatment, 26
-
-  Twisted chain, 45
-
-
-  Unity of stitch, 24
-
-
-  Value of spaces, 20
-
-  Vandyke border, 30
-
-  Vandyke insertion, 73
-
-  Veining, 95
-
-  Venetian pattern book, 91
-
-  Venetian picot, 149
-
-  Velvet, 79, 131
-
-  Velvet ribbon, 96
-
-
-  Warm colours, 13
-
-  Washing galoons and gimps, 28
-
-  Washing woollen embroideries, 175
-
-  Wave pattern, 32
-
-  Weaver’s knot, 124
-
-  Weaving, 77
-
-  Weaving stitch, 128
-
-  Weft threads, 41
-
-  White embroidery, 83
-
-  White ground, 15
-
-  White work, washing, 175
-
-  Wool, latchets of, 27
-
-  Woollen embroideries, washing, 175
-
-  Wools, 9
-
-  Wools, fingering, 177
-
-  Work bag, 169
-
-  Worker, personality of the, 4
-
-  Working of tambour stitch, 46
-
-  Woven textures, 9
-
-
-THE WHITEFRIARS PRESS LTD., LONDON AND TONBRIDGE.
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-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of An embroidery book, by Anne Knox Arthur</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: An embroidery book</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Anne Knox Arthur</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 7, 2023 [eBook #69723]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Alan and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK AN EMBROIDERY BOOK ***</div>
-
-<div class="figcenter">
-<img src="images/cover.jpg" alt="">
-</div>
-
-
-<h1 class="sp">AN EMBROIDERY BOOK</h1>
-
-<div class="bbox">
-
-<p class="xlarge sp">ANCIENT EGYPTIAN, ASSYRIAN,<br>
-AND PERSIAN COSTUMES AND<br>
-DECORATIONS.</p>
-
-
-<p class="pad">By <b>Mary G. Houston</b> and <b>Florence S. Hornblower</b>.</p>
-
-<p class="pad"><i>Containing 25 full-page illustrations, sixteen of them
-in colour, and 60 line diagrams in the text.</i></p>
-
-<p class="pad"><i>Small crown quarto.</i></p>
-
-<p>In this volume the history of Costume is traced
-from the earliest ages. The illustrations (which are
-taken chiefly from the British Museum) are given in
-facsimile from the drawings of the artists of the period,
-and, where the drawing is too primitive to be easily
-understood, a garment is also shown drawn in modern
-style; in addition, every type of garment illustrated
-is accompanied by a flat pattern showing the <i>cut</i>.
-Information of this special character on Ancient
-Costume is usually very difficult to obtain, and it is
-anticipated that the volume will be of first-rate
-importance to dress designers, to theatrical designers,
-and also to the schools in which historical costume
-and the history of the progress of the human race
-are subjects for study.</p>
-
-<p class="c"><span class="smcap">Published by</span> A. &amp; C. BLACK, <span class="smcap">Ltd., 4, 5 &amp; 6, Soho<br>
-Square, London, W. 1.</span></p>
-</div>
-
-<p class="c p4 less">AGENTS</p>
-
-<table class="less">
-
-<tr>
-  <td class="tdlt"><span class="smcap">America</span></td>
-  <td class="tdlp"><span class="smcap">The Macmillan Company</span><br>
-   64 &amp; 66 Fifth Avenue, <span class="smcap">New York</span></td></tr>
-
-<tr>
-  <td class="tdlt"><span class="smcap">Australasia</span></td>
-  <td class="tdlp"><span class="smcap">Oxford University Press</span><br>
-   205, Flinders Lane, <span class="smcap">Melbourne</span></td></tr>
-
-<tr>
-  <td class="tdlt"><span class="smcap">Canada</span></td>
-  <td class="tdlp"><span class="smcap">The Macmillan Company of Canada, Ltd.</span><br>
-   St. Martin’s House, 70 Bond Street, <span class="smcap">Toronto</span></td></tr>
-
-<tr>
-  <td class="tdlt"><span class="smcap">India</span></td>
-  <td class="tdlp"><span class="smcap">Macmillan and Company, Ltd.</span><br>
-   Macmillan Building, <span class="smcap">Bombay</span><br>
-   309 Bow Bazaar Street, <span class="smcap">Calcutta</span></td></tr>
-
-</table>
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="figcenter" id="f1">
-<p class="captionl">PLATE I.</p>
-<img src="images/fig1.jpg" alt="">
-<p class="captionc">A TABLE MAT. (<i><a href="#Page_41">See page 41.</a></i>)</p>
-</div>
-
-<hr class="full x-ebookmaker-drop">
-
-<p class="c xxlarge">
-AN</p>
-
-<p class="c big lsp">
-EMBROIDERY</p>
-
-<p class="c big">
-BOOK</p>
-
-
-<p class="c p2">
-BY</p>
-
-<p class="c">
-<span class="up sp">ANNE KNOX ARTHUR</span><br>
-
-<span class="more sp">GLASGOW SCHOOL OF ART</span></p>
-
-<p class="c p4 sp med">
-CONTAINING SIXTEEN FULL-PAGE ILLUSTRATIONS<br>
-—EIGHT OF THEM IN COLOUR—AND EIGHTY-<br>
-SEVEN LINE ILLUSTRATIONS IN THE TEXT</p>
-
-<p class="c p4 large">
-A. &amp; C. BLACK, LTD.<br>
-<span class="less">4, 5 &amp; 6, SOHO SQUARE, LONDON, W. 1.</span><br>
-<span class="more">1920</span>
-</p>
-
-
-<hr class="full x-ebookmaker-drop">
-
-
-<p class="c">“<i>Go, little booke; God send thee good passage</i>”</p>
-
-
-
-
-
-<p class="c p4">
-<span class="more">TO</span><br>
-MY MOTHER
-</p>
-
-
-<hr class="full x-ebookmaker-drop">
-
-
-<p class="ph2">NOTE</p>
-
-
-
-<p><span class="smcap large">The</span> Author’s thanks are due to the owners of the
-pieces of embroidery illustrated in this book who kindly
-lent them to her for reproduction:—Miss Beatrice Brooks,
-Miss Marion Boyd, Miss Janetta S. Gillespie, Miss Mary A.
-Gill, Miss Martha Stevenson, Miss Elspeth Stewart, Miss
-Jessie Gibson (students of the Glasgow School of Art);
-also to Miss Kay, Parkhurst, Cedars, Derby, for the
-loan of three pieces worked by her pupils.</p>
-
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p class="ph2">FOREWORD</p>
-</div>
-
-
-<p><span class="smcap large">Now</span> that many of our busy working people have
-better regulations as regards the hours of the day’s
-work, there is great need to provide occupation for the
-day’s leisure; and needlework, as a leisure craft, is one of
-the most refreshing and pleasant and profitable sources
-of entertainment—provided always, that those who undertake
-it realise that, with right thought and consideration
-on the part of every worker, each should become,
-as it were, a law unto herself, so that she should realise
-also that she need, under no circumstance, be the
-slave of old traditions, if she can give fitting reasons
-for making a change which is to the purpose of her
-work.</p>
-
-<p>To be in a healthy and living state, our art should
-be constantly changing its fashion; if it stands still,
-it is retrograde, and for some few generations we may
-say this of British embroidery. What changes it has
-undergone are due almost entirely to the commercial
-enterprise of manufacturers of printed patterns—usually
-foreign ones. The importation became very considerable
-with the introduction of so-called Berlin woolwork, and
-since that period the British needlewoman has set aside
-her own ingenious arrangements and follows blindly
-where the merchant leads, and British design for needlework,
-as an expression of its people, is almost a dead
-thing.</p>
-
-<p>Most people have a superstition that in knowledge of
-a multitude of stitches lies the whole mystery of needlework.
-This is emphatically not the case. There really
-is no mystery about stitches; they are but the letters of
-the needleworker’s alphabet, and the words of her language—to
-be used according to her own ideas. One may
-embroider poems; another may embroider prayers and
-praises for her church; another may beautify a fair
-woman’s garment or sing a little song in stitches for a
-baby’s robe; yet another may be like a treatise on surgery,
-repairing and restoring that which has been
-damaged. But needlework does not exist for the stitches.
-It is the stitches which—as they are well or ill-used—express
-the worker, and, if she is a wise worker, she can
-find out for herself most of the stitches she needs. Nor
-is it necessary to be at great expense in needlework,
-indeed, for those who take it up as a recreative craft
-half the interest may lie in the fact that no material is
-too common or too homely to be made into something
-fitting and, therefore, beautiful—since the truest art is
-to make a thing pleasing to the eye and yet entirely suited
-to the purpose.</p>
-
-<p>The commonest failing of the designers of this country
-is that they think that beauty lies in the elaboration of
-ornament, and this is why the fashions of British dressmakers
-fall short of those abroad. It is the little simple
-contrivances, that are almost no more than a sort of
-loving finish to the actual construction of a piece of
-work, that give the highest standard of style in garments:
-and the best training a needlewoman can have is to make
-her seams, hems, openings and fastenings of garments
-or household fitments things of beauty, while, at the
-same time, she considers the uses and purpose of her
-work. It is as a piece of engineering we should consider
-the construction of our household hangings and covers
-of our garments—planning that decoration should be
-coarse or fine, as fits the material, and taking thought
-also for the washing and wearing of it.</p>
-
-<p>The fashions of to-day show a very marked tendency
-to decorative construction, due in great measure to a
-change in the needlework for school children introduced
-a few years ago. The tendency shows most interesting
-results, especially in the fact that the shaping of clothing
-has become very simple and that garments depend almost
-entirely on stitchery for their decoration, rather than on
-manufactured braids and trimmings; and the styles and
-shapes are infinitely less stereotyped, so that clothing
-for women tends to express more nearly the personality
-of the wearer than it has done for many generations.</p>
-
-<p>The work of the hand—as apart from that of the
-machine—is more and more in demand, and decorative
-needlework, even in our shops, is becoming more to
-be desired, for unique and personal characteristics and
-expression, than it has been for a very long period. This
-being the case, let our needlewoman take courage and
-realise that in each mind there are possibilities of new
-ideas and new inventions—that all materials open up
-new opportunities, and that with little labour she may
-greatly enhance and beautify the things she works and
-find appreciative opening for her skill. Never was there
-such universal demand for handwork of every kind, and
-for such household fittings, which tend towards economy
-and labour saving in particular, the need is almost
-unlimited. Some of the most interesting embroideries
-done during the last few years have been planned and
-carried out in some of our Scottish schools by untrained
-workers—designs so simple that the workers do not
-realise that they are designing at all—since they draw
-largely with needle and thread alone, and have little
-assistance from chalk and other markings. And it is
-this type of work, usually sewn in coarse yarns and on
-rough canvas, flannel or homespun, that is perhaps the
-most happy and most stimulating for a designer of needlework
-to begin on. The work is so quickly achieved—so
-gallant and bright in colour—so utilitarian in purpose and
-of so little cost in outlay, that it is above all others to be
-recommended. It needs no experience in stitchery to
-work in bright wools, if the material is firm and strong,
-and the writer has pleasant experience of maid-servants
-and village wives in the north country making admirable
-rugs, garments, and other embroideries, which command
-good prices at the Artificers’ Guilds and other places
-where a high artistic standard of design is required.</p>
-
-<p>It is only by means of such counter attractions in stimulating
-leisure crafts, which pay their way as well as give
-pleasure to the workers, that we can contend with the
-spirit of restless excitement and craving for mere pleasure-giving
-that is so marked a sign of the early days of
-peace, and reconstruction can only come by countering
-this mischievous tendency in young people by giving
-them something that gives stimulus to their longing for
-brightness and yet does not unduly tax those whose
-days may be occupied in strenuous employment.</p>
-
-<p>How desirable it is that such gatherings of women
-and girls as church sewing meetings, guilds and clubs,
-should take up such new ideas in needlework and apply
-for a competent instructor. How almost more desirable
-is it that men might realise the pleasure a needle can give
-if applied to bold construction and original work.</p>
-
-<p>It is by no means universal over the world that needlework
-is a women’s craft; in many countries it is done
-quite as much, if not more, by the men, and it is probable
-that if our men took up this craft, it would show a very
-marked tendency to individual and original expression.</p>
-
-<p>The power of invention is so great and serious a factor,
-that it is almost too big a thing to touch upon here. We
-do not exaggerate its importance when we say that this
-faculty in human beings is what we can justly call the
-Holy Ghost, for it is that in us which comes, not of ourselves,
-but from direct inspiration, and the first principle
-of education ought to be to open our minds to it,
-in howsoever small and humble a fashion it comes, and
-to make clear the way for its development and growth
-towards greater things.</p>
-
-<p class="r"><span class="smcap large">Ann Macbeth.</span></p>
-
-<p class="l"><span class="smcap">Glasgow School of Art.</span></p>
-
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p class="ph2">CONTENTS</p>
-</div>
-
-<table class="less">
-
-<tr>
-  <td class="tdc"><span class="mid">CHAPTER</span></td>
-  <td class="tdl"></td>
-  <td class="tdr"><span class="mid">PAGE</span></td></tr>
-
-<tr>
-  <td class="tdr"><a href="#c1">I.</a></td>
-  <td class="tdl">INTRODUCTORY</td>
-  <td class="tdr">1</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c2">II.</a></td>
-  <td class="tdl">THE ART AND CRAFT OF EMBROIDERY—THE<br>
-   SIX POINTS</td>
-  <td class="tdrb">5</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#c3">III.</a></td>
-  <td class="tdl">CONSTRUCTION AND DESIGN</td>
-  <td class="tdr">18</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c4">IV.</a></td>
-  <td class="tdl">DARNING STITCHES—BACKGROUNDS AND<br>
-   FILLINGS</td>
-  <td class="tdrb">29</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c5">V.</a></td>
-  <td class="tdl">NEEDLE-WEAVING—RUSSIAN OPEN-WORK—LINKED<br>
-   STITCHES</td>
-  <td class="tdrb">40</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c6">VI.</a></td>
-  <td class="tdl">BUTTON-HOLE AND BORDER STITCHES—HEMSTITCHING<br>
-   AND OPEN FILLINGS</td>
-  <td class="tdrb">55</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#c7">VII.</a></td>
-  <td class="tdl">LAID WORK—BASKET AND LINE STITCHES</td>
-  <td class="tdr">67</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c8">VIII.</a></td>
-  <td class="tdl">COUCHING—FRENCH KNOTS AND BULLION<br>
-   STITCH</td>
-  <td class="tdrb">79</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c9">IX.</a></td>
-  <td class="tdl">BRAIDS AND DESIGN—FAGGOTING—VEINING<br>—ANTIQUE
-   SEAMS—KNOT INSERTION AND<br>
-   EDGING</td>
-  <td class="tdrb">89</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c10">X.</a></td>
-  <td class="tdl">INSERTIONS IN NEEDLE-WEAVING—POINT DE<br>
-   RÉPRISE—INTERLACING AND OPENWORK<br>
-   BACKGROUND</td>
-  <td class="tdrb">101</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c11">XI.</a></td>
-  <td class="tdl">FRINGES AND TASSELS—HAND-MADE BRAIDS<br>—KNOTS
-   AND PICOTS</td>
-  <td class="tdrb">114</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c12">XII.</a></td>
-  <td class="tdl">DRAWN-THREAD AND WHITE WORK—RHODIAN,<br>
-   RICHELIEU AND HEDEBO</td>
-  <td class="tdrb">134</td></tr>
-
-<tr>
-  <td class="tdrt"><a href="#c13">XIII.</a></td>
-  <td class="tdl">DECORATIVE FLOWERS AND LEAVES—EDGING<br>
-   AND INSERTION</td>
-  <td class="tdrb">155</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#c14">INDEX</a></td>
-  <td class="tdl"></td>
-  <td class="tdr">179</td></tr>
-
-
-
-</table>
-
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p class="ph2">LIST OF ILLUSTRATIONS</p>
-</div>
-
-<table class="less">
-
-<tr>
-  <td class="tdr"><span class="mid">PLATE</span></td>
-  <td class="tdl"></td>
-  <td class="tdr"><span class="mid">FACING PAGE</span></td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f1">I.</a></td>
-  <td class="tdl">*A TABLE MAT</td>
-  <td class="tdr"><i>Frontispiece</i></td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f2">II.</a></td>
-  <td class="tdl">SOME USEFUL STITCHES</td>
-  <td class="tdr">17</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f3">III.</a></td>
-  <td class="tdl">A RUNNER IN CRASH</td>
-  <td class="tdr">32</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f4">IV.</a></td>
-  <td class="tdl">*A PORTIÈRE</td>
-  <td class="tdr">49</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f5">V.</a></td>
-  <td class="tdl">*A BUREAU SCARF</td>
-  <td class="tdr">64</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f6">VI.</a></td>
-  <td class="tdl">A SIDEBOARD CLOTH</td>
-  <td class="tdr">69</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f7">VII.</a></td>
-  <td class="tdl">A TABLE CENTRE IN WHITE AND BLUE</td>
-  <td class="tdr">76</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f8">VIII.</a></td>
-  <td class="tdl">*A LUNCHEON MAT</td>
-  <td class="tdr">81</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f9">IX.</a></td>
-  <td class="tdl">*THREE COLLARS</td>
-  <td class="tdr">96</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f10">X.</a></td>
-  <td class="tdl">A TEA-COSY COVER</td>
-  <td class="tdr">101</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f11">XI.</a></td>
-  <td class="tdl">A NIGHTDRESS CASE</td>
-  <td class="tdr">108</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f12">XII.</a></td>
-  <td class="tdl">*THREE HAT BANDS</td>
-  <td class="tdr">113</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f13">XIII.</a></td>
-  <td class="tdl">*A BAG IN CANVAS AND WOOL</td>
-  <td class="tdr">128</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f14">XIV.</a></td>
-  <td class="tdl">CORNER OF COT COVERLET, UNFINISHED</td>
-  <td class="tdr">149</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f15">XV.</a></td>
-  <td class="tdl">TWO SIMPLE BASKETS</td>
-  <td class="tdr">156</td></tr>
-
-<tr>
-  <td class="tdr"><a href="#f16">XVI.</a></td>
-  <td class="tdl">*A CUSHION COVER</td>
-  <td class="tdr">168</td></tr>
-
-<tr>
- <td class="tdc" colspan="3">*These illustrations are in colour.</td></tr>
-
-</table>
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p class="c xxlarge sp" id="c1">AN EMBROIDERY BOOK</p>
-</div>
-
-
-<h2>CHAPTER I</h2>
-
-<p class="c less">INTRODUCTORY</p>
-
-<div class="blockquot">
-
-<p>“Give her of the fruit of her hands; and let her own works
-praise her in the gates.”</p>
-</div>
-
-
-<p><span class="smcap large">Needlework</span>, as an artistic and practical craft, is
-highly interesting from a decorative point of view, and
-well within the scope of any intelligent worker. It
-has distinct advantages over most crafts—it neither
-requires great initial outlay for apparatus or materials,
-nor does it demand a special workshop; thus, as a
-domestic art, it commends itself to many of us on account
-of its adaptability to the conditions of life, as well as for
-its decorative value—as a means of adding grace and
-beauty to our daily surroundings.</p>
-
-<p>During the thirteenth and fourteenth centuries
-England was famed for the beauty and magnificence of
-its ecclesiastical embroideries. These wonderful works
-found their way into many countries and were eagerly
-sought after by patrons of the beautiful; many pieces
-still exist, preserved in our museums, churches, or in
-private collections, to show us what extraordinary
-ability and invention these ancient embroiderers must<span class="pagenum" id="Page_2">[Pg 2]</span>
-have had. After the Reformation, when there was no
-longer the great demand for ecclesiastical work—embroiderers
-turned their attention to the decoration of
-garments to be worn by the wealthier classes. In the
-“Golden Days of Good Queen Bess,” and for some time
-later, all the ingenuity and skill formerly applied solely
-to church work was bestowed on the decoration and
-beautifying of personal clothing—dresses, cloaks, coats,
-waistcoats, caps, gloves, etc.; neither time, labour, nor
-expense was spared, the worker’s ideal evidently being
-to obtain the highest result of which he or she was
-capable. Some of the quaint pattern books of those
-days still exist, and they consist mostly of elements—dainty
-flower sprays, sprigs, fruits, birds, animals, fishes,
-border patterns and geometrical forms—all intended to
-assist the workers in the composition and building up
-of their designs and patterns.</p>
-
-<p>In the busy world of nowadays, we cannot hope ever
-to attain to such perfection, nor to regain for embroidery
-the high position it once held in this country; but we still
-have many clever needlewomen who could produce
-beautiful work provided they had a better knowledge of
-how to set about it.</p>
-
-<p>This book has been planned with the hope that it may
-be of use to many, and that it may create in both girls
-and women the desire to construct and decorate for
-themselves those simple articles of daily use which cost
-so much to buy and which can be made and embroidered,
-in simple patterns, with a little knowledge of construction
-and stitchery, at a moderate expenditure of time and
-money.</p>
-
-<p><span class="pagenum" id="Page_3">[Pg 3]</span></p>
-
-<p>Perhaps the reason why so many workers buy their
-materials already stamped with a design, which often
-proves unsuitable to the purpose for which it is intended,
-and which gives small satisfaction when embroidered, is
-because of a certain distrust of themselves, a want of
-knowledge of their own powers of invention and ingenuity;
-or it may be a lack of energy and initiative, a
-reluctance to plan and create for themselves, due to the
-fact that they have never been taught to express their
-own ideas, but rather to depend on those of others.
-Nevertheless, the sense of beauty is, in a greater or less
-degree, common to us all. Why, therefore, should a
-needleworker not develop her own ideas rather than
-those of other workers? The designer, for example,
-who may have as little knowledge of stitchery as the
-needlewoman has of design, and who, therefore, cannot
-realise the labour involved in its execution, may lose
-much of his effect and may waste the time of the embroiderer.
-It is generally agreed that no two people
-have the same ideas; it is surely, then, of considerable
-importance that each one should at least make some
-attempt to express his or her own. If scope is given to
-the creative and inventive powers they, like other
-faculties, will grow in a most inspiriting manner; new
-ideas, inherent instincts, perhaps dormant hitherto, will
-spring up like flowers to encourage the beginner on the
-upward path, and as interest becomes keener and confidence
-grows, difficulties which at first appeared insurmountable
-will quietly disappear as the worker plans
-and thinks out a piece of embroidery from the foundation.
-How interesting and attractive it will be to execute such<span class="pagenum" id="Page_4">[Pg 4]</span>
-a piece of work, which will express the personality of the
-worker in all parts, design, colour and stitchery. Greater
-technical excellence, as well as charm, must accrue; the
-embroideress will work with more judgment and understanding,
-and because it has gained so much in interest
-to her, she will be able to express herself more freely, and
-her work will convey and suggest more to others.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_5">[Pg 5]</span></p>
-
-<h2 class="nobreak" id="c2">CHAPTER II</h2>
-</div>
-
-<p class="c less">THE ART AND CRAFT OF EMBROIDERY—THE SIX POINTS</p>
-
-<div class="blockquot">
-
-<p>“Chaires, Stooles and Screen, the same, all of Satten Stitch
-done in Worsteads.”</p>
-</div>
-
-
-<p><span class="smcap large">We</span> shall now consider the six important points of
-design.</p>
-
-<p><b>Art and Craft.</b>—Many women have an inherent
-instinct for needlework—that is, the craft of the needle—for
-the knowledge of how to use a needle and thread is
-generally easily acquired; but it is quite otherwise when
-the design, the artistic or imaginative part, has to be
-carried out, as it ought to be, by the worker. Then all
-sorts of difficulties arise, mostly imaginary, as those who
-make an attempt may find.</p>
-
-<p>Let us here consider the design as a necessary part of
-the workmanship. We shall be ambitious enough to
-study embroidery from an artistic point, for the art and
-the craft ought surely to go hand in hand.</p>
-
-<p><b>The Habit of Design.</b>—A special knowledge of
-drawing is not essential for pattern making—a child will
-make delightful patterns—nor for simple designs composed
-of straight lines and geometrical forms, such as
-might be happily applied to borders for articles of daily
-household use or for personal wear. A ruler, a compass
-and a sheet of squared paper are sufficient for initial
-efforts: and once the habit of simple designing is acquired<span class="pagenum" id="Page_6">[Pg 6]</span>
-it can become a wonderfully absorbing pastime, for eyes
-that are opened to see will find designs on every side.</p>
-
-<p><b>Good Taste and Common Sense.</b>—To carry out
-a piece of work successfully, however, the embroideress
-must possess good taste and common sense; these are
-indeed important qualities, the possession of which will
-help the beginner enormously: add to these an eye for
-colour and form, a practical knowledge of the stitches
-commonly in use, some acquaintance with materials,
-their utility and adaptability, and the worker will find
-herself fairly well equipped to start her design.</p>
-
-<p><b>The Six Points.</b>—There are about six points to be
-considered in connection with a piece of embroidery:—</p>
-
-<p><i>The Object and its Use.</i>—We must decide this, bearing
-in mind the position the work will occupy when finished;
-choosing a material suitable for the purpose, and with
-due regard to the restrictions of economy.</p>
-
-<p><i>The Colour Scheme.</i>—Consider the environment, and
-let the scheme be in harmony with or in contrast to the
-background and surroundings.</p>
-
-<p><i>The Construction.</i>—Plan carefully and arrange for the
-decoration, which should never interfere with the usefulness
-of the finished work.</p>
-
-<p><i>The Building up of the Pattern.</i>—This should always
-be done with a view to the limitations of the material.</p>
-
-<p><i>The Stitchery.</i>—This must also be adapted to the
-material—with bold, effective types for the coarser
-woven stuffs, and daintier, closer stitchery for the firmly
-woven textiles.</p>
-
-<p><i>Finishing Touches.</i>—A beginner rarely realises the
-importance of these, yet it is well worth while bestowing<span class="pagenum" id="Page_7">[Pg 7]</span>
-thought on them; interest may be considerably
-heightened by such additions or an otherwise good
-piece of work rendered less attractive by lack of care
-and thought at the final stages.</p>
-
-<p>It will now be seen that the design—the least mention
-of which strikes terror to the soul of the uninitiated—does
-not consist in the drawing or the making up of the
-pattern alone, and that there are important preliminary
-stages to be gone through. Indeed the design is well on
-its way by the time the worker reaches the fourth point,
-<i>i.e.</i>, the building up of the pattern.</p>
-
-
-<p class="c"><span class="smcap large">The First Point: On the Choosing of<br>
-Materials, Threads, Tools, Etc.</span></p>
-
-<p><b>Materials.</b>—Materials, threads, and needles are important
-items, and should be chosen carefully; to spend
-time and labour on embroidery on a poor foundation is
-an extravagance rather than an economy—the tendency
-being to make up for the poorness of the quality by the
-profuseness of the decoration. Materials need not be
-costly, but they should be good of their kind.</p>
-
-<p><b>Homely Materials.</b>—Charming things can be made
-out of homely cloths, remnants and oddments. Texture,
-tone and colour should be considered, both from a
-practical and an artistic point of view; a background
-that is pleasant to work upon is always an advantage.
-Linens, of varying quality and texture, can be relied upon
-for domestic purposes—they make for good stitchery,
-they wash well, and are very durable. (Plate VII.)
-Some unbleached materials are extremely economical.</p>
-
-<p><span class="pagenum" id="Page_8">[Pg 8]</span></p>
-
-<p><b>Greenhouse Shading.</b>—A soft creamy netting used
-for greenhouse shading, which may be obtained from any
-of the large seed merchants, is made in different widths
-from 54 inches to 72 inches. It has an open mesh and
-lends itself to all types of darning and needle-weaving—the
-narrow widths make excellent semi-transparent sash
-curtains, which may be brightened by applied bands of
-coloured linen or chintz, and finished with rows of simple
-running or tacking stitch in wools or in some of the
-coarser makes of embroidery cottons. (Plate VIII.)
-The thicker quality has a closer mesh and is admirable
-for coverlets and hangings. These, when edged and
-decorated with lines of bright-coloured washing braids,
-and wide borders of coloured cretonnes—which again
-may be connected with bars of needle-weaving or darning,
-or any simple stitchery—make charming and economical
-articles, such as any housewife might well be proud to
-possess. (Plates V. and VI.) Covers and runners to
-match might complete the set. This would be a pleasant
-and instructive work for a girl’s leisure hours; she
-might make just such a set for her bedroom, with the
-addition of chair covers and cushions, adorning them
-beautifully with some simple design and a colour scheme
-of her own choosing.</p>
-
-<p><b>Damask and Huckaback.</b>—Damask linens, with
-simple-patterned backgrounds, twilled sheetings, of
-various makes, and huckabacks, can be used most
-effectively for runners, mats, and luncheon sets; the soft,
-warm, creamy tone of the unbleached material blends
-harmoniously with bright-coloured threads and wools.</p>
-
-<p><b>Titian Canvas.</b>—Many coarser and more loosely<span class="pagenum" id="Page_9">[Pg 9]</span>
-woven textures make most charming and desirable
-backgrounds for bands of needle-weaving. (Plate VI.)
-Coarse canvas in various colourings, woollen hopsacks,
-floor-cloths, etc., are adaptable for many household
-articles.</p>
-
-<p><b>Russian Crash.</b>—A common roller towelling, or
-Russian crash, as it is also called, is a delightful material
-(Plate III.), and may be had in narrow widths, varying
-from 12 inches to 24 inches; it is woven by the Russian
-peasantry in small handlooms and varies considerably
-in texture and quality—but in all cases it is a most
-durable and suitable linen for domestic purposes.</p>
-
-<p><b>The Scottish Blanket.</b>—Another pleasing material
-for wool decoration is the well-washed, worn-out Scottish
-blanket; with the smaller pieces one can make hassocks
-and cushions which look wonderfully well in strong
-colours in any flat stitch; the larger single blanket can be
-used for coverlets or hangings—with applied decoration
-where the material is too frail for general hard wear.
-Decorated with edgings of woollen braids, etc., these will
-look almost new, and certainly will give immense satisfaction
-to the worker.</p>
-
-<p>Threads are to be had in great variety and in different
-makes, many of which are excellent for embroidery.
-Cottons and flaxes in various sizes and thicknesses in a
-large range of colours can be combined most successfully.</p>
-
-<p><b>Embroidery Wools.</b>—Wools and yarns, particularly
-the types known as fingering, in three, four, and five-ply,
-are reliable both in colour and quality. It is
-always advisable to shrink wools before using them for<span class="pagenum" id="Page_10">[Pg 10]</span>
-embroidery if they are to be applied to articles which
-require frequent washing. Crewel and tapestry wools,
-to be had in hanks, “white heather” mending in balls,
-are very convenient for needle-weaving and canvas
-work, and they may be had in beautiful colours.</p>
-
-<p><b>Silks.</b>—Silks of different makes, embroidery or
-knitting, filosel, filo-floss and a soft, thick variety known
-as “Tyrian,” are all good for various purposes. The
-latter is particularly useful for couching lines; filo-floss—a
-bright, glossy silk with no twist in it—requires some
-skill in the manipulating of it, therefore filosel or mallard
-floss, each of which has a slight twist on it, is better for
-the less-skilled worker. Carpet chenilles in colours, both
-cotton and woollen, applied to coarse canvas or sacking,
-are used for the making of mats and rugs. Woollen
-and mohair, cotton and brush braids of the common
-skirt type, carpet and binding braids, cords and French
-tapes, coloured and washing gimps, all may be used with
-advantage for embroidery. It is better to shrink some
-of the loosely woven skirt and carpet braids before
-applying them to the material, or they are apt to pucker
-the material after washing.</p>
-
-<p>Good needles should always be used, with well-drilled,
-good-sized eyes. Care should be taken to choose them
-so that they may be exactly suited to the thread and to
-the material; the eye should be large enough to hold the
-thread easily, in which case it will make a hole in the
-foundation of a sufficient size to allow the thread being
-pulled through without roughening it. Scientific sharps
-are very pleasant to use—numbers four, five and six, are
-suitable for cotton and flaxes, crewel and chenille, and<span class="pagenum" id="Page_11">[Pg 11]</span>
-long-eyed sharps for general embroidery and needle-weaving.
-For openwork backgrounds such as are shown
-in Plate XI, H, I, J, K, L, where no threads are withdrawn
-from the material, a special needle with a large
-thick stem and a small eye is used; it separates the
-threads of the material and makes them easier to gather
-into groups by means of the tightened thread.</p>
-
-<p>In working on loosely woven materials—such as
-canvases—and for weaving patterns, tapestry, chenille,
-or rug needles with blunt points are the most comfortable
-to use; if these are not to hand, work with the eye of
-the needle foremost.</p>
-
-<p>A well-fitting thimble, preferably vulcanite or silver
-lined with steel, is necessary. It should be deeply pitted
-to catch the eye of the needle and well finished, so as not
-to roughen the thread. Scissors of different sizes are
-required: a large pair with one sharp and one rounded
-point—these for the cutting and preparing of the material;
-a small sharply pointed pair for the snipping of threads;
-a special pair with a little square knob on the one blade
-and a sharp point on the other for cutting out threads
-and sections between embroidered and openworked
-parts; these are a safeguard and prevent the snipping
-of the work.</p>
-
-<p>Frames are not necessary for the simpler types of
-work, but for wide borders in needle-weaving, particularly
-for the novice, a frame will fix the warp threads
-by keeping them taut, and prevent puckering of the
-material—little tambour frames which consist of a
-couple of rings, the one fitting into the other, will serve
-the purpose.</p>
-
-<p><span class="pagenum" id="Page_12">[Pg 12]</span></p>
-
-<p>Finally, a small emery cushion, for polishing the
-needle should it get sticky or rusty, a piece of beeswax
-is useful for flax threads, a stiletto for piercing eyelet
-holes, a yard measure, a bodkin, and some small pins,
-are all necessary items, which should always be at hand
-when wanted.</p>
-
-
-<p class="c"><span class="smcap large">The Second Point: The Colour Scheme.</span></p>
-
-<p>Colour lends an inexpressible charm to our daily life—it
-is in nature that it exists in greatest beauty. The
-wonderful robe of colour which she displays for us
-throughout all seasons and in all countries, through
-the flowers and fruits, trees and foliage, sea and sky,
-the birds, animal and insect life, all under different
-aspects and ever-varying circumstances, increase our
-admiration and pleasure. We reflect and gratify our
-need for colour in our intimate surroundings—dress,
-hangings, furniture, carpets, pottery and pictures. The
-embroideress who has a fine instinct for colour will arrange
-a scheme wherein beautiful combinations of hues, tints,
-and shades will mingle and produce a harmonious whole.
-It is for those less favoured that the following hints are
-given. A knowledge of the principles of colour will
-serve as a guide, while the use of a chromatic circle,
-<i>i.e.</i>, a colour circle, will be invaluable to the beginner.
-This convenient arrangement wherein successive strips
-of all the colours are placed concentrically in their due
-proportions—as in the prismatic spectrum—will enable
-her to study the varieties, the relations and the peculiarities
-of colour and help her to arrange and select<span class="pagenum" id="Page_13">[Pg 13]</span>
-those hues, tints and shades which will combine well
-together; it will aid her to obtain happy effects with
-some appreciation of its harmonies and contrasts.</p>
-
-<p>The three primary colours, green, red and blue—green
-being now generally accepted as a primary instead of
-yellow—offer the greatest contrast to each other. They
-are the strongest and most powerful and exercise a
-greater influence on the mind than any of the others;
-add to these, orange, yellow, violet, white and black—the
-sum of these six colours constitutes white, and the
-absence of all, black—and we have the eight from which
-all the other colours and their modifications can be made,
-easily and systematically.</p>
-
-<p><b>Red</b> (<b>Complementary Colour, Bluish-Green</b>).—Red,
-the strongest and most powerful, excites and
-stimulates the eye. It was the first colour to be used
-for decorative purposes by primitive man, and the first
-to receive a name: it is the most predominant of the
-warm colours, and on account of its fresh, bright, cheerful
-character, is much used by beginners; but this very
-assertive quality makes it rather difficult to combine
-with other hues, therefore it is well to use it in small
-quantities for general purposes. Red, in different hues,
-has always been the symbol of power and distinction.
-Scarlet has been used for regal robes and state ceremonials,
-as well as for military purposes—it indicates
-bloodshed and war, fierceness and courage. Red of a
-rosy hue signifies divine love. It has been a favourite
-colour with the poets from the days of Homer to our
-own time. The complementary of red is bluish-green.</p>
-
-<p><b>Blue</b> (<b>Complementary Colour, Yellow</b>).—Blue<span class="pagenum" id="Page_14">[Pg 14]</span>
-followed red—it is of a quiet retiring nature, soft and
-soothing in effect, imparting the same quality to all the
-hues in which it predominates. It is one of the cool
-colours and is symbolically emblematical of heaven,
-piety, and intelligence. The complementary of blue is
-yellow.</p>
-
-<p><b>Green</b> (<b>Complementary Colour, Purple</b>).—Green,
-the most prevalent colour in nature, and the least stimulating,
-has a remarkably distinct and striking effect on
-the eye. It is highly refreshing as well as soothing, and
-is the necessary restful colour, the opposite of red. Yet
-the nervous power of the eye is sooner exhausted by
-strong greens than by any other hue; thus, a piece of
-work with a preponderance of green is not so pleasing
-to look at constantly as the piece where blue predominates.
-Symbolically, green is the emblem of
-bountifulness, youth, happiness and prosperity. The
-complementary of green is purple (violet-red).</p>
-
-<p><b>Yellow</b> (<b>Complementary Colour, Blue</b>).—Yellow
-approaches white, and is therefore a brilliant and
-advancing colour. It possesses the greatest power of
-reflecting light; is rather difficult to combine unless
-modified. Bright yellow has been used emblematically,
-to express charity, joyousness, plenteousness and old
-age—greenish-yellow is the symbol of jealousy and envy.
-Its complementary is blue.</p>
-
-<p><b>Orange</b> (<b>Complementary Colour, Greenish-blue</b>).—Orange,
-coming between red and yellow, partakes of the
-nature of both—it expresses warmth, fruitfulness and
-wealth. The complementary colour is blue with a tinge
-of green.</p>
-
-<p><span class="pagenum" id="Page_15">[Pg 15]</span></p>
-
-<p><b>Purple</b> (<b>Complementary Colour, Green</b>).—Purple
-is the quietest of the rich colours, being composed of red
-and blue. It varies in tone according to the amount of its
-constituents. When blue is predominant it is symbolical
-of mourning, expressive of sorrow, sadness, and is called
-violet; when inclining to red it becomes warmer and
-richer. It expresses dignity, pomp, and regal power.
-Its complementary colour is green.</p>
-
-<p>These six bright colours, when used in conjunction
-with black and white, with each other, or with their
-complementaries, will strengthen, intensify and enrich
-each other without altering their true value—when such
-vivid effects and sharp contrasts offend the taste of the
-worker, when they appear too crude, too conspicuous
-and too obtrusive—which they are apt to do—they may
-be harmonised quite simply, either by modifying the
-complementaries or by using a tint or a shade, that is, a
-lighter or a darker tone of the same colour. The strength
-and potency of these startling contrasts are in this way
-tempered; they become less glaring, less assertive,
-pleasanter and simpler to arrange, and lose the jarring
-effect they might have if used in their full brilliancy.
-For simple household articles with little decoration
-these bright colours may be used with charming effect.
-It is well to remember, in choosing the tints and shades
-of a colour, that the foundation material will have a
-considerable influence on them. On a white ground they
-will appear stronger and brighter, their tone being
-heightened by the white or light background, while on a
-black ground they appear more distinct and brilliant,
-particularly light ones, the contrast being greater. Dull<span class="pagenum" id="Page_16">[Pg 16]</span>
-hues gain in brightness when used with black and lose
-accordingly when combined with white.</p>
-
-<p><b>Juxtaposition of Colour.</b>—Colours, then, when
-associated, influence each other simultaneously in various
-ways, darkening and lightening, adding to or detracting
-from, as the case may be—thus, by placing a light and
-dark one in contact, for example, black and white, the
-former looks blacker, intenser, while the latter looks
-more startlingly white on account of its dark neighbour.</p>
-
-<p>It is advisable, also, in arranging the colour scheme—after
-taking materials and positions into consideration—to
-determine at the very outset what the leading features
-are to be, and to have <i>one</i> colour in the scheme more
-predominant than the others, either in intensity or in
-area. There should be some central point or points of
-interest which will attract the eye to certain parts of the
-construction.</p>
-
-<div class="figcenter" id="f2">
-<p class="captionr">PLATE II.</p>
-<img src="images/fig2.jpg" alt="">
-<p class="captionc">SOME USEFUL STITCHES (<i><a href="#Page_29">See p. 29</a></i>)</p>
-</div>
-
-<p><b>A Dominant Colour.</b>—A liberal use of a dominant
-colour, by conveying a definite impression, will give
-decision of character as well as beauty of tone to the work,
-while a vague, uncertain, or too equally distributed
-arrangement will leave an unsatisfied and indefinite
-impression on the mind.</p>
-
-<p>There are abundant suggestions to be had from fields,
-hedgerows, flowers, plumage of birds, etc., for the
-embroideress who can adapt them to her purpose, but a
-simpler plan for the beginner is to choose her colour
-scheme from a good picture, a coloured illustration, a
-piece of chintz, cretonne or good brocade, or, when
-possible, to study the various pieces of old embroidery
-preserved in our museums, as a record of the time
-<span class="pagenum" id="Page_17">[Pg 17]</span>when we could compete with other countries, when
-embroidery was almost the sole occupation of women
-of rank, as it was of the occupants of the convents.</p>
-
-<p><b>Green.</b>—If we were to use one of the primaries as a
-dominating colour, say green, a bluish-green, we might
-have as a background a deep pomegranate red, the
-design could be worked out in bluish-greens, grey-greens,
-soft blues and purples, with touches of pale chamois
-yellow here and there; all the colours should have a
-tinge of bluish-green, the combining colour.</p>
-
-<p><b>Blue.</b>—Or we might choose blue, the pleasantest,
-simplest and most harmonious combining colour, and
-select as a background a warm white or cream. The
-decoration could be carried out in various tones of blue,
-deep rich blue, turquoise, deep and pale orange, and a
-blue grey—much would depend on the tones used in
-combination and the manner in which they were
-employed. Always avoid a spotty effect, and do not
-contrast colours too suddenly in an endeavour to
-emphasise special points.</p>
-
-<p><b>Red.</b>—Red, when used as the predominant or combining
-colour, looks best on a dark blue or a cream background.
-With a dark blue ground, white or cream,
-bright greens and a touch of dull orange will work in well
-with the reds, the former combining to make the latter
-less assertive. With a white ground and the same
-colours, the work becomes suggestive of some of the
-beautiful Bokhara embroideries in which reds, greens,
-blues and yellows—the latter used sparingly—are combined
-so gaily and instinctively.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_18">[Pg 18]</span></p>
-
-<h2 class="nobreak" id="c3">CHAPTER III</h2>
-</div>
-
-<p class="c less">CONSTRUCTION AND DESIGN</p>
-
-<div class="blockquot">
-
-<p>“A cunning workman, an embroiderer in blue and in purple
-and in fine linen.”</p>
-</div>
-
-
-<p><span class="smcap large">We</span> shall now discuss the decorative points.</p>
-
-<p>The construction and the building up of the pattern
-may be taken together.</p>
-
-<p><b>A Simple Pattern in Needle-weaving.</b>—The simplest
-design for an initial effort should be one which could
-be executed in needle-weaving such as is illustrated in
-Plate I. Here the spaces for the decoration are marked
-off on the material, there being no necessity to put any
-design on to paper—the weaving may be done in any
-simple primitive pattern, or from some of the more
-interesting darning pattern samplers, or it may follow
-some idea or fanciful invention of the worker. It should
-be more or less symmetrical in colour and form, and
-provided that sufficient thought is taken in arranging
-the colour scheme and that the technique is good,
-the result should be both pleasing and decorative.
-(See <a href="#c5">Chapter V</a>. on needle-weaving.) Supposing the
-material and the colour scheme to have been already
-decided, and that a loosely woven texture—which
-demands a simple conventional pattern with bold
-stitchery and bright colour effects—has been chosen
-(let it be a runner, table cover or any article suitable for<span class="pagenum" id="Page_19">[Pg 19]</span>
-household use). It would be best, as simplicity must be
-the keynote, to have a marginal or border design, built
-up entirely on straight lines and geometrical forms.
-First plan out the material and arrange for the decoration;
-decide whether the pattern is to be placed on to a
-wide hem, or inside a narrow one, or whether it is to be
-applied as wide bars at the ends and edges of the runner.
-The limited space at the disposal of the designer will
-often aid and suggest the pattern.</p>
-
-<p>The decoration should, when possible, strengthen the
-construction. Be careful at all times to place it where
-it will not interfere with the usefulness of the object. A
-cushion, for example, ornamented with raised embroidery
-or with large beads, conveys the idea of <i>dis</i>comfort
-rather than of comfort, which is, after all, the
-<i>raison d’être</i> of a cushion, the addition to a room,
-by means of colour and decoration, being a secondary
-point.</p>
-
-<p>In the early days, when decoration was so freely
-applied by primitive peoples to seams, hems, shoulder-straps,
-indeed to all objects, it was their aim to increase
-the usefulness of the article rather than to decorate it.</p>
-
-<p><b>A Border Pattern.</b>—When the above-mentioned
-points have been decided, take squared paper, ruler, and
-pencil, and draw a few nicely spaced lines; duplicate
-the outer ones to give weight to the edges. All these lines
-crossing at the corners will form the framework of the
-design. Regularity and order are as essential in needlework
-as in most crafts, therefore the care and precision
-taken in the earlier stages will aid in the working of the
-later.</p>
-
-<p><span class="pagenum" id="Page_20">[Pg 20]</span></p>
-
-<p><b>The Construction.</b>—Plan carefully and arrange for
-the decoration, which should never interfere with the
-usefulness of the finished work.</p>
-
-<p><b>The Corners.</b>—The treatment of the corners presents
-the greatest difficulty. In a frame they are structurally
-the weakest parts; for this reason the ornamentation
-is placed at these parts to bind and strengthen, as well
-as to decorate them. In a piece of needlework with a
-simple border design they are again the most important.
-One expects to find unity, enrichment and massiveness
-there where the lines cross; we add, therefore, a few
-extra lines or chequers to the corners. By this means
-we enlarge them, and by so doing append dignity and
-importance. Still greater emphasis and the necessary
-note of interest will be given by the colour and the
-stitchery—the treatment of which should always be in
-the foreground of the mind of the designer.</p>
-
-<p><b>Principle of Repetition.</b>—Do not aim at great
-variety of form; repetition is one of the first principles
-of design. The beginner will save herself much worry
-and labour if she keeps this principle before her, instead
-of striving—as she invariably does—after variety.
-She should make her form—a square, an oblong, or
-whatever simple element she may have chosen—recur
-at regular intervals, and all corners should be
-alike.</p>
-
-<p><b>Masses connected by Lines.</b>—Masses should be
-joined by connecting lines and the spacing so arranged
-as to give value to the rest of the work.</p>
-
-<p><b>Value of Spaces.</b>—A form or element should never
-be cramped into a space nor stretched out unduly in<span class="pagenum" id="Page_21">[Pg 21]</span>
-order to fill one; it should be planned and balanced to
-look as if it just belonged to it. A design is well balanced
-when the elements are so adjusted that they are neither
-too monotonous by over repetition nor confused by too
-much variation.</p>
-
-<p><b>Diagonal Lines.</b>—It is safer at the earlier stages to
-avoid diagonal lines, or forms made up of such lines, for
-several reasons: they give a restless effect which should
-be avoided if possible, they present to the embroideress
-considerable difficulty of manipulation—coming, as they
-must, on the bias of the material, which may easily be
-tightened, puckered or pulled out of shape in the working
-by the inexperienced hand.</p>
-
-<p><b>The Game of Design.</b>—There is really no limit to
-the possible patterns which may be built up on straight
-lines and geometrical forms. The needlewoman has only
-to try with a ruler, pencil and squared paper in order to
-discover that she may, after some little practice, make
-most elaborate designs with interesting results. There
-are, of course, certain fundamental principles which will
-help her, but they are not many, and with the suggestions
-already given she should be able to arrange many simple
-designs suitable for her own use. It might be quite a
-pleasant occupation for the younger members of a household,
-on a winter’s evening, to start and play at design.
-A time limit, perhaps a quarter of an hour for the first
-effort, and a longer period as the patterns became more
-elaborate, might be given; afterwards all the designs
-could be exchanged, compared, criticised, and then
-judged by an older member. In this way a “habit”
-of pattern making might be cultivated. Many of the<span class="pagenum" id="Page_22">[Pg 22]</span>
-designs should prove valuable to the craft worker as
-well as interesting to the youngsters.</p>
-
-<p><b>Circles.</b>—From the making of patterns with straight
-lines we go on to circular forms, with radiating lines.
-This opens up a wide field to the embroideress, allowing
-her to extend and vary her simple designs
-indefinitely.</p>
-
-<p>With this new element, the circle, she can formulate
-some of the more definite floral shapes, and arranging
-them in an orderly manner, symmetrically, can make a
-geometrical pattern suitable to her purpose; she can
-make use of compasses, or if these instruments are not
-at hand, any circular form, such as a plate or a coin, will
-suit admirably. Should these prove too small, there is
-always the simple device of the fixed pin encircled
-by a thread, with the pencil at the opposite end,
-which, when the pin is held firmly in the centre of
-the space—as the thread must remain taut—will form
-a circle, the size being fixed by the length of the
-thread.</p>
-
-<p>Circles at once suggest natural forms and growth,
-but to begin with the young designer must keep to
-the geometrical side of Nature; natural floral forms will
-come later. If she examines carefully a number of the
-flowers of the field or hedgerow she will find that many
-of these beautiful forms are built up on a geometrical
-basis—she will note the radiating lines of the flowers,
-the sepals, petals and stamens, the venation of leaves,
-the manner in which the mid-rib gives off, gradually, the
-beautiful curving lines which flow into the outer edges,
-and the wonderful orderliness of the little seeds clinging<span class="pagenum" id="Page_23">[Pg 23]</span>
-to the sides or centre of the seed vessel, and thus she
-will realise that all curving lines are but segments, or
-parts of circles of various sizes.</p>
-
-<p>To aid the designer in her first efforts let her turn to
-an elementary text-book on botany—she will probably
-find there a number of diagrams of horizontal sections
-of the commoner wild flowers. These give the plan of
-each flower typical of the family to which it belongs—all
-the parts are arranged symmetrically in circles or
-whorls, and show how the flower is built up. The
-embroideress should find these sections full of suggestions;
-she might take the simpler forms to begin with and
-elaborate them, adding fresh details where necessary
-for the development of her design. By comparing the
-sections of one flower with another—of the wild rose
-with the poppy, the purple loosestrife with the forget-me-not,
-the primrose with the daffodil—she will be able
-to obtain variety with simplicity and balance; then she
-will connect and join all the masses with straight or
-curved lines, and thus give completeness to her design.</p>
-
-<p>With increased knowledge of the structure of flowers
-the embroideress will gain a keener sense of observation
-which will be of great value when she studies the natural
-forms.</p>
-
-<p>Setting forth once more on the high adventure of
-making her own design, she will bring to her aid the
-principles already learnt in the making of straight
-lines while she was building up her patterns and
-designs.</p>
-
-<p><span class="pagenum" id="Page_24">[Pg 24]</span></p>
-
-
-<p class="c"><span class="smcap large">The Fifth Point: The Stitchery.</span></p>
-
-<p>We express ourselves and our ideas in embroidery by
-means of stitches and colour.</p>
-
-<p>To have pleasure in the craft, the needlewoman must
-have a fairly accurate knowledge of the technique.
-Stitchery should at all times be as simple as possible,
-and carefully adapted to the material and the design.</p>
-
-<p><b>Simpler Types of Stitchery.</b>—The commoner types,
-those which by experience and long use have been proved
-to be the most beautiful or the most practical, are the
-best. All the more complicated forms are merely
-modifications or combinations of these simple types,
-many of which are used in “plain” needlework. There
-are, in fact, few stitches which a careful worker cannot
-master in a very short time.</p>
-
-<p><b>Stitchery not the Most Important.</b>—It is wise
-to remember that stitchery is not the most important
-factor, but only one of the many which go to the making
-of good and artistic work. Beauty, in needlework,
-consists, not in the variation and elaboration of stitch,
-but in the harmony of material and technique, as well
-as of form and colour.</p>
-
-<p><b>Unity of Stitch.</b>—Where coloured threads are used it
-will often be found advantageous to adopt one stitch
-only. Many of the charming pieces of embroidery stored
-up in our museums give us an idea of what can be done
-in this way, and though we lack, perhaps, both time
-and patience nowadays, there is no reason why we
-should not, by cultivation of our tastes, raise the level
-of the art considerably above its present standard and<span class="pagenum" id="Page_25">[Pg 25]</span>
-prove that we can still produce embroidery—of the
-modest, reticent type—adapted to our own conditions
-of life, which will reveal both refinement and artistic
-delight.</p>
-
-<p>To execute a piece of work in one stitch would be
-excellent practice for the young embroideress, whereby
-she would learn to know and use a stitch in all its
-varied aspects. She need not fear monotony—the
-coloured threads will give sufficient variety. Let her
-take the simplest of all stitches to begin with—the tacking
-or basting stitch—and keeping it and its many varieties
-in her mind when planning out the pattern, she will find
-that she has many delightful ways of executing it.
-Tacking or basting stitch, worked in rows, becomes
-simple darning, a background stitch with which she may
-make charming patterns and fillings, <i>ad libitum</i>. (Plates
-II. and XII.) Worked closer, it is a running stitch,
-wherewith braids may be tacked in place (Plate IV.),
-frills gathered up, seams of frocks connected, or smocking
-prepared. Finally, when worked with the same quantity
-of thread on the under and upper surfaces of the material,
-it attains a new dignity, and becomes satin stitch—the
-stitch beloved of the young modern needlewoman, who
-is generally inspired and stimulated by the wonderful
-skill and precision of the Eastern needleworkers.</p>
-
-<p><b>White Backgrounds.</b>—White backgrounds, when
-embroidered in white or with only a little colour, may
-have much greater variation in stitchery; it is a relief
-to the worker and an improvement to the work—indeed,
-should the embroideress feel so disposed, she has here the
-opportunity of displaying her knowledge of stitchery<span class="pagenum" id="Page_26">[Pg 26]</span>
-to a considerable extent, always keeping, of course,
-within the limits of good taste.</p>
-
-<p>She should endeavour to suit the stitchery to the
-work, to produce the desired effect without too much
-labour—not that work should ever be done in a hasty
-or untidy manner—but, as said before, she should
-adapt it to its purpose. It is well to remember that
-large pieces of embroidery, generally seen from a
-distance, demand bold, effective treatment; detail is
-lost, so can be omitted; smaller pieces, seen at
-closer range, should bear inspection, therefore more
-delicate treatment may be applied; detail and finer
-stitches can be seen to advantage. (See <a href="#c12">Chapter XII</a>.
-for stitches and the method of working.)</p>
-
-
-<p class="c"><span class="smcap large">The Sixth Point: The Finishings.</span></p>
-
-<p>The aim of the embroideress is to make her work
-beautiful, as well as suitable for her purpose. If she has
-the gift of originality she will also make it distinctive,
-possibly unconsciously, by adding here and there those
-little touches of individuality which will mark the work
-as characteristic of herself.</p>
-
-<p>It is in the finishings that she has most scope for these
-dainty devices; for by their means she may add interest
-and artistic detail to the simple garment or article of
-domestic use and render them charming things to look
-at. She may attain this end, not by obtaining expensive
-fitments, rich cords and silk tassels, such as are sometimes
-applied, most unsuitably, to embroidered cushions,
-table squares, and other objects that require frequent<span class="pagenum" id="Page_27">[Pg 27]</span>
-washing, but by the use of braids (Plate VI.), and bindings
-(Plate VIII.), and bands (Plate IV.), hand-made
-cords and tassels, linings, edges, fringes, beads and
-buttons, raffia and plaited straw.</p>
-
-<p>Thus, the amateur will find it well worth while
-giving some thought to the making-up and finishing
-off of her embroidery. She will soon realise, too,
-the possibilities of making many of these ingenious
-devices herself wherewith to adorn her work, and she
-will feel well repaid in the end when she has contrived
-some simple embellishment at little extra cost.</p>
-
-<p>Hand-made cords and tassels (Figs. 38<span class="allsmcap">A</span> and 41), fringes
-and edgings (Figs. 34 and 42), may soon be made by
-skilful fingers; bright-coloured skirt braids and carpet
-bindings and hand-made cords of dyed string or wool give
-a decorative effect to hems and borders—a wide hem looks
-well with a heading of brush braid or a piping of coloured
-galoon or narrow Russian braid oversewn with wool, or
-a narrow band of needle-weaving. Material and edges
-may be joined, chair backs and runners may be
-brightened, dress fitments may be completed simply,
-artistically and economically, by means of these braids,
-connected with dainty joining stitches (Figs. 26 and 29).</p>
-
-<p>Wools of various qualities may be brought into service
-to make fringes and cords for cushions, etc.; seams may
-be decorated and joined with insertion stitches, worked
-by hand (Fig. 25), or by the crochet needle (Fig. 63);
-fastenings may be secured by latchets of wool, thread, or
-silk, or cord, all of which are easy of manipulation and
-much prettier than machine-made articles.</p>
-
-<p>By referring to Plate XIII., it may be seen that much<span class="pagenum" id="Page_28">[Pg 28]</span>
-may be achieved by means of braid in the decoration of
-a useful bag; for description, <a href="#Page_153">see page 153</a>.</p>
-
-<p>Charming hand-made braids which may be used for
-many purposes, such as waist cords, latchets, ties, belts,
-hat bands (Fig. 40), may be made by means of an
-embroidery frame, a lace cushion or a small hand loom.</p>
-
-<p>For the handles and joinings of bags, see chapter on
-needle-weaving.</p>
-
-<p>Beads and buttons are useful for ornamentation—they
-give richness and weight wherever they may be placed;
-and as an addition to fringes (Fig. 35), tassels and ties,
-they are most effective. Flat beads and buttons may be
-applied to embroidery provided they do not interfere
-with the use of the object; this they would do if it
-were in such constant use as to require frequent
-washing.</p>
-
-<p>Small beads may often take the place of French knots,
-giving much the same appearance to a border or hem.</p>
-
-<p>Washing galoons and gimps, bindings and trimmings,
-may be effectively applied to dainty little tea and
-luncheon sets, as well as to children’s dresses and
-overalls, they may be further embellished with narrow
-borders of needle-weaving worked in coloured cottons
-or in flax threads.</p>
-
-<p>For method of making fringes, tassels and braids, etc.,
-<a href="#c11">see Chapter XI</a>.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_29">[Pg 29]</span></p>
-
-<h2 class="nobreak" id="c4">CHAPTER IV</h2>
-</div>
-
-<p class="c less">DARNING STITCHES—BACKGROUNDS AND FILLINGS</p>
-
-<div class="blockquot">
-<p>“The needle’s work pleased her, and she graced it.”</p>
-</div>
-
-<p><span class="smcap large">There</span> is an infinite variety of pattern to be made with
-darning stitches, and fortunately many needlewomen
-have sufficient originality to invent little variations to
-suit their work and material. Most of the patterns on
-Plate II. are intended to be worked on a loosely woven
-foundation where the threads are easily counted, such
-as some of the coarser linens, single thread canvases,
-greenhouse shading, and tammy cloth for finer work.
-These darning patterns are better worked with a blunt
-needle and a long thread, as it is rather awkward, at times,
-to join new threads in the middle of a pattern, especially
-an openwork one (see <a href="#f2">Fig. H</a>). Simple fillings like
-these may greatly enhance the effect of a piece of embroidery.
-It will be seen by referring to Plate II. that
-they might be worked so as to form quite a number of
-patterns in straight lines (Fig. A), in waves or chevron
-pattern (Fig. C), in clusters or stars (Fig. F), in lines of
-slanting stitches (Fig. D), in groups of squares or chequers
-(Fig. E), in vandykes (Fig. G), or in any of the openwork
-stitches as Figs. J and L.</p>
-
-<p><b>A Simple Openwork Filling.</b>—Fig. J is a pretty
-little pattern suitable for a border, for the foot of a<span class="pagenum" id="Page_30">[Pg 30]</span>
-child’s frock, for a jumper, for table mats, or for any
-article where a dainty openwork appearance is wanted.
-It consists of straight lines in a vertical overcast stitch,
-worked in rows, from left to right and from right to left.</p>
-
-<p>These upright stitches are in groups of two, worked
-over four threads of the material; each row is separated
-from the other by two strands of the material.</p>
-
-<p><b>To Work Fig. J.</b>—Unfortunately the Fig. J does
-not show this filling to advantage. When the pattern
-is worked it will be seen that the intervening strands,
-in conjunction with the open spaces, form tiny little
-crosses, which add transparency to the work.</p>
-
-<p>A filling more tedious to work, but with a more open
-appearance, is got by overcasting every stitch on the
-advancing row, and on the return row working the upper
-part of each stitch into the lower space of the row above,
-thus leaving no strands between the stitches or rows.</p>
-
-<p><b>Vandyke Border, Fig. G.</b>—This pointed pattern,
-worked in a single row, makes a good finish for a border
-or hem.</p>
-
-<p>To work as Fig. G, each group requires seven stitches
-to form it, the shortest covering four threads and the
-longest twelve; the last stitch of each group forms the
-first of the next one.</p>
-
-<p><b>Pyramid Filling.</b>—The size of the groups may vary;
-large and small vandykes may alternate. Another
-filling somewhat similar may be made by taking the
-stitches horizontally instead of vertically; in this way
-groups of little pyramids are formed. Each row should
-be worked with alternating pyramids. The simplest
-method is to begin at the top with a short stitch over<span class="pagenum" id="Page_31">[Pg 31]</span>
-two threads, work five more horizontal stitches, increasing
-in width, right and left, by one thread, so that
-the sixth stitch covers twelve threads of the material.
-Work in oblique rows.</p>
-
-<p>Strips of vandyke pattern may be worked over large
-backgrounds with good effect. Make five horizontal
-stitches over five strands of canvas, each stitch being
-below the other, but one thread to the right of the last;
-then work four stitches beneath these, each stitch being
-this time one thread to the left of the one above it;
-continue for length required. Start the second row on
-a level with the first and six or seven strands to the right
-of it.</p>
-
-<p><b>Fig. B, Arrow-head Filling.</b>—This is a useful
-stitch for covering the ground quickly. The three
-stitches are here formed over six vertical and ten horizontal
-threads, but, of course, the number must always
-depend upon the quality of the material. The vertical
-stitch is worked first, then the left slanting stitch, followed
-by the right. In working with loosely woven cloth, it
-is necessary to carry the working thread up behind the
-material to the top to start each stitch. This uses
-rather more thread, but the stitches lie better and the
-work is not puckered.</p>
-
-<p><b>Fig. F, Star Filling.</b>—Here, a number of stars
-are worked in successive rows. To make them quite
-regular, each one should be begun at the same point.
-In the Fig. F they are worked over sixteen strands:
-start at the top left corner with a double stitch, then
-make the horizontal stitch below, and so on till complete.
-By tightening the working thread a little a hole is formed<span class="pagenum" id="Page_32">[Pg 32]</span>
-at each corner, and in the centre of each star, which
-makes the pattern an open one, provided the working
-thread is not too thick, in which case it would fill up the
-hole.</p>
-
-<p>An equally good background for a firmer material is
-to work stars in two rows, diagonally, one up, one down,
-leaving always an equal number of strands between each
-star. In this way the material itself is formed into little
-diamond-shaped panels or lozenges.</p>
-
-<p><b>Fig. C, Wave Pattern.</b>—This is one of the more
-elaborate darning patterns. It makes a more solid
-filling and takes rather longer to work than some of the
-others. Many pleasing variations may be formed with
-darning stitches, where the background weft or warp
-threads are utilised to form the pattern.</p>
-
-<p><b>Damask Darning.</b>—Materials may be repaired by a
-linen, twill, or damask darn, in which case the weft
-threads have to be put in first by the worker before the
-pattern can be woven.</p>
-
-<p>Work Fig. C by lifting two weft threads in descending
-rows and passing over seven; after working six
-rows the pattern is changed by the two weft threads
-being lifted in ascending rows, the last of the descending
-counting as the first of the ascending row.</p>
-
-<p>In a twill darn, the pattern of weft threads descends
-all the time in regular diagonal lines.</p>
-
-<p>It is quite worth while copying some of these damask
-patterns from table napery, and reproducing them on a
-larger scale in bright colours—in order to see what
-effective designs they are; they might well be utilised
-as fillings for squares, stools, or cushions.</p>
-
-<div class="figcenter" id="f3">
-<p class="captionr">PLATE III.</p>
-<img src="images/fig3.jpg" alt="">
-<p class="captionc">A RUNNER IN CRASH (<i><a href="#Page_63">See p. 63</a></i>)</p>
-</div>
-
-<p><span class="pagenum" id="Page_33">[Pg 33]</span></p>
-
-<p><b>Fig. A, Single Darning.</b>—A simple grounding
-pattern, such as that of Fig. A, is useful; it is quickly
-worked, too, a number of threads being lifted by the
-needle at each stitch. Start at the left corner; pass over
-four and lift two weft threads alternately for the first
-two rows; for the next two rows, lift the two weft
-threads in a line with the centre of the long stitch, and
-so on.</p>
-
-<p><b>Basket Pattern.</b>—A basket or brick pattern may be
-got by working four rows with the lifted threads in a line,
-instead of two, as Fig. A, before changing the stitch.
-This pattern looks very well when the chequers are worked
-with contrasting colours. Work four vertical stitches
-first, in lines, and in one colour, over eight strands; then
-take the contrasting colour and fill in all the horizontal
-stitches. If one colour only is used these squares may
-be worked in rows, the vertical and horizontal sections
-alternately.</p>
-
-<p><b>Fig. H.</b>—This type of work makes a rather more
-open background than some of the others; it is very
-suitable for filling in small spaces, for handkerchief
-sachets, nightdress bags or borders for collars or handkerchiefs.</p>
-
-<p>It should be worked with a fine coloured or white lace
-thread, sufficiently strong to draw the strands firmly
-together, yet fine enough to leave the spaces as clear as
-possible. As a filling it is easily and quickly worked, as
-no threads are drawn out, which is a recommendation.</p>
-
-<p>The pattern is worked over six threads both ways—with
-the exception of the first stitch—and in two horizontal
-lines. It will be noted that the stitches are not<span class="pagenum" id="Page_34">[Pg 34]</span>
-quite vertical, being inclined towards each other in
-twos.</p>
-
-<p><b>A Good Filling.</b>—To form the first stitches, bring
-the needle out at the top left corner; count down over six
-strands and three to the right; insert the needle and take
-a horizontal stitch under six strands to the right. The
-slanting stitch is now formed by inserting the needle into
-the hole on the upper line made by the first stitch, and
-taking a horizontal stitch under six strands to the right
-on that line—the upper one; proceed in this way to the
-end of the space. The next row is worked from right to
-left. The thread should be tightened after each stitch
-to increase the open space.</p>
-
-<p><b>Fig. D, Diagonal Filling.</b>—This grounding pattern
-consists of rows of slanting stitches, worked downwards
-over six strands of material; the working thread is
-taken across from corner to corner of a square, each
-successive stitch being taken three strands below the
-upper one; a strand of the material forms a mid-rib
-between the inverted rows. If preferred, these rows
-might be separated by a line of backstitching, in which
-case two threads should divide each row of slanting
-stitches; this gives a clear line for the backstitching.</p>
-
-<p>These backgrounds and darning stitches described
-above are well suited for working on coarse materials
-with thick threads—as well as with finer ones; although
-the patterns for the majority of workers are too laborious
-for very fine stuffs, they may be used for small spaces in
-linen embroidery such as fillings for flowers, or initials.</p>
-
-<p>Charming open groundings may be worked without
-removing the threads of the foundation material, but by<span class="pagenum" id="Page_35">[Pg 35]</span>
-drawing them in clusters tightly together, by means of
-stitches. Compare Plate II., where the fillings, Figs.
-H, I, B, K, L, and M, are worked in this way.</p>
-
-<p>These patterns can be only shown properly on a
-loosely woven cloth, such as canvas, linen, or cambric.
-For fine material a fine lace thread is required.</p>
-
-<p><b>Fig. I.</b>—This pattern consists of little squares and
-crosses. In Fig. I it has been worked with a thick
-thread and the strands have not been pulled together—in
-order to show the method of working; but as already
-explained, it requires a fine thread and tightened strands
-to show to advantage.</p>
-
-<p><b>A Filling in Squares.</b>—Begin the pattern with
-vertical stitches, in horizontal rows over six strands,
-exactly as in Fig. 10, until the required space is filled,
-drawing each group of threads tightly together; then
-work the horizontal stitches over five strands to complete
-the squares, tightening them also, but not to such
-an extent as to pucker the material. The squares may
-be made smaller and the open spaces larger if each stitch
-is worked over twice with a very fine thread.</p>
-
-<p><b>Fig. K, Squares and Stars.</b>—Here, each square
-takes up sixteen strands of linen, and each one is completed
-before going on to the next. Work by overcasting
-all round the outside of the square over four
-strands, and make an inner square, as Fig. I, with a
-cross stitch in the centre, taking care to finish with the
-needle in a position to begin the next square.</p>
-
-<p><b>Fig. L, Square Stitch and Rhodian Embroidery.</b>—This
-pattern is made up of rows of square
-stitches separated by vertical ones. It is usually<span class="pagenum" id="Page_36">[Pg 36]</span>
-worked without removing any threads from the
-material, although with a very firm cloth it is rather an
-advantage to do so when an insertion is wanted; in
-the latter case the vertical threads connecting the rows
-of square stitch are left out.</p>
-
-<p>This is a stitch one frequently finds in old linen
-embroideries, particularly of old German and Italian
-work—where it is used either as a border or insertion,
-or as a separating line between squared or diamond-shaped
-forms; there is a similarity in the working
-of it to the stitches used by the people of the
-Island of Rhodes—latterly known as Rhodes embroidery
-or punch work—the only difference being
-that it covers the entire background in Rhodian embroideries
-and the threads are more closely drawn
-together. In these Rhodian embroideries the rose is
-frequently to be met with. It is the symbol which
-invariably accompanies the head of Helios on its coins,
-and to which the classic isle owes its name. Square
-stitch can be worked in straight or in slanting lines, see
-<a href="#f2">Fig. M</a>—the former is the simpler, as each square is
-completed in one row, while the latter requires two rows
-to complete it.</p>
-
-<p>To work on horizontal lines, Fig. L, begin at the
-right-hand side and make an upright stitch over six
-threads; take a slanting stitch at the back and bring the
-needle out six threads to the left at the base. Take a
-horizontal stitch to the right, inserting the needle at the
-foot of the vertical stitch; take an upwards slanting
-stitch at the back to the left and insert the needle into
-the top of the first stitch. This forms three sides of the<span class="pagenum" id="Page_37">[Pg 37]</span>
-square. Now bring the needle out in position to start
-as for the first upright stitch. If properly worked, the
-reverse side forms a series of crosses. Fig. L has a
-row of these square stitches with an alternate row of
-upright stitches worked from left to right between them.
-This is a pretty and unusual combination of stitches,
-and it makes a charming border worked in colour on a
-loosely textured material for a collar or other small
-article. Another variation of the same type, and still
-more open, is to have double rows of square stitch
-between each row of vertical stitches, the lower row of
-little squares coming between those of the upper row.</p>
-
-<p><b>Fig. I, Square Stitch in Slanting Lines.</b>—To
-work this stitch in slanting lines is rather a slower
-process. The first row forms a series of zig-zags or little
-steps on the right side, while on the wrong side it forms
-two single lines on the bias of the material. Begin at
-the right-hand side of the work; take a horizontal stitch
-from left to right over six threads; a slanting stitch at
-the back to the left brings the needle out six threads
-below the starting-point. Take an upright stitch and
-put the needle into this point—two sides of the square
-are now formed. Take a slanting stitch at the back and
-bring the needle out six threads to the left of the base of
-the upright stitch and continue for the distance required.
-This slanting line of square stitch is easily acquired if
-the worker remembers the appearance of the stitch, on
-the “wrong” side as well as the right.</p>
-
-<p><b>A Table Scarf in Russian Crash.</b>—This design is
-another of the direct type in which the needle-woven
-border forms the principal subject. The material is very<span class="pagenum" id="Page_38">[Pg 38]</span>
-pleasant to work—it is of a soft greyish-cream colour, which
-combines well with the wools and braids, and the texture
-is sufficiently open to allow of the threads being easily
-removed, which is a recommendation when preparing
-for the needle-weaving and the fringe. The stitchery is
-all done in wools, and the colours are dark heliotrope
-with two lighter tints, blues (two tones), greens, a dark
-and light emerald, and deep orange. The broad braid
-is of soft blue, the narrow of straw colour. The design
-forms a deep border divided into panels by bands of
-braid; the bands are tacked into place by short button-hole
-stitches in the darker shade of emerald green,
-between which are tiny little loop stitches (Fig. 3), in
-orange. The centre panel has a wide band of needle-weaving,
-about three inches deep, which is divided up
-into five groups; the groups are worked from the outside,
-inwards, as in Plate I., and the various colours are introduced
-into them. The most prominent colour in the
-scheme is blue, accentuated in this case by the blue braid,
-the blue edging, and the second and fourth groups of
-weaving, which are worked in two shades of blue. The
-first and fifth groups are woven in heliotrope with orange
-in the centre; the middle group has light heliotrope on
-the outer parts and pale green on the inner. This same
-green is worked in oriental stitch on each side of the
-central 3-inch bar, while the stitchery between the rows
-of wide blue braid is in the lightest tint of heliotrope,
-tacked down with tiny stitches of the darkest shade.
-The two side panels are worked in satin stitch in two
-tones of heliotrope, each row of chequers being connected
-by small chequers in light green—they also are<span class="pagenum" id="Page_39">[Pg 39]</span>
-worked in satin stitch. The lines of straw-coloured
-braid are sewn down with French knots in heliotrope
-(Figs. <span class="allsmcap">22A</span>, <span class="allsmcap">22B</span>). The pattern of the stitching on the
-bands of braid which border the design is worked in the
-same way as loop or oriental stitch; the needle is brought
-out on one side of the braid and inserted on the other
-side, just opposite, then brought out again in the centre
-to the right, where the wool is tacked down with a tiny
-stitch; the needle is again brought out on the edge of
-the braid, about half an inch further on, inserted on the
-lower edge and brought out in the middle again in order
-to tack the wool down. These two stitches reversed give
-the diamond shape of the insertion; three satin stitches
-in orange give a bright little note to the edging. These
-looped or petal stitches worked in different ways can be
-used to form many pretty headings. The narrow edging
-on the selvedges between the lines of blue braid is
-charming; it consists of two loops of heliotrope in two
-shades—the one worked within the other—with a closed
-looped stitch in orange between each pair. When all
-the embroidery is finished, the weft threads are withdrawn
-from the remaining ends of the material, which
-have been left for the fringe. Sometimes a fringe of a
-closer texture or of a different type is worked, or the
-material may be too short to allow of one—in all of which
-cases a strip of cloth could be inserted under the braid
-and sewn down with the pattern, then fringed.</p>
-
-<p>It is generally advisable when working with narrow
-braids to take the ends through the material where they
-can be stitched firmly in place; wider ones are often tied at
-the ends to prevent spreading, then turned in and stitched.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_40">[Pg 40]</span></p>
-
-<h2 class="nobreak" id="c5">CHAPTER V</h2>
-</div>
-
-<p class="c less">NEEDLE-WEAVING—RUSSIAN OPEN-WORK—<br>LINKED
-STITCHES</p>
-
-<div class="blockquot">
-
-<p>“A web made fair in the weaving.”</p>
-</div>
-
-<p><span class="smcap large">Needle-weaving</span> is a form of decoration common to
-all countries; it was practised by primitive peoples and
-must have preceded embroidery. It was a means of
-adding richness and colour much in favour with the
-early Egyptians, who decorated their garments with
-fringes and bands of needle-weaving. Mummy cloths
-treated in this way are to be seen in the British Museum;
-also specimens of early Coptic work, preserved in the
-Victoria and Albert Museum, show that they were in
-the habit of weaving little panels and borders with the
-needle, with which to decorate their garments. This
-desire to enrich and decorate with the needle, by means
-of colour and pattern, the more important parts of their
-apparel followed on the discovery of how to weave
-cloth, and so we find that these early workers frequently
-left out the weft threads and wove in beautiful patterns,
-rich in colour, with the needle into these spaces. Later,
-little panels, bars and medallions were worked in this
-way and inserted into their garments. This needle-weaving,
-which is practically tapestry with the needle,
-seems to have reached a great degree of perfection in the<span class="pagenum" id="Page_41">[Pg 41]</span>
-fifth century. There is very little to distinguish needle-weaving
-from tapestry, except that the latter is done
-with the shuttle instead of the needle.</p>
-
-<p>This weaving of patterns directly on to the material
-is fascinating work. It is so effective, so rich in result,
-and so charmingly appropriate to the material; there
-must always be a certain stiffness and rigidity in the
-pattern, caused by the upright warp threads, which
-demand simplicity of treatment. Weaving, whether
-done with needle, bobbins or shuttle, is just a method of
-interweaving the warp threads with the weft; these weft-threads
-may consist of wools, silks, cottons, or—decoratively,
-of raffia, or even gold and silver threads.</p>
-
-<p>This type of work may be applied to all kinds of useful
-household articles—table linen, bed linen, cushions, bags,
-chair backs, footstools, book covers; also bands and
-insertions for garments. There is room for such simple
-pattern, combined in some cases with other stitchery,
-on these and many other articles, where a marginal
-decoration is appropriate.</p>
-
-<p><b>Description of Frontispiece.</b>—Plate I. shows a
-table square worked on “Titian” canvas of a soft
-brown tint. The original was 36 inches by 18 inches.
-The edges of the canvas should be turned up and the
-spaces arranged for the needle-weaving and coloured
-bands before the weft threads are removed. Allow
-about 3 inches for the open-work. Cut the weft threads
-and pull them out. Fig. 31 shows method of working;
-begin at the right-hand corner and weave the pattern over
-six groups, three strands in each group—these are
-worked in gold and yellow; repeat the same pattern on<span class="pagenum" id="Page_42">[Pg 42]</span>
-the opposite side—it simplifies the work and saves time
-and trouble if the weaving is done from the ends, working
-inwards; thus two similar patterns are woven, one after
-the other. If the band of weaving is carefully examined,
-it will be seen that the gold-coloured threads form a
-definite pattern on the background; if these are woven
-in first, it will aid the worker and act as a guide for the
-interlacing of the other colours. The next group, in
-lemon and purple, is worked on nine groups of threads:
-throughout all these patterns a group consists of three
-strands. The purple lines are sewn in with a back
-stitch. The third group is formed of a large cross in
-orange surrounded with gold-coloured squares, which
-in turn are completed with blue squares at the corners.</p>
-
-<p>The fourth, or central group, has two narrow bars on
-each side, worked in soft green, blue, purple and gold.</p>
-
-<p>The inner cross of lemon wool with purple and gold can
-be easily followed from the plate.</p>
-
-<p>The broad band of needle-weaving is edged by rows
-of variegated chain stitch in brown and cream (for the
-working of which, see <a href="#s1">Fig. 1</a>, p. 46), and followed by
-rows of button-hole in orange (Fig. 11).</p>
-
-<p>The wide braid-like line in oriental stitch, along the
-top, is worked very closely; along the sides the same
-stitch is seen with wider spacing. This stitch is of the
-herring-bone type—the needle is inserted vertically,
-instead of horizontally, as in the case of the commoner
-and better-known stitch. It is effective and economical,
-as the bulk of the thread is on the surface.</p>
-
-<p>The tassels are of soft brown and bright blue wool
-hung on to button-holed loops, for the making of which,<span class="pagenum" id="Page_43">[Pg 43]</span>
-see <a href="#s2">Fig. 57</a>, Chapter XIII.; and for the tassels, <a href="#s3">Fig. 41</a>.
-The ribbon border is worked in gold and purple silk.</p>
-
-<p>A sideboard runner worked similarly, but with two
-wide bands of needle-weaving at each end and rather
-wider lines of stitchery at the sides, was made to match
-this table runner; the light colours of the border gave a
-very gay touch to an otherwise sombre room.</p>
-
-<p>Plate II., Fig. N, illustrates another type of open-work
-which is practised by the peasantry of Russia. It
-is interesting and quite different in appearance from
-some of the other peasant work. One distinguishing
-feature is that two rows are worked in conjunction, and
-another is the number of rows and the manner in which
-they are worked. This form of open-work deserves to
-be better known in this country. The pattern is formed
-by means of blocks of stitches, which are not worked in
-the ordinary darning or weaving stitch but by the overcasting
-of laid threads; indeed, with the exception of
-the first and final rows—which are hemstitched—the
-entire work consists of the overcasting of threads; bars,
-strands or groups, all are worked from right to left. The
-Russian peasantry work most elaborate borders on
-handsome linen of an open texture; these borders vary
-in width from 2 inches to 18 inches, and are applied to
-all kinds of articles for household and personal use. This
-form of open-work is more durable than the type usually
-done in this country; indeed, the material is strengthened
-by the stitchery rather than weakened, as is frequently
-the case with the usual method of treating drawn-thread
-work.</p>
-
-<p>To work a border similar to Plate II., Fig. N,<span class="pagenum" id="Page_44">[Pg 44]</span>
-begin by removing two threads; work a row of single
-hemstitch into the space, over four threads, dividing the
-material into clusters with six warp threads in each—the
-hemstitching is done from left to right in the usual
-way. To prepare for the next two rows, leave a narrow
-bar of five weft threads and draw out six threads—the
-number of threads to be removed will, of course, vary
-according to the quality of the material, but the horizontal
-intervening bars are always narrower than the
-open spaces. Begin at the right hand; make the
-number of upright stitches necessary to carry the thread
-to the left of the group, which is to be worked into a
-solid block; lay the thread across this group, and returning,
-bring the needle out between the first and second
-cluster of threads, on the right of the cluster; now put
-the needle over the laid thread and bring it out under
-the laid thread at the next group. Put the needle over
-the thread again and bring it out at the left of the entire
-group; in other words, overcast the laid thread from
-right to left of the group—always pass the needle behind
-a cluster of threads between each overcasting stitch;
-continue to lay the thread and overcast back until the
-space is filled, then work one straight stitch over the
-upper horizontal bar; overcast one vertical cluster; slip
-the carrying thread up behind; work another upright
-stitch; overcast the second vertical cluster; again slip
-the thread up through the back of the stitchery; then
-work the upright stitches and repeat the laying and
-overcasting to make the solid pattern again. Once the
-method is acquired, it will be a simple matter to arrange
-these solid masses in such a way as to form a pattern.<span class="pagenum" id="Page_45">[Pg 45]</span>
-It is better to prepare and cut the threads of each row
-just before working it; there is, in this way, less risk of
-making mistakes by cutting the wrong threads. Another
-reason for preparing the rows step by step is that the
-material is easier to hold before the removal of the weft
-threads than it would be after they have been withdrawn.</p>
-
-<p class="c"><span class="smcap large">Linked Stitches.</span></p>
-
-<p><b>Chain and Tambour Work</b> (<b>Fig. 1</b>).—Chain stitch,
-which is said to have come to us from China, has been
-for a long time little used in this country. Tambour
-stitch—in high favour and greatly used by our grandmothers—was
-produced later by the machine in such
-quantities and in so mechanical and inartistic a manner
-that it fell into disfavour, and unfortunately chain
-stitch—which is practically the same, except that it is
-worked with the needle instead of with a crochet hook—fell
-with it. Nevertheless, it is a stitch which is most
-useful and charming in its even and somewhat monotonous
-regularity, especially where a great variety of
-colour is used and a broad effect is wanted. A particularly
-adaptable stitch, it lends itself, on account of
-its linked nature, to the following of curves and spirals,
-outlines and the filling of circular and oval forms. It
-can be worked singly—as a powdering—or in a zig-zag
-pattern—with two colours at once—which produces an
-interesting result (Plate I.), or with a twist. Worked
-openly with the needle inserted first to the left then to
-the right to give a broader line, it is known as ladder
-stitch, while twisted chain, worked closely, is known as rope<span class="pagenum" id="Page_46">[Pg 46]</span>
-stitch. Linked chain and cable chain (Fig. 8) are more
-elaborate forms of the same stitch. Much of the beautiful
-Persian quilting done on linens is worked in chain
-stitch on the wrong side, which gives the “quilting,” or
-back stitch, on the right side.</p>
-
-<p><b>The Working of Tambour Stitch.</b>—Tambour
-stitch, though of little use for small work, might still be
-employed very effectively as a quilting stitch, and for
-large pieces of work, such as table covers or hangings;
-it is worked on a frame, and one can quickly acquire
-facility with the hook and accuracy in the working of it.</p>
-
-<p><i>Method</i>:—The material is put in a frame; the thread
-is kept underneath, where the left hand guides it; a
-sharp-pointed hook is kept in the right hand and passed
-through the material from the surface; it catches the
-thread from the under side and bring it up in a loop;
-the hook is inserted again and
-the thread is again brought up
-in a loop through the preceding
-loop.</p>
-
-<div class="figleft" id="s1">
-<img src="images/fig4.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 1.</span></p>
-</div>
-
-<p><b>To Work Chain Stitch</b>
-(<b>Fig. 1</b>).—To work chain
-stitch, bring the thread out
-at the beginning of the line;
-hold it down with the left
-thumb; place the needle into
-the hole, which the thread
-already occupies, and take up
-a small piece of the material—this
-will vary from one-sixteenth to one-eighth of an inch
-according to the thread and material; draw the thread<span class="pagenum" id="Page_47">[Pg 47]</span>
-through, and the first link of the chain is complete;
-insert the needle again at the spot where the thread
-comes out and proceed as before. A cord-like effect
-may be got by overcasting each link of the chain with
-another colour: the eye of the needle should be used,
-as the overcast stitch is taken over the links only.</p>
-
-<p><b>Chain Stitch in Two Colours.</b>—A variation to a
-border may be given by working alternate links of
-different colour.</p>
-
-<p><i>Method</i>:—Take two threads in the needle, a black and
-a white, or a blue and a green, or any two contrasting
-colours; bring the needle out at the starting point; hold
-the black thread, which should be to the left, under the
-thumb—the white thread is placed aside out of the way;
-insert the needle, as for chain stitch, beside the held
-thread and draw through—a chain stitch of black has
-been formed. Next, hold the white thread under the
-thumb, and form the white link, the black thread being
-placed aside to the right this time. Work in this way
-alternate black and white links; a little manipulation is
-sometimes required to keep the thread not in use out of
-sight (Plate I.).</p>
-
-<p><b>Split Stitch.</b>—Split stitch may be used for very fine
-work, or for fixing down laid stitches, for which it is
-particularly suitable; it has the appearance of a fine
-chain stitch, but is in reality a single stitch which is
-split, in the process of working, by the needle. Up to
-the fourteenth century, it was generally used in figure
-embroidery to express form, folds of drapery, and
-features, and was a stitch well adapted for the purpose;
-but as figure embroidery is quite beyond the scope of<span class="pagenum" id="Page_48">[Pg 48]</span>
-this book and the simpler pieces of embroidery it
-advocates, it is sufficient perhaps to explain the method
-of working, rather than go into the particulars of its
-history. It is worked from left to right.</p>
-
-<p><i>Method</i>:—Bring the thread to the surface at the left;
-take a stitch, one-sixteenth of an inch, to the right with
-the point of the needle towards the left; pierce the thread
-which covers this space and draw the needle through it,
-splitting the thread and forming a link-like stitch.</p>
-
-<div class="figleft">
-<img src="images/fig5.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 2.</span></p>
-</div>
-
-<p><b>Coral Stitch</b> (<b>Fig. 2</b>).—Coral stitch is a good
-decorative line stitch, easily and quickly executed. It
-is known under several names, such as snail-trail and
-knotted stitch, etc. It is composed
-of single knots, worked
-with the connecting thread on the
-surface; sometimes the knots are
-worked so closely together as to
-have the appearance of beads, or
-they may be worked half an inch
-apart, and in rows, when they
-make good lines for filling large
-spaces or borders.</p>
-
-<p><i>Method of working</i>:—Bring the
-thread through to the front; place
-the left thumb on it, beyond the point where the
-knot is to be made; take a stitch under the held thread
-and at right angles to it; draw the needle through, still
-holding the thread under the thumb, and tighten. This
-stitch is suitable for working with wools on fine material.</p>
-
-<div class="figcenter" id="f4">
-<p class="captionr">PLATE IV.</p>
-<img src="images/fig6.jpg" alt="">
-<p class="captionc">A PORTIÈRE.</p>
-</div>
-
-<p><b>Petal or Loop Stitch</b> (<b>Fig. 3</b>).—Another useful
-stitch is shown in Fig. 3. It is invaluable for the making
-<span class="pagenum" id="Page_49">[Pg 49]</span>of small flowers and borders, for picking out edges, and
-for emphasising lines (Plates IV., XIII.). The working
-of a small flower is shown in Figs. 3 and 3<span class="allsmcap">A</span>.</p>
-
-<div class="figcenter">
-<img src="images/fig7.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 3.</span> <span class="smcap spacer">Fig. 3a.</span> <span class="smcap">Fig. 3b.</span></p>
-</div>
-
-<p><i>Method</i>:—Bring the needle out in the centre of the
-space; insert it again at the same point; bring it out
-near the tip of the petal, as in Fig. 3<span class="allsmcap">A</span>, and tack it
-down with a small stitch.</p>
-
-<p>Larger flowers can be quite artistically worked by
-beginning with a small stitch at the foot of the petal,
-and increasing by successive stitches until the outline is
-reached (Fig. 3<span class="allsmcap">B</span>). The outer stitch can be worked in a
-different colour or tone with pleasing effect. One of
-the large conventional flowers in Plate XI.
-has an outline of these stitches, while another
-has the inner circle worked in the same
-way (Plate IV.).</p>
-
-<div class="figright">
-<img src="images/fig8.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 4.</span></p>
-</div>
-
-<p><b>Feather Stitch</b> (<b>Fig. 4</b>).—One of the
-feather stitches, all of which are composed
-of button-hole stitches, is illustrated in
-Fig. 4. It is worked vertically, a stitch
-being made alternately from left to right.
-The width of the stitch may vary, but it<span class="pagenum" id="Page_50">[Pg 50]</span>
-must be regularly worked and uniform in size, to look
-well, when it presents a braid-like appearance which is
-most ornamental for underlinen and other purposes.
-The diagram explains the method of working.</p>
-
-<p><b>Fish-bone Stitch</b> (<b>Fig. 5</b>).—Fish-bone stitch is
-another of the feather or button-hole type. There are
-so many variations of those stitches,
-which are well known to most needle-women—having
-been used for the
-decoration of underlinen for the last
-generation or two—that only a few
-need be mentioned here.</p>
-
-<div class="figleft">
-<img src="images/fig9.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 5.</span></p>
-</div>
-
-<p>Quite a pretty and uncommon
-variety (Fig. 5) is useful for the filling
-of leaf forms, as well as for borders.
-The stitch appears to be made up
-of two long outer and two short inner ones, but as will
-be seen by looking carefully at the diagram, there are
-only two movements. It is worked just as in Fig. 4,
-from left to right. It is very easily worked on loosely-woven
-material, but where the texture is close, it is
-simpler and safer to mark four lines on the material for
-guidance, two outer and two inner, the latter closer
-together.</p>
-
-<p><span class="smcap">To work Fig. 5.</span>—Begin to work from one of the
-central lines—the one to the right; insert the needle on
-the left outer line and bring it out on the left inner line,
-keeping the working thread under the needle; continue
-in this way, working vertically and keeping the stitches
-regular and equally spaced. The outside stitches may
-be made still longer and closer than those in the diagram<span class="pagenum" id="Page_51">[Pg 51]</span>
-with good effects, particularly when used for a filling for
-petals and leaves.</p>
-
-<p><b>Cretan Stitch.</b>—A still more pleasing variety, known
-as Cretan stitch and frequently seen on Cretan or
-Eastern embroideries, is worked similarly in horizontal
-lines, but the outer and longer stitches are small, straight
-and closely worked together, so that it makes an excellent
-solid border stitch, which looks very handsome when
-worked in metal threads.</p>
-
-<p><b>To work Cretan or Oriental Stitch.</b>—Draw four
-lines on the material; start as in Fig. 5, on the right
-inner line; insert the needle on the left outer line, and
-bring it out on the left inner one with the thread under
-the needle; take a stitch on the right outer line; bring it
-out on the left inner line with the thread under the needle;
-continue alternately from left to right, taking care to
-keep the stitches exactly below each other. The
-appearance of the line can be slightly varied by
-increasing or decreasing the outer stitches. The inner
-plaiting is regulated by the size of the stitches taken
-on the outer edges. See
-<a href="#f1">Plate I</a>., where the solid
-blue line enclosed within the
-chequered chain-stitched
-lines is worked in this way.
-The lines on either side of
-the runner show the stitch
-worked more openly.</p>
-
-<div class="figright">
-<img src="images/fig10.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 6.</span></p>
-</div>
-
-<p><b>Link Stitch</b> (<b>Fig. 6</b>).—This is rather an unusual
-stitch, being formed of links connected by short stitches.
-To be effective, it should be worked with thick twisted<span class="pagenum" id="Page_52">[Pg 52]</span>
-thread. It is easily done on a ground where the warp
-and weft threads are sufficiently open to guide the
-worker, otherwise two lines parallel should be marked
-from a quarter to half an inch apart.</p>
-
-<div class="figleft">
-<img src="images/fig11.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 6a.</span></p>
-</div>
-
-<p><b>To work Link Stitch</b> (<b>Fig. 6a</b>).—Begin
-with the smaller stitches
-(Fig. 6<span class="allsmcap">A</span>); bring the needle out in
-the middle of the space to be
-covered; insert on the upper edge
-to the left, and bring out still further
-to the left on the lower edge. Pass
-the eye of the needle down through
-the small stitch and insert again on the lower edge
-slightly to the left of the previous one; take a vertical
-stitch upwards and a little beyond the centre, having
-the thread under the needle as in Fig. 6; pull the needle
-through. These three movements complete the stitch,
-the thread being now in position to
-make the first small stitch again.
-This stitch is called linked, or knotted
-chain.</p>
-
-<div class="figright">
-<img src="images/fig12.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 7.</span> &#160;&#160;&#160;&#160;&#160;<span class="smcap">Fig. 7a.</span></p>
-</div>
-
-<p><b>To work Tête de Bœuf</b> (<b>Fig. 7</b>).—Another
-variation of the loop or petal
-stitch is called Tête de Bœuf. Work
-a loop stitch as Fig. 7<span class="allsmcap">A</span>, then take a
-stitch across from left to right; bring the needle out
-above the stretched thread. Make another loop
-stitch, which fixes this in place. This stitch is often
-used as a powdering. It makes a good border stitch.</p>
-
-<p><b>To work Cable Chain</b> (<b>Fig. 8</b>).—Cable chain can
-be worked in two ways. Two guiding lines will be of<span class="pagenum" id="Page_53">[Pg 53]</span>
-assistance. Bring the needle out at the starting point
-in the middle of the space; form a small loop by throwing
-the thread round as Fig. 8; insert the needle in the
-centre of this loop, which will vary
-in size according to the thickness of
-the thread and the size of the cable
-wanted; bring it out about a quarter
-of an inch lower down, taking care
-to keep the thread under the point of
-the needle; tighten the small loop to
-the proper size with the right hand,
-then, placing the thumb on the stitch,
-pull the thread through. This forms both the small
-and large link and the thread is in position to start
-again. When worked in a firmly twisted thread,
-such as Knox’s linen “cord” floss thread, it
-makes a pretty border or line stitch. A row of
-couching makes a good edging and emphasises the line
-if required.</p>
-
-<div class="figright">
-<img src="images/fig13.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 8.</span></p>
-</div>
-
-<p>By the second method, the small stitch is made first,
-and the needle brought out to the surface about a
-quarter of an inch lower down; put the needle through
-the small stitch from left to right and place the thumb
-on it; put the needle through
-the large loop in process of making
-from right to left and tighten the
-thread sufficiently. The small
-stitch has now to be made.</p>
-
-<div class="figleft">
-<img src="images/fig14.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 9.</span></p>
-</div>
-
-<p><b>Braid Stitch</b> (<b>Fig. 9</b>).—When
-a fairly heavy line is necessary,
-Fig. 9 can be used. It has a<span class="pagenum" id="Page_54">[Pg 54]</span>
-braid-like appearance, and for that reason is generally
-known as braid stitch. Work from right to left and
-start on the lower edge. Bring the
-thread out and place the thumb on
-it, and twist the needle round the
-held thread, so forming a loose
-twist on it (Fig. 9<span class="allsmcap">A</span>). Then insert
-the needle in the upper line, a
-little to the left of the starting
-point; bring it out on the lower
-line, exactly beneath; place the thread under the
-needle, and draw through, keeping the thumb on the
-stitch till tightened sufficiently to form the link.</p>
-
-<div class="figleft">
-<img src="images/fig15.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 9a.</span></p>
-</div>
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_55">[Pg 55]</span></p>
-
-<h2 class="nobreak" id="c6">CHAPTER VI</h2>
-</div>
-
-<p class="c less">BUTTON-HOLE AND BORDER STITCHES—HEMSTITCHING<br>
-AND OPEN FILLINGS</p>
-
-<div class="blockquot">
-
-<p>“And she that is wise, her time will pris.”</p>
-</div>
-
-
-<p><b>Part of a Curtain.</b>—This illustration (Plate IV.)
-gives a part of a curtain, which is a fine piece of work.
-The design has been well considered. The simple masses
-are admirably juxtaposed; they have been skilfully
-arranged in a manner singularly appropriate to the
-work. As a piece of embroidery that would generally
-be looked at from some distance there has been no time
-spent on minute detail which would involve unnecessary
-labour. The bold, yet dainty treatment of the needlework
-is first-rate, and the whole arrangement of the
-design, colour and stitchery show that the purpose for
-which the embroidery was meant must have been continually
-in the mind of the worker.</p>
-
-<p>The circular massed forms in rich reddish-orange are
-set, most successfully, the one against the other; the
-green masses, so simple in shape and satisfactory in
-colour, are clearly silhouetted against the dark background;
-the white oblongs with the little orange circles,
-the applied hem and bands in vivid blue, the interesting
-variation in stitchery, all go to make a charmingly
-harmonious piece of simple decoration. Work of this
-type can be made from materials which are quite inexpensive,<span class="pagenum" id="Page_56">[Pg 56]</span>
-and its value on that account is increased
-tenfold. In the illustration, the various parts of the
-design, colour and stitchery are so clearly brought out
-that a detailed description is not required. The background
-is of linen of a firm quality; the applied forms
-may be of linen or of any firm material in wool or cotton;
-the embroidery is in wools, cottons and silks. For the
-method of working the button-hole filling, see
-<a href="#s4">Fig. 11</a>.
-The large circular forms are fixed to the foundation with
-a row of chain stitch; the little orange circles on the
-white ground are in the same stitch (Fig. 1). The blue
-bands are applied with darning or tacking stitch outlined
-with coral stitch (Fig. 2), the hem with button-hole
-stitch. The effective little groups of white on the green
-ground are in petal stitch (Fig. 3). All the little square
-blocks are in satin stitch. How interesting this constructional
-design can become to the needlewoman who
-uses her powers of mind and brain, and who applies her
-ideas to decorate all manner of things. She would no
-longer be content to work detached sprays of flowers and
-leaves, strewn promiscuously over her work, once she
-discovered what good patterns she could make with
-simple shapes and with the aid of small pieces of bright-coloured
-patches and short lengths of material, which
-she might adapt and use for many purposes.</p>
-
-<p><b>Various Button-hole Stitches.</b>—Button-hole stitch
-is one of the most useful of stitches, owing to its
-construction and adaptability, and the decision with
-which it marks a line. It can be used equally well
-for plain needlework, embroidery, or needle-point lace;
-for borders or fillings, either open or solid, for the<span class="pagenum" id="Page_57">[Pg 57]</span>
-covering of raw edges, the outlining of <i>appliqué</i> forms,
-or the working of flowers or leaves. The direction,
-spacing and grouping of the stitch may be arranged
-to suit the work and curved lines may be followed with
-the utmost facility.</p>
-
-<p>Indeed, the interesting variations and combinations
-which may be obtained by an ingenious worker are
-endless.</p>
-
-<div class="figright">
-<img src="images/fig16.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 10a.</span></p>
-</div>
-
-<p>There are two ways of working the stitch, single
-button-hole (Fig. 10<span class="allsmcap">A</span>), and double or
-tailor’s button-hole; the former, when
-worked with rather a wide space
-between each stitch, is generally
-known as blanket stitch. Fig. 10<span class="allsmcap">A</span>
-gives a corner for a border, which
-will also make a suitable finish or
-heading to the neck of a dress or
-blouse; it may be spaced in various
-ways, worked in slanting lines, or
-with stitches of equal lengths, worked
-over threads or narrow braids of a
-different colour or tone. When the
-heading forms a close line, it is usually considered as a
-button-hole stitch. Plate I. shows two lines of button-holing
-worked in groups of three, in orange wool,
-between two rows of chequered chain stitch, where
-they serve to connect the broad bands of orange which
-surround the border of the runner.</p>
-
-<p>For the making of an actual button-hole, or where a
-firmer and more decorative heading is wanted, it is
-better to use the variety known as tailor’s button-hole,<span class="pagenum" id="Page_58">[Pg 58]</span>
-which has an extra knot added to it; it is this knot
-which gives greater firmness as well as beauty to the
-stitch.</p>
-
-<p><b>To work Blanket Stitch</b> (<b>Fig. 10a</b>).—Blanket, or
-single button-hole stitch, is so well known that it is
-hardly necessary to describe it. Bring the needle out at
-the left end of the line or border; place the thread under
-the left thumb and insert the needle as shown in Fig. 10<span class="allsmcap">A</span>;
-draw it through, still keeping the thumb on the thread—the
-needle is thus brought out over it.</p>
-
-<p><b>Tailor’s Button Stitch.</b>—Tailor’s button-hole—the
-method of working:—Put the needle into the same
-position, with the thread under it, as for the single
-stitch, then take the thread, near the eye of the needle,
-in the right hand and pass it from right to left again
-under the needle; draw the
-needle through both loops
-and the stitch is complete.</p>
-
-<div class="figleft">
-<img src="images/fig17.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 10.</span></p>
-</div>
-
-<p><b>Crossed Button-hole</b>
-(<b>Fig. 10</b>).—Fig. 10 shows
-another variety of the
-stitch. The threads are
-crossed by sloping the
-needle to the right for the
-one, and to the left for the
-other. When worked on a
-loosely-woven material they
-can easily be kept exact.
-The knotted edge may be
-further strengthened by a row of chain stitch, which
-always improves the line. As may be seen from the<span class="pagenum" id="Page_59">[Pg 59]</span>
-figure, either the under or upper stitches may be the
-longer, but they should not be varied on the same
-border, otherwise the regularity of the work will be
-impaired.</p>
-
-<p><b>Flowers in Button-hole Stitch</b> (<b>Plate XIII.</b>).—Fig.
-11 may be used for a solid or open groundstitch;
-it makes a charming filling when worked over the material
-for the petals of large flowers, each petal being outlined
-with chain stitch, couching, or back stitching (Plate XI.).
-When working over a foundation, the first row and the
-last only are fixed to the material; the intervening rows
-are worked into the headings or loops of the preceding
-rows. When the spaces to be filled with stitchery of this
-type are not of such a form as to allow of working continuously,
-each row of stitchery must be attached to the
-material at the sides, to keep it in position; the rows
-are then worked to and fro from right to left, or <i>vice
-versâ</i>.</p>
-
-<p><b>“A Portière”</b> (<b>Plate IV.</b>).—In this piece of work
-an excellent example of this method of filling is seen; the
-groups of five stitches worked in lemon wool, on a black
-linen background, make a bright chequered effect, which
-adds both interest and distinction to the design.</p>
-
-<div class="figright" id="s4">
-<img src="images/fig18.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 11.</span></p>
-</div>
-
-<p><b>Button-hole Filling of a
-Space</b> (<b>Fig. 11</b>).—Fig. 11
-shows clearly the method of
-filling an open space in this
-way. The edges must be
-button-holed in the manner
-described for white work,
-unless a braid is used, when<span class="pagenum" id="Page_60">[Pg 60]</span>
-the firm edge which it gives is sufficient without extra
-stitching. Begin at the right upper corner; make three
-small overcast stitches to carry the thread into position
-for working the first row, which consists of groups of
-three button-hole stitches worked loosely into the edges
-of the braid or material; at the end of the row fasten the
-thread to the braid; again overcast three stitches; work
-the second row of button-hole into the loops or spaces of
-the previous row; continue in this way until the space
-is filled; the last row should be worked into the braid,
-in order to keep the others in position.</p>
-
-<p>Plate X. has the central portion enriched by a filling
-worked in button-hole in blue flax thread. It is commenced
-from the centre; the lines of the pattern are then
-followed towards the outer edges (see description on
-<a href="#Page_112">p. 112</a>). Plate XI. shows a similar filling, in the flower
-at the corner, which is also
-worked in colour and finished
-on the inner row of button-holing
-by a line of back
-stitch.</p>
-
-<div class="figleft">
-<img src="images/fig19.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 12a.</span></p>
-</div>
-
-<p><b>A Diapered Border</b>
-(<b>Fig. 12a</b>).—Quite an interesting
-solid diapered
-background may be obtained
-by working these
-stitches in rows, in groups of three or five. The
-clusters are worked closely at the top; the second row
-has the apex of each cluster fitting into the base
-of the preceding one. A very pleasing border in
-contrasting colours may be obtained in this way; the<span class="pagenum" id="Page_61">[Pg 61]</span>
-two firm lines of button-holing will, of course, form
-the outer edges.</p>
-
-<div class="figright">
-<img src="images/fig20.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 12b.</span></p>
-</div>
-
-<p><b>Double Button-hole</b> (<b>Fig. 12b</b>).—Double button-holing
-has two rows of button
-stitch (Fig. 12<span class="allsmcap">B</span>). The first
-must have the stitches spaced
-so as to allow of the second
-row of stitches dovetailing into
-those of the first. This variety
-can be applied very successfully to braid or galoons, in
-which cases the stitches need not reach to the opposite
-side as in Fig. 12<span class="allsmcap">B</span>.</p>
-
-<p><b>Leaves in Button-hole Stitch.</b>—A very good method
-of filling leaves is to work them in two rows of button-holing,
-back to back, the firm central line forming the
-mid-rib of the leaf and the rather broken outer line
-suggesting the serration of the edges. Small flowers,
-flower centres and berries are frequently worked in this
-way (Plate XIII.). The heading of the stitch forms the
-outline. An old-fashioned, but quaint variety of ground-filling
-to be seen on some of the earlier samples consisted
-of successive rows of these little eyelet
-stitches. The material was first pierced by a
-stiletto at regular intervals; each hole was
-then button-holed or overcast round. The
-insertion of the needle into a common centre
-formed an opening which gave a lighter effect
-to the background.</p>
-
-<div class="figleft">
-<img src="images/fig21.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 13.</span></p>
-</div>
-
-<p><b>Decorative Back Stitch</b> (<b>Fig. 13</b>).—This
-figure is simply back stitch. To be effective
-and to make room for the interlacing thread,<span class="pagenum" id="Page_62">[Pg 62]</span>
-it should be worked rather larger than usual, and with
-a thicker thread, from one-eighth to a quarter of an
-inch in length. A thread of a contrasting tone is then
-laced through, eye of the needle foremost, the loops of
-each stitch being regulated before passing on to the next.
-Back stitch was greatly in use in the seventeenth and
-early eighteenth centuries, for the adornment of all sorts
-of articles. Quilts, hangings, and personal clothing
-were ornamented in this way with bands and patterns.
-These were sometimes produced by chain stitch worked
-on the wrong side of the material, which, as an
-embroideress knows, forms a row of back stitching on
-the reverse side—the right side in this case.</p>
-
-<p><b>Reversible Back Stitch.</b>—Sometimes these patterns
-were worked in reversible back stitch, in order to make
-both sides of the stitching alike, for in those days needleworkers
-did not grudge either the time or the patience
-spent on their embroideries.</p>
-
-<p>Reversible back stitch, so-called, is a running or
-darning stitch. All should be regular and equal in
-length, or the appearance of the work, when finished, will
-not resemble back stitch. The “back” stitch is formed
-by going over the line a second time with a running
-stitch, which fills up the spaces
-on both sides of the material
-and renders it reversible.</p>
-
-<div class="figleft">
-<img src="images/fig22.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 14.</span></p>
-</div>
-
-<p><b>Honeycomb Filling</b> (<b>Fig.
-14</b>).—This pattern has an
-advantage over some of the
-more elaborate background
-stitches; it is easily and<span class="pagenum" id="Page_63">[Pg 63]</span>
-quickly worked, and most of the thread is on the
-surface. It is known to some needlewomen as honeycomb
-stitch, to others as Mexican stitch.</p>
-
-<p><b>To work Honeycomb or Mexican Stitch.</b>—To
-obtain the best result work the small foundation stitches
-in one tone and the interlacing in another. If worked on
-a material where the warp and weft threads are distinct
-the small stitches may be kept quite regular without
-difficulty, otherwise it is better to mark their position
-by means of a ruler and pencil. The spacing will vary
-according to the material and the thread used; about
-half an inch should be left between each small stitch for
-bold effective work, and the second row should alternate
-with the first. When all are in position, a long thread is
-taken for the interlacing, which is done in rows. Fasten
-the thread at the right top corner, and, eye of needle
-foremost, pass through the first stitch in the top row,
-down to the second, up to the top row again, and so on,
-as shown in Fig. 14. As the edges are undefined, this
-stitch requires a good firm outline round it.</p>
-
-<p><b>Table Runner</b> (Plate V.) of cream cotton canvas,
-or netting, is of a very open texture; it is treated in a
-simple direct manner, which is both pleasing to the eye
-and interesting to the worker.</p>
-
-<p>It may be made of half-a-yard of material, 54 inches
-by 18 inches. The pattern is worked in wools and thick
-cottons, in stitchery eminently suited to the loosely-woven
-texture.</p>
-
-<p><i>Method of working</i>:—Turn over on to the front surface
-a single fold of about 1 inch on each side and tack in
-place to prevent fraying; later on these raw edges will<span class="pagenum" id="Page_64">[Pg 64]</span>
-be covered with galoon or braid. Allow about 12 inches
-at each end for the wide hem, and from there about
-14 inches for the needle-weaving. Get the centre line
-by means of a measuring tape; cut ten warp threads at
-each end of the bar, which in this material is about three-quarters
-of an inch. Great care must be taken in cutting
-the top threads to see that they correspond exactly with
-those already cut. It is a good plan to draw the two
-outer threads a little, the tightening of which will
-indicate the exact place to cut the upper ones. This
-bar should be worked before the adjacent bars are cut.
-Leave a strip of material about half an inch wide on
-either side, then proceed to cut the weft threads, as
-before, for the broader bands—each is about one-and-three-quarter
-inches wide, so that twenty-four threads
-are withdrawn.</p>
-
-<div class="figcenter" id="f5">
-<p class="captionr">PLATE V.</p>
-<img src="images/fig23.jpg" alt="">
-<p class="captionc">A BUREAU SCARF.</p>
-</div>
-
-<p>In weaving these wide strips, a frame is of assistance
-on account of the very soft nature of the material: the
-pattern should be easily followed from the illustration,
-but perhaps a few suggestions might help the beginner.
-Fig. 31 gives the method of weaving. Start with cream
-cotton or flax; run a few stitches on the under side; bring
-the needle to the point and weave, by passing over three
-of the double warp threads and under three, backwards
-and forwards, until these upright threads are completely
-covered—it is necessary during this process to press
-down the threads closely from time to time, and care
-must be taken not to tighten the groups too much or the
-material will get puckered. Repeat these woven bars
-in different groups of colour to the end of the strip, which
-gives five groups in cream flax and three in colour, jade
-<span class="pagenum" id="Page_65">[Pg 65]</span>green, reddish-purple, royal blue. Cover the half-inch
-bands of material with a herring-bone or oriental stitch,
-worked in cream linen floss embroidery thread. Take
-up the strands in groups of three on either side—this
-separates the threads into groups and simplifies the
-weaving of the next strip. Proceed now with the more
-elaborate weaving. It will be noticed that the weaving
-moves in a step-like manner, and that the pattern
-changes three times in each ascending or descending line,
-so that each line from edge to edge is divided into threads.
-Begin with the green group and pass under and over four
-groups of thread (in Plate V. the group worked in purple
-is the most distinct). Each group, as before, consists of
-three double warp strands; weave one-third of the space,
-then leave out the fourth group; continue to weave on
-three groups for another third of the space; leave out the
-third group; finish with two groups. Overcast one stitch
-into the canvas and weave over two fresh groups downwards
-for one-third of the distance, then over the next
-two groups of the second third; then take up the two next
-groups and weave to the edge of the threads—thus
-weaving diagonally in groups of two from the bottom of
-the bar, this last row produces a series of steps. Repeat
-the same in ascending groups; finish exactly in the
-same manner as before, with the exception that the
-weaving over four groups is this time at the top of the
-bar—these masses of weaving are separated by plain
-bars of cream, woven over four groups. The cut threads
-at the top are button-holed to keep them secure. Lines
-of darning stitches connect the edges with the woven
-bars. The bands of galoon are now laid over the turned-over<span class="pagenum" id="Page_66">[Pg 66]</span>
-folds, hemstitched on the one side and button-holed
-on the other, with dull blue; a line of tacking
-stitch in cerise gives a touch of bright colour to the outer
-edge.</p>
-
-<p>Turn up about 6 inches at each end to give weight to
-the hems; fill the central parts with darning stitches
-worked in rows—it is best to mark off the central unworked
-space with lines before beginning this darning;
-this serves as a guide and prevents the stitching from
-encroaching on the space.</p>
-
-<p>The galoon on either side is attached with button-holing
-and French knots—the spaces being filled with
-laid threads in cream, couched in the same colour.
-Latchet darns give emphasis and connect the green bars.
-Finally, the band of green is placed over the hem to
-finish it. The edges of the galoon are button-holed with
-blue to correspond with the rest of the runner.</p>
-
-<p>Latchet darns are bands of weaving; the upright
-threads are laid, not too closely, to represent the warp
-threads, then the weft threads are woven in backwards
-and forwards; the edges are kept free exactly as in the
-other woven bars. These latchet darns make an
-excellent finish either to a bag, where they serve to hold
-the drawing-up cords, or to a dress, where they ornament
-or keep the belt in position.</p>
-
-<p>All strands withdrawn, when of a useful length, should
-be carefully kept. They can be used in many different
-ways to make cords, tassels, or fringes.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_67">[Pg 67]</span></p>
-
-<h2 class="nobreak" id="c7">CHAPTER VII</h2>
-</div>
-
-<p class="c less">LAID WORK—BASKET AND LINE STITCHES</p>
-
-<div class="blockquot">
-
-<p>“And thou shalt embroider the coat of fine linen, and thou
-shalt make the girdle of needlework.”</p>
-</div>
-
-
-<p><b>A Sideboard Cloth.</b>—Plate VI. gives an example of
-a very handsome sideboard cloth. The canvas is of the
-tough hard-wearing type, generally used to cover basket
-hampers, but under the skilful fingers of the embroideress
-it became a beautiful piece of work, with which one might
-well adorn a good piece of furniture. The illustration
-shows the design, which is of the simple straight-line
-type. The canvas, of rather a heavy weight, is of a rich
-warm brown; the threads of floss embroidery linen are
-in rich blue, tussore colour, emerald green, grey-green, a
-pale blue-green and brown. The design is placed at the
-ends, where it forms bars and blocks of rich colouring.
-It occupies about 8 or 9 inches, 6½ inches for the embroidery,
-and 2½ inches for the wide band of braid. The
-stitchery is made up of bars of needle-weaving with bars
-and blocks of solid embroidery. The wide bands at the
-top and foot, enclosing the central portion, are of needle-weaving
-in a perfectly simple pattern. Each band is
-about 1 inch wide; they are worked in blue-brown and
-three shades of green. The bar in the central panel is
-woven in tussore and light green, surrounded by a border
-in satin stitch of emerald green. The upright bars or<span class="pagenum" id="Page_68">[Pg 68]</span>
-straps on either side are woven in bright blue with blue-green
-crosses in the centre; the chequered squares in
-tussore and blue are enclosed by emerald green bands in
-satin stitch. The background of the central panel is
-worked in chequers of blue tussore and light bluish-green;
-the little crosses, hardly visible in the illustration, are
-all in emerald, while the darning stitch, which forms the
-background, is in bright blue.</p>
-
-<p><b>Square Stitch.</b>—The remainder of the background
-is worked in square stitch (see <a href="#f2">Figs. L and M</a>). A fold of
-the canvas turned over on to the right side has a frayed
-edge; three or four threads are withdrawn—this gives a
-pretty soft effect; the fold is tacked down over a creamy-fawn
-skirt braid, with lines of couching in tussore.
-These lines have the appearance of back stitching, but
-are in reality couched down; they are sewn in that
-interesting method of bygone days, when embroiderers
-worked much in gold threads.</p>
-
-<p>“<b>Point rentré et retiré.</b>”—The surface thread is
-pulled through and caught underneath by means of
-another thread which never appears upon the surface at
-all; this method has been applied to backgrounds worked
-in silk, as well as in gold (p. 81). It is economical in use
-and very durable. One can well understand the reason
-of its use, but not the cause of its falling out of use.
-Probably this was due to the gradual decadence of embroidery
-in this country towards the end of the fourteenth
-century, or perhaps the then new method of couching—in
-use at the present day—involved less time and
-labour.</p>
-
-<div class="figcenter" id="f6">
-<p class="captionr">PLATE VI.</p>
-<img src="images/fig24.jpg" alt="">
-<p class="captionc">A SIDEBOARD CLOTH</p>
-</div>
-
-<p>The wide dark bar at the end of the work is of dark
-<span class="pagenum" id="Page_69">[Pg 69]</span>brown braid, about 2½ inches wide, with straps of the
-lighter braid couched down in brown thread; these
-straps are carried down over the fringe which has been
-added in the various colours with a crochet hook (p. 115).
-The sideboard cloth is 54 inches by 22 inches wide. The
-fringe is about 4 inches deep.</p>
-
-<p><b>Laid Work.</b>—Laid work is particularly effective for
-the filling of large surfaces, where a bold definite mass of
-colour is required. It is a method of applying threads
-which gives a rich appearance almost similar to that
-achieved by the <i>appliqué</i> of some rich silk material.
-The stitches are on the surface only and are generally
-very long; they have to be crossed and recrossed by
-other strands, which in their turn are tied down by little
-stitches. When worked in floss silk, a favourite medium
-with Eastern embroiderers, it is a stitch <i>par excellence</i>
-for showing off the beauty and lustrous sheen of the
-thread, but it is not a very durable type of work, and is
-therefore only suitable for such articles as are not
-exposed to hard wear, unless worked in wools or thick
-cottons. All the threads on the surface are “laid,” as
-the term is, in parallel lines either vertical or in whatever
-direction is best, in order to allow the couching lines to
-accentuate the form or pattern; it adds to the durability
-of the work if these threads are laid rather widely
-apart to begin with, as it allows the needle to get a firmer
-hold of the material; the spaces are then filled up by
-working over the surface a second time. Compare
-Fig. 15 and note first layer of stitches. For example, let
-us suppose the vertical threads are laid—the horizontal
-ones, of another colour perhaps, could be placed over<span class="pagenum" id="Page_70">[Pg 70]</span>
-them, about three-quarters of an inch apart; small
-upright stitches, about half an inch apart, could couch,
-or fasten these down, one row alternating with the other.
-This is a most decorative method of filling in large
-flowers or leaves. Single petals can be laid diagonally,
-crossed and tied down, or a complete flower may have
-laid lines radiating from the centre, with the second
-layer of threads in concentric circles couched down with
-small stitches of a contrasting
-colour.</p>
-
-<div class="figleft">
-<img src="images/fig25.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 15.</span></p>
-</div>
-
-<p><b>Chequered or Basket
-Pattern</b> (<b>Fig. 15</b>).—Fig. 15
-gives a plaited or basket
-pattern; after the vertical
-threads are laid or placed in
-position in such a way as to lie easily—just filling the
-form—the weaving in of the cross threads is a simple
-matter.</p>
-
-<p><b>To work a Chequered Pattern.</b>—Begin at the right-hand
-corner and pass the needle over and under three
-strands for three rows, then reverse the chequer by lifting
-the stitches previously passed over. This work looks
-much better if the darning is all done from right to left.
-It is not so economical in thread, but much more practical
-on account of its greater durability, as the threads all lie
-the same way; they are carried back behind the material
-instead of being worked to and fro as in ordinary darning.</p>
-
-<p>The Italian, Spanish and Japanese embroiderers make
-great use of these laid stitches which, like most other
-stitches, probably originated in the East, as they are to
-be met with in most oriental embroideries.</p>
-
-<p><span class="pagenum" id="Page_71">[Pg 71]</span></p>
-
-<div class="figright">
-<img src="images/fig26.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 16.</span></p>
-</div>
-
-<p><b>Basket or Stroke Stitch</b> (<b>Fig. 16</b>).—This figure
-gives another good line in rather high relief stitchery.
-It is sometimes called plaited stitch,
-sometimes fishbone, but it is really
-a stroke stitch; it is most effective
-and useful for a solid line, whether
-worked on coarse material with a
-thick twisted thread, or on fine
-material with a correspondingly fine
-twisted silk thread. It has a strong
-resemblance to some of the plaited Slav or Algerian
-stitches. It may be easily worked on most materials,
-especially if a couple of guiding lines are traced before
-setting to work. Quite a broad border may be attempted
-which will look well if worked in a coarse thread.</p>
-
-<p><b>To work Basket Stitch.</b>—Bring out the needle at
-the top of the line on the left; make a slanting stitch
-downwards to the right line; pass the needle under the
-material and bring it out on the left opposite; take a
-slanting stitch upwards over the first stitch to the right
-and insert the needle a little lower than the level of the
-first stitch; then pass under the material to the left
-side again and bring it out just under the first stitch;
-take a slanting stitch downwards
-again and continue by
-taking a cross and a slanting
-stitch alternately.</p>
-
-<div class="figleft">
-<img src="images/fig27.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 17.</span></p>
-</div>
-
-<p>Net stitch can also be used
-as a surface stitch or as a
-filling for an open space. It
-is a method of interlacing<span class="pagenum" id="Page_72">[Pg 72]</span>
-which one frequently finds on the seats of small chairs,
-in the construction of baskets and other wicker articles.
-It may be worked with the lines set further apart than
-those in the figure. The horizontal lines are stretched
-first, not too tightly; these are followed by oblique lines
-which start from the left lower corner. The final row,
-also in oblique lines, starts at the right; each row is interlaced
-with two others. It is useful and most effective
-when used as a surface stitch, as a filling for geometrical
-forms; when used as a lace stitch worked in a linen
-thread the lines may be duplicated. This net is generally
-the foundation on which the design is made.</p>
-
-<p><b>Openwork Hems</b> (<b>Fig. 12</b>).—Openworked hems
-may usually be applied to all types of woven materials,
-to drawn thread work, and to household linen. They
-are more decorative than the ordinary hem.</p>
-
-<p><i>Method</i>:—Draw out the number of threads required—this
-will always depend on the quality of the material,
-and varies from two to six; lay the folds for the hem
-and tack them just above the open space; fasten the
-thread on the left and insert the needle from right to left
-under four, five, or six threads; pull through the needle
-and re-insert, taking a vertical stitch under three or four
-threads of the folded material. Plate V. shows a border
-of green galoon fixed with hemstitching on the inner
-side; as the material is very loosely woven, no threads
-have been withdrawn. The same stitch is used for a
-heading for a fringe (Fig. 34); it prevents the material
-from fraying and collects the strands into groups.</p>
-
-<p><b>Ladder Hemstitch</b>.—A more open appearance may
-be given by withdrawing a few more threads and hemstitching<span class="pagenum" id="Page_73">[Pg 73]</span>
-the lower edges also; this makes a narrow
-insertion, for by grouping the same threads together, as
-in the upper row, little perpendicular strips are formed
-which gives wider spacing—the bars suggest the rungs of
-a ladder, and on this account it is generally known as
-ladder hemstitching.</p>
-
-<p><b>Vandyke Insertion.</b>—A vandyke form is also effective;
-it is worked by grouping the stitches of the second
-or lower row, after hemstitching the upper row, in the
-following method:—Take up half the threads of the
-first cluster and half of the second on the needle, then
-proceed as in upper row; by dividing the groups of the
-upper row in this way a series of slanting stitches is
-formed when the lower row is complete.</p>
-
-<p><b>Antique Hemstitch.</b>—There are several other ways
-of hemstitching which only vary slightly; perhaps the
-most decorative form is that usually seen on old embroideries,
-where the thread is carried round a narrow
-rolled hem, not a folded one.</p>
-
-<p><i>Method</i>:—Work from right to left, beginning at the
-right corner; pass the needle over and under a cluster of
-four threads; draw it out at the place inserted; pass it
-over the edge of the rolled hem
-and bring it out on the left of
-the cluster, ready to take the
-next stitch, over and under the
-second group of four strands.</p>
-
-<div class="figright">
-<img src="images/fig28.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 18.</span></p>
-</div>
-
-<p><b>Roumanian Stitch</b> (<b>Fig.
-18</b>).—Cretan, oriental, or Roumanian
-are the various names
-applied to this well-known stitch.<span class="pagenum" id="Page_74">[Pg 74]</span>
-It is frequently to be met with in the early English
-embroideries, particularly those of the seventeenth
-century. It is one of those adaptable stitches which
-are so helpful for the decoration of borders, fillings,
-leaves, flowers; it has therefore always been much
-used by embroiderers.</p>
-
-<p><b>To work Fig. 18.</b>—This figure hardly needs description,
-being merely a long stitch tacked down. Begin
-on the left of the space to be filled; insert the needle on
-the right edge and bring it up in the centre; take a small
-stitch over the stretched thread to fix it down and bring
-the needle out at the left edge again, just below the first
-stitch. If the thread is stretched loosely across as in
-the V-shaped portion of the braid collar, Plate IX., a
-broad and effective means of filling narrow spaces or
-tacking a braid in position can be obtained with economy
-of time and material.</p>
-
-<div class="figleft">
-<img src="images/fig29.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 19.</span></p>
-</div>
-
-<p><b>To work Fern or Fish-bone Stitch</b> (<b>Fig. 19</b>).—This
-stitch, somewhat similar in form, also makes a good
-border line or even a filling, if worked in rows, see <a href="#f2">Fig. D</a>,
-<a href="#f11">Plate XI</a>., where a centre line of material gives the rib.
-In Fig. 19 the stitches meet in the
-centre and have a definite central rib.
-A central line should be marked on the
-material before starting to work it.
-Bring the thread out at the left; take a
-slanting stitch towards the centre and
-insert the needle just beyond the line;
-bring it out at the opposite edge; take
-another slanting stitch and insert just
-beyond the line again. This slight overlapping<span class="pagenum" id="Page_75">[Pg 75]</span>
-of the stitches in the middle gives the solid
-effect to the stitch.</p>
-
-<p><b>Chequered Fern Stitch.</b>—A pleasing variation may
-be introduced into a quiet border by working this stitch
-in two colours; two or three stitches worked in each colour
-will give a chequered effect, and help to relieve monotony
-if necessary. Work with two threads, bringing each to
-the surface as required. This stitch makes a good filling
-for leaves, the mid line being suggestive of the mid-rib.</p>
-
-<div class="figright">
-<img src="images/fig30.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 20.</span></p>
-</div>
-
-<p><b>Loop-stitch Border</b> (<b>Fig. 20</b>).—This border is of
-the familiar loop or petal stitch. It has been already
-described (Figs. 3<span class="allsmcap">A</span> and 3<span class="allsmcap">B</span>). It makes
-a very pretty border between broad
-bars of needle-weaving. The method
-of working is quite the same, the only
-difference being in the length of the
-tying stitch, which in this border forms
-the stem, while in the flowers it ties
-the edges of the petals; the loops are
-thus reversed in the working. The
-border may easily be followed from
-Fig. 20. Plate VIII. shows this stitch
-applied to the edges of the squares at the corners,
-where it serves to accentuate them as well as to
-soften their outline.</p>
-
-<p><b>Table Mat of White Linen.</b>—Plate VII. gives a
-table mat embroidered in blue; it is the central mat of
-an afternoon tea set. The design is of a very simple
-nature, composed by the loops and curves of the French
-tape. The main curves are formed of four short lengths
-which meet at the ends and sides. Each piece of tape<span class="pagenum" id="Page_76">[Pg 76]</span>
-takes a curve at the centre and begins and ends with a
-spiral; the outer sides can be put in with one length of
-braid—eight short pieces will do equally well; little
-remainders may be economically disposed of in this way.
-The inner parts of the curves give the opportunity for
-openwork detail which enriches, while it lightens the
-background. The design should be drawn out on paper.
-All lines which represent the braid must be parallel and
-spaced as nearly as possible to correspond to the width
-of it; it is important to remember that braid spreads
-when curving and therefore the centres of loops or
-circles become smaller when placed on the material;
-this must be allowed for in the drawing out of the
-design. Care and accuracy are necessary both in forming
-the curves and in tacking on the braid; the beauty
-of the work would be marred by uncertain lines and
-unequal curves.</p>
-
-<div class="figcenter" id="f7">
-<p class="captionr">PLATE VII.</p>
-<img src="images/fig31.jpg" alt="">
-<p class="captionc">A TABLE CENTRE IN WHITE AND BLUE</p>
-</div>
-
-<p>Plate VII. has not much variety of stitch; the
-relief given by the blue stitches prevents any feeling of
-monotony.</p>
-
-<p><i>Method</i>:—Tack on the braid round the outer edges;
-overseam the inner edges of the parts which take the
-curves; prepare for the more open spaces by snipping
-the linen, the way of the warp and the weft, quite close
-to the braid; then turn the edges in under the braid
-and button-hole with blue thread, not too closely, the
-needle should enter easily into the head of the stitches
-for the making of the lace stitch—“<i>Point de Réprise</i>.”
-These openings may be backed by small pieces of
-<i>toile cirée</i>; a little medallion of button-holed linen
-should be placed in the centre and tacked firmly in
-<span class="pagenum" id="Page_77">[Pg 77]</span>place. The connecting threads for the weaving of the
-little bars or bridges are laid in two or four strands,
-according to the fineness of the thread. Begin at the
-outer edge; carry the thread to the inner medallion, and
-slip the needle, eye first, through a loop of button-hole
-stitch; overcast the next one, and carry the thread from
-there back to the outer edge; then weave over and under
-these two strands till the centre is reached. Oversew one
-or two button-hole loops and lay the threads for the next
-bridge; this, when woven, will finish at the outer edge
-again. Oversew the stitches until the position for the
-next bar is reached, and continue till the circle is filled
-in. The corners are worked similarly with a few added
-bridges here and there to fill in spaces, which would
-otherwise be rather empty. These oval openings and ends
-might be worked in what is known as Richelieu work, instead
-of in the manner described. It is rather a quicker
-method, but not quite so firm, nor are the bars so flat.</p>
-
-<p><i>Method</i>:—Button-hole the inner edge of the space,
-also round the edge of the little inside medallion; then
-lay three strands of thread as the foundation of the
-bridges (see <a href="#s5">Fig. 24</a>); button-hole these to the edge and
-oversew the button-hole stitches of the outer edge until
-the thread is in position for the next strap.</p>
-
-<p>When the work is finished, the linen under the bars is
-carefully cut away with a very sharp pair of embroidery
-scissors.</p>
-
-<p>Run round the outer edges of the spaces which are
-to be filled in with a filet or net pattern with two
-rows of tacking stitch to strengthen, and button-hole
-over this.</p>
-
-<p><span class="pagenum" id="Page_78">[Pg 78]</span></p>
-
-<p>To prepare the mesh background, turn on the wrong
-side, then cut six and pass six horizontal threads alternately;
-remove the cut threads; turn the work half round
-and prepare the threads, previously the vertical ones, in
-the same way, that is, cut and withdraw six, pass six.
-Turn the work to the right side again and oversew the
-strands, one stitch into each little space, taking care to
-let the stitches slant in the same direction on the return
-row. This groundwork is also described in connection
-with Plate XV. The braid has a row of French knots in
-blue to finish the inner edge. For the finishing of the
-edges of the mat, a firmer edge will be made by cutting
-the linen a quarter of an inch beyond the braid and
-turning it back under the braid, then button-hole this
-double edge and the braid together in blue. The little
-lace edge may be worked with the needle or with the
-crochet hook; in Plate VII. the latter was used. The
-lower loops are worked in white, the edging in blue
-with picots is worked into it. For description, see
-<a href="#c13">Chapter XIII.</a> on crochet edgings.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_79">[Pg 79]</span></p>
-
-<h2 class="nobreak" id="c8">CHAPTER VIII</h2>
-</div>
-
-<p class="c less">COUCHING—FRENCH KNOTS AND BULLION<br>
-STITCH</p>
-
-<div class="blockquot">
-
-<p>“When she rode in coach abroad, was always knotting thread.”</p>
-</div>
-
-
-<p><span class="smcap large">Couching</span> is a pleasant and most useful method of
-applying threads, cords or braids to materials of various
-kinds. For filling in forms, circles, or squares it is equal
-to chain stitch, and should be worked similarly—all
-forms, whether squares or curves, are better to be commenced
-from the outer edge and worked inwards, in
-order to preserve the shape. Special care is required
-for the outlining of squares or angular forms where the
-tendency is to tighten the applied material, whether
-threads or braids, in turning the corners. At these
-points the threads or braids should lie easily and they
-should be firmly sewn down with closer stitchery.
-Couching is one of the simplest means of decorating
-velvet, a material always difficult of manipulation, and
-particularly so for the beginner, on account of the pile,
-which is apt to cause irregularity in the stitchery.</p>
-
-<div class="figcenter">
-<img src="images/fig32.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 21.</span> <span class="smcap padl">Fig. 21a.</span></p>
-</div>
-
-<p><b>Couching</b> (<b>Figs. 21, 21a</b>).—This stitch is often
-worked in a frame—it is easier to keep the material
-stretched; when working diagonal lines or circles,
-where much of the stitchery comes on the cross of the
-material, it is advisable to do so. By means of couching,
-the embroideress may sharply define an outline, fill<span class="pagenum" id="Page_80">[Pg 80]</span>
-in various forms, geometric or otherwise, repair a worn
-surface, work diaper patterns, or attach metal threads
-and braids to her embroidery (Plate XVI.).</p>
-
-<p>It is a name applied to a method of attaching
-threads singly or in groups to a foundation by means
-of another thread, usually a single one. Under all
-circumstances this should be finer than the thread or
-cord sewn down. It is most economical in use as the
-threads lie on the surface—a point well worth consideration
-(Plate III.).</p>
-
-<p>Probably it was originally used for the sewing on of
-gold threads, which were too precious to be wasted,
-being made of pure metal—naturally the difficulty of
-drawing these metal threads through the material would
-lead to the simplest means of attachment. At any rate,
-this method of sewing on gold threads was in general use
-all over Europe as early as the twelfth century.</p>
-
-<div class="figcenter" id="f8">
-<p class="captionr">PLATE VIII.</p>
-<img src="images/fig33.jpg" alt="">
-<p class="captionc">A LUNCHEON MAT. (<a href="#Page_86"><i>See page 86.</i></a>)</p>
-</div>
-
-<p>Couching is particularly useful as an outline to stitching,
-especially where a weak line requires defining. An
-irregularly sewn form, whether floral or geometrical, may
-be much improved, and the colour may also be enhanced,
-by a firmly couched outline. It is most convenient for
-sewing down applied work. Primarily it covers the join,
-and is of considerable importance in aiding the colour
-<span class="pagenum" id="Page_81">[Pg 81]</span>scheme (Plate IV.). Where simple treatment shows to
-advantage, couched threads, outlined with metal cord,
-give the necessary means of expressing taste and choice
-of colour, and with a little extra stitching to indicate
-veinings or whatever detail there may be, couching can
-again be applied with good results, instead of resorting
-to another stitch. It is worked from right to left; the
-small tying down stitches may be straight or slanted,
-but they ought not to be placed too far apart—for
-simple decorative work, from a sixteenth to a quarter
-of an inch, the latter for the attaching of wools or yarns
-and narrow braids, the former for finer work. One of
-the commonest mistakes of a beginner is to couch with
-a thick thread, each stitch varying from a half to one-and-a-half
-inches apart. This entirely destroys the
-character and effect of the applied threads. When couching
-a straight line with cord or braid it should be held
-rather tightly, while with wool or silk a pretty bead-like
-appearance can be got by holding the thread rather
-loosely (Plate XVI.).</p>
-
-<p>The fashion of sewing on a cord invisibly—as in
-upholstery—by untwisting the cord slightly between
-each stitch should never be resorted to for embroidery.</p>
-
-<p><b>Ancient method of Couching, “Point rentré et
-retiré.”</b>—A most interesting method of couching, which
-unfortunately fell out of use, was practised up till the
-middle of the fourteenth century. The couching thread
-was on the reverse side, and was generally of strong
-waxed linen thread, which did not appear on the surface
-at all. The ground material was formed of two layers
-of linen, and the gold or silk thread was kept on the<span class="pagenum" id="Page_82">[Pg 82]</span>
-surface, only penetrating the layers of linen at intervals
-where the linen couching thread had drawn it through.</p>
-
-<p>Some of the beautiful specimens of early English
-work, the famous Syon Cope and the Jesse Cope, to
-be seen in the Victoria and Albert Museum, the backgrounds
-of which are covered with couching done
-in this quaint and durable fashion, are well worth
-studying. The linen background of the Syon Cope is
-couched in coloured silk, that of the Jesse Cope in fine
-gold.</p>
-
-<p>The two lines on the outer edges of the sideboard
-runner, which has almost the appearance of back
-stitching, are worked in this way (Plate VI.).</p>
-
-<div class="figleft">
-<img src="images/fig34.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 22a.</span> <span class="smcap pad6">Fig. 22b.</span></p>
-</div>
-
-<p><b>French Knots</b> (<b>Figs. 22a, 22b</b>).—French knots can
-be applied with artistic effect in many ways, not as an
-outline, but as an adjunct
-to some of the line stitches,
-such as chain stitch, couching,
-back stitch, etc.
-(Plate XIV.). They may
-be used to add touches of
-colour to a pattern, to
-modify or enrich it (Plate
-XIII.); to powder backgrounds, either single or in
-clusters, qualifying both texture and colour; to outline
-or fill in flower centres, to form stamens (Plate XI.);
-to fill in lattice patterns or any form that requires
-some contrast of stitch or colour.</p>
-
-<p><i>Method</i>:—To work a French knot, bring out the
-needle at the point where the knot is to be; place the
-thumb of the left hand over the thread (Fig. 22<span class="allsmcap">A</span>); twist<span class="pagenum" id="Page_83">[Pg 83]</span>
-the needle once round this tightened thread; turn the
-point to the right—thumb still holding the thread—and
-insert it just behind the point where it came out, and draw
-the thread through to the back, or when some experience
-has been gained, the needle may be drawn through on
-the right side in position for the next knot.</p>
-
-<p>The Chinese, who are adepts, frequently work entire
-pieces of embroidery in knots with such care and precision
-that they are almost mechanical in appearance.
-They have a method of knotting their thread first, then
-sewing each knot down. This method was also common
-in England about the seventeenth century. At that time
-ladies used to work up hanks of thread, and, by means of
-a small cushion and a netting needle, work a succession
-of knots on the entire length; these hanks were wound
-up into balls ready for applying to the work in hand.</p>
-
-<p>It is better in making French knots to use a thick
-thread, or if a large knot is required, two or more threads
-in the needle are more satisfactory than twisting one
-several times round the needle. Plate V. shows knots
-applied to the edges of the galoon, which serve to fix it
-down, as well as to give a finish
-to the latchet darns.</p>
-
-<div class="figright" id="s8">
-<img src="images/fig35.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 23.</span></p>
-</div>
-
-<p><b>Bullion Knots</b> (<b>Fig. 23</b>).—Bullion
-knots are frequently
-used in white embroidery where
-variety of stitch is made use of
-in order to relieve the monotony.
-They consist of little
-tight coils of thread and can be
-used most successfully to form<span class="pagenum" id="Page_84">[Pg 84]</span>
-the centres of large flowers, either in a mass or in pattern.
-Squares or lozenge-shaped forms with a French knot in
-each space make rather interesting fillings.</p>
-
-<p>Fig. 23 shows how bullion knots might be applied in
-lines radiating from the centre to form small flowers.</p>
-
-<p><b>Flower Centre in Bullion Stitch.</b>—<i>Method of
-working</i>:—Bring the thread up on the surface at the
-centre; insert the needle at the outer edge of the circle,
-and draw it out for half its length at the centre, beside
-the thread, which now take hold of with the right hand,
-and twist firmly, but not too tightly, round the needle
-six or eight times according to the size of knot required.
-Then place the thumb of the left hand on the coil and
-draw the thread carefully through till it is tight. It is
-always advisable to keep the thumb over the coil during
-the whole process if possible.</p>
-
-<p><b>A Good Flower Centre.</b>—Make a number of bullion
-knots to fit the circle, then surround the outer circle with
-one or two rows of close regularly-sized French knots.
-Bullion stitch may be used for small flowers—each petal
-being made of two knots, meeting at the tip—for leaves,
-inside fillings, ground powderings and sprigs.</p>
-
-<p>Fig. 23 <i>a</i> shows how to make picots in bullion stitch.
-They are generally worked into a bar or loop of button-hole
-stitch, which may form an edging, as in Fig. 37, or
-an open loop, as in Fig. 23 <i>b</i>. Picots of this type when
-worked in a fine linen thread are used for the outlines
-and edgings of laces. To work as Fig. 23 <i>a</i>, make the
-required number of button-hole stitches, then insert the
-needle for half its length through the head of the last
-one; twist the thread round the needle from left to<span class="pagenum" id="Page_85">[Pg 85]</span>
-right six, eight, or ten times, according to the thickness
-of the thread and the size of the picot required; place
-the thumb of the left hand over the coil and draw the
-needle and thread gently through; keeping the thumb
-still on the coil, tighten the thread until the stitch has
-been drawn up into a small semi-circle; then continue
-the button-hole stitch till the next picot is reached.
-Note Fig. 23 <i>b</i>—the thread is placed under the needle
-before it is drawn through.</p>
-
-<p>If a larger picot is required, it may be made in button-hole
-stitch instead of bullion stitch. Button-hole the
-bar or loop to the left of the required picot, and lay the
-foundation or padding threads for the picot by carrying
-a thread to and fro three times from the left to the right;
-pass the needle each time through the edges of the button-hole;
-when the third thread is laid the needle is at the
-right side of the picot; button-hole the loop closely till
-it is covered, then continue on to the next point. Open-looped
-button-hole edging looks very well with three
-bullion stitch picots, but the worker requires to be of a
-patient temperament, as each loop takes some time to
-work.</p>
-
-<p>Bullion knots are used very frequently in Mount-mellick
-work. This type of needlework originated in
-Ireland; it is of a very elaborate nature, generally done
-in coarse white threads on a strong white linen or jean
-foundation. Here monotony in tone allows for a great
-variety of stitching. Openwork is not combined with
-it, as the patterns in which it is worked are mostly of a
-bold conventional floral type; most of the stitches used
-are those which give a raised effect, such as the different<span class="pagenum" id="Page_86">[Pg 86]</span>
-linked stitches, chain, cable, raised-stem stitches, French
-and bullion knots, and padded satin stitch. The flowers
-are filled in with a great variety of lace stitches.</p>
-
-<p>Button-hole bars are useful for connecting two edges
-such as the two sides of a lined bag, the seams of a
-child’s frock, or for adding a false hem to any dainty
-article. They are in common use for modern openwork
-embroidery, where they form connecting links between
-the various parts of the design.</p>
-
-<div class="figleft" id="s5">
-<img src="images/fig36.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 24.</span></p>
-</div>
-
-<p><b>Button-hole Bars</b> (<b>Fig. 24</b>).—Fig. 24 shows the
-method of working connecting bars. The objects to be
-joined together may be of any
-shape, provided the lines are more
-or less parallel with each other.
-Begin by button-holing one part
-of the work, which will give a
-basis or line into which the bars
-may be worked, then button-hole
-the part to be joined to it a
-few stitches, until the place where the bar is to be is
-reached; lay each of the threads into a different loop
-of the button-holing—this gives a greater strength and
-wider surface to work upon; when finished, button-hole
-along the edge as before, until the next point where a
-bar is to be worked is reached. These bars are worked
-over three threads, and should, when worked in lines,
-be made before the material is cut, otherwise it is
-better to have the two parts to be joined tacked down
-on to a piece of stiff linen, glazed calico, or brown paper.</p>
-
-<p><b>A Luncheon Set.</b>—This illustration gives a table
-centre in cream canvas embroidered in bright blue,<span class="pagenum" id="Page_87">[Pg 87]</span>
-green, red, cream, yellow, heliotrope and black. The
-design is simple; it is more or less governed by the mesh
-of the material and the method of working it, which
-renders the construction so simple and gives a quaintness
-and rigidity admirable in effect. By examining the
-illustration it will be seen that the central portion of the
-design is occupied by a broad band of needle-weaving,
-about two inches wide, worked on the weft threads,
-the warp or vertical threads having been withdrawn
-to the required depth. The weaving forms seven
-separate groups, each of which is composed of two
-colours. The whole mass, rich in effect, is finished on
-either side with two bars of latchet darning; these are
-worked similarly to repairing darns, but are left free at
-the sides. They are edged with an oriental stitch in
-blue which may be worked much closer and more
-regularly (see <a href="#f1">Plate I.</a>, where, as a heading to the
-band of needle-weaving, it has almost the effect of a
-braid). The corners, which balance the wide needle-woven
-bar, are worked in chequers of red, green, and
-blue; the larger squares are in green, worked in a simple
-stitch similar to Fig. 18. A row of equally distributed
-petal or loop stitches (Fig. 3, p. 49) breaks the severity
-of the line; seven lines of couching—sewn in self-colours—connect
-the two ends. The edges of the cloth
-are turned over on the surface and finished with a
-row of blue galoon—Prussian binding; this is tacked in
-place on each side with little triangular stitches in green
-embroidery cotton. Through these stitches a thread of
-bright red is interlaced; this is followed by a second
-one in cream colour. Large tassels (Fig. 41, p. 120) in<span class="pagenum" id="Page_88">[Pg 88]</span>
-blue make a finish to the corners. Six little mats, 12
-inches by 9 inches, when finished, were made to match,
-each having a border and couched lines similar to those
-of the scarf. Little blue tassels of appropriate size
-completed this useful little set.</p>
-
-<p>One yard of material, 54 inches wide, is required to
-make the complete set, that is the table scarf, 54 inches
-wide by 24 inches, and six little mats, 14 inches by 10
-inches; this allows for folds at ends and sides. If braid
-is used for finishing the hems, after calculating the
-quantity an extra yard should be allowed, as with so
-many corners to turn one is apt to be too short in the
-end, and these braids are often difficult to match.</p>
-
-<p>Wools and thick cotton threads may be used and a
-large-eyed blunt-pointed needle for the weaving and
-darning.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_89">[Pg 89]</span></p>
-
-<h2 class="nobreak" id="c9">CHAPTER IX</h2>
-</div>
-
-<p class="c less">BRAIDS AND DESIGN—FAGGOTING—VEINING—ANTIQUE<br>
-SEAMS—KNOT INSERTION AND EDGING</p>
-
-<div class="blockquot">
-<p>
-“There’s nothing neere at hand, or fartherest sought,<br>
-But with the needle may be shap’d and wrought.”
-</p>
-</div>
-
-<p><b>Braids.</b>—Braids in different widths are invaluable
-to the embroideress who wishes to execute rapidly a
-piece of work suitable for daily household use, which
-may possibly be exposed to the smoky and foggy city
-atmosphere, and on which she does not wish to expend
-much time, labour, or money.</p>
-
-<p>Braids of various kinds and qualities—mohair, alpaca,
-woollen, cotton or silk—can be utilised in many ways,
-and for different objects, as well as for the finishing
-and decoration of hems and borders (Plates IX. and
-XII.).</p>
-
-<p>Those which have an unbroken edge are the best for
-ornamental purposes. They may form the basis of
-simple geometrical patterns (Fig. 45); lines may be
-arranged to go in different ways, running vertically from
-end to end of a table scarf (Plate VI.), horizontally, as
-Plate III., or diagonally—the direction is immaterial; all
-are simple to arrange, with the exception of diagonal lines,
-which always require care in the placing and stitching, on
-account of the different stretching qualities of the braid<span class="pagenum" id="Page_90">[Pg 90]</span>
-and of the material. Sometimes the bands of braid are
-placed singly, sometimes in pairs, one braid—usually in
-a contrasting colour—being superimposed on the other.
-They may cross each other at right angles, they may
-entwine or interlace (Plate X.), or they may be formed
-into circles or spirals (Figs. 45, 51).</p>
-
-<p>The manner in which braids themselves are made,
-with the twistings and interlacings of strands and groups
-of threads, is interesting; this renders them peculiarly
-suitable for the designing of interlacing patterns, both
-simple and intricate (Figs. 49, 50).</p>
-
-<p>The word “braid” is taken from the verb of the old
-Anglo-Saxon “bregdan,” or “bredan,” signifying to
-weave, to entwine, to braid; the latter word bearing, in
-those days, the meaning “to plait,” a word which came
-into use at a later date.</p>
-
-<p>The use of braid for decorative purposes has come
-down to us from very early times—it has always been
-used by Eastern peoples much more than by those of
-the Western countries. Some of the elaborately worked
-pieces of Indian and Persian work, where tinsel braids
-are freely employed, are things to marvel at.</p>
-
-<p>The peasant costumes of many countries—particularly
-those for gala days—are made gorgeous by the addition
-of bands of brilliantly coloured braids, enriched in many
-cases by embroidery. Braids are used on uniforms, in
-an official sense, where they are considered as symbols of
-honour—the higher the grade, the more elaborate the
-decoration.</p>
-
-<p>Care must be taken with the arrangement of these
-patterns—all curves must be exact, interlacing designs<span class="pagenum" id="Page_91">[Pg 91]</span>
-must be correct, the series of bands always passing
-alternately the one under the other.</p>
-
-<p>The possibilities for the treatment of braids and bands,
-for the decoration and enrichment of them, open up an
-interesting field to the young designer. By comparing
-some of the plates it will be seen that much has been
-done in a simple way by the use of these braids and
-tapes.</p>
-
-<p>Many of the old illuminated manuscripts show wonderful
-interlacing designs, many of which were copied or
-adapted by embroiderers of the period.</p>
-
-<p>An old Venetian pattern book, published in 1562, gives
-beautiful examples of the letters of the alphabet worked
-first with an outline in narrow braid, an elaborate twisted
-design being then woven in and out of the double lines
-with a narrow braid, with the help of a tapestry needle;
-the delicate points and finishings of the letters being
-finished in satin stitch.</p>
-
-<p>Perhaps the best way to go about a design in which
-bands of braid are to form the foundation of the design
-would be to take one form and try how it might be
-adapted to suit the conditions of space and material. A
-border for a circular form is simpler in construction than
-one for a square—the corners of the latter always
-requiring special attention—but after a few preliminary
-trials it will be readily seen what the possibilities are.</p>
-
-<p><b>Interlacing Knots.</b>—Interlacings of knots and bands
-are always interesting, and the working out of these
-designs should be a profitable exercise for a beginner.
-There is such variety in their construction, such simple
-or intricate patterns to be made out of these continuous<span class="pagenum" id="Page_92">[Pg 92]</span>
-and interlacing lines, that all craft workers have found
-in them a ready means of ornamentation. Knot designs
-of a simple kind may be applied in the form of braids and
-cords to many useful articles of domestic use; the most
-direct way to work out some elementary designs would
-be to take a length of soft cord and some pins, and using
-the back of a cushion as a foundation, or a covered table,
-pin out a geometrical design—a square would be suitable
-for the first attempt—and develop it. The first square
-might have the braids twisted into small loops at the
-corners, the second might have the sides indented or
-looped, and so on. Make a series of these with every
-possible variation; then all could be drawn in a note-book,
-in squared paper—for the sake of ease and
-accuracy. The ends of the cords or braids should
-be pinned together in order to form a continuous
-band.</p>
-
-<p>The next step would be to interweave a second length
-of cord into those already formed. Care is necessary to
-interlace the bands, so that each passes over and under
-the other in regular rotation. This second band might
-take the form of another square, set the reverse way,
-or a circular form might be introduced. When all possibilities
-have been worked out, they also should be noted.
-By degrees more complicated and intricate knots may
-be attempted.</p>
-
-<p>Sometimes an elaborate form may be worked out on
-paper to begin with, then interlaced and pinned out in
-cord. The embroideress will find a note-book and a
-square of canvas very useful for reference, also as
-aids to memory: in the former, she can make notes of<span class="pagenum" id="Page_93">[Pg 93]</span>
-designs and suitable detail, of colour schemes taken from
-pictures, materials and embroideries, suggestions for
-finishing and fastenings of garments, little notes and
-quotations suitable for embroidery—all sorts of interesting
-matter which the eye is quick to see but which the
-memory cannot always recall at the right moment. In
-the square of canvas or coarse linen, divided into sections,
-might be worked some of the more interesting or unusual
-stitches, or groups of stitches; or pleasing combinations
-of stitches and colour might be preserved as the opportunity
-occurred. These might serve to suggest or recall
-methods and varieties suitable to some work in hand.</p>
-
-<p><b>Faggoting.</b>—Faggoting is a stitch which is used to
-connect two edges, particularly such edges as require a
-dainty finish, or to fill in an open space, or to serve as a
-foundation for some interlacing stitch. It is much used
-for joining ribbons, braids, or thin materials, such as
-ninon, chiffon, or crêpe.</p>
-
-<p><i>Method</i>:—Prepare the material for faggoting by
-tacking it on to a piece of stiff <i>toile cirée</i>, glazed calico,
-or if that is not at hand, stiff brown paper will answer the
-purpose. This is done in order to keep the edges at an
-equal distance. The width of the space may vary from
-one-quarter to three-quarters of an inch; the joining
-thread should vary in thickness—the wider the space, the
-thicker the thread. Draw two parallel lines on the
-foundation as a guide, if necessary, and tack the material
-to these lines. If a braid or ribbon or any material
-with a finished edge is used, there is no need for turnings,
-but with a raw edge it is necessary to turn in three-eighths
-of an inch and to press them with an iron before starting.</p>
-
-<p><span class="pagenum" id="Page_94">[Pg 94]</span></p>
-
-<p>To work the stitch, begin at the upper end of the left-hand
-corner with a small stitch; cross to the opposite
-side; take a stitch, keeping the thread under the needle;
-work alternately from side to side, always inserting the
-needle from the outside. Keep the stitch regular, the
-same size and the intervals of equal distance.</p>
-
-<p>Faggoting is practically a herring-bone stitch, but the
-needle is inserted vertically. See <a href="#f1">Plate I</a>. and compare
-the stitchery in blue which forms a line up either side.
-It forms the foundation for many interlacing stitches of
-which there are quite
-a variety adaptable
-to various purposes.</p>
-
-<div class="figleft" id="s11">
-<img src="images/fig37.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 25.</span></p>
-</div>
-
-<p>By interlacing
-threads as in Fig. 25,
-where the dotted line
-represents the interwoven
-thread, the
-whole of the foundation
-stitches can be covered. It must be done in
-rows, one after the other. The first row is drawn much
-tighter than the one in Fig. 25, each successive
-row being placed on the outside of the previous row, till
-eventually the faggoting foundation has almost disappeared.</p>
-
-<p>A very good line of raised stitchery can be worked on
-to a foundation of herring-bone stitching. The threads
-are laced in, one row at a time, as shown in Fig. 25. See
-<a href="#f14">Plate XIV</a>., where it is worked round the outer edge, also
-in the nightdress case (<a href="#f11">Plate XI</a>.), where it forms the
-narrow inner border.</p>
-
-<p><span class="pagenum" id="Page_95">[Pg 95]</span></p>
-
-<p>“<b>Point d’Alencon.</b>”—Faggot or Russian is one of
-the stitches used in the making of point lace or Honiton
-point. As a lace stitch, it goes under the name of “<i>Point
-d’Alencon</i>.” It is used to join the braids; it also makes
-one of the principal filling stitches for leaves or oval
-spaces.</p>
-
-<div class="figright">
-<img src="images/fig38.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 26.</span></p>
-</div>
-
-<p><b>Veining</b> (<b>Fig. 26</b>).—Fig. 26 shows a well-known
-joining stitch, which looks well if done in a twisted silk,
-wool, or linen. It makes a pretty
-insertion, and adds much to the
-appearance of a seam. It is a
-narrow line stitch, therefore the
-two edges of the material should
-not be too widely spaced. Prepare
-the edges in the same
-manner as for faggoting and tack
-them on to a stiff foundation.</p>
-
-<p><i>Method</i>:—Fasten the thread to the edge of the
-material; carry the needle across to the opposite edge;
-insert it under and bring it through the material; twist
-the thread twice round the needle and insert it on the
-opposite side from underneath, as shown in the diagram;
-oversew a few stitches along the edge to carry the thread
-into position for the next stitch. This insertion is useful
-for joining braids, for dress fitments and other purposes;
-it is much in vogue for the joining of thin materials, such
-as chiffon and ninon or crêpe; these require to have a
-fold laid and pressed before being tacked on to the paper.</p>
-
-<p>A very pretty addition to a border, whether for a
-piece of ornamental work, for the edging of a collar, the
-joining up of a bag, or for the foot of a jumper, is made<span class="pagenum" id="Page_96">[Pg 96]</span>
-by inserting between the material a line of gold tinsel or
-velvet ribbon, braid, or even material of a contrasting
-colour. This must be tacked on firmly to a foundation
-of stiff calico or brown paper, then attached by an
-insertion to the edges of the material.</p>
-
-<div class="figleft">
-<img src="images/fig39.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig</span>. 27.</p>
-</div>
-
-<p>This stitch, whether used as an insertion or as a filling,
-must also in this case be carefully arranged and regularly
-worked, otherwise the appearance of the work is spoiled.
-The threads should in all cases be tightened sufficiently
-to give the necessary firm twist to the line. To obtain
-the technique of many of these insertion stitches it is
-only needful to practise them for a few minutes on a
-piece of material as a preliminary to the actual working
-of them. This enables the worker to see what size of
-thread to use, and it gives her the opportunity of trying
-and comparing various colours
-without the irksome task of
-unpicking.</p>
-
-<p>Fig. 27 is worked much the
-same as Russian stitch (Fig.
-25), except that it is worked
-closer and the thread picked
-up by the point of the needle
-before it is inserted on the
-opposite side—this twisted
-faggot stitch is really a combination of the veining and
-faggot insertion and is used for the same purposes.</p>
-
-<div class="figcenter" id="f9">
-<p class="captionr">PLATE IX.</p>
-<img src="images/fig40.jpg" alt="">
-<p class="captionc">THREE COLLARS. (<a href="#Page_162"><i>See page 162.</i></a>)</p>
-</div>
-
-
-<div class="figright">
-<img src="images/fig41.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 28.</span></p>
-</div>
-
-<p><b>Antique Seam</b> (<b>Fig. 28</b>).—In earlier times, when the
-linens were woven in narrower widths, the seams were
-always connected in a more interesting method than at
-the present day, when, if a flat seam is wanted, the
-<span class="pagenum" id="Page_97">[Pg 97]</span>selvedges are invariably oversewn. One of the older
-methods is shown in Fig. 28. It makes a firm, flat and
-decorative row of stitching. For the joining
-of selvedges of bed-linen a narrow slanting
-stitch sewn in white was used; for more
-decorative purposes a coloured and a larger
-straight stitch was used, as Fig. 29. To
-work, lay the two selvedges parallel to
-each other and tack or pin them quite flat.
-Begin on the left side and insert the needle
-from below on the right and left sides alternately;
-in this way the threads cross each other between
-the selvedges. In connecting a very thin material in
-this way it makes a good finish.</p>
-
-<div class="figcenter" id="s12">
-<p class="captionr"></p>
-<img src="images/fig42.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 29.</span> <span class="smcap padl">Fig. 29a.</span></p>
-</div>
-
-<p>Fig. 29 gives an effective stitch for a decorative joining
-of two edges. It may be applied to bands, cushion covers
-and household embroideries generally.</p>
-
-<p><i>To work</i>:—Prepare the seams by placing the two
-selvedges flat on to a stiff foundation, say quarter of an
-inch apart; secure the thread on the left upper edge;
-insert the needle at the lower edge a little to the right;
-pull through with the thread to the right of the needle;<span class="pagenum" id="Page_98">[Pg 98]</span>
-make a little stitch, as Fig. 29; pull through with the
-thread under the needle. This makes a good firm
-insertion; a thick twisted thread is the most suitable.
-Fig. 29 shows the insertion rather widely spaced. Plate
-XII. shows this stitch worked in wool, where it is applied
-to the edges of braids, which form the foundation for a
-useful collar.</p>
-
-<div class="figleft">
-<img src="images/fig43.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 30.</span></p>
-</div>
-
-<p><b>A Useful Edging.</b>—Fig. 30 gives a knotted loop
-stitch which is again borrowed from the many useful lace
-stitches. It is an edging
-which may be worked in
-silks, flax, cotton, threads,
-or wools. In Plate XII.
-it forms the finish to the
-braid collar, where it is
-worked in thick cotton
-thread. This loop stitch makes a charming insertion if
-worked on to the edges of any suitable material—narrow
-ribbon or hat straws. The working of the
-stitch is clearly shown in Fig. 30. The two edges are
-joined with an interlacing stitch of a contrasting colour,
-with raffia, cord, or narrow ribbon. Bands of hat
-straw could be joined in this way and made up
-into delightful light and economical summer hats.
-The shape could be then placed over a foundation of
-wire and the brim stiffened with wire, button-holed on
-to the straw with a silk, flax, or raffia thread.</p>
-
-<p><b>A Collar of Braid.</b>—Plate XII. illustrates an interesting
-piece of work, built up of oddments of skirt braid,
-silver tinsel, braid, silks and wools.</p>
-
-<p>Very charming dress and coat fitments may be made<span class="pagenum" id="Page_99">[Pg 99]</span>
-in this way, and all sorts of scraps and remainders of
-trimmings and braids, silk patches and patterns may be
-utilised. The construction is very simple. The best
-way to set about the making of these braid collars, cuffs,
-or bands is to cut out the desired shape—the exact size
-wanted. The pattern is then placed on to a piece of
-glazed calico and the outline traced firmly upon it. A
-still more direct method is to cut out the pattern in stiff
-brown paper and utilise it as the foundation on which to
-tack the braids. Care must be taken to have the shape
-correct before starting to work with the materials. This
-being assured, arrange a braid or cross-bar of material
-round the outer part; tack it at the outer edge with bright-coloured
-wool on to the paper foundation, then adjust
-the bars and panels, allowing the ends of the braids to
-slip under the outer braid. Circles or squares of ribbon,
-velvet, or tinsel, placed in the most important parts and
-tied to the outer edges with lines of braid or ribbon,
-which, in turn, might be connected with open stitchery,
-fork-pin insertion (Fig. 73), or some small beads, are very
-pretty. All give scope for individual taste and ingenuity
-in colour and material. If the collar is on the round,
-the outer bands must be flexible, in order to take the
-curve nicely.</p>
-
-<p>The collar in the illustration has for the outer row
-a skirt braid of a soft dove grey. It is tacked in
-place with a line of couching in royal blue wool, sewn
-on with a silk thread—reel twist is very good—of
-the same colour; the stripes of cream-coloured braid
-are ornamented with coral-coloured wool in long stitches,
-tacked down the centre to form a point. The smaller<span class="pagenum" id="Page_100">[Pg 100]</span>
-panels have been placed in position previously; they
-consist of chequered silk ribbon in grey and heliotrope.
-All the short lines are connected with Russian stitch
-worked in coral wool, the bands of cream braid being
-laid on over them and then sewn down; finally the
-inner edge of the border is couched down. The edges
-are now all tucked out of sight, the brown paper is cut
-away from the back, all ends, edges and tags are secured
-and made neat with tiny overcasting stitches, and the
-collar may either be lined or sewn on in place without
-lining, as the case may be.</p>
-
-<p>It is often necessary to confine the cut edges of the
-broad braid, in order to prevent them from spreading,
-by winding a thread round and tying it just above the
-part to be cut—this often saves time and trouble in the
-long run.</p>
-
-<div class="figcenter" id="f10">
-<p class="captionr">PLATE X.</p>
-<img src="images/fig44.jpg" alt="">
-<p class="captionc">A TEA-COSY COVER (<a href="#Page_112"><i>See p. 112</i></a>.)</p>
-</div>
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_101">[Pg 101]</span></p>
-<h2 class="nobreak" id="c10">CHAPTER X</h2>
-</div>
-
-<p class="c less">INSERTIONS IN NEEDLE-WEAVING—POINT DE RÉPRISE—<br>INTERLACING
-AND OPENWORK BACKGROUND</p>
-
-<div class="blockquot">
-<p>
-“There she weaves, by night and day,<br>
-A magic web with colours gay.”
-</p></div>
-
-
-<p><b>A Chequered Pattern</b> (<b>Fig. 31</b>).—Chequered patterns
-look well in needle-weaving. A number of colours
-may be introduced if the spacing permits.</p>
-
-<div class="figright">
-<img src="images/fig45.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 31.</span></p>
-</div>
-
-<p>Fig. 31 shows a diagram of needle-weaving which
-gives the method of working a chequered pattern on the
-upright or warp threads. Prepare the bar or band by
-removing the weaker
-(weft) threads; a little
-decorative line of
-stitchery may then be
-added by hemstitching,
-button-holing, or
-herring-boning the
-edges; this adds a
-finish and groups the
-warp threads into
-clusters which is an advantage—it saves trouble when the
-actual weaving begins by keeping the weft threads in
-place; cross stitch and oversewing are useful stitches for
-the same purpose. The worker should be careful to
-group the strands equally by dividing them into clusters<span class="pagenum" id="Page_102">[Pg 102]</span>
-of three, four, or six threads. In Fig. 31 the upper
-row is hemstitched loosely, to show the method (see
-also <a href="#s6">Fig. 34</a>, p. 114, for hemstitching). The lower
-edge of the diagram is not hemstitched; if the threads
-are woven in closely it is not always necessary to do so,
-although a line of stitchery is an improvement—it
-softens the edge and adds to the appearance of the
-weaving (see <a href="#c5">Chapter V.</a>).</p>
-
-<p><i>Method of working Fig. 31</i>:—Withdraw the threads of
-the material for three-quarters of an inch wide, and of
-the desired length; cut the weft threads at one end and
-the corresponding threads at the opposite end. If the
-bar is long, correctness of line may be ensured by pulling
-and tightening a single thread on the upper and lower
-edges—these will indicate the exact spot for cutting them
-without risk of mistake. Take a fairly long thread of
-wool and a blunt-pointed tapestry needle; a loose but
-regularly-woven canvas is the best material to work on
-to begin with, and wool or flax threads give the best
-results. The threads are easily seen and counted, and
-there is not the same chance of their being dragged or
-over-tightened. Secure the thread by running a few
-stitches on the under side; bring the needle up between
-two groups of threads; pass it alternately over one group
-and under the other until a piece the size of the chequer
-wanted has been filled in. As the needle passes to and fro
-it should press down each row of weaving closely together;
-this has the same effect as the “comb” which the weaver
-uses to press down the weft threads of his fabric. The
-first block being finished, pass to the next two groups by
-carrying the needle over and under as before, and<span class="pagenum" id="Page_103">[Pg 103]</span>
-pressing down each row with the needle; the second
-compact mass will then be woven as in the diagram. To
-reach the next block, slip the needle down the back of
-the second chequer; this will bring it into position to
-work the lower block. Continue in this way to the end
-of the row, always passing the needle—at the back—through
-the group of woven threads to get into position
-for the next block.</p>
-
-<p><b>Reversible Needle-weaving.</b>—These chequers may
-be worked in slanting rows, or they may form a vandyke
-pattern, ascending and descending in a series of little
-steps; the V-shaped spaces between at top and bottom
-of the line may be filled in with another pattern or with
-rows of chequers in a contrasting colour. Both sides of
-the patterns are alike, and when the beginnings and
-finishings of threads are neatly done it may be reversible.
-This is one difference between needle-weaving and
-tapestry-weaving; in the latter the work is done with the
-wrong side or back of the pattern uppermost; it shows
-the starting and fastening off of threads, as well as the
-passing of threads from one part to another, all of which
-makes the one side unpresentable.</p>
-
-<p><b>Another Pattern.</b>—Some simple insertions may be
-worked by varying, slightly, the arrangement of the
-groups. Begin as in Fig. 31, but weave over three
-groups of threads instead of two; having arrived at the
-centre, carry on weaving over two more groups to the
-right and include the last group of the block just darned,
-to form the beginning of the new block. By repeating
-these groups of three alternately at the top and at the
-foot, always using the last of the previously darned block<span class="pagenum" id="Page_104">[Pg 104]</span>
-as the first of the next, a pretty little pattern is formed—a
-central cluster of threads is left between each block,
-which may afterwards be oversewn with a contrasting
-colour, or left with the warp threads of the material
-exposed. A very open and particularly effective insertion
-for a hem is made by working over two groups of
-four threads each—three or six strands of thread in each
-cluster if preferred. Begin exactly as in Fig. 31, at the
-left lower corner, and weave to the centre; then take in
-one more cluster and weave in with it the last one of the
-previous block; work to the top; slip the thread down to
-the centre; weave over two clusters, adding one of those
-previously woven with another group; continue in this
-way to the end. By adding a new cluster to the one
-already in use the threads are pulled further apart, and
-a wider opening between the groups is the result. With
-these few suggestions, the worker will find that she can
-arrange and vary these insertions to suit her material
-and her own taste.</p>
-
-<p><b>Filet Background.</b>—Small squares, ovals, circles, or
-indeed any shaped space may be filled in with a net or
-filet background, then darned in with a simple pattern.
-The usual way of opening a square or oval (Plate X.) is
-to button-hole the form round the outside, then turn the
-work on to the wrong side and cut the horizontal threads
-at the edge—near the button-holing; draw and cut again
-at the opposite side these same threads. The whole
-of the space is cut and divided up; a bar of threads
-is left between each of the open spaces, always leaving
-the same number of threads between each three or four,
-and cut and draw the next three or four. When the<span class="pagenum" id="Page_105">[Pg 105]</span>
-horizontal threads are cut and drawn, cut the vertical
-ones in the same way; when these are finished, begin to
-oversew each line, with one stitch into each hole backwards
-and forwards, until each line, horizontal and
-vertical, is oversewn. Care must be taken to make all
-oversewn stitches lie the same way. Note—the preparation
-of the background is done on the wrong side. Little
-geometrical shapes and patterns may now be darned in.
-As said above, the number of threads left in between
-these open spaces may vary; the fewer there are, the
-more open the squares will be. The result of this cutting
-and pulling of threads is a net background which can be
-worked in many different ways. The usual method is
-to oversew all the horizontal lines first, taking care to let
-the stitches lie the same way in each row; turn the work
-half round to oversew the remaining lines in the same
-way.</p>
-
-<p>There is another way of making an open background
-which might commend itself to those who are averse to
-removing the threads, that is, by cutting the material
-which forms the background into narrow strips and oversewing
-the bars. It should be marked off in double
-horizontal lines rather less than an eighth of an inch
-apart; place these double lines at regular intervals about
-half an inch apart; rule them in chalk or pencil, then
-mark off the half-inch spaces into vertical lines an
-eighth of an inch apart; these vertical lines are then
-cut two or three at a time with a sharp pair of scissors
-and oversewn one by one in rows, overseaming the
-upper and lower horizontal bars by the way.</p>
-
-<p>Very charming needle-woven bands can be arranged<span class="pagenum" id="Page_106">[Pg 106]</span>
-for different purposes by button-holing squares or oblongs,
-cutting and withdrawing four threads each way and
-leaving eight between. When a square is button-holed—with
-twenty-eight vertical and horizontal threads in
-the enclosure—there will be four solid squares connecting
-nine open ones, that is, one open square in the centre
-with the four solid squares at each corner, and the open
-ones surrounding them. Each solid square has eight
-single threads surrounding it; divide these into two groups
-by interweaving four threads under two and over two.
-When finished, there will be two woven bars connecting
-each side of the small squares with each other and with
-the outer button-holed square. These woven bars
-could occur at regular intervals among the more solid
-needle-woven portions.</p>
-
-<p>Many very charming things may be made in this way
-with woven threads. These primitive patterns can be
-worked with ease in such varied forms, alone or as
-adjuncts to embroidery (Plate VI.), that an inventive
-needle-woman can ornament in rich colours, or without
-the aid of colour, many interesting pieces of work, provided
-she takes care to weave regularly and keeps her
-design simple and suited to the material.</p>
-
-<div class="figcenter">
-<img src="images/fig46.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 32.</span></p>
-</div>
-
-<p><b>“Point de Réprise” or Darning Stitch.</b>—Fig. 32
-shows an insertion worked on a foundation or trellis.
-This stitch, which may be used as a filling for open spaces
-or for the decoration and joining of two edges, is an
-interesting one, and most effective when worked. In
-cottons, wools, or silks it could be applied to many
-different purposes quite suitably; worked on linen with
-silk or flax threads, it might provide a dainty insertion<span class="pagenum" id="Page_107">[Pg 107]</span>
-for some article of personal wear; worked in wool, it
-could decorate simply collars, cuffs and bands for a
-dress or jumper suit. Fig. 32 gives merely one form with
-the method of weaving, but there are many others to
-which the woven pyramid is applied. It is much
-quicker and simpler in execution than the button-hole
-pyramid, which is firmer but much more tedious to
-work—the former, too, looks well in wools and thick
-threads, while the latter requires lace thread. Woven
-pyramids are frequently used by point lace workers; this
-is called by them “<i>point de réprise</i>,” and applied to the
-fillings of circles and leaf shapes where the little cone-like
-forms work in very appropriately. The foundation of
-Fig. 32 is a double line of faggoting in Russian stitch; a
-single line is worked first; the stitches are taken widely
-apart, then a second row is worked between the spaces
-of the other, so that a series of little diamond-shaped
-spaces are formed as in Fig. 25. Begin at the edge of
-the braid and weave the pyramid from the base so that
-the points may meet at the centre; be careful to weave
-an equal number of threads into each cone-like shape,
-or they will vary in size.</p>
-
-<p><b>Pyramid Insertion.</b>—An insertion of alternate pyramids,<span class="pagenum" id="Page_108">[Pg 108]</span>
-with the bases at the centre, is more open and does
-not take so long to work. Make a foundation of faggot
-stitch, a single row this time, then carry the thread to
-the point of one of those stitches and weave over two
-threads to the centre. As these little cones should always
-be worked from the point, carry the thread to the top
-of the braid by overcasting the faggot thread; weave
-again towards the centre; when finished, the bases of the
-pyramids will form a central line.</p>
-
-<p>An equally simple insertion and quite as effective is to
-work the pyramids in button-hole stitch on to each
-faggot thread. After forming the foundation stitches—the
-trellis—begin at the point as before, and work two
-button-hole stitches on each side before crossing over to
-the other side; otherwise it is worked exactly as the
-former pattern detailed above. Two rows of faggot
-stitch may be used for the foundation of quite a number
-of different woven patterns. Little rosettes or wheels are
-formed by five threads; at the junction of the stitches—at
-the centre of the space—are four threads; add another
-by carrying a central thread to the first group; work the
-rosettes over the five threads in a similar manner to
-Fig. 54, weaving the threads in and out; when finished,
-slip the needle under the finished rosette to the next
-intersection of the stitches and work the second rosette
-and so on. Descriptions are always tedious to follow—the
-best way is for one to work with needle and thread
-while another reads the directions aloud.</p>
-
-<div class="figcenter" id="f11">
-<p class="captionr">PLATE XI.</p>
-<img src="images/fig47.jpg" alt="">
-<p class="captionc">A NIGHTDRESS CASE (<a href="#Page_128"><i>See p. 128</i></a>.)</p>
-</div>
-
-<p><b>Interlacing Stitch</b> (Fig. P, Plate II.).—This interesting
-insertion stitch is one which will well repay the worker
-for her trouble in mastering it. Although not a complicated
-<span class="pagenum" id="Page_109">[Pg 109]</span>stitch, there are little points to be noted in the
-laying of the foundation threads which, if omitted, prevent
-the interlacing threads from working in properly.</p>
-
-<div class="figright">
-<img src="images/fig48.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 33.</span></p>
-</div>
-
-<p>Fig. 33 shows a diagram with the method of laying the
-foundation stitches:—One row is worked over the other;
-this lattice work supports
-the interlacing threads,
-which also require two
-rows to work them. Fig. P
-shows the insertion completed.
-At a casual
-glance, Fig. 33 appears to
-consist of two rows of
-herring-bone stitch, the
-one superimposed upon the other; but if a short line of
-herring-boning is worked and compared with the diagram
-the difference will be noted at once. In working the
-foundation, let the threads lie loosely on the surface to
-allow for the interlacing threads.</p>
-
-<p><i>Method</i>:—Secure the thread at the left lower line;
-take a short horizontal stitch, three-quarters of an inch
-to the right on the upper line. Note—place the thread
-under the needle when drawing the stitch through; this
-keeps the working thread under the diagonal stitch just
-formed. Cross to the lower line, and three-quarters of an
-inch further on take a horizontal stitch, but this time
-the thread is not kept under the needle, as it comes out
-on top and lies over the last diagonal. Proceed in this
-way until the end of the row is finished, then compare
-carefully with the diagram. Make sure before starting
-the second row that all the diagonal stitches beginning<span class="pagenum" id="Page_110">[Pg 110]</span>
-at the left of the upper row pass under those crossing
-from right to left; this is achieved, as said above, by
-keeping the thread under the needle on the upper row.
-The first row of the lattice being finished, start at the
-left of the upper line and work in the same way as before;
-cross to the lower line, and take the horizontal stitch
-exactly beneath that of the previous row; then slip the
-eye of the needle under the thread of the diagonal stitch
-and take the horizontal stitch on the upper line with the
-thread under the needle. Working in this way, little
-diamond-shaped spaces are formed. With the completion
-of the second row, it will be seen that the stitches
-are all interlaced over and under each other with the
-utmost regularity. For the inter-threading of the
-pattern, take a long thread and a blunt-pointed needle;
-the thread only enters the material at the starting and
-finishing of the work. Secure the thread at the left in
-the middle of the space between the upper and the lower
-lines; if an open insertion, it must be secured at the top.
-In Fig. 33, the thin dotted line represents the interlacing
-thread, which passes over and under the little crosses on
-the upper line and down to the crossing at the centre;
-thus the first row of interlacing threads are all worked
-on the upper half of the foundation stitches. When the
-end of the line is reached, turn the thread round the last
-central cross and return, interlacing the threads on the
-lower half of the herring-bone foundation. Note, in
-passing to the centre of the line, that the threads interlace
-regularly with those of the upper row, as they must
-pass to the upper side of the central crosses. By this
-time it will be seen how beautifully these threads fit into<span class="pagenum" id="Page_111">[Pg 111]</span>
-one another, but should any little mistake have occurred
-in the foundation stitches—the supporting lattice work—the
-equal and regular inter-threading will be found
-impossible. The thread must be chosen to suit the size
-of stitch—the foundation threads are practically covered.
-In Fig. P they are shown rather too clearly at the
-edges; also in Fig. 33 the interlacing thread is not in
-proportion to the size of the lattice work, but a little
-practice will soon show the worker the size of thread
-suitable for a border; a half-inch border requires a good
-stout thread to fill the space—too thin a thread will make
-the insertion rather poor in appearance, while too thick
-a thread will make the interlacing difficult to manipulate.
-This insertion looks well with all types of threads, therefore
-it can be used for many purposes. For making
-decorative hems for household linen it is most useful,
-and gives one quite a pleasant change from the usual
-hemstitch; it is also more practical, because much more
-durable. No threads are withdrawn; a single fold of the
-material turned over to the front surface is the preliminary;
-this is firmly secured by the two lines of
-herring-bone stitch. Large decorative initials could be
-worked with the same stitch; placed in the centre just
-below the hem, they would look very well—it would be
-better to draw these out on squared paper for the first
-trial, one or four squares to each cross, according to the
-size of the initial wanted. The insertion could be used
-for many purposes. In some of the old German linen
-work of the fourteenth century this stitch is applied to
-household linen—in geometrical patterns to borders,
-insertions and corners, where it looks very appropriate;<span class="pagenum" id="Page_112">[Pg 112]</span>
-they are worked with white thread on white linen, but
-there is no reason why they should not be embroidered
-on a coloured linen—blue would look very effective
-worked in white threads or <i>vice versâ</i>. At a later date,
-some of the Eastern countries adapted this stitch to
-their own type of work and design, conventional flowers
-being carried out with admirable effect in coloured silks.
-The worker would find this adaptation rather difficult
-unless she had done a fair amount of line work.</p>
-
-<p><b>Cosy Cover.</b>—Plate X. illustrates a piece of work
-suitable for everyday use. It is a washable cosy slip
-worked in white linen with a pattern in braid. In this
-example the braid is flexible enough to take the curves
-of the design easily; it is tacked on, as previously
-described in the nightdress case (Plate XI.), on the outer
-edges, and gathered up with tiny oversewn stitches on
-the inner, to make the curves lie nicely. The design is
-very simple; it is made up with French braid in
-varying lengths formed into curves at the corners; the
-ground is of white linen. The braid is sewn on in blue
-cotton with a small button-hole stitch; the little daisies
-of loop stitch and the surface filling of the centre are also
-in colour. The open web in the centre is a simple lace
-stitch worked in button-holing.</p>
-
-<div class="figcenter" id="f12">
-<p class="captionr">PLATE XII.</p>
-<img src="images/fig49.jpg" alt="">
-<p class="captionc">THREE HAT BANDS (<a href="#Page_129"><i>See p. 129.</i></a>)</p>
-</div>
-
-<p><i>Method</i>:—Cut away the linen (see description, <a href="#f10">Plate
-X.</a>); work round the opening a row of button-hole stitch
-not too closely set, then work ten loose loops similar to
-Fig. 54. Catch the last loop of the circle into the first
-to join; then on the last-formed loop work six button-hole
-stitches; pass the next loop; work six button-hole
-stitches again into the following loop—the third;
-<span class="pagenum" id="Page_113">[Pg 113]</span>proceed in this way to the end of the row. Work on in
-continuous rows until the centre is reached; each group
-of pyramids must have one stitch less in each row as
-the circle becomes smaller. Finally, at the apex, the
-thread is twisted once round each loop; carry the thread
-to the edge of the material by overseaming the edge of the
-first pyramid; finish it off on the back of the linen. The
-square mesh for the open-work is prepared as described on
-p. 127. The open-work clusters of the background may
-be grouped differently from those in the illustration,
-where they are oversewn horizontally and vertically.
-Quite a pretty variety would be to work them in diagonal
-lines securing each cluster with a knot stitch.</p>
-
-<p><i>Method</i>:—Start the thread at a part on the left where
-a definite oblique line may be laid. Work a stitch with
-the thread under the needle, through the stitch and
-tighten the knot; carry the thread obliquely to the next
-cluster and repeat the knot. Another method is, after
-preparing the background, to fill up the spaces with four
-open loops of button-hole stitch; work each loop into
-half the cluster of surrounding threads—the other half is
-used in working the adjacent square; in other words, the
-open square is filled in with four little loops, the needle
-being passed through the first loop to join it with the
-last before passing on to the next square, and the
-clusters of loose warp and weft threads are divided and
-pulled apart by the loops, leaving a little oval-shaped
-opening. The edges of the cosy are worked round with
-loops (see <a href="#s2">Fig. 57</a>). These finish the sides and serve as a
-means of lacing the two halves together. This manner of
-finishing makes for simplicity in the washing and ironing.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_114">[Pg 114]</span></p>
-
-<h2 class="nobreak" id="c11">CHAPTER XI</h2>
-</div>
-
-<p class="c less">FRINGES AND TASSELS—HAND-MADE BRAIDS—<br>KNOTS
-AND PICOTS</p>
-
-<div class="blockquot">
-
-<p>“And bid them that they make them fringes in the borders of
-their garments.”</p>
-</div>
-
-
-<p><span class="smcap large">Fringes</span> are used to form an ornamental border for
-various articles; they seem to be the most natural finish
-to many of the loosely-woven textures. They can be
-knotted in different ways into simple or elaborate
-patterns, or they can be enriched with groups and bands
-of coloured threads or beads. The most simple are those
-produced by the unravelling of the horizontal or weft
-threads. In planning out a piece of work to be finished
-off with a fringe, allow 6 or 7 inches for it—or whatever
-depth is wanted; finish it after the rest of the work has
-been completed, as the frayed edges
-are apt to get soiled and untidy if
-unravelled before.</p>
-
-<div class="figleft" id="s6">
-<img src="images/fig50.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 34.</span></p>
-</div>
-
-<p><b>To prepare a Fringe.</b>—Withdraw
-a few threads at the head of
-the space and work a row of single
-hemstitching, or overcast it with
-large stitches. There is only a
-single ply of material, but this stitching, while giving
-firmness, adds a decorative value and prevents the
-loosening of the weft threads. Fig. 34 explains the<span class="pagenum" id="Page_115">[Pg 115]</span>
-method of hemstitching; if the strands or warp threads
-look rather poor and thin, additional weight may be
-given to the whole by darning in either some of the
-weft threads, which have been removed, or by adding
-various coloured ones.</p>
-
-<div class="figright">
-<img src="images/fig51.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 35.</span></p>
-</div>
-
-<p>Fig. 35 shows one way of adding threads. These
-are fixed into place most easily by means of a crochet
-hook.</p>
-
-<p><i>Method</i>:—Wind the thread round a piece of cardboard
-sufficiently wide—that is,
-almost twice the depth of the
-required fringe; cut the threads
-along one edge of the cardboard,
-and the strands are ready for use.
-Put the hook into the material near
-the edge from behind; lay the loop
-of the doubled length of thread on the hook and draw
-it through, then slip the two ends through this loop and
-tighten (Fig. 35).</p>
-
-<p>Many pretty variations may be made by adding beads
-or narrow ribbons, tassels or knots (Plate VI.). Those
-tasteful finishing touches add greatly
-to the appearance of the work.</p>
-
-<div class="figleft">
-<img src="images/fig52.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 36.</span></p>
-</div>
-
-<p><b>Knotted Fringe.</b>—Fig. 36 has
-the strands in groups knotted together,
-then divided and knotted
-again. These knots take up a fair
-quantity of thread, thus the length
-allowed for the fringe must depend
-on the number of rows of knots, as well as on the coarseness
-or fineness of the thread used. The thicker and<span class="pagenum" id="Page_116">[Pg 116]</span>
-firmer the texture of the strands, the greater the length
-of thread required for the knots. The method of making
-the knots being shown in the figure, it needs little explanation.
-After the first row of knots is formed, the
-second row is made up of the groups of threads hanging
-from these knots—they are divided, and half a group
-is taken from the right and left respectively. Three or
-four rows may be added in this way, each succeeding
-row of knots coming between those of the row above.</p>
-
-<div class="figleft">
-<img src="images/fig53.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 37.</span></p>
-</div>
-
-<p><b>A Flat Knot.</b>—Fig. 37 gives a flat knot used in fringe-making
-by macramé workers. At one
-time (in the sixteenth century), priests’
-vestments were frequently trimmed
-with this handsome type of fringe,
-consisting chiefly of knots grouped into
-various patterns. It was then known
-under the name of “<i>punto a gruppo</i>”;
-later it was called macramé, from an
-Arabic word meaning ornamental
-fringe or trimming. The Genoese used
-it for the trimming of bridal dresses.
-These knots can be added directly to
-a hem, or worked over a cord.</p>
-
-<div class="figright">
-<img src="images/fig54.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 38.</span></p>
-</div>
-
-<p><i>Method</i>:—Arrange the thread in groups of two double
-strands, as in Fig. 37 <i>a</i>; take the two outside strands, and
-passing the left one under the middle strands, and the
-right-hand one over them—these middle strands meanwhile
-being held taut between the second and third
-fingers—bring the left-hand strand out, as Fig. 37, and
-the right-hand strand under so that their positions are
-reversed. Complete the knot by crossing the reverse<span class="pagenum" id="Page_117">[Pg 117]</span>
-way again and tighten to finish. Quite a pretty fringe
-can be made by working a row of four of these flat knots
-in succession over four strands, one knot below the other;
-the second row has the knots made on four strands—two
-strands taken from each of the groups immediately
-above—this brings the knots of the second row alternating
-with those of the upper row, as in Fig. 36.</p>
-
-<p><b>Twisting and Crossing.</b>—Fig. 39 gives a little hand-made
-braid, very useful for many purposes, for small
-headings, or for finishings, edges, or seams. It is a simple
-plait made with four strands of any firm
-thread or narrow braid—the latter is the
-more suitable for embroidery. Lace plaits
-similar to this require bobbins and a pillow,
-as well as a suitable lace or linen thread;
-but the gimps for embroidery can be made
-quite nicely by fixing the knots to some firm
-foundation and winding the cord, string, or
-braid on to a piece of cardboard. The plait is
-done by means of twisting and crossing.
-These terms are used in the making of pillow
-lace. “Twisting” always means passing the
-right-hand strand over the left (Fig. 38 <span class="allsmcap">A</span>), and “crossing”
-means the passing of the inner left-hand strand
-over the inner right-hand strand (Fig. 38 <span class="allsmcap">B</span>).</p>
-
-
-<div class="figcenter">
-<img src="images/fig55.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 39.</span> <span class="smcap padl">Fig. 39a.</span></p>
-</div>
-
-<p><b>Hand-made Gimp.</b>—Fig. 39 shows the braid in
-process. Each pair of threads is twisted once, then the
-inner threads are crossed; this is repeated to the end,
-care being taken to keep all threads as equal as possible.
-Fig. 39<span class="allsmcap">A</span> is the same braid with picot edgings. These
-picots may be placed at every second loop instead of<span class="pagenum" id="Page_118">[Pg 118]</span>
-every fourth as in the figure. They are made with the
-help of pins fixed into the foundation; the outside thread
-is passed round the pin before twisting with the next
-strand.</p>
-
-<div class="figright">
-<img src="images/fig56.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 40.</span></p>
-</div>
-
-<p><b>To make a Lace Pillow-Cushion.</b>—Fig. 40 is a still
-more elaborate braid, consisting of five double strands.
-It could be more easily worked on a cushion—a large pin-cushion
-tilted against a table would do, or the worker
-could make a pillow-cushion for herself, such as some
-lace-makers use, in the following way: Cut a piece of
-firm cotton or linen about 20 or 22 inches wide and 22
-to 24 inches long; join up the length by the machine;
-hem the two ends and run a drawing string through them<span class="pagenum" id="Page_119">[Pg 119]</span>
-to close the ends. Cut two circles of cardboard 4 or 5
-inches in diameter; draw up one end of the pillow and
-place a circle of cardboard in against the closed end; fill
-the cushion with bran or cork—such as is used for packing
-grapes—horsehair, or sawdust; stuff tightly; then
-place the other circle of cardboard on top and tighten
-up the second end by means of a
-strong cord run through the edges.
-This little cushion can be placed
-into a wooden box or basket,
-which is better to be weighted a
-little to keep it steady. Some
-pillows are made like a cylinder
-and fitted into a box, which is
-higher at the back than at the
-front; others are made with an
-axis which is fitted into grooves cut
-in the side of the box; this enables
-the worker to turn the pillow and
-also allows the lace as it is worked
-off to fall behind into the box.</p>
-
-<p><b>Braid.</b>—To work Fig. 40, fix on
-to the cushion in a straight line five lengths of braid,
-knotted as in Fig. 38.</p>
-
-<p><i>Method</i>:—Twist the first and second pair once; cross;
-twist the second and third pair once; cross; twist the
-third and fourth pair once; cross; twist the fourth and
-fifth pair once; cross; place a pin at the right-hand edge;
-twist the fourth pair once; twist the fifth pair once;
-cross; twist the third and fourth pair once; cross;
-twist the second and third pair once; cross; twist the<span class="pagenum" id="Page_120">[Pg 120]</span>
-first and second pair once; cross; place a pin at the left-hand
-edge; twist the first pair twice; twist the second
-pair once; cross, and repeat from: twist the second and
-third pair once; cross, and so on for length required.
-This braid when worked with bobbins and a stout linen
-thread will be excellent for teaching the method of
-making grounds for some of the simpler pillow laces.</p>
-
-<p><b>Simple Tassels.</b>—Fig. 41 gives a small tassel.</p>
-
-<div class="figcenter" id="s3">
-<img src="images/fig57.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 41.</span> <span class="smcap padb">Fig. 41a.</span> <span class="smcap">Fig. 41b.</span></p>
-</div>
-
-<p><i>Method</i>:—Take a piece of cardboard, rather wider
-than the length of the finished tassel, and wind some
-wool rather slackly round it, twelve to twenty times,
-according to the size and thickness of the tassel to be
-made. Take a long large-eyed needle with a doubled
-thread; slip it through the wool close to the cardboard;
-pass the ends through the loop and pull firmly to tighten.
-Cut the wool at the opposite edge of the cardboard.
-Pass the thread through the centre of the bunch of wool
-and knot it two or three times to form a padding for the
-head. Sometimes a wooden bead helps to fill out the
-head, the needle being passed through it to keep it in
-place; after which the thread is knotted. Figs. 41 and
-41<span class="allsmcap">B</span> give the making of the neck of the tassel. Take a<span class="pagenum" id="Page_121">[Pg 121]</span>
-needle with a double thread and wind it round the neck
-two or three times; pass the needle through the loop, then
-up the centre of the head and out at the top—here
-another bead adds to the appearance of the finished
-tassel—the ends serving to attach it to the embroidery.
-A much more elaborate finish may be made by button-holing
-the head of the tassel, beginning at the neck and
-working in rows towards the top. If the tassel is large
-enough to admit of it, a crochet-covered top, beginning
-with a chain and working upwards, is very quickly made;
-long chains ending with beads may finish the lower part
-effectively. Plate VIII. shows simple tassels made in
-this way—those on Plate I. are rather more elaborate.</p>
-
-<div class="figright" id="s7">
-<img src="images/fig58.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 42.</span></p>
-</div>
-
-<p><b>Needle-made Picots</b> (<b>Fig. 42</b>).—This edging requires
-a good stout thread, linen, twisted silk, wool, or
-fine string, according to the purpose for which it is
-required. It may be worked on a braid, a cord, or the
-edge of the material. There
-is no great difficulty in the
-working of these picots, but
-absolute regularity of the
-loops and knots is essential—in
-order to secure this, a
-mesh, or if that is not to
-hand, a pencil may be used
-to keep the loops uniform in size. After some practice,
-the worker will probably dispense with a mesh and use a
-pin to keep the loops in place while making the knot.</p>
-
-<p>Fig. 42 shows the method of working. Fasten the
-thread securely and take the first stitch, which is of the
-button-hole type, with the thread under the needle;<span class="pagenum" id="Page_122">[Pg 122]</span>
-then slip the thread round the mesh, passing it behind
-and bringing it out over the front of it; put the needle
-behind the loop (see <a href="#s7">Fig. 42</a>) and twist the thread round
-the needle, over and under it; pull through and tighten
-the knot. If a pin is used, pass the needle behind the
-first little loop, then put the pin
-into position—a quarter or half
-an inch below the edge; pass the
-thread round the head of it;
-make a loop round the point of
-the needle and tighten.</p>
-
-<div class="figleft">
-<img src="images/fig59.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 43.</span></p>
-</div>
-
-<p>Fig. 43 shows the same edging
-with an additional row worked
-over a narrow braid—several threads could be substituted
-for the braid.</p>
-
-<p><b>Button-holed Rings.</b>—Button-holed rings are useful.
-They are generally made over a foundation of soft
-threads, which serves the double purpose of padding and
-strengthening them.</p>
-
-<div class="figright">
-<img src="images/fig60.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 44.</span></p>
-</div>
-
-<p><b>Laces, Edgings, Central Fillings.</b>—Danish needle-workers
-use these rings a great deal as foundations for
-making both laces, and edgings, also
-central fillings. The former they apply
-to their beautifully worked embroideries
-as insertions or finishings; the latter
-have some arrangement of grouped
-stitches worked round a button-holed
-ring, then sewn on to the parts prepared
-for them. They use a ring stick, which is graduated in
-such a way as to enable them to make rings in several
-sizes, also to make any number in the one particular size<span class="pagenum" id="Page_123">[Pg 123]</span>
-desired. Rings are quite simply made. The thread is
-wound round the stick six to ten times, according to the
-size of the ring, and a stitch or two of button-holing is
-worked before removing it; then work round the threads
-until it is complete and finish by passing the needle
-through the head of the first stitch and slipping it inside—and
-along the line of strengthening threads; cut off neatly.
-Rings may have pyramids worked round them, in which
-case a definite number of button-hole stitches should be
-made. If a ring is covered with twenty-eight button-hole
-stitches, four pyramids of six stitches each could be
-made, with one stitch between each pyramid; with
-thirty stitches, six smaller pyramids, with one stitch
-between each, could be worked in.</p>
-
-<p>Rings could be made over a metal or bone foundation
-when they are used to support any weight, as for the
-draw strings of a bag, or to attach a splasher to a wall;
-for lacing or connecting the front or shoulders of a
-jumper or child’s frock they can be either made on
-threads or metal rings.</p>
-
-<p>Note the interesting method of applying rings in
-Plate XIII.; see also <a href="#s8">Fig. 23 <i>b</i></a>, which shows method of
-working rings with picots of bullion stitch.</p>
-
-<p>Very useful indestructible buttons can be made of
-very thickly padded small rings in which the stitches
-practically fill up the centre; twisted bars, crossed,
-should be worked at the back for the purpose of attaching
-these buttons to the garments which they are to adorn.</p>
-
-<p><b>Ornamental Knot</b> (<b>Fig. 45</b>).—Knot work, like
-embroidery and lace, seems to have originated in the
-East.</p>
-
-<p><span class="pagenum" id="Page_124">[Pg 124]</span></p>
-
-<p>All of the following knots may be worked more simply
-from the diagram than from the description.</p>
-
-<div class="figleft">
-<img src="images/fig61.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 45.</span></p>
-</div>
-
-<p>Fig. 45 is commenced at the top or foot, where the <b>X</b>
-is marked. The braid is joined
-there under the curve; it is formed
-of one piece of braid, and can make
-a very good centre for a cushion,
-applied in a coloured braid, if sufficiently
-enlarged. It could have a
-decoration within the curves of conventional
-flowers, or, on the other
-hand, it might be enclosed by a narrow geometrical border.
-It could also be worked in chain, couching, or oriental
-stitches instead of braid.</p>
-
-<div class="figright">
-<img src="images/fig62.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 46.</span></p>
-</div>
-
-<p><b>Weaver’s Knot</b> (<b>Fig. 46</b>).—The weaver’s knot, used
-by all weavers for the joining of warp threads—weft
-threads are worked with the weaving—is
-a well-known knot. It is
-illustrated in Fig. 46 and consists
-of two loops interlaced; when
-finished, one loop has the ends
-crossed while the other has the two
-lines lying parallel. It can be easily followed from
-the figure. A simple method of tying it is to take
-the end of the new joining thread and form it into a
-loop with the threads crossed; note that the short end
-is under and pointing to the left, and the long upper
-end is pointing to the right. Place this loop between
-the finger and the thumb of the left hand and hold it
-upright; take the end of the working thread in the
-right hand, and putting it from behind up through<span class="pagenum" id="Page_125">[Pg 125]</span>
-the loop, pass it round between the thumb and the
-first finger, under the short end of the new thread and
-over the long one, down into the upright loop again.
-Tighten the ends of both threads.</p>
-
-<div class="figright">
-<img src="images/fig63.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 47.</span></p>
-</div>
-
-<p><b>The Carrick Bend</b> (<b>Fig. 47</b>).—This knot is simple
-and ornamental. It could be used
-quite successfully for embroidery and
-braiding. It is used by sailors for
-tying hawsers. To arrange the
-knot take one piece of narrow braid
-or cord and form it into a loop on
-the table; cross the ends—the under and shorter one
-points towards the worker; take the second cord in the
-right hand and pass it under the complete curve of the
-loop in a diagonal direction (see Fig. 47); passing then
-over the long and under the short end, enter into the
-loop and pass it under the diagonal line and out over
-the loop. This knot looks well—tighter or looser
-according to the width—when placed at intervals on a
-border and connected by lines of stitches.</p>
-
-<div class="figleft">
-<img src="images/fig64.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 48.</span></p>
-</div>
-
-<p><b>The Reef Knot.</b>—This knot varies slightly from
-Fig. 46. It forms a rather neater
-one than the weaver’s knot and is
-also more ornamental.</p>
-
-<p><i>Method</i>:—Make a loop as before
-at the end of the new thread. Hold
-it upright between the thumb and
-the first finger of the left hand, but do not cross the ends;
-take the end of the working thread and pass it up through
-the loop from behind: put it round between the thumb
-and the finger, under the two ends of the held thread,<span class="pagenum" id="Page_126">[Pg 126]</span>
-then down through the loop again; draw up both pairs
-of threads. The reef knot, as its name indicates, is used
-by sailors for tying the reef points of a sail.</p>
-
-<div class="figleft">
-<img src="images/fig65.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 49.</span></p>
-</div>
-
-<p>Fig. 49 shows a knot which may be made of braid or
-of two rows of cord, on a larger scale, or it may be
-worked in chain stitch as a
-smaller knot. When made in
-narrow braid or cord the second
-cord is laced through after the
-knot has been formed by the first
-cord. This knot could be used
-for a border, placed at regular
-intervals with lines of cords connecting the one knot
-with the next; to fill up a corner the central loop could
-be made larger. It looks well when worked in chain
-stitch or in couched lines.</p>
-
-<div class="figright">
-<img src="images/fig66.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 50.</span></p>
-</div>
-
-<p><b>The Chinese Knot</b> (<b>Fig. 50</b>).—This knot, used for
-the ornamentation of a sailor’s collar, is made of one
-cord. One loop is made long
-enough to pass round the neck,
-under the collar. Used as a
-part of the border design the
-end loops may be made as long
-as required to fill the space.
-The Chinese knot makes an
-ornamental fastening for anything that might require
-it. To make it, start at the <b>X</b>; from there it can be
-easily followed from Fig. 50. It takes the form of two
-hearts reversed and interlaced; the outer loops are
-formed in the process.</p>
-
-<div class="figright">
-<img src="images/fig67.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 51.</span></p>
-</div>
-
-<p>Fig. 51 is made up of two pieces of braid. The crosses<span class="pagenum" id="Page_127">[Pg 127]</span>
-show where the ends disappear under the curves. This
-knot could be used similarly to Figs. 45 and 49.</p>
-
-<p>Knots are not generally used in embroidery for the
-starting or finishing of threads, but sometimes a new
-thread has to be
-joined directly on
-to the old one, in
-which case a firm,
-non-slipping knot is
-necessary. Figs. 46,
-47, 48 are all useful
-for joining threads.</p>
-
-<p><b>Nightdress Case in Blue and White.</b>—Plate XIV.
-shows a charming and useful nightdress case in white
-linen, embroidered in white and blue flax. The simple
-interlacing design is laid on in white French tape, which
-develops into leaves at the centre and corners, and gives
-scope for a pleasant change in stitchery. The braid is
-fixed in place on the outer edge by a button-hole stitch
-worked in flax thread over three strands of blue. The
-material is cut and turned in and button-holed—this
-gives a little raised edge and accentuates the outer line;
-the inner edge is marked out by a line of back stitching
-(Fig. 13), and French knots worked in blue (Fig. 22).
-The spaces between the interlacing braids are worked in a
-filet or net pattern—which is simply worked but rather
-tedious on account of the necessary preparation.</p>
-
-<p><i>Method</i>:—Remove four vertical threads and leave
-four of the linen; repeat this within the space; then
-remove four horizontal threads and leave four; repeat.
-These little groups of threads are kept closely together<span class="pagenum" id="Page_128">[Pg 128]</span>
-by means of overcasting stitches—which should be done
-with a very fine thread—worked in rows over the warp
-threads, then over the weft. The linen in the centre
-of the leaf forms at the centre and corners should be cut,
-turned under the braid and button-holed, as described in
-Plate XIV. The outer ones are filled in with button-holed
-bars, which may be worked as described in Fig. 24, or they
-may be inserted after the button-hole edge is finished, by
-laying two or three strands, button-holing them, and overcasting
-three or four stitches along the edge to carry the
-needle into position for the next bar. The opening in the
-centre is worked in pyramids and bars, alternately (see
-description of <a href="#s9">Plate XIV.</a>). It will be seen that the two
-outer leaves of the centre group are worked in a weaving
-stitch which gives the appearance of mid-rib and veins.</p>
-
-<p><i>Method</i>:—After the inner edge is button-holed, carry
-six threads to and fro from point to base to form the
-foundation; then weave by passing the thread over
-three and under three strands until the point for the
-first vein is reached. Press the threads closely together
-with the needle to make the line solid; then carry the
-working thread across to the edge to and fro and back
-to the edge; weave into and out of these three strands
-until the mid-rib is reached again; weave a couple of
-threads into the centre rib, then form the vein on the
-opposite side in the same way, and proceed in this way
-until the base is reached. The stitch must be very
-evenly worked and well pressed up by the needle continuously
-to get the right effect. The inner leaves are
-worked with a row of open button-holing, after which
-button-holed loops (Fig. 59) and pyramids are arranged
-<span class="pagenum" id="Page_129">[Pg 129]</span>to fill up the space. The braid-like appearance of the
-inner border is obtained by working a row of herring-bone
-stitch to form a foundation; a long flax thread is
-then interlaced as shown in Fig. 25. See also border
-to <a href="#f14">Plate XIV</a>. This interlacing thread is worked in,
-row after row, until the desired thickness has been got.
-In Plate XI. the foundation stitch is in blue and the
-interlacing in white flax thread—the little blue points
-of the herring-bone stitch peeping out on either side
-give a pretty effect. Two rows of fine chain stitch
-(Fig. 1) finish the dainty border.</p>
-
-<div class="figcenter" id="f13">
-<p class="captionr2">PLATE XIII.</p>
-<img src="images/fig68.jpg" alt="">
-<p class="captionc">A BAG IN CANVAS AND WOOL. (<a href="#Page_153"><i>See page 153.</i></a>)</p>
-</div>
-
-<p>The outer edges following the curves of the braid are
-worked in open button-holed loops (Fig. 59) which in
-Plate XI. are done with the needle; but this edging
-may be done more simply, if desired, with a crochet hook,
-by forming a row of chain loops, then covering them with
-double crochet stitch (see <a href="#Page_157">p. 157</a> for description).</p>
-
-<p>The edging of needle-made loops is, of course, preferable
-to any other, but in these days, when most of the
-household linen must go to the laundry, these little
-crochet edgings might quite suitably be worked directly
-on to little mats, table-napkins, and many other articles.
-They are quickly worked and wear excellently.</p>
-
-<p><b>Hat Bands.</b>—The illustration shows two hat bands,
-both of which might be made in a colour to go with a
-hat or suit.</p>
-
-<p><b>A Flowered Hat Band</b> (<b>Plate XIIa.</b>).—Plate XIIA.
-consists of a piece of cotton—celtic canvas—about
-5 inches wide; the length will vary and must depend on
-the shape and size of the hat. To make a similar band,
-prepare a fringe about half an inch deep on one side<span class="pagenum" id="Page_130">[Pg 130]</span>
-only; turn the fringed edge over the plain one and tack
-into position; crochet two lines of insertion (Fig. 65) in
-wool or in any material preferred. Make the flowers
-as in Figs. 66 and 67; those in the centre of the illustration
-are made up of three separately worked flowers,
-the smallest one is in silver tinsel. The large flower
-groups are placed on the band alternately with the
-smaller sprigs. For the making of the leaves see <a href="#s10">Fig. 68</a>,
-p. 160. This band may be made in a very short time;
-it is a very suitable hat decoration for rough weather,
-as rain does not destroy either the foundation or the
-crochet flowers.</p>
-
-<p><b>A Velvet Hat Band with Cross Stitch</b> (<b>Plate XIIc.</b>).—Cross
-stitch, so little used nowadays in this country,
-except for the marking of household linen, seems to
-have been well known from a very early date by all
-needle-workers. It, and many other varieties of a
-similar nature, was worked on canvas or linen in
-patterns where the threads were counted. At one time
-these embroideries were so characteristic of the various
-countries that their origin was generally recognised by
-the pattern and the colour in which they were worked.
-The Italian cross stitch, embroidered on a very fine
-linen, was mostly done in a reddish-purple, and frequently
-worked in a two-sided stitch. Red, blue and yellow
-were the predominating colours of the Slav, Hungarian
-and Swedish peasantry. Very large pieces, destined
-for wall hangings, were worked in tent stitch or cross
-stitch, in designs suggestive of those used for tapestry
-weaving. These have even been called tapestries on that
-account. The famous Bayeux tapestry represents an<span class="pagenum" id="Page_131">[Pg 131]</span>
-interesting series of events of English history from
-the accession of Edward the Confessor to the death
-of Harold at Hastings; it is worked in coloured wools
-on linen canvas: this is, of course, not really tapestry;
-a true tapestry is formed by the interlacing or weaving
-of warp and weft threads by means of a needle or a
-shuttle (see chapter on <a href="#c5">needle-weaving</a>).</p>
-
-<p>Plate XIIc. shows a dainty band made on velvet
-ribbon; the quaint little basket of flowers in cross stitch
-on a gold-coloured foundation may be worked quite
-simply on to any material, but in order to keep the
-rigidity which is characteristic of the stitch it is necessary
-to have a piece of fine canvas as a foundation.
-The ribbon is tacked on over it, and the design is worked
-over the two materials. In the case of velvet this method
-is reversed, as the pile is always an obstacle in the way
-of accurate sewing. The canvas is laid on top of the
-velvet; the cross stitch is then easily worked and the
-threads of the canvas are removed, one by one, when the
-work is finished. The centre piece of Fig. C is of gold-coloured
-velvet worked in this way. It is caught down
-on the outer edges by gold tinsel threads, couched closely
-to keep them in position; the strips of orange-coloured
-velvet applied on either side and peeping through the
-stitchery give a gay little touch to the panel, which is
-finished off by lines of gold thread and two little gold
-beads. The strips of decoration at equal intervals are
-somewhat similar, but not so elaborate. No cross
-stitch is used except in the front.</p>
-
-<p>Much may be done with canvas stitches, provided
-they are applied to designs which are treated in a<span class="pagenum" id="Page_132">[Pg 132]</span>
-conventional manner. The form of the stitch, occupying
-a square space, would enable the worker to make
-out patterns on squared paper; chair seats and cushions
-could be worked very satisfactorily in geometrical
-designs.</p>
-
-<p>Baskets and bags, worked on canvas in wools, cottons
-and raffia, can be very useful; the canvas should always
-be worked with a thread which fills the mesh. For fine
-embroidery it is often better to work it in a frame, particularly
-for fine cross stitch or petit point, or when
-worked over two plies of cloth—the frame prevents the
-under cloth from puckering.</p>
-
-<p>Some of the darning stitches, too (Plate II.), could be
-applied successfully to bags; if small, they could be
-worked in silk on a fine-meshed canvas. Cross stitch
-requires no description, except that it is worked in two
-rows; this allows the threads of the second row—on the
-return journey—to cross over those of the first. A quick
-method of filling a line is to work a half-stitch over a
-stretched thread.</p>
-
-<p><b>Tent Stitch or Petit Point.</b>—the finest of the canvas
-stitches—is, like the first half of the cross stitch, worked
-over a single thread of canvas.</p>
-
-<p>Goblin stitch is worked over one vertical and two
-horizontal strands. A close herring-bone stitch looks
-well alternating with rows of an upright stitch for a
-canvas-made basket in various colours.</p>
-
-<p>There are many other canvas stitches, but varieties
-will be easily constructed by the worker. Canvas may
-be bought with a single or double thread, of a coarse or
-fine quality. A wide-meshed canvas of a stiff quality,<span class="pagenum" id="Page_133">[Pg 133]</span>
-used for rugs, is very satisfactory for the making up of
-work bags or baskets with raffia.</p>
-
-<p><b>A Braid Hat Band</b> (<b>Plate XIIb.</b>).—A hat band or
-collar made from remainders of braids is illustrated on
-Plate XIIb. The original was made as a collar to wear
-with a suit, but it looked so fascinating as a hat band
-that it was worn as such. It is a perfectly straight band
-and the illustration shows very clearly some of the
-insertion stitches already mentioned (see Figs. <a href="#s11">25</a> and <a href="#s12">29</a>).
-Prepare it in the manner already described for the braid
-collar (Plate IX.). Cut a piece of brown paper to the
-size wanted and tack the braids upon it. In the illustration
-three rows of black skirt braid, with a row of
-black chenille in the centre, go to form the foundation.
-The upper and central rows have a line of blue braid
-laid over them, just close to the chenille. Join the
-braids with faggot stitch on the one side (Fig. 25) and
-a knot stitch (Fig. 29) on the other. The knot stitch
-is in turquoise blue wool, the faggot in jade green with
-a stronger green interlaced. The lines of bright blue
-braid are connected at one side and the edging (Fig. 30)
-is worked over the other. This edging has a thread
-intertwined with it so that the loops are connected,
-instead of being detached as in Fig. 30. When all the
-braids are connected the paper is cut away from the back.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_134">[Pg 134]</span></p>
-
-<h2 class="nobreak" id="c12">CHAPTER XII</h2>
-</div>
-
-<p class="c less">DRAWN-THREAD AND WHITE WORK—RHODIAN,<br>
-RICHELIEU AND HEDEBO</p>
-
-<div class="blockquot">
-
-<p>“Be rich in patience if thou in goods be poor.”</p>
-</div>
-
-
-<p><span class="smcap large">Many</span> of the pretty delicate lace stitches which look
-so complicated when worked in fine lace threads, on a
-net or cambric foundation, can be used with admirable
-effect for the filling in of spaces and the covering of
-surfaces of some of the coarser stuffs; worked in wools
-and thick threads they lose their filmy and lace-like
-appearance, and can be adapted quite nicely to the more
-utilitarian articles. The arrangement of the stitches
-may be chosen to suit all kinds of materials; they may
-be very open or only partly so, but as a rule, the simpler
-these surface stitches are, the better they look. The
-main idea being to bring the background into tone with
-the rest of the work, the worker should choose a stitch
-which will have just the amount of colour to give the
-right tint or shade to the material. Diapers are also
-commonly used to tone in the background; single spots
-or groups of spots, which may be represented by French
-knots or bullion knots, flower or leaf sprigs worked in
-loop stitch, and all simple types of darning may be
-requisitioned for the purpose. Interlacing patterns can
-frequently be made up of two or more stitches combined,<span class="pagenum" id="Page_135">[Pg 135]</span>
-and may often be invented on the spur of the moment
-by the interested needlewoman. There are endless
-varieties to be made out of button-hole stitch, which is
-the foundation stitch of most needle-point laces (Figs. 53
-and 11). Weaving stitch—interweaving of threads—is
-another upon which many laces, needle-point and
-pillow, are built up (Figs. 32, 62, 17 and 40). These two
-are often combined (Figs. 54 and 55); add to them
-darning stitch, both simple and patterned, and we have
-got one step towards lace-making. But lace-making is
-not for the busy woman or householder, who has her day
-fully occupied, but rather for the few who possess skill,
-good patience, and many unoccupied hours—these must
-belong to the woman who would excel in the art of producing
-the delicate fabric. It is most interesting to
-trace the development of lace; how needle-weaving of
-the more simple, primitive type later became drawn-thread
-work or openwork, in which finer threads and
-materials were used; under the skilful fingers of the
-inhabitants of the convents works of exquisite skill
-were produced, vestments and hangings, all destined to
-ornament the church. In England in the sixteenth and
-seventeenth centuries lace came into general use, and
-was worn in great profusion by Queen Elizabeth and her
-Court. Fine steel needles were made in England during
-this reign. Naturally this must have had some effect
-on embroidery, but the change does not appear to have
-been noticeable. Linen was embroidered in silk in
-various colours, and further ornamented with drawn
-work. This drawn work was followed by cut work,
-and from these we have the origin of lace. These first<span class="pagenum" id="Page_136">[Pg 136]</span>
-laces were of two kinds: Lacis and Cut Work. They were
-heavy in texture and suited to the costumes of the period.</p>
-
-<p><b>Lacis.</b>—In lacis the background consisted of a network
-of squared meshes upon linen on which a pattern
-was darned in linen thread, coloured silks, or gold
-threads; it was worked usually in large pieces, for
-coverlets and bed hangings, curtain borders, and altar
-cloths.</p>
-
-<p><b>Cut Work.</b>—Cut work had the background at certain
-parts drawn, other parts were cut away and the edges
-button-holed. Probably this stitch was invented for the
-purpose of protecting these cut edges. This darned
-netting and cut work, <i>point coupe</i>, were often combined
-on the one piece.</p>
-
-<p><b>Reticella.</b>—The next step, of course, was to work
-without a linen foundation. The threads were arranged
-in a frame, on a foundation which was only there to hold
-the threads in position while they were worked into
-various patterns, and filled with button-hole stitches.
-All the laces of this period were geometric in design—squares
-and circles combined with cut work, drawn
-work and embroidery. It was not until about the end
-of the seventeenth century that these gave place to
-flowing lines and more elaborate and complicated workmanship
-with a net background.</p>
-
-<p>Some of the earlier peasant embroideries are singularly
-interesting. There is a personality and a quaintness of
-thought combined with those spontaneous designs, a
-brightness of colour so instinctive, and an inventiveness
-of method so freely displayed that one has only to see
-the embroideries to realise their charm.</p>
-
-<p><span class="pagenum" id="Page_137">[Pg 137]</span></p>
-
-<p>The art and craft has passed from generation to generation.
-Some nations are distinguished by the exquisite
-skill with which the work is executed, others by the multiplicity
-of colours; the patterns predominating are
-mostly of the geometrical type. Some of the sixteenth
-and seventeenth-century Italian drawn work (<i>punto
-tirato</i>), in which the weft or warp threads were removed;
-<i>punto tagliato</i> (cut work), in which both the weft and
-warp threads were cut away, leaving only connecting
-bars of the linen, are inspiring to the needlewoman of
-leisure.</p>
-
-<p>From these embroidered and cut-linen works reticella
-and needle-point laces arose.</p>
-
-<p><b>Hedebo Embroidery.</b>—The embroidery done by
-the peasantry of Denmark is worked almost entirely in
-button-hole stitch, on a firm linen ground, and with a
-coarse linen thread. (The Danish women always wear a
-little shield of metal when they are working on the
-second joint of the little finger to protect it—the constant
-friction would be apt to cut the finger otherwise.)</p>
-
-<p>It is an exceedingly durable type of embroidery or
-lace—for it partakes of the nature of both—and is simple
-to work. The designs are mostly of the geometrical
-type, consisting of squares, circles, ovals, etc., worked
-in button-hole stitch, arranged to form borders, corners,
-or centres for table and bed linen. By combining other
-embroidery stitches with the button-hole stitch many
-charming pieces of work might be produced without
-much difficulty. Many of the Danish peasantry earn
-their livelihood by means of this beautiful work.</p>
-
-<p id="s9">Plate XIV. illustrates the corner for a panel for a<span class="pagenum" id="Page_138">[Pg 138]</span>
-pram or cot coverlet in process. The centres of the
-forms are all worked in the typical hedebo work, while
-the outer parts are filled in with a variety of stitches.
-To prepare the simple design, make a series of squares
-and circles in paper and connect them with double lines;
-arrange and space them symmetrically. Leave sufficient
-space between each circle to allow for the surrounding
-stitchery (see <a href="#c3">chapter on design</a>). Then, when finished,
-draw directly on to the linen with compasses or any small
-round shape; leave sufficient material for a hem or
-border. The linen should be of a good firm quality. Use
-a sewing needle—No. 6 scientific sharp—and a lace
-thread—Taylor’s Mecklenberg, No. 6, or Knox’s two-cord
-linen lace thread, No. 25 or 30, are suitable.</p>
-
-<p><i>Method</i>:—To prepare a circle, outline it with two
-rows of tacking stitch, keeping most of the thread on the
-surface by lifting a tiny stitch of linen. Tack the piece
-to be worked over <i>toile cirée</i> or over a stiff piece of brown
-paper; with sharp pointed scissors snip a small piece
-out of the centre of the circle, and by the warp and weft
-threads, cut up almost to the edge to allow the material
-to be turned back quite close to the edges of the double
-row of tacking, about six cuts to the half-circle. Begin
-to work in the following way:—Secure the thread at the
-edge nearest the worker by running it along the outline
-for a short distance—knots are never used—and bring
-it out on the surface; hold the material so as to be able
-to work towards the centre of the circle—that is, away
-from the worker; make the first stitch by inserting the
-needle from underneath; draw up the thread until there
-is only a small loop left; put the needle through the loop<span class="pagenum" id="Page_139">[Pg 139]</span>
-from underneath and tighten with a jerk of the thread.
-Repeat these stitches, but not too closely, round the circle,
-turning the material under as the work proceeds; finish
-with the last stitch into the first loop. The button-hole
-stitches should not be worked either too closely or too
-tightly—about six or seven stitches to a quarter of an
-inch. The inner row is worked in open button-hole
-loops (see <a href="#s13">Fig. 52</a>), one loop into the head of every fourth
-stitch; this can be strengthened by working back along
-the top, one stitch into each loop. A close row of
-button-holing, or, if preferred, another row of open
-button-holing, should be sufficient to fill the circle. Carry
-the thread down over the first button-hole loop, which is
-a single thread, and secure it at the back of the linen.</p>
-
-<p>The centre filling, composed of groups of three loops
-and pyramids, is worked as in Fig. 59. The working
-of continuous pyramids is described in connection with
-the cosy slip. Isolated pyramids are worked in a slightly
-different manner. Starting from the left, work seven
-button-hole stitches into the heads of the seven stitches
-surrounding the open space; overseam back to the left;
-work six button-hole stitches into the previous row;
-overseam back; work five button-hole stitches and overseam
-back, when there is only one stitch left; overseam
-down the right side of the pyramid; this brings the
-needle into position to work the next group of loops.
-When all pyramids and loops are finished, pick up a
-pyramid and a loop alternately with a button-hole
-stitch into each; overseam one stitch into each loop,
-then down the side of the last-made pyramid; fasten
-off at the edge.</p>
-
-<p><span class="pagenum" id="Page_140">[Pg 140]</span></p>
-
-<p>The flowers in Plate XIV. are worked down the outer
-edges in blue and white linen embroidery thread. The
-stitchery used can be fairly well seen from the illustration.
-The largest flower in the corner has a row of
-eyelet holes, made at equal distances to finish the hedebo
-centre; the space is further ornamented with open
-button-holing (Fig. 53, Plate X.) in blue. This stitching
-should be commenced at the centre; the final row is
-worked into the linen and headed by a line of back
-stitch in white; a line of chain stitch in blue finishes the
-flower. The flower on the left has a waved line of
-closely set French knots, filling up the space, followed
-by a row of chain stitch in white. The little outer
-spaces between the curves are filled in with oriental
-stitch (Fig. 18); these alternate with French knots
-worked in blue. The flower on the right is filled in with
-loop or petal stitch, and finished with a double row of
-blue knots.</p>
-
-<p>Rhodes embroidery is rather different from the other
-peasant embroideries. It is less varied, and so it is more
-monotonous and less interesting to work than many of
-the openwork or drawn-thread varieties. It seems to
-be of very ancient origin, and though it has been brought
-into prominence lately, under different names, it is only
-a revival of the old form of needlework done by the
-people of the Isle of Rhodes and adapted to modern
-methods. The old work was done on hand-made linen;
-the background was worked in red and the design left
-in the linen, with an outline stitch to define it; it was
-thrown strongly into relief by the colour of the worked
-background.</p>
-
-<p><span class="pagenum" id="Page_141">[Pg 141]</span></p>
-
-<p>“<b>Punch Work.</b>”—In America this embroidery is
-known under the name of “Punch work.” It is much
-used as dress trimmings and for bed linen and table
-wear; as the fabric is not weakened by the withdrawal
-of the threads, it stands wonderfully well for articles of
-daily household use.</p>
-
-<p>The linen should be loosely-woven so that the warp
-and weft threads can be gathered easily together without
-puckering the work—if hand-made, so much the better;
-a linen working thread, strong but fine, and a thick
-needle are required so as to separate the strands of the
-material. Special needles may be had from needlework
-depots at 1<i>d.</i> each. The strong fine thread draws the
-clusters together and yet does not fill up the open spaces
-which are a feature of the background. Fig. M, Plate II.,
-gives an idea of how the stitch is worked, but in the
-figure the working thread is cotton, and each group of
-five threads is gone over twice, so that the open spaces
-are rather smaller than they would be if a linen thread
-had been used. When the material has been chosen
-and the design traced on, fix the work on to a drawing-board,
-and with a ruler mark off the dots in rows one-eighth
-of an inch apart; note particularly in starting
-the first row of dots, that they are in a perfectly straight
-line—with the warp or weft of the linen; this is very
-important, as the work will not look well unless care is
-taken in marking these dots. If the warp and weft lines
-of the material are easily followed without strain to the
-eyes, these dots need not be marked, but in many cases
-it is better to have a guide of some sort, particularly
-when fine linen or muslin is used. Another method of<span class="pagenum" id="Page_142">[Pg 142]</span>
-marking in the pattern of dots is to use an open canvas
-as a guide; this can be placed over the linen and fixed
-with drawing-pins at the top; the dots can be marked
-with a knitting needle or traced at regular intervals
-through the threads of the canvas with a sharp-pointed
-pencil. The only difficulty in using the canvas is that
-the lines of warp and weft of the linen are hidden, so
-care must be taken to make both materials correspond,
-otherwise the dots will be off the straight line and the
-work will prove most unsatisfactory when finished.
-Some workers prefer to do the outlining of the design
-first and the background afterwards, others reverse the
-process—much depends on the worker herself; the
-background can be kept free from puckering by placing
-the work in a frame.</p>
-
-<p><b>To work Fig. M.</b>—Tie the thread to begin with;
-bring the needle out at the first dot of the top left-hand
-corner; put it down through the dot to the right; pull
-the three or four strands together and repeat this
-horizontal stitch to tighten; pass the needle diagonally
-under to the second left-hand dot—exactly under the
-first; make an upward stitch into the first dot; pull
-strands together; repeat stitch and tighten—this brings
-the needle to the surface again with one horizontal and
-one vertical stitch completed. Repeat these two stitches
-to the end of the row. These stitches should form three
-sides of a square, the fourth side being added with the
-second row.</p>
-
-<p>When the edge of the space is reached, turn the work
-round so as to be able to work from the top down, as
-at starting. Make a little stitch to keep the thread firm,<span class="pagenum" id="Page_143">[Pg 143]</span>
-on the wrong side, then bring the needle out at the dot
-to the left; put it down through the previous hole—horizontal
-stitch; repeat; take a vertical stitch, putting
-the needle down into the previous hole, and, completing
-the square (Fig. M), repeat; pass the needle diagonally
-under the material to the next dot, and so on. When
-a very fine material is used the groups of threads may
-be held together by a single stitch instead of a double
-one. This background may be worked in a different
-way, all the horizontal stitches being worked first, and
-then the whole turned half round and the vertical
-stitches, which are now horizontal, worked next. This
-may commend itself to some, being rather a simpler
-method; it is done entirely in horizontal stitches and
-needs no description after studying the first method.
-After the background is finished the design may be
-worked in with satin stitch, chain stitch, outline stitch
-or button-hole stitch. This should be done in the hand.</p>
-
-<p><b>Richelieu Embroidery.</b>—Richelieu embroidery—another
-of the embroideries worked in button-hole
-stitch—is even simpler in execution than Danish work,
-as the material is not cut away until the button-holed
-bars—which connect the pattern—are finished. It is
-worked in the hand, generally over a piece of <i>toile cirée</i>—American
-cloth specially made for embroidery. The
-entire design is outlined in small tacking stitches with
-embroidery cotton; the bars are then worked in—they
-always have picots, which is characteristic of Richelieu
-work. For the working of bars see <a href="#s5">Fig. 24</a>, and of
-picots, <a href="#s2">Fig. 57</a>. Care must be taken to secure the ends
-of the bars, by passing the needle through the linen to<span class="pagenum" id="Page_144">[Pg 144]</span>
-the back and making a stitch, before running the stitches
-along the outline to the point for the making of the next
-bar. The design is then button-holed all over in equal-sized
-stitches; the flower centres are worked in, and
-finally the linen is cut away very close to the button-holed
-design with a sharp pair of embroidery scissors.</p>
-
-<div class="figleft" id="s13">
-<img src="images/fig69.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 52.</span></p>
-</div>
-
-<p><b>Edging: Point de Bruxelles</b> (<b>Fig. 52</b>).—This
-Fig. 52, which consists of a piece of Honiton braid with
-an edging, shows the working of one of the most elementary
-of the lace stitches. It will be seen at a glance
-that it is the familiar button-hole stitch worked in loose
-loops; to lace-makers it is known
-as <i>point de Bruxelles</i>. It is a
-stitch constantly in use with them
-as it forms a good foundation net,
-and charming patterns may be
-made with it when worked in rows,
-backwards and forwards. <i>Point de Bruxelles</i> is frequently
-found in laces of different types as it may be worked
-closely or openly to suit various styles and designs. The
-stitches are worked into the loops of the previous row;
-sometimes a strengthening thread is stretched from right to
-left, in which case the button-hole loops are worked from
-left to right over this thread, as well as into the loops of
-the upper row. There are many beautiful varieties of
-patterns for covering spaces or openwork fillings to be
-made from this simple foundation stitch, by varying
-the grouping of some and duplicating others (Fig. 53).
-What is known as double-net stitch has two button-hole
-stitches worked into each of the loops of the previous
-row. When used as a surface stitch worked in coarse<span class="pagenum" id="Page_145">[Pg 145]</span>
-threads the loops may be fairly loose, provided care is
-taken to keep them regular in shape and size. For
-those who are not expert a frame is helpful or a piece
-of stiff glazed calico or brown paper—either might be
-utilised to keep the material stretched.</p>
-
-<p>As a filling for an open space they should be worked
-much smaller and closer in a linen thread, the size mainly
-depending upon the opening to be filled in.</p>
-
-<div class="figright">
-<img src="images/fig70.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 53.</span></p>
-</div>
-
-<p><b>Point de Sorrento.</b>—In this (Fig. 53) there is a
-pleasing variety of the same stitch. It also has a special
-name among laceworkers—<i>point
-de Sorrento</i>, although only
-varying slightly in the arrangement
-of the loops from <i>point de
-Bruxelles</i>. It is used principally
-for the filling of open spaces and
-is comparatively quickly worked.
-Good results, too, can be had by
-filling in large spaces with
-woollen threads of the twisted type. In the first row
-the stitches are taken rather closely together but equally
-distributed in the second row; one stitch is worked
-into the last loop of the first row; one loop is missed;
-one stitch into each of the two following loops, and
-so on across the space. The pattern starts on the left
-side and is worked to and fro, the third row, therefore,
-starts from the left again with one stitch into the
-smaller loop and three into the wider loop.</p>
-
-<div class="figcenter">
-<img src="images/fig71.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 54.</span> <span class="smcap padl">Fig. 54a.</span></p>
-</div>
-
-<p>Fig. 54 is rather a favourite pattern, but the making
-of the small wheels or roses is just a little tedious. The
-foundation is a row of looped button-hole stitches,<span class="pagenum" id="Page_146">[Pg 146]</span>
-similar to Fig. 52, worked into a circle of braid or a row
-of not too closely worked button-holed material as
-described on p. 138. If the circle is small, another row
-added to this and drawn up by overcasting the inner
-circle will often be sufficient. The little wheels take
-up quite a large space themselves, but where such
-elaborate stitching is wanted they look very effective.</p>
-
-<p><i>Method</i>:—After the row of open loops has been made,
-overcast a single stitch into each loop and draw up the
-thread to tighten the circle; the first row of open
-button-holing should be nicely spaced to leave room for
-the forming of the little wheels. The little wheel-like
-forms are woven in and out of the connecting stitches
-as is clearly shown in Fig. 54<span class="allsmcap">A</span>. Another method of
-filling in a circle is as follows:—Make a row of open
-button-holing as Fig. 52, spaced widely, so that there
-may be eight or ten loops in the round. This done,
-draw them up by overcasting one stitch into each loop;
-then carry the thread back to the edge of the braid at
-the starting point of the first button-hole loop—this is
-necessary to complete the first loop, the last half of<span class="pagenum" id="Page_147">[Pg 147]</span>
-which, so far, has only got one strand. Add two more
-threads to this half-loop by carrying the needle to the
-centre and back again; this acts as a strengthening or
-padding thread to the half-loop, which has now to be
-button-holed from the outer edge to the inner circle.
-Each loop is worked in the same way, always adding the
-padding threads and starting the button-holing from the
-braid, and from there working towards the centre.
-When each loop has been worked, button-hole round
-the inner circle with the heading towards the outer
-ring; slip the thread up through the first bar and finish
-off neatly.</p>
-
-<div class="figright">
-<img src="images/fig72.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 55.</span></p>
-</div>
-
-<p>Fig. 55 gives a simple method of filling in a square
-opening with a circular form. It is not so complicated
-as one might suppose. Start at
-the lower left-hand corner and
-lay the threads for the square;
-then the first diagonal line is
-stretched across to the top right-hand
-corner; overcast it back—in
-the method shown in the
-diagram—as far as the centre
-only. From this point—the
-centre—each thread is laid in succession to the edge—vertical,
-diagonal, horizontal, each one in turn—and
-overcast back to the centre; when the circle is complete,
-overcast the second part of the first diagonal back to the
-edge. The loose button-hole loops are then worked,
-two into each side of the side and the thread, passing
-round the first incomplete loop, is interlaced round the
-inner circle to strengthen and tighten it (compare<span class="pagenum" id="Page_148">[Pg 148]</span>
-Fig. 55). Now complete the first button-hole loop; make
-the final outside circle and finish off the thread. If the
-filling looks rather thin when finished it may be solidified
-by working a row of close button-holing round the inner
-circle.</p>
-
-<p>This stitch is an interesting one and rather less used
-than the common <i>point de Bruxelles</i>, on account of the
-initial difficulty of keeping it quite regular; a little
-practice very quickly gives facility to a careful
-worker.</p>
-
-<div class="figleft">
-<img src="images/fig73.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 56.</span></p>
-</div>
-
-<p><b>A Netting Knot</b> (<b>Fig. 56</b>).—The knot is similar to
-that used for netting. In working an open space as
-in Fig. 56, it will be found of
-considerable aid—towards the
-equalising of the loops—if horizontal
-lines are drawn on the
-foundation material. The loop
-may be fixed with a pin into
-position, and the needle being
-inserted behind the loop of the
-upper row and the stretched
-thread, the working thread is
-then twisted over and under the needle before the thread
-is drawn up. This stitch can also be worked without the
-strengthening horizontal lines, either in diagonal or
-straight lines. To work it diagonally, make the first
-loop in the left top corner of the square; overcast a few
-stitches along the top to reach the position for starting
-the second row; each loop is secured with the knot as
-in Fig. 56, their regularity and equal length being
-ensured by the pin which is stuck into the foundation.
-<span class="pagenum" id="Page_149">[Pg 149]</span>In netting, a knitting needle or small mesh is used
-instead of a pin.</p>
-
-<div class="figcenter" id="f14">
-<p class="captionr">PLATE XIV.</p>
-<img src="images/fig74.jpg" alt="">
-<p class="captionc">CORNER OF COT COVERLET—UNFINISHED (<a href="#Page_138"><i>See p. 138</i></a>)</p>
-</div>
-
-<p><b>Edgings.</b>—A very dainty and durable little edging
-may be made by working this knot on to a coloured or a
-lace braid. In Fig. 30 the knot comes at the edge of the
-material, while with this <i>point Turc</i> knot the edge of the
-loop is knotted. If the loop in the edging in Fig. 30 is
-worked rather tighter, it also makes a very durable finish.</p>
-
-<div class="figright" id="s2">
-<img src="images/fig75.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 57.</span></p>
-</div>
-
-<p><b>Picots</b> (Fig. 57).—The little pin picot is occasionally
-used as a finish to a button-hole edging. It is rather
-ineffective, having only a single thread, which is apt
-to disappear after a little
-wear. Fig. 23 gives a much
-more substantial picot in
-bullion stitch.</p>
-
-<p>To work Fig. 57, button-hole
-a few stitches along the
-edge or bar as the case may be; fix a pin into the material
-or bar and pass the thread under it; take a stitch into
-the material; bring the needle out at the back; slip it
-under the three threads from left to right (see Fig. 57)
-and draw through. Make a firm knot close to the edge
-of the material, then continue the button-holing till the
-next point is reached.</p>
-
-<p><b>Venetian Picot.</b>—A more substantial picot is used in
-Venetian lace and embroidery as follows:—Make a
-connecting bar by stretching three threads across from
-one edge of the opening to the other, as in Fig. 26.
-Button-hole half-way across, then insert a pin as Fig. 57,
-but pass the thread under the pin and over the bar
-twice; then begin to button-hole the picot at the point<span class="pagenum" id="Page_150">[Pg 150]</span>
-where the pin is inserted and work five or six button-hole
-stitches till the bar is reached; the point must be closely
-covered, then continue the button-holing of the bar.</p>
-
-<div class="figleft">
-<img src="images/fig76.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 58.</span></p>
-</div>
-
-<p>Fig. 58, <i>a</i>, <i>b</i>, <i>c</i>, show how a solid little picot may be
-worked as an edging; it should have some decorative
-stitch to join up the
-picots, such as large
-overcasting, button-hole,
-chain or couching
-stitch. It is generally
-easier to work the picots
-with the edge held
-away from the worker.
-Make a loop as at <i>a</i>;
-fasten it with a pin; then take the thread to the top of
-the loop and pass it round as <i>b</i>. Then interlace backwards
-and forwards, passing the needle under the thread
-before going over to the opposite side, <i>c</i>. Repeat four
-or five times until the loop is filled. A twisted thread
-of a fairly thick make is most suitable for these picots.</p>
-
-<div class="figright">
-<img src="images/fig77.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 59.</span></p>
-</div>
-
-<p><b>A Button-hole Edging.</b>—Fig. 59 shows how to
-work an edging which
-is particularly suitable
-for household linen,
-table mats, towels, etc.;
-being both strong and
-durable, it will stand the
-hard wear which household
-articles in daily
-use are subjected to.</p>
-
-<p>Figs. 60 and 61 are<span class="pagenum" id="Page_151">[Pg 151]</span>
-very good surface stitches, both of which make bold
-and most effective headings to a border or band of
-needle-weaving. Both depend considerably on the care
-with which the foundation stitches are worked; if these
-are not equally distributed and the interlacing thread
-carefully adjusted to form the circles or links of the
-pattern the decorative value
-of the line or filling is spoilt.</p>
-
-<div class="figright">
-<img src="images/fig78.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 60.</span></p>
-</div>
-
-<p><b>A Border Stitch</b> (<b>Fig.
-60</b>).—To work as Fig. 60
-three rows are required to
-complete the stitch. First
-make a row of horizontal stitches on a level with each
-other; then take a long thread and pass the needle, eye
-foremost, up under the first small stitch, down through
-the second, and so on, till the first row is finished—the
-second row of interlacing
-completes the link.</p>
-
-<div class="figleft">
-<img src="images/fig79.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 61.</span></p>
-</div>
-
-<p><b>An Interlacing Border
-or Filling</b> (<b>Fig. 61</b>).—The
-stitch may also be used as
-a background or filling, in
-which case the ground must
-first be patterned over with alternating rows of horizontal
-and vertical stitches, equally spaced. The vertical
-stitches hold the lower and upper edges of the links
-together—one such stitch is seen on the left of Fig. 60.
-Fig. 61 looks well if the foundation stitches are worked
-in one colour and the interlacing threads in another.
-By looking at the figure it will be seen that four small
-horizontal stitches are required to support the interlacing<span class="pagenum" id="Page_152">[Pg 152]</span>
-threads, in groups of two. These must be equally
-spaced so that the rings may be equal in size. After
-the foundation stitches are worked proceed exactly as in
-Fig. 60. Take a long thread for the interlacing of the
-first row; pass the eye of the needle foremost through
-the small stitches to prevent splitting of the threads;
-follow by a second row, which completes the ring.</p>
-
-<p>Fig. 13 gives a row of large back stitching with an
-interlacing thread which is worked in a similar way, and
-which makes a good firm
-line or heading to a border
-or hem.</p>
-
-<div class="figleft">
-<img src="images/fig80.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 62</span></p>
-</div>
-
-<p><b>Two Leaf Fillings</b>
-(<b>Fig. 62</b>).—This filling for
-a leaf or oval form is quickly
-worked; it may be used
-equally well for a surface
-stitch. Fig. 62 represents a
-leaf with a lace braid for the outline. The central
-thread which forms the mid-rib is stretched first, the
-loosely worked loops are then threaded over this. This
-very simple arrangement looks remarkably well, and can
-be still further enriched by spacing the loops much
-wider apart, stretching horizontal lines across the spaces
-and forming little woven wheels, or rosettes, over them,
-down the mid-rib. This is, of course, a much more
-elaborate type of leaf, and would be used to fill quite a
-large space.</p>
-
-<p>There are many simpler methods of filling leaf forms
-or oval spaces—a row of button-holing, <i>point de Bruxelles</i>
-(Fig. 52) worked round the inner edge, followed by<span class="pagenum" id="Page_153">[Pg 153]</span>
-one or two rows of looped button-hole stitch (Fig. 53),
-and closed down the centre by a line of faggot, or Russian
-stitch, finally overcasting a few stitches to the edge in
-order to finish off the thread neatly.</p>
-
-<p>Similarly, Fig. 62 <i>b</i>, may also be worked either as a
-surface filling or as an open one. The horizontal lines
-are stretched first, then overcasting from left to right of
-the straight lines fixes these transverse threads; otherwise
-they would be apt to get out of place, as they are
-only threaded over the one line and under the other.</p>
-
-<p><b>Point de Venise</b> (<b>Fig. 62</b> <i>a</i>).—This can be worked on
-to baby garments, or to any article where a dainty
-finish is required. It looks even better if the heading is
-of some of the lace braids. The thread is secured at the
-edge and a looped stitch is taken as a foundation thread
-into which are worked four button-hole stitches—to
-form a scallop. This charming edging is much used in
-<i>point de Venise</i>. The same stitch also makes a beautiful
-filling pattern.</p>
-
-<p><b>A Useful Bag.</b>—Plate XIII. illustrates what
-may be done with such simple materials as canvas,
-braid and wool. The foundation of canvas has the design
-traced on to the material; it consists of a series of little
-circles and half-circles, which overlap here and there,
-and which are eventually turned into gay little conventional
-flowers by means of bright-coloured wools.
-These flowers are mostly worked in petal stitch (Fig. 3<span class="allsmcap">A</span>),
-and French knots (Fig. 22<span class="allsmcap">A</span>). The band is enclosed by
-two rows of braid, oversewn with green, blue and purple
-wool. The foot of the bag is made up of an oval of
-braid worked in rows from the centre outwards; the<span class="pagenum" id="Page_154">[Pg 154]</span>
-tassels, also of braid, are brightened by rings and tags
-of wool; little thin lines of tinsel threads are darned
-into the canvas—these serve to connect the embroidered
-band with the upper decoration. The embroidered rings
-which hold the draw strings are extremely pretty. This
-note of originality, and indeed, the whole bag, conveys
-to one’s mind the impression of the bright personality
-of the worker who thus gives outward expression of the
-joy it gives her to work with her needle.</p>
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<p><span class="pagenum" id="Page_155">[Pg 155]</span></p>
-
-<h2 class="nobreak" id="c13">CHAPTER XIII</h2>
-</div>
-
-<p class="c less">DECORATIVE FLOWERS AND LEAVES—EDGING<br>
-AND INSERTION</p>
-
-<div class="blockquot">
-
-<p>“Take the gifts, too, to serve as monuments of my hand
-labour.”</p>
-</div>
-
-
-<p><span class="smcap large">These</span> little flowers are a dainty trimming for hat
-bands (Plates IX. and XII.), collars, ribbon, ties and
-jumpers, for dress decoration, or as an addition to
-almost any article of daily wear: further, they are so
-simple to work that a very few directions will enable
-any one to make and apply them to whatever object may
-be chosen for decoration.</p>
-
-<p><b>Crochet.</b>—All crochet consists of a series of little
-loops made by a needle or hook, these being worked or
-drawn together in various ways to form patterns or
-designs suitable for edgings, insertions, motifs, etc., for
-domestic use, and innumerable articles of personal wear.</p>
-
-<p>The foundation stitch is a chain, and all patterns
-commence with it—two or three or more, according to
-the article to be formed. Most crochet patterns are
-worked in rows, backwards and forwards, or all from one
-end; in the former case, the work must be turned at
-the end of the row, after making two or three stitches
-to allow for turning; therefore, the second, fourth, and
-sixth row, etc., will be worked on the opposite side from<span class="pagenum" id="Page_156">[Pg 156]</span>
-the first, third, and fifth, etc. When the rows are all
-started from the same end, the wool must be cut off at
-the end of each row, and commenced again at the
-beginning of the next. Crochet is
-worked, as in ordinary needlework,
-from right to left.</p>
-
-<div class="figright">
-<img src="images/fig81.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 63.</span></p>
-</div>
-
-<p><b>Chain Slip-knot</b> (<b>Fig. 63</b>).—We
-will start then with a slip-knot,
-which forms the first loop for the
-chain (Fig. 63). Wind the wool once round the first two
-fingers of the left hand and pull the long end of the wool
-through the circle thus made in a such a way as to form
-a loop; insert the hook; pull both ends of the wool and
-tighten the knot sufficiently to leave
-an easy passage for the hook through
-it. The next stitch is made by taking
-up the long end of the wool with the
-hook and drawing it through the loop. Repeat this
-process until the length of chain required has been
-obtained (Fig. 64). A little practice will soon give the
-regularity of stitch necessary.</p>
-
-<div class="figleft">
-<img src="images/fig82.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 64.</span></p>
-</div>
-
-<p><b>Single Stitch.</b>—To practise single crochet, make a
-chain about 12 inches long; put the hook into the upper
-half-loop of the second chain; throw the wool over the
-point and draw it through this half-loop and through
-the loop which is already on the hook. Proceed in this
-way to the end of the chain; work one chain; turn and
-work back again, taking care to put the hook into the
-upper half of the stitch of the previous row. Thus the
-first stitch of each succeeding row is always worked into
-the back of the last stitch of the preceding row.</p>
-
-<div class="figcenter" id="f15">
-<p class="captionr">PLATE XV.</p>
-<img src="images/fig83.jpg" alt="">
-<p class="captionc">TWO SIMPLE BASKETS (<i><a href="#Page_169">See p. 169</a></i>)</p>
-</div>
-
-<p><span class="pagenum" id="Page_157">[Pg 157]</span></p>
-
-<p><b>Double Stitch.</b>—Double stitch is not very different
-from single stitch. Put the hook into the upper half of
-the third chain from the hook, as in single stitch; pass
-the wool over the hook and draw it through. There are
-now two loops on the hook. Pass the wool over again and
-draw it through these two loops; continue to the end of
-the chain and turn as in single stitch.</p>
-
-<p><b>Treble Stitch.</b>—This stitch uses up much more wool
-than the two preceding ones. Begin by passing the
-wool over the hook, then insert it in the upper half of
-the chain already made; draw the wool through and
-there will be three loops on the hook. Put the wool over
-the hook and draw it through two loops; put it over a
-third time and draw through the two remaining stitches.
-That completes a treble stitch. It will now be noticed
-that for a single stitch the wool passes over the hook
-once, for a double stitch it passes over twice, and for a
-treble stitch it passes over three times.</p>
-
-<p><b>Long Treble Stitch.</b>—Long trebles are made by
-passing the wool twice over the hook to begin with, then
-working it by drawing the needle through two by two,
-always remembering to pass the wool over the hook, just
-as in treble stitch. When working trebles to and fro,
-four or five chain stitches must always be made at the
-end of each row before turning. When the work is
-turned, these chain stitches form, or rather replace, the
-first treble, which is skipped. This keeps the edges more
-regular.</p>
-
-<div class="figleft">
-<img src="images/fig84.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 65.</span></p>
-</div>
-
-<p><b>Ladder Insertion</b> (<b>Fig 65</b>).—Fig. 65 forms a useful
-little insertion or ladder on which to place the crochet
-flowers. It connects the groups and prevents the<span class="pagenum" id="Page_158">[Pg 158]</span>
-spotty appearance which would be rather a disadvantage
-if the flowers were scattered in arrangement (Plate XII.).
-It is very simply worked. Make a chain the required
-length, then add three or four stitches for turning, to
-allow for the depth of the
-treble; insert the hook
-into the fifth half-loop,
-counting backwards, and
-make a treble stitch as described
-(p. 157); crochet
-one or two chain between
-each treble stitch to correspond
-with the number of
-chain stitches passed over.</p>
-
-<p><b>Hooks.</b>—In making the flowers, it is better for a
-novice to work with a bone crochet hook and wool;
-steel hooks are used for fine threads, flax, silk, or cotton,
-and are not quite so easy to manipulate as bone or
-wooden ones. The point of the hook ought to be quite
-free from roughness, as the wool
-or thread of any kind is so easily
-ruffled.</p>
-
-<div class="figright">
-<img src="images/fig85.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 66.</span></p>
-</div>
-
-<p><b>Flowers</b> (<b>Fig. 66</b>).—To make
-the simplest flower, work five
-chain and join (Fig. 66 <i>a</i>). This
-figure is worked very loosely in
-order to show the method. Then
-make seven chain and one double
-crochet into the ring; five chain
-and one double crochet into the
-ring. Work in this way until<span class="pagenum" id="Page_159">[Pg 159]</span>
-seven little petals have been formed, then join into
-the third chain; finish off by cutting the wool and
-pulling it through. Thread a needle with the cut end,
-and slip it down the chain to fasten off. This forms
-a tiny flower, which may be duplicated in various
-tones of the same colour and sewn on to the foundation
-with cross stitch or French knots. The sizes of the
-flowers will vary considerably according to the thickness
-of the hook and thread used, as well as to the
-method of working, but it is always better to crochet
-flowers firmly to keep them in shape.</p>
-
-<div class="figright">
-<img src="images/fig86.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 67.</span></p>
-</div>
-
-<p><b>A more elaborate Flower</b> (<b>Fig. 67</b>).—Fig. 67 gives
-a slightly more elaborate
-flower.</p>
-
-<p><i>Method</i>:—Work six or
-seven chain and join by
-pulling the loop through
-the first stitch. To make
-the petals, work four chain;
-three treble stitches into
-the ring; four chain and
-one single or double stitch
-into the ring—this completes
-a petal. Notice that the four chain at the
-beginning and end form the sides of the petal. Be
-careful not to split the wool while working, as this spoils
-the appearance of the flower. Make five, six, or seven
-petals and join at the ring as before.</p>
-
-<p>If a larger flower is wanted, make a small flower as
-Fig. 66 for the centre, and work the petals into the
-openings instead of into the ring; the petals may be<span class="pagenum" id="Page_160">[Pg 160]</span>
-made fuller also by adding more treble stitches to each
-one.</p>
-
-<p>Figs. 66 and 67, if worked in silk, cotton, or flax, make
-quite a pretty decoration; the flowers may be folded into
-various shapes and an interesting touch of colour or a
-stitch here or there, or an outline of button-holing will
-add richness and variety to the work (Plate XV.).</p>
-
-<div class="figleft" id="s10">
-<img src="images/fig87.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig</span>. 68.</p>
-</div>
-
-<p><b>Leaves</b> (<b>Fig. 68</b>).—Leaves are quite simple to make,
-and, of course, will vary in size and form, just as the
-flowers do, according to the size of
-the hook and the thickness of wool
-used. A chain forms the mid-rib of the
-leaf, and into this double, treble and
-long treble stitches are worked up one
-side of the chain and down the other,
-the long trebles coming at the widest
-part and decreasing towards the tip.</p>
-
-<p><i>Method</i>:—Make nineteen chain as
-a foundation; work one single stitch
-into the second chain from the hook, one double crochet
-into each of the next two chain, one treble stitch into
-each of the next two chain, one long treble into each
-of the next eight chain, one treble into each of the next
-two chain, one double crochet into the next chain, three
-double crochet into the last chain. These three stitches
-form the tip of the leaf. Continue with one double
-crochet into the next chain; on the other side of the
-chain a treble stitch into each of the next two chain,
-and so on—repeating the stitches as on the ascending
-side—to the end of the chain (Plate XII.). This leaf
-may be enlarged by working a row of double stitch all<span class="pagenum" id="Page_161">[Pg 161]</span>
-round, while a smaller one may be made by starting
-with thirteen or fifteen chain and putting in fewer
-long trebles.</p>
-
-<div class="figright">
-<img src="images/fig88.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 69.</span></p>
-</div>
-
-<p><b>Wired Leaves</b> (<b>Fig. 69</b>).—Another type of leaf
-(Fig. 69) is made with two lengths
-of covered green millinery wire—any
-wire will do so long as it is
-covered—which are tied together in
-the centre with green silk and then
-bent into the form of a leaf and
-fastened at the foot with silk or
-wool. The wire is then interlaced
-with wool, flax, or silk, or chenille, in
-green, blue, or any colour desired.
-As the weaving proceeds in and out,
-take care to push the rows closely together until the tip is
-reached; pass the needle and thread twice round the
-tip and slip the needle down the centre to the stem,
-where the thread is wound round and round until it is
-firm and a sufficient length of stem is covered.</p>
-
-<p><b>Wired Flowers.</b>—Flowers may
-be made in the same way, each petal
-being treated as a leaf; five or six
-are then tied together to form the
-stem, and French or bullion knots
-added in another colour—to give
-stamens and pistil for the centre.</p>
-
-<div class="figleft">
-<img src="images/fig89.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 70.</span></p>
-</div>
-
-<p><span class="smcap">A Useful Cord</span> (<span class="smcap">Fig. 70</span>).—Fig.
-70 makes a very good finish
-for various purposes; it is a chain
-made with double stitch. Begin<span class="pagenum" id="Page_162">[Pg 162]</span>
-with two chain; put the hook into the first chain; pass
-the thread over and draw it through in a loop; pass
-the thread over again and draw it through the two loops
-on the hook; put the hook into the left side of the
-stitch just made; pass the thread over the hook and
-draw it through; pass the thread again over the hook
-and draw it through both stitches; continue in this
-way till length required has been worked. This little
-cord will be useful for bags, edgings for coats and
-jumpers and many other articles.</p>
-
-<p><b>Tricot</b> (<b>Fig. 71</b>).—Fig.
-71 represents another type
-of crochet, sometimes called
-Victorian or Tunisian crochet
-or simply crochet tricot. It
-makes a firm, close, yet
-elastic piece of work, and
-is specially suited to the
-making of children’s slippers,
-scarves, bonnets, reins, braces, collars, hat bands, etc.
-It is always worked in rows—never in rounds—and
-a long straight hook with a knob at the end is necessary
-as all the stitches on the advancing row are kept on
-the hook and worked off on the return row—these two
-rows complete the stitch, which is worked on the right
-side backwards and forwards.</p>
-
-<div class="figleft">
-<img src="images/fig90.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 71.</span></p>
-</div>
-
-<p>Tricot crochet is commenced with a chain the exact
-length and finished off with single stitch.</p>
-
-<p><b>A Tricot Collar</b> (<b>Plate IX.</b>).—The collar in Plate
-IX. is worked in Knox’s linen “cord” floss thread.
-Make sixteen chain and work three rows of double<span class="pagenum" id="Page_163">[Pg 163]</span>
-stitch to keep the ends from curling up as they would
-do if the tricot stitch was started right away. For the
-tricot, the loop row is worked thus:—Put the hook
-through the first stitch; pass the thread over and draw
-it through in a loop; put the hook through the second
-stitch and pass the thread over; draw through in a loop;
-continue in this way to the end of the row, when there
-should be sixteen loops on the hook. Put the thread
-over the hook and draw it through one loop; pass the
-thread over and draw it through two loops; keep on
-repeating this, passing the thread over and drawing
-through two loops until there is only one stitch left on
-the hook. These two rows complete the stitch. In the
-next row, the loop row, put the hook through the hole
-between the first and second stitches; pass the thread
-over and draw it through; pass the thread over the
-hook again and draw it through the first of the two loops
-on the hook; repeat to end of row, always putting the
-hook into the hole between the stitches; count the
-stitches at the end of the rows, as it is quite a common
-mistake for a beginner to increase or decrease by missing
-or making stitches.</p>
-
-<p>The collar is finished with a row of single stitch right
-round, a deep picot fringe to the ends with flowers
-worked in Knox’s linen “cord” floss thread in delicate
-tints edged with silver thread and placed in groups to
-give weight, interest and finish to the whole.</p>
-
-<p><b>Picots.</b>—Picots (Fig. 72) make a dainty finish for an
-edging of crochet, needlework, or lace. Collars, table
-mats and many small articles may be improved by these
-light points of various shapes; the one objection to them<span class="pagenum" id="Page_164">[Pg 164]</span>
-is that they lose in appearance after washings and so are
-not suitable for rough wear unless substantially made.</p>
-
-<p><b>Plain Crochet Picots.</b>—Crochet picots are quickly
-and easily worked. For a plain triangular point, make
-six chain, then work one treble stitch into the first
-chain made, that is the stitch furthest from the hook.
-Repeat six chain and one treble into the first chain
-for the length required—the six chain form the little
-triangular points or picots, the treble stitch forms the
-heading.</p>
-
-<p><b>Dropping Picots.</b>—These dropping picots are a
-little more solid in appearance than the plain picots.
-Make five chain; withdraw the hook from the loop and
-insert it in the second of the five chain stitches just made;
-take up the loop dropped; pass the thread over the needle
-and draw it through the two loops; repeat with five
-chain; drop the last loop; insert in second chain; take up
-the dropped loop; put the thread over the hook and draw
-through both loops. Continue in this way for the length
-required.</p>
-
-<p><b>Crochet Lace Picots</b> (<b>Fig. 73</b>).—Lace picots, as the
-name suggests, are generally worked in fine threads;
-nevertheless, they can make very effective trimmings if
-worked in wool or stout thread over a mesh, and will
-wear wonderfully well.</p>
-
-<p><b>Two-chain Picots.</b>—Commence with two chain;
-put the hook into the first chain; pass the wool over and
-draw it through the stitch—there are now two loops on
-the hook; work two chain, then slip the loop nearest
-the end of the hook off on to a thin wire or mesh and
-repeat. Put the hook into the first of the two chain;<span class="pagenum" id="Page_165">[Pg 165]</span>
-pass the wool over and draw it through the stitch; work
-two chain and slip off the last loop. It is sometimes
-easier to withdraw the needle from the two loops instead
-of slipping the last loop off the end of the hook and to
-replace it into the front loop.</p>
-
-<p>This edging may be sewn to a piece of work.</p>
-
-<div class="figright">
-<img src="images/fig91.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 72.</span></p>
-</div>
-
-<p><b>Picots</b> (<b>Fig. 72</b>).—The following picot is worked
-directly on to the edge
-of the finished piece of
-crochet, or it may be
-worked into a length of
-chain and overcast to
-the edge of any article
-suitable. Put the hook
-into the first stitch;
-pass the wool over and
-draw through; work one double crochet (see <a href="#Page_157">p. 157</a>)
-into the next chain; draw out the loop to the desired
-length for the picot and slip it on to a mesh or pencil;
-insert the hook into the horizontal stitch at the foot of
-the loop; pass the wool over the hook and draw a loop
-through; make a double crochet stitch into the next
-chain; draw out the loop and slip on to the mesh;
-repeat to the end of the work.</p>
-
-<p><b>Two-pronged Fork.</b>—A very quickly worked insertion,
-fringe, or edging may be made by means of a two-pronged
-fork. The little implement can be manufactured
-quite easily at home. For a fringe, a wooden
-fork is necessary, with one wide and one narrow prong.
-The usual fork is of thick steel wire and varies in size,
-but as steel wire is too hard for the unskilled worker to<span class="pagenum" id="Page_166">[Pg 166]</span>
-manipulate, a softer metal would be more satisfactory.
-A length of copper wire about one-eighth of an inch in
-diameter and 15 inches long, could be beaten into the
-form of a hairpin (Fig. 73) by means of a hammer; if the
-metal is too hard to take the curve it can be softened
-by annealing it. The width between the prongs may
-vary in different forks according to the width of the
-insertion to be made, from half an inch to 3 inches apart
-is the usual spacing. The
-stitch is made with a crochet
-needle, which will also vary
-in size according to the
-material used; for working
-in fingering wool, three or
-four ply, a No. 1 steel crochet
-needle does very well. Cotton,
-flax, wool, raffia, string and
-metal threads, all may be
-worked up to form various
-useful articles for decorative
-purposes. An effective fringe
-could be made by threading
-beads into the wool; the beads could be kept at the
-edge of the wide prong.</p>
-
-<div class="figleft">
-<img src="images/fig92.jpg" alt="">
-<p class="captionc"><span class="smcap">Fig. 73.</span></p>
-</div>
-
-<p><b>An Insertion or Fringe.</b>—Method of working:—This
-insertion may be worked in two ways. By looking
-at Fig. 73 it will be seen that the stitch is a very simple
-one. Make a slip-knot as Fig. 63, and one chain; withdraw
-the hook. Place the fork with the prongs upwards
-in the left hand, between the thumb and the middle
-finger; slip the chain stitch on to the left prong with the<span class="pagenum" id="Page_167">[Pg 167]</span>
-thread towards the worker. Insert the hook from below
-into it, then carry the thread round the right prong and
-pass it over the point of the hook; pull it through the
-loop; make one chain; put the thread round the left
-prong and turn the fork to the right—slipping the hook
-over the right prong at the same time so that it remains
-in the same position between the prongs with the handle
-to the worker; insert the hook into the stitch on the
-left prong from below; catch the thread and pull through;
-there are now two loops on the hook; close these by
-putting the thread over and drawing it through both.
-Repeat with the thread round the left prong as before.</p>
-
-<p><b>Raffia.</b>—A simple braid is done in three movements,
-the fork being turned between each three. When
-the fork is filled, closely covered, slip off the loops and
-reinsert the two prongs into the last five or six loops,
-then continue for the required length. Two or three
-braids may be joined together by slipping one loop over
-another, or a contrasting thread may be taken and two
-loops on the one side may be joined together by a double
-stitch; then make three chain; two loops on the other
-side, joined again, then three chain; working in this
-way, the joining forms a little row of vandykes in chain
-stitch. The outer edges are then strengthened by one
-double stitch into two loops; two chain; one double
-stitch into the next two loops; two chain, and so on.</p>
-
-<p>Carpet and skirt braids may be joined together by
-means of an insertion made in twine or raffia—the latter
-being the more decorative. After making a row of gimp
-on a wide-pronged fork, connect it to the carpet braid
-by working two double crochet stitches into each loop<span class="pagenum" id="Page_168">[Pg 168]</span>
-and two into the braid—if a sufficient number of rows
-are joined together a strong and useful shopping bag
-may be made, finished with handles of plaited raffia and
-braid.</p>
-
-<p>A pretty crochet edging suitable for finishing off many
-articles of personal wear or for domestic use, which wears
-and washes well, may be worked directly on to the
-material. Work a row of button-hole stitch into the
-edges of the material; space the stitches rather widely so
-as to allow of an easy entrance for the crochet hook—this
-makes a daintier edging than inserting the needle directly
-into the material. It is worked in three rows—a linen
-thread gives the best effect. To work the first row, begin
-with one double stitch into a button-hole loop, then two
-chain, and one double crochet into every second button-hole
-loop; on approaching the corners, work into every
-loop so as to allow the next row to lie easily round them—nothing
-spoils good work so much as to see the stitching
-tightened and strained round the edges and corners.
-When the first row is finished join the stitches with a
-single stitch and commence the second row. Make eight
-or ten chain according to the thread used and size of loop
-wanted, then work double crochet into every third or
-fourth loop of the previous row—give ease to the corners
-by working three double crochet into each loop at the
-finish of the row; join as in second row. For the third
-row work ten or twelve double crochet stitches over the
-chain loops, as these stitches should cover the chain loops
-closely, when they look similar to button-hole stitching.
-The appearance of this edging will naturally vary considerably
-according to the size of the needle and thread
-<span class="pagenum" id="Page_169">[Pg 169]</span>used. A very serviceable edging, not too minute, is
-made with a No. 4 steel crochet hook and linen “L.C.”
-crochet thread, No. 14.</p>
-
-<div class="figcenter" id="f16">
-<p class="captionr">PLATE XVI.</p>
-<img src="images/fig93.jpg" alt="">
-<p class="captionc">A CUSHION COVER.</p>
-</div>
-
-<p><b>Another Edging</b> (<b>Plate VII.</b>).—A very effective
-edging is worked into a row of needle button-hole
-stitch. Like the one above, it wears and washes
-well. First row: work one double crochet into one
-of the button-hole headings; make ten chain; pass
-six button-hole loops and work one double crochet into
-sixth loop; continue making ten chain and one double
-crochet until the row is complete. Break off the thread.
-Start the second row with one double crochet in the centre
-of the chain loop; make ten chain and work one double
-crochet into the centre of the next loop, and so on to the
-end of the row; then join and break off the thread. The
-third row is worked in a coloured thread. Take a blue
-linen or cotton thread and start this row by working into
-the first loop. Two double crochet, four chain, four
-double crochet, four chain and two double crochet. Work
-the same number of stitches in each loop. The chain
-stitches form little picots; this makes a dainty little
-finish to a table centre. Compare Plate VII.</p>
-
-<p>Plate <span class="smcap">XVb</span>. gives an example of a work bag made
-from rug canvas. It is worked in cross stitch in two
-shades of blue, light green and a reddish-purple raffia.
-The edges are turned in and finished off with a border of
-soft blue brush braid; the handles are of raffia, plaited,
-in the different colours; the basket is lined with a printed
-silk which matches the various colours.</p>
-
-<p>Plate XV. gives a Japanese basket woven in grass,
-trimmed with cherry-coloured braid and crocheted<span class="pagenum" id="Page_170">[Pg 170]</span>
-flowers—the flowers are sewn on with dark blue; the
-lining consists of two shades of blue. The handles are
-of cherry-coloured carpet braid. These baskets are so
-very useful for the holding of odds and ends, mending,
-or embroidery. Some of the simplest woven Japanese
-baskets look very well when trimmed with braids in gay
-colourings and little crochet flowers. The busy woman
-might well have one of these useful little baskets with
-work ready to her hand, or suitable in their contents to
-her various rooms.</p>
-
-<p><b>A Cushion Case</b> (<b>Plate XVI.</b>).—The original is a
-charming piece of work. The background, of a soft blue
-tone, is worked in blues, bright greens, heliotrope and
-cream. The design, in straight lines and circles, has two
-bars of needle-weaving, the definite pattern of which is
-shown to advantage by the plain woven bars on either
-side. The bars are worked similarly to the latchet darns
-which are frequently used instead of rings to support the
-draw strings of bags.</p>
-
-<p>The design is so simple that it might be drawn directly
-on to the material—this should not be a difficult matter
-if the threads of the canvas are regularly woven. Put
-in the main lines first—in the illustration these lines are
-worked in satin stitch; use a ruler and a chalk pencil—the
-latter is easily rubbed out if a mistake is made—then
-run in the design in wool or thread. Measure off the
-bars for needle-weaving, but do not cut and draw the
-threads until ready to work them. Great care must be
-taken in planning out the various parts of the design
-to have all lines running accurately with the warp and
-weft of the material, otherwise, when the woven bars are<span class="pagenum" id="Page_171">[Pg 171]</span>
-put in, they will accentuate any mistake made. The
-corners are in “laid” stitch, that is, the threads are
-stretched loosely across from one side of the square to
-the other, horizontally, then vertically—or <i>vice versâ</i>;
-they are then sewn down at the junctions with tiny
-cross stitches, which requires some care if the squares
-are not to be displaced. The rows of running or tacking
-stitches accentuate the oval in the centre. Cut and
-draw the threads for the needle-weaving after the outer
-band of satin stitch has been worked. The plain bars
-should be worked in first, as they are simpler in construction.
-When these plain bars are finished, divide up
-the strands into groups of seven for the pattern, and one
-group of eight—the latter forms the start and finish of
-the pattern which should have four groups in each.
-Weave in all the purple blocks to begin with; these, as
-may be seen from the illustration, are widest at the base.
-Weave over seven groups for one-eighth of the space;
-leave out a group of threads on either side and weave
-over five; then over three, and then over one group;
-each step is fully one-eighth in height. This process is
-then reversed, and the weaving finishes at the opposite
-side over seven groups. The start and finish over four
-groups can be followed from the illustration. The
-central figures alternating in green and blue will then be
-woven in without difficulty.</p>
-
-<p>The circles in the centre are worked in rows of satin
-stitch; the flat green beads are surrounded by French
-knots in cream, and each circle is surrounded on the
-outer edge by button-holing in blue of a lighter tint than
-the canvas.</p>
-
-<p><span class="pagenum" id="Page_172">[Pg 172]</span></p>
-
-<p><b>Useful Hints.</b>—As a preliminary to the embroidery
-of a piece of work comes the putting on of the pattern.
-This may be done in different ways, but whichever way
-is chosen, it is well to realise from the outset that
-accuracy is essential. All possible care should be taken
-with the drawing on or tracing of the pattern or design;
-all straight lines should follow the warp and the weft
-of the material, when they are visible—the slightest
-unevenness causes unnecessary trouble in the after-working.</p>
-
-<p><i>Transferring the Design</i>.—As previously mentioned,
-in a design for coarse canvas a geometric pattern may
-be put on with a ruler and a chalk pencil, but as chalk
-gives a thickish blunt line and is also very easily rubbed
-off, it is necessary to fix the design, either by running it
-round with a needle and thread, or by taking a fine
-brush and going over the chalk lines with Chinese white
-or oil paint thinned with turpentine. Another method
-is to lay a sheet of tracing paper over the design and
-trace it through clearly and accurately; then, following
-the plan of the little ones in the kindergarten with their
-embroidery cards, lay the traced design, face up, on a
-pad of felt, or on two or three folds of woollen material,
-and prick little holes very closely together, along the
-lines of the design.</p>
-
-<p><i>Pouncing</i>.—A needle or a fine glass-headed steel pen
-will serve as a pricker. Lay the pricked design face
-downwards on to the material—which has previously
-been pinned on to a drawing board; fix the tracing, and
-with a soft pad dipped in powdered chalk and charcoal
-rub lightly across the holes from left to right—keep<span class="pagenum" id="Page_173">[Pg 173]</span>
-always rubbing in the same direction; on removing the
-tracing, the pattern should be perfectly clear. Take a
-fine brush and go over the design with Chinese white or
-red oil paint thinned with turpentine; this is called
-pouncing. The superfluous chalk or charcoal will blow
-off.</p>
-
-<p><i>Carbon Paper.</i>—A simpler method is to use carbon
-paper, which may be had in yellow, blue and red. Fix
-the material on a board and place the design carefully
-and evenly on to it. Secure with drawing-pins at the
-top line—leave the lower part free; raise the design—like
-a flap—and place the carbon paper, colour downwards,
-on to the material, then pin down the lower edges of the
-design. Do not put the pins through the carbon paper
-as they leave an ugly mark wherever pressure is applied;
-thus rings and bracelets should be removed before tracing.
-The upper pins keep the design in position, and progress
-may be noted by removing the lower pins and lifting the
-tracing and the carbon paper without disturbing the
-position of the design.</p>
-
-<p>Yet another way is to trace the design through on to
-a piece of tarlatan—an open-meshed muslin; this being
-done, place the tarlatan over the material, take a drawing
-pen, and with Indian ink run over the lines already there.
-If this is quickly done, a clear line should show on the
-material.</p>
-
-<p><i>Stretching.</i>—Embroidery sometimes gets rather
-puckered while working. It can be much improved, not
-by ironing, which is apt to flatten too much, but by
-stretching. Simple needle-weaving with flat stitchery
-may be laid on to two or three folds of blanket and<span class="pagenum" id="Page_174">[Pg 174]</span>
-pressed without harm. For most other kinds of work
-it is better to lay it face downwards on a board which
-has already been covered with a napkin or a fine towel;
-fix it at regular intervals with drawing-pins, and while
-doing so stretch the material into its right shape, if
-possible; be careful not to stretch it out of shape, which
-would be worse than ever; then lay a damp cloth over
-the work, leave it over-night to dry, and the puckering
-should have disappeared by the time it is dry.</p>
-
-<p>There is really no need to pucker work if it is held
-properly. Some stitches are more inclined to tighten
-than others, but it is generally when working across the
-material that they tighten it. The work should always
-be held in a convex position over the fingers, and when
-working in wools—which are sometimes very elastic—the
-needle-worker should see that the threads lie easily
-over the surface. If the background appears rounded
-at the worked part on the under-side, the wools are too
-tightly strained. When mistakes are made it is always
-wiser to cut them out than to unpick—it does not harm
-the material in the same way, and it is not extravagant,
-as threads are generally too much roughened for use
-after unpicking.</p>
-
-<p><i>Knots</i>, as a rule, should be avoided; threads should
-always be cut, not broken off. The best way to commence
-a new thread is to run a few stitches on the right side on
-a part which will be covered afterwards by embroidery.
-This keeps the wrong side tidier, and the threads more
-secure. A long thread does not make for good work,
-as a rule; it gets roughened before it is finished and
-takes longer to pull through.</p>
-
-<p><span class="pagenum" id="Page_175">[Pg 175]</span></p>
-
-<p>Braids and thick threads can be taken through to the
-wrong side by making a hole with a stiletto, or by using
-a needle and thread. Bring the needle through the hole
-and pass it round the braid, then pass it back through
-the same hole and pull the braid through the hole with
-it; in the case of a coarse thread, the needle will make a
-large enough hole. In working with flax, note the
-direction of the fibre by drawing it through the fingers.
-The needle should be threaded at the smooth end, so that
-when the thread is drawn through the material it is not
-roughened. In working with double wool, cotton, or
-silk, pass two separate threads through the eye—both
-threads are then running the same way. Always keep
-the finished part of the embroidery covered up while
-working, if possible; it keeps it fresher and the threads
-do not get rubbed. Hot hands discolour the threads,
-roughened fingers ruffle them. Washing in warm water
-with the free use of pumice stone will help in both cases.</p>
-
-<p><i>Washing Woollen Embroideries.</i>—The soap should be
-of a good quality and free from alkali, which injures the
-colours. Flake the soap and dissolve it in boiling water;
-whip it into a lather; add cold water until it is of a comfortable
-heat for the hands, and put the embroidery in.
-Squeeze and work it gently—but on no account rub it—until
-it is clean, then rinse in warm water, and again in
-cooler water; squeeze the water out; hang up immediately—in
-the open air, if possible; dry quickly and pin out
-on a board, and iron damp on the wrong side on a folded
-blanket. White work may be washed in a lather of Lux—any
-soap which does not contain alkali may be used.
-Proceed as for coloured work, squeezing the dirt out, not<span class="pagenum" id="Page_176">[Pg 176]</span>
-rubbing; rinse and stretch over a towel or put in the open
-air till almost dry. It is then laid face downwards on
-several folds of blanket, a damp cloth placed over it, and
-a hot iron passed backwards and forwards until it is
-quite dry—the cloth prevents the iron from soiling the
-material on the back and equalises the moisture. Velvet
-should be held while being pressed, or the iron should
-be fixed face up and the velvet passed over it. All wools
-should be shrunk before being worked on to articles such
-as sash curtains and coverlets, which require washing.
-Steep them in a bath of hot water for some hours; hang
-them up—in the hank—to drip; when dry, they will be
-as soft as when new.</p>
-
-<p>Braids should be subjected to the same treatment—they
-may probably lose a very little colour if they are
-not reliable of their kind.</p>
-
-<p><b>Practical Hints about Materials.</b>—There is sometimes
-difficulty in obtaining threads and materials of a
-coarse make and weave suitable for carrying out articles
-similar to those illustrated throughout the book. A
-short list of the names of firms where such may be bought
-is given below for the benefit of readers.</p>
-
-<p>Canvases and crashes particularly suited to needle-weaving
-may be obtained from Messrs. Brown and
-Beveridge, Ltd., 194, Bath Street, Glasgow. These
-are of good quality, in great variety and excellent
-colouring.</p>
-
-<p>Titian canvas, one of the heaviest makes, is very
-suitable for runners, table covers and large objects
-generally; it may be had in three widths, 27 inches,
-50 inches and 72 inches, in mole, blue and soft brown.<span class="pagenum" id="Page_177">[Pg 177]</span>
-Art canvas and antique canvas, both of a regular weave
-in quiet colours, are lighter in make.</p>
-
-<p>In vandyke canvases the warp and weft threads, which
-are of different colours, blend very harmoniously. Art
-linens and bloom linens are charming; the latter are
-woven in two colours. Celtic canvas in cream, fawn, red,
-green, and a beautiful rich blue, are guaranteed fast dyed.</p>
-
-<p>Cotton repps and Sundour unfadeable materials are also
-suitable and useful for household decoration.</p>
-
-<p>Messrs. Brown and Beveridge, Ltd., also supply
-tapestry and crewel wools and a soft thick silk thread
-known as Tyrian embroidery silk.</p>
-
-<p>Linens of different makes and colours can be obtained
-so easily that it is not necessary to mention any special
-firm. Heavy unbleached linen sheetings and towellings
-can be procured from some of the Irish linen
-manufacturers.</p>
-
-<p>Messrs. Murphy and Orr, Donegal Street, Belfast,
-make a heavy twill unbleached linen to be recommended
-for coverlets.</p>
-
-<p>Messrs. J. and J. Baldwin and Partners, Ltd., supply,
-through their various agents, wools and yarns of a soft
-quality and in excellent ranges of colour. “White
-Heather,” three-ply, and a thicker “Rainbow” embroidery
-wool, sold in balls, are both good.</p>
-
-<p>Fingering wools, three, four and five-ply, in light
-colours, may be had from any of the numerous Scotch
-wool shops—Messrs. Fleming and Reid, Greenock.</p>
-
-<p>Messrs. W. and J. Knox, Ltd., Kilbirnie, manufacture
-linen and lace crochet threads in cream, ecru and Paris
-white, also linen floss embroidery threads in a wide<span class="pagenum" id="Page_178">[Pg 178]</span>
-range of beautiful colours. L.C. linen lace thread
-in various thicknesses, numbering from 8 to 70. The
-medium sizes from 35 to 50 are suitable for the background
-of Rhodian embroidery.</p>
-
-<p>“Cord” floss, a thick twisted thread, is suitable for
-knitting; hats, collars, short jumpers, bags, etc., may
-be made from it.</p>
-
-<p>Messrs. Kirkby, Beard &amp; Co., Redditch, supply
-needles of a reliable quality.</p>
-
-<p>Blunt-pointed tapestry needles, No. 18, suitable for
-needle-weaving, crewel and chenille needles, and the
-excellent “Scientific Sharps” may be had from most
-of the needlework depots, or through any of their agents.</p>
-
-<p>Simple wooden looms for the making of braids, hat
-bands, ties, girdles, etc., with instructions and with a
-piece of work started, may be had from the Dryad Works,
-42, Nicholas Street, Leicester. The same firm supplies
-raffia in brilliant colours and raffia needles.</p>
-
-
-<hr class="full x-ebookmaker-drop">
-
-<div class="chapter">
-<h2 class="nobreak" id="c14">INDEX</h2>
-</div>
-
-<ul class="index">
-<li class="ifrst">American cloth, <a href="#Page_143">143</a></li>
-
-<li class="indx">Antique hemstitch, <a href="#Page_73">73</a></li>
-
-<li class="indx">Antique seam, <a href="#Page_96">96</a></li>
-
-<li class="indx">Applied work, <a href="#Page_80">80</a></li>
-
-<li class="indx">Arrow-head filling, <a href="#Page_31">31</a></li>
-
-<li class="indx">Art and craft, <a href="#Page_5">5</a></li>
-
-<li class="indx">Art canvas, <a href="#Page_177">177</a></li>
-
-
-<li class="ifrst">Background, open, <a href="#Page_105">105</a></li>
-
-<li class="indx">Backgrounds, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_82">82</a>, <a href="#Page_104">104</a></li>
-
-<li class="indx">Back stitching, <a href="#Page_152">152</a></li>
-
-<li class="indx">Bag, a useful, <a href="#Page_153">153</a></li>
-
-<li class="indx">Bag, work, <a href="#Page_169">169</a></li>
-
-<li class="indx">Bags, <a href="#Page_132">132</a></li>
-
-<li class="indx">Balance, <a href="#Page_23">23</a></li>
-
-<li class="indx">Bands, needle-woven, <a href="#Page_105">105</a></li>
-
-<li class="indx">Basket, Japanese, <a href="#Page_169">169</a></li>
-
-<li class="indx">Basket or stroke stitch, <a href="#Page_71">71</a></li>
-
-<li class="indx">Basket pattern, <a href="#Page_33">33</a>, <a href="#Page_70">70</a></li>
-
-<li class="indx">Basket stitch, <a href="#Page_67">67</a></li>
-<li class="isub1">to work, <a href="#Page_71">71</a></li>
-
-<li class="indx">Baskets, <a href="#Page_132">132</a></li>
-
-<li class="indx">Beads, <a href="#Page_19">19</a>, <a href="#Page_28">28</a></li>
-
-<li class="indx">Blanket, Scottish, <a href="#Page_9">9</a></li>
-
-<li class="indx">Blanket stitch, to work, <a href="#Page_58">58</a></li>
-
-<li class="indx">Bokhara embroideries, <a href="#Page_17">17</a></li>
-
-<li class="indx">Border, <a href="#Page_129">129</a></li>
-<li class="isub1">diapered, <a href="#Page_60">60</a></li>
-<li class="isub1">geometrical, <a href="#Page_124">124</a></li>
-<li class="isub1">interlacing, <a href="#Page_151">151</a></li>
-<li class="isub1">pattern, <a href="#Page_19">19</a></li>
-<li class="isub1">stitch, <a href="#Page_151">151</a></li>
-<li class="isub1">vandyke, <a href="#Page_30">30</a></li>
-
-<li class="indx">Braid hat band, <a href="#Page_133">133</a></li>
-
-<li class="indx">Braid, Honiton, <a href="#Page_144">144</a></li>
-
-<li class="indx">Braid stitch, <a href="#Page_53">53</a></li>
-
-<li class="indx">Braids, <a href="#Page_28">28</a>, <a href="#Page_76">76</a>, <a href="#Page_89">89</a>, <a href="#Page_119">119</a></li>
-
-<li class="indx">Braids, hand-made, <a href="#Page_28">28</a>, <a href="#Page_117">117</a></li>
-
-<li class="indx">Brocade, <a href="#Page_16">16</a></li>
-
-<li class="indx">Building up of the pattern, <a href="#Page_6">6</a></li>
-
-<li class="indx">Bullion knots, <a href="#Page_83">83</a></li>
-
-<li class="indx">Bullion stitch, <a href="#Page_84">84</a></li>
-
-<li class="indx">Button-hole stitches, <a href="#Page_56">56</a></li>
-<li class="isub1">bars, <a href="#Page_86">86</a></li>
-<li class="isub1">crossed, <a href="#Page_58">58</a></li>
-<li class="isub1">double, <a href="#Page_61">61</a></li>
-<li class="isub1">edging, <a href="#Page_150">150</a></li>
-<li class="isub1">filling of a space, <a href="#Page_59">59</a></li>
-<li class="isub1">loops, open, <a href="#Page_139">139</a></li>
-<li class="isub1">pyramid, <a href="#Page_107">107</a></li>
-<li class="isub1">rings, <a href="#Page_122">122</a></li>
-
-<li class="indx">Button-hole stitch, flowers in, <a href="#Page_59">59</a></li>
-
-<li class="indx">Button-hole stitch, leaves in, <a href="#Page_61">61</a></li>
-
-<li class="indx">Buttons, <a href="#Page_28">28</a></li>
-
-<li class="indx">Buttons, indestructible, <a href="#Page_123">123</a></li>
-
-
-<li class="ifrst">Cable chain, <a href="#Page_52">52</a></li>
-
-<li class="indx">Cable chain, to work, <a href="#Page_52">52</a></li>
-
-<li class="indx">Canvas, <a href="#Page_8">8</a>, <a href="#Page_67">67</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>, <a href="#Page_177">177</a></li>
-
-<li class="indx">Canvas stitches, <a href="#Page_131">131</a></li>
-
-<li class="indx">Carbon paper, <a href="#Page_173">173</a></li>
-
-<li class="indx">Carpet chenilles, <a href="#Page_10">10</a></li>
-
-<li class="indx">Carrick bend, <a href="#Page_125">125</a></li>
-
-<li class="indx">Celtic canvas, <a href="#Page_129">129</a></li>
-
-<li class="indx">Central fillings, <a href="#Page_122">122</a></li>
-
-<li class="indx">Chain stitch, <a href="#Page_45">45</a>, <a href="#Page_79">79</a>, <a href="#Page_126">126</a>, <a href="#Page_143">143</a></li>
-<li class="isub1">in two colours, <a href="#Page_47">47</a></li>
-<li class="isub1">to work, <a href="#Page_46">46</a></li>
-<li class="isub1">twisted, <a href="#Page_45">45</a></li>
-
-<li class="indx">Chenilles, carpet, <a href="#Page_10">10</a></li>
-
-<li class="indx">Chequered fern stitch, <a href="#Page_75">75</a></li>
-
-<li class="indx">Chequered pattern, <a href="#Page_70">70</a>, <a href="#Page_101">101</a></li>
-
-<li class="indx">Chequered pattern, to work, <a href="#Page_70">70</a></li>
-
-<li class="indx">Chequers, <a href="#Page_29">29</a></li>
-
-<li class="indx">Chinese knot, <a href="#Page_126">126</a></li>
-
-<li class="indx">Circles, <a href="#Page_22">22</a>, <a href="#Page_79">79</a></li>
-
-<li class="indx">Colour, <a href="#Page_12">12-17</a></li>
-
-<li class="indx">Colour, juxtaposition of, <a href="#Page_16">16</a></li>
-
-<li class="indx">Colour, restful, <a href="#Page_14">14</a></li>
-
-<li class="indx">Colour scheme, <a href="#Page_6">6</a>, <a href="#Page_80">80</a></li>
-
-<li class="indx">Colours, six bright, <a href="#Page_15">15</a></li>
-
-<li class="indx">Colours, warm, <a href="#Page_13">13</a></li>
-
-<li class="indx">Common sense, <a href="#Page_6">6</a></li>
-
-<li class="indx">Construction, <a href="#Page_6">6</a>, <a href="#Page_20">20</a></li>
-
-<li class="indx">Cool colours, <a href="#Page_14">14</a></li>
-
-<li class="indx">Cope, Jesse, <a href="#Page_82">82</a></li>
-
-<li class="indx">Cope, Syon, <a href="#Page_82">82</a></li>
-
-<li class="indx">Coptic work, <a href="#Page_40">40</a></li>
-
-<li class="indx">Coral stitch, <a href="#Page_48">48</a></li>
-
-<li class="indx">Cords, <a href="#Page_66">66</a></li>
-
-<li class="indx">Cords, hand-made, <a href="#Page_27">27</a></li>
-
-<li class="indx">Corners, <a href="#Page_20">20</a></li>
-
-<li class="indx">Cosy cover, <a href="#Page_112">112</a></li>
-
-<li class="indx">Cot coverlet, <a href="#Page_138">138</a></li>
-
-<li class="indx">Couching, <a href="#Page_68">68</a>, <a href="#Page_79">79</a></li>
-
-<li class="indx">Couching, ancient method of, <a href="#Page_81">81</a></li>
-
-<li class="indx">Crash, Russian, <a href="#Page_9">9</a>, <a href="#Page_37">37</a></li>
-
-<li class="indx">Cretan stitch, <a href="#Page_51">51</a></li>
-
-<li class="indx">Cretonne, <a href="#Page_16">16</a></li>
-
-<li class="indx">Crochet, <a href="#Page_69">69</a>, <a href="#Page_155">155</a></li>
-<li class="isub1">a useful cord, <a href="#Page_161">161</a></li>
-<li class="isub1">chain slip-knot, <a href="#Page_156">156</a></li>
-<li class="isub1">double stitch, <a href="#Page_157">157</a></li>
-<li class="isub1">dropping picots, <a href="#Page_164">164</a></li>
-<li class="isub1">flowers, <a href="#Page_158">158</a></li>
-<li class="isub1">hooks, <a href="#Page_78">78</a>, <a href="#Page_158">158</a></li>
-<li class="isub1">insertion, an, <a href="#Page_166">166</a></li>
-<li class="isub1">lace picots, <a href="#Page_164">164</a></li>
-<li class="isub1">ladder insertion, <a href="#Page_157">157</a></li>
-<li class="isub1">leaves, <a href="#Page_160">160</a></li>
-<li class="isub1">long treble stitch, <a href="#Page_157">157</a></li>
-<li class="isub1">mesh, <a href="#Page_165">165</a></li>
-<li class="isub1">picots, <a href="#Page_163">163</a>, <a href="#Page_165">165</a></li>
-<li class="isub1">plain picots, <a href="#Page_164">164</a></li>
-<li class="isub1">raffia, <a href="#Page_167">167</a></li>
-<li class="isub1">single stitch, <a href="#Page_156">156</a></li>
-<li class="isub1">treble stitch, <a href="#Page_157">157</a></li>
-<li class="isub1">tricot, <a href="#Page_162">162</a></li>
-<li class="isub1">two-chain picots, <a href="#Page_164">164</a></li>
-
-<li class="indx">Crossed button-hole, <a href="#Page_58">58</a></li>
-
-<li class="indx">Cross stitch, <a href="#Page_101">101</a>, <a href="#Page_130">130</a>, <a href="#Page_131">131</a></li>
-
-<li class="indx">Cross stitch, Italian, <a href="#Page_130">130</a></li>
-
-<li class="indx">Curtain, part of a, <a href="#Page_55">55</a></li>
-
-<li class="indx">Curving lines, <a href="#Page_23">23</a></li>
-
-<li class="indx">Cushion case, <a href="#Page_170">170</a></li>
-
-<li class="indx">Cut work, <a href="#Page_136">136</a></li>
-
-
-<li class="ifrst">Damask, <a href="#Page_8">8</a></li>
-
-<li class="indx">Damask darning, <a href="#Page_32">32</a></li>
-
-<li class="indx">Darning patterns, <a href="#Page_29">29</a></li>
-
-<li class="indx">Darning, single, <a href="#Page_33">33</a></li>
-
-<li class="indx">Darning stitches, <a href="#Page_29">29</a>, <a href="#Page_106">106</a></li>
-
-<li class="indx">Darns, latchet, <a href="#Page_66">66</a>, <a href="#Page_170">170</a></li>
-
-<li class="indx">Decorative back stitch, <a href="#Page_61">61</a></li>
-
-<li class="indx">Decorative initials, <a href="#Page_111">111</a></li>
-
-<li class="indx">Design, <a href="#Page_21">21</a></li>
-
-<li class="indx">Design, habit of, <a href="#Page_5">5</a></li>
-
-<li class="indx">Design, transferring the, <a href="#Page_172">172</a></li>
-
-<li class="indx">Designs, interlacing, <a href="#Page_90">90</a>, <a href="#Page_127">127</a></li>
-
-<li class="indx">Diagonal filling, <a href="#Page_34">34</a></li>
-
-<li class="indx">Diagonal lines, <a href="#Page_21">21</a>, <a href="#Page_79">79</a></li>
-
-<li class="indx">Diapered border, <a href="#Page_60">60</a></li>
-
-<li class="indx">Dominant colour, <a href="#Page_16">16</a></li>
-
-<li class="indx">Double button-hole, <a href="#Page_61">61</a></li>
-
-<li class="indx">Double-net stitch, <a href="#Page_144">144</a></li>
-
-<li class="indx">Drawing, <a href="#Page_5">5</a></li>
-
-<li class="indx">Drawn work, Italian, <a href="#Page_137">137</a></li>
-
-
-<li class="ifrst">Eastern embroiderers, <a href="#Page_69">69</a></li>
-
-<li class="indx">Ecclesiastical embroideries, <a href="#Page_1">1</a></li>
-
-<li class="indx">Edgings, <a href="#Page_9">9</a>, <a href="#Page_27">27</a>, <a href="#Page_122">122</a>, <a href="#Page_149">149</a></li>
-
-<li class="indx">Embroiderers, Eastern, <a href="#Page_69">69</a></li>
-
-<li class="indx">Embroideries, Bokhara, <a href="#Page_17">17</a></li>
-
-<li class="indx">Embroideries, ecclesiastical, <a href="#Page_1">1</a></li>
-
-<li class="indx">Embroideries, peasant, <a href="#Page_136">136</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">Embroideries, washing woollen, <a href="#Page_175">175</a></li>
-
-<li class="indx">Embroidery, Hedebo, <a href="#Page_137">137</a></li>
-
-<li class="indx">Embroidery, Rhodian, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">Embroidery, Richelieu, <a href="#Page_143">143</a></li>
-
-<li class="indx">Embroidery threads, linen floss, <a href="#Page_177">177</a></li>
-
-<li class="indx">Embroidery, white, <a href="#Page_83">83</a></li>
-
-<li class="indx">Emery cushion, <a href="#Page_12">12</a></li>
-
-<li class="indx">Eyelet holes, <a href="#Page_140">140</a></li>
-
-
-<li class="ifrst">Faggoting, <a href="#Page_93">93</a></li>
-
-<li class="indx">Fern stitch, <a href="#Page_74">74</a></li>
-
-<li class="indx">Filet background, <a href="#Page_104">104</a></li>
-
-<li class="indx">Filet pattern, <a href="#Page_77">77</a></li>
-
-<li class="indx">Fillings, <a href="#Page_29">29</a></li>
-<li class="isub1">arrow-head, <a href="#Page_31">31</a></li>
-<li class="isub1">central, <a href="#Page_122">122</a></li>
-<li class="isub1">diagonal, <a href="#Page_34">34</a></li>
-<li class="isub1">honeycomb, <a href="#Page_62">62</a></li>
-<li class="isub1">in squares, <a href="#Page_35">35</a></li>
-<li class="isub1">leaf, <a href="#Page_152">152</a></li>
-<li class="isub1">openwork, <a href="#Page_29">29</a>, <a href="#Page_144">144</a></li>
-<li class="isub1">pyramid, <a href="#Page_30">30</a></li>
-<li class="isub1">star, <a href="#Page_31">31</a></li>
-
-<li class="indx">Fingering wools, <a href="#Page_177">177</a></li>
-
-<li class="indx">Finishing touches, <a href="#Page_6">6</a>, <a href="#Page_115">115</a></li>
-
-<li class="indx">Finishings, <a href="#Page_26">26</a></li>
-
-<li class="indx">Fishbone, <a href="#Page_71">71</a></li>
-
-<li class="indx">Fishbone stitch, <a href="#Page_50">50</a></li>
-
-<li class="indx">Fitments, <a href="#Page_26">26</a>, <a href="#Page_27">27</a></li>
-
-<li class="indx">Flat knot, a, <a href="#Page_116">116</a></li>
-
-<li class="indx">Flowered hat band, <a href="#Page_129">129</a></li>
-
-<li class="indx">Flowers in button-hole stitch, <a href="#Page_59">59</a></li>
-
-<li class="indx">Fork-pin insertion, <a href="#Page_99">99</a></li>
-
-<li class="indx">Foundation net, <a href="#Page_144">144</a></li>
-
-<li class="indx">Frames, <a href="#Page_11">11</a>, <a href="#Page_79">79</a></li>
-
-<li class="indx">French knots, <a href="#Page_28">28</a>, <a href="#Page_82">82</a></li>
-
-<li class="indx">French tape, <a href="#Page_75">75</a></li>
-
-<li class="indx">Fringe, knotted, <a href="#Page_115">115</a></li>
-
-<li class="indx">Fringe, to prepare a, <a href="#Page_114">114</a></li>
-
-<li class="indx">Fringes, <a href="#Page_28">28</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_114">114</a></li>
-
-
-<li class="ifrst">Galoon, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a href="#Page_83">83</a></li>
-
-<li class="indx">Galoons and gimps, washing, <a href="#Page_28">28</a></li>
-
-<li class="indx">Geometrical border, <a href="#Page_124">124</a></li>
-
-<li class="indx">Geometrical forms, <a href="#Page_5">5</a>, <a href="#Page_19">19</a></li>
-
-<li class="indx">German linen work, <a href="#Page_111">111</a></li>
-
-<li class="indx">Gimp, <a href="#Page_117">117</a></li>
-
-<li class="indx">Goblin stitch, <a href="#Page_132">132</a></li>
-
-<li class="indx">Good filling, a, <a href="#Page_34">34</a></li>
-
-<li class="indx">Good taste, <a href="#Page_6">6</a></li>
-
-<li class="indx">Greenhouse shading, <a href="#Page_8">8</a></li>
-
-<li class="indx">Groundings, open, <a href="#Page_34">34</a></li>
-
-
-<li class="ifrst">Habit of design, <a href="#Page_5">5</a></li>
-
-<li class="indx">Hand-made braids, <a href="#Page_28">28</a>, <a href="#Page_117">117</a></li>
-
-<li class="indx">Hand-made cords, <a href="#Page_27">27</a></li>
-
-<li class="indx">Harmony, <a href="#Page_24">24</a></li>
-
-<li class="indx">Hat bands, <a href="#Page_129">129</a></li>
-
-<li class="indx">Hedebo embroidery, <a href="#Page_137">137</a></li>
-
-<li class="indx">Hems, openwork, <a href="#Page_72">72</a></li>
-
-<li class="indx">Hemstitch, antique, <a href="#Page_73">73</a></li>
-
-<li class="indx">Hemstitching, method of, <a href="#Page_115">115</a></li>
-
-<li class="indx">Herring-bone, <a href="#Page_65">65</a></li>
-
-<li class="indx">Herring-bone foundation, <a href="#Page_110">110</a></li>
-
-<li class="indx">Herring-bone stitch, <a href="#Page_94">94</a></li>
-
-<li class="indx">Hints about materials, practical, <a href="#Page_176">176</a></li>
-
-<li class="indx">Hints, useful, <a href="#Page_172">172</a></li>
-
-<li class="indx">Honeycomb filling, <a href="#Page_62">62</a></li>
-
-<li class="indx">Honeycomb, to work, <a href="#Page_63">63</a></li>
-
-<li class="indx">Honiton braid, <a href="#Page_144">144</a></li>
-
-<li class="indx">Huckaback, <a href="#Page_8">8</a></li>
-
-
-<li class="ifrst">Indestructible buttons, <a href="#Page_123">123</a></li>
-
-<li class="indx">Indian work, <a href="#Page_90">90</a></li>
-
-<li class="indx">Individuality, <a href="#Page_26">26</a></li>
-
-<li class="indx">Initials, decorative, <a href="#Page_111">111</a></li>
-
-<li class="indx">Insertion stitches, <a href="#Page_133">133</a></li>
-<li class="isub1">pyramid, <a href="#Page_107">107</a></li>
-<li class="isub1">simple, <a href="#Page_103">103</a></li>
-<li class="isub1">vandyke, <a href="#Page_73">73</a></li>
-
-<li class="indx">Interlacing border, <a href="#Page_151">151</a></li>
-
-<li class="indx">Interlacing designs, <a href="#Page_90">90</a>, <a href="#Page_127">127</a></li>
-
-<li class="indx">Interlacing knots, <a href="#Page_91">91</a></li>
-
-<li class="indx">Interlacing stitch, <a href="#Page_108">108</a></li>
-
-<li class="indx">Isolated pyramids, <a href="#Page_107">107</a></li>
-
-<li class="indx">Italian cross stitch, <a href="#Page_130">130</a></li>
-
-<li class="indx">Italian drawn work, <a href="#Page_137">137</a></li>
-
-
-<li class="ifrst">Japanese basket, <a href="#Page_169">169</a></li>
-
-<li class="indx">Jesse Cope, <a href="#Page_82">82</a></li>
-
-<li class="indx">Joining of selvedges, <a href="#Page_97">97</a></li>
-
-<li class="indx">Juxtaposition of colour, <a href="#Page_16">16</a></li>
-
-
-<li class="ifrst">Knot, a flat, <a href="#Page_116">116</a></li>
-
-<li class="indx">Knot work, <a href="#Page_123">123</a></li>
-
-<li class="indx">Knots, <a href="#Page_83">83</a>, <a href="#Page_126">126</a>, <a href="#Page_127">127</a></li>
-
-<li class="indx">Knots, French, <a href="#Page_28">28</a>, <a href="#Page_82">82</a>;</li>
-<li class="isub1">netting knot, <a href="#Page_148">148</a>;</li>
-<li class="isub1">ornamental knot, <a href="#Page_123">123</a>;</li>
-<li class="isub1">reef knot, <a href="#Page_125">125</a>;</li>
-<li class="isub1">weaver's knot, <a href="#Page_124">124</a></li>
-
-<li class="indx">Knotted fringe, <a href="#Page_115">115</a></li>
-
-
-<li class="ifrst">Lace edge, <a href="#Page_78">78</a></li>
-
-<li class="indx">Lace-making, <a href="#Page_135">135</a></li>
-
-<li class="indx">Lace pillow-cushion, to make a, <a href="#Page_118">118</a></li>
-
-<li class="indx">Lace stitch, simple, <a href="#Page_112">112</a></li>
-
-<li class="indx">Lace stitches, <a href="#Page_144">144</a></li>
-<li class="isub1"><i>Point d'Alencon</i>, <a href="#Page_95">95</a></li>
-<li class="isub1"><i>Point de Bruxelles</i>, <a href="#Page_144">144</a></li>
-<li class="isub1"><i>Point de Reprise</i>, <a href="#Page_76">76</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a></li>
-<li class="isub1"><i>Point de Sorrento</i>, <a href="#Page_145">145</a></li>
-<li class="isub1"><i>Point de Venise</i>, <a href="#Page_153">153</a></li>
-<li class="isub1"><i>Point rentré et retiré</i>, <a href="#Page_81">81</a></li>
-<li class="isub1"><i>Point Turc</i>, <a href="#Page_149">149</a></li>
-
-<li class="indx">Laces, <a href="#Page_122">122</a></li>
-
-<li class="indx">Laces, needle-point, <a href="#Page_135">135</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">Lacis, <a href="#Page_136">136</a></li>
-
-<li class="indx">Ladder hemstitch, <a href="#Page_72">72</a></li>
-
-<li class="indx">Ladder stitch, <a href="#Page_45">45</a></li>
-
-<li class="indx">Laid stitches, <a href="#Page_70">70</a>, <a href="#Page_171">171</a></li>
-
-<li class="indx">Laid work, <a href="#Page_67">67</a>, <a href="#Page_69">69</a></li>
-
-<li class="indx">Latchet darns, <a href="#Page_66">66</a>, <a href="#Page_170">170</a></li>
-
-<li class="indx">Latchets of wool, <a href="#Page_27">27</a></li>
-
-<li class="indx">Leaf fillings, <a href="#Page_152">152</a></li>
-
-<li class="indx">Leaves, <a href="#Page_130">130</a></li>
-
-<li class="indx">Leaves in button-hole stitch, <a href="#Page_61">61</a></li>
-
-<li class="indx">Line stitch, <a href="#Page_67">67</a></li>
-
-<li class="indx">Linen floss embroidery threads, <a href="#Page_177">177</a></li>
-
-<li class="indx">Linen work, German, <a href="#Page_111">111</a></li>
-
-<li class="indx">Linens, <a href="#Page_7">7</a></li>
-
-<li class="indx">Lines, <a href="#Page_20">20</a></li>
-
-<li class="indx">Lines, curving, <a href="#Page_23">23</a></li>
-
-<li class="indx">Lines, diagonal, <a href="#Page_21">21</a>, <a href="#Page_79">79</a></li>
-
-<li class="indx">Lines, straight, <a href="#Page_5">5</a>, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_29">29</a></li>
-
-<li class="indx">Link stitch, <a href="#Page_51">51</a></li>
-
-<li class="indx">Link stitch, to work, <a href="#Page_52">52</a></li>
-
-<li class="indx">Linked chain, <a href="#Page_46">46</a></li>
-
-<li class="indx">Loop stitch, <a href="#Page_98">98</a></li>
-
-<li class="indx">Loop stitch border, <a href="#Page_75">75</a></li>
-
-<li class="indx">Luncheon set, <a href="#Page_86">86</a></li>
-
-
-<li class="ifrst">Macramé, <a href="#Page_116">116</a></li>
-
-<li class="indx">Masses, <a href="#Page_20">20</a></li>
-
-<li class="indx">Material, practical hints about, <a href="#Page_176">176</a></li>
-
-<li class="indx">Materials, <a href="#Page_7">7</a></li>
-
-<li class="indx">Mesh, <a href="#Page_121">121</a></li>
-
-<li class="indx">Metal rings, <a href="#Page_123">123</a></li>
-
-<li class="indx">Mexican stitch, <a href="#Page_63">63</a></li>
-
-<li class="indx">Mexican stitch, to work, <a href="#Page_63">63</a></li>
-
-<li class="indx">Mount-mellick work, <a href="#Page_85">85</a></li>
-
-
-<li class="ifrst">Needle-made picots, <a href="#Page_121">121</a></li>
-
-<li class="indx">Needle-point laces, <a href="#Page_135">135</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">Needle-weaving, <a href="#Page_28">28</a>, <a href="#Page_67">67</a>, <a href="#Page_87">87</a>, <a href="#Page_101">101</a></li>
-
-<li class="indx">Needle-weaving, pattern in, <a href="#Page_18">18</a></li>
-
-<li class="indx">Needle-weaving, reversible, <a href="#Page_103">103</a></li>
-
-<li class="indx">Needle-woven bands, <a href="#Page_105">105</a></li>
-
-<li class="indx">Needles, <a href="#Page_10">10</a></li>
-
-<li class="indx">Net stitch, <a href="#Page_71">71</a></li>
-
-<li class="indx">Netting knot, <a href="#Page_148">148</a></li>
-
-<li class="indx">Nightdress case in blue and white, <a href="#Page_127">127</a></li>
-
-
-<li class="ifrst">Oddments, remnants and, <a href="#Page_7">7</a></li>
-
-<li class="indx">Open background, <a href="#Page_105">105</a></li>
-
-<li class="indx">Open button-hole loops, <a href="#Page_139">139</a></li>
-
-<li class="indx">Open groundings, <a href="#Page_34">34</a></li>
-
-<li class="indx">Openwork fillings, <a href="#Page_29">29</a>, <a href="#Page_144">144</a></li>
-
-<li class="indx">Openwork hems, <a href="#Page_72">72</a></li>
-
-<li class="indx">Orange, <a href="#Page_14">14</a></li>
-
-<li class="indx">Oriental stitch, <a href="#Page_42">42</a>, <a href="#Page_51">51</a>, <a href="#Page_65">65</a></li>
-
-<li class="indx">Originality, <a href="#Page_29">29</a></li>
-
-<li class="indx">Ornamental knot, <a href="#Page_123">123</a></li>
-
-<li class="indx">Oversewing, <a href="#Page_101">101</a></li>
-
-<li class="indx">Outline stitch, <a href="#Page_143">143</a></li>
-
-
-<li class="ifrst">Pattern book, venetian, <a href="#Page_91">91</a></li>
-
-<li class="indx">Pattern, building up of the, <a href="#Page_6">6</a></li>
-
-<li class="indx">Pattern in needle-weaving, <a href="#Page_18">18</a></li>
-
-<li class="indx">Pattern making, <a href="#Page_5">5</a></li>
-
-<li class="indx">Pattern, primitive, <a href="#Page_18">18</a>, <a href="#Page_106">106</a></li>
-
-<li class="indx">Pattern, wave, <a href="#Page_32">32</a></li>
-
-<li class="indx">Patterns, <a href="#Page_29">29</a>, <a href="#Page_70">70</a>, <a href="#Page_137">137</a></li>
-
-<li class="indx">Peasant embroideries, <a href="#Page_136">136</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">Persian quilting, <a href="#Page_46">46</a></li>
-
-<li class="indx">Persian work, <a href="#Page_90">90</a></li>
-
-<li class="indx">Personality of the worker, <a href="#Page_4">4</a></li>
-
-<li class="indx">Petal or loop stitch, <a href="#Page_48">48</a></li>
-
-<li class="indx">Petit point, <a href="#Page_132">132</a></li>
-
-<li class="indx">Picot, Venetian, <a href="#Page_149">149</a></li>
-
-<li class="indx">Picots, <a href="#Page_149">149</a></li>
-
-<li class="indx">Picots in bullion stitch, <a href="#Page_84">84</a></li>
-
-<li class="indx">Picots, needle-made, <a href="#Page_121">121</a></li>
-
-<li class="indx">Plaited stitch, <a href="#Page_71">71</a></li>
-
-<li class="indx"><i>Portière</i>, a, <a href="#Page_59">59</a></li>
-
-<li class="indx">Pouncing, <a href="#Page_172">172</a></li>
-
-<li class="indx">Primitive pattern, <a href="#Page_18">18</a>, <a href="#Page_106">106</a></li>
-
-<li class="indx">Principle of repetition, <a href="#Page_20">20</a></li>
-
-<li class="indx">Principles of colour, <a href="#Page_12">12</a></li>
-
-<li class="indx">"Punch work," <a href="#Page_141">141</a></li>
-<li class="isub1">to work, <a href="#Page_142">142</a></li>
-
-<li class="indx"><i>Punto a gruppo</i>, <a href="#Page_116">116</a></li>
-
-<li class="indx">Pyramids, <a href="#Page_123">123</a></li>
-<li class="isub1">filling, <a href="#Page_30">30</a></li>
-<li class="isub1">insertion, <a href="#Page_107">107</a></li>
-<li class="isub1">isolated, <a href="#Page_139">139</a></li>
-
-
-<li class="ifrst">Quilting, Persian, <a href="#Page_46">46</a></li>
-
-
-<li class="ifrst">Raised stitchery, <a href="#Page_94">94</a></li>
-
-<li class="indx">Reef knot, <a href="#Page_125">125</a></li>
-
-<li class="indx">Remnants and oddments, <a href="#Page_7">7</a></li>
-
-<li class="indx">Repetition, principle of, <a href="#Page_12">12</a></li>
-
-<li class="indx">Restful colour, <a href="#Page_14">14</a></li>
-
-<li class="indx">Reticella, <a href="#Page_136">136</a></li>
-
-<li class="indx">Reversible back stitch, <a href="#Page_62">62</a></li>
-
-<li class="indx">Reversible needle-weaving, <a href="#Page_103">103</a></li>
-
-<li class="indx">Rhodian embroidery, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_140">140</a></li>
-
-<li class="indx">Ribbon, velvet, <a href="#Page_96">96</a></li>
-
-<li class="indx">Richelieu embroidery, <a href="#Page_143">143</a></li>
-
-<li class="indx">Richelieu work, <a href="#Page_77">77</a></li>
-
-<li class="indx">Ring stick, <a href="#Page_122">122</a></li>
-
-<li class="indx">Rings, <a href="#Page_123">123</a></li>
-
-<li class="indx">Rings, metal, <a href="#Page_123">123</a></li>
-
-<li class="indx">Rope stitch, <a href="#Page_46">46</a></li>
-
-<li class="indx">Rosettes, <a href="#Page_108">108</a></li>
-
-<li class="indx">Roumanian stitch, <a href="#Page_73">73</a></li>
-
-<li class="indx">Rugs, <a href="#Page_133">133</a></li>
-
-<li class="indx">Runner, table, <a href="#Page_63">63</a></li>
-
-<li class="indx">Russian crash, <a href="#Page_9">9</a>, <a href="#Page_37">37</a></li>
-
-<li class="indx">Russian stitch, <a href="#Page_96">96</a></li>
-
-
-<li class="ifrst">Satin stitch, <a href="#Page_25">25</a>, <a href="#Page_67">67</a>, <a href="#Page_143">143</a></li>
-
-<li class="indx">Seam, antique, <a href="#Page_96">96</a></li>
-
-<li class="indx">Selvedges, joining of, <a href="#Page_97">97</a></li>
-
-<li class="indx">Scissors, <a href="#Page_11">11</a></li>
-
-<li class="indx">Scottish blanket, <a href="#Page_9">9</a></li>
-
-<li class="indx">Sideboard cloth, <a href="#Page_67">67</a></li>
-
-<li class="indx">Silks, <a href="#Page_10">10</a></li>
-
-<li class="indx">Simple insertions, <a href="#Page_103">103</a></li>
-
-<li class="indx">Simple lace stitch, <a href="#Page_112">112</a></li>
-
-<li class="indx">Simplicity, <a href="#Page_23">23</a></li>
-
-<li class="indx">Single darning, <a href="#Page_33">33</a></li>
-
-<li class="indx">Six bright colours, <a href="#Page_15">15</a></li>
-
-<li class="indx">Snail-trail, <a href="#Page_48">48</a></li>
-
-<li class="indx">Snail-trail, method of working, <a href="#Page_48">48</a></li>
-
-<li class="indx">Spaces, value of, <a href="#Page_20">20</a></li>
-
-<li class="indx">Split stitch, <a href="#Page_47">47</a></li>
-
-<li class="indx">Square stitch, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_68">68</a></li>
-
-<li class="indx">Square stitch in slanting lines, <a href="#Page_37">37</a></li>
-
-<li class="indx">Star-filling, <a href="#Page_31">31</a></li>
-
-<li class="indx">Stitches, antique hem, <a href="#Page_73">73</a>;</li>
-<li class="isub1">arrangement of, <a href="#Page_134">134</a>;</li>
-<li class="isub1">back, <a href="#Page_152">152</a>;</li>
-<li class="isub1">basket or stroke, <a href="#Page_71">71</a>;</li>
-<li class="isub1">blanket, <a href="#Page_58">58</a>;</li>
-<li class="isub1">border, <a href="#Page_151">151</a>;</li>
-<li class="isub1">braid, <a href="#Page_53">53</a>;</li>
-<li class="isub1">bullion, <a href="#Page_84">84</a>;</li>
-<li class="isub1">button-hole, <a href="#Page_56">56</a>;</li>
-<li class="isub1">canvas, <a href="#Page_131">131</a>;</li>
-<li class="isub1">chain, <a href="#Page_45">45</a>, <a href="#Page_79">79</a>, <a href="#Page_126">126</a>, <a href="#Page_143">143</a>;</li>
-<li class="isub1">chequered fern, <a href="#Page_75">75</a>;</li>
-<li class="isub1">coral, <a href="#Page_48">48</a>;</li>
-<li class="isub1">Cretan, <a href="#Page_51">51</a>;</li>
-<li class="isub1">decorative back, <a href="#Page_61">61</a>;</li>
-<li class="isub1">double-net, <a href="#Page_144">144</a>;</li>
-<li class="isub1">fern, <a href="#Page_74">74</a>;</li>
-<li class="isub1">fish-bone, <a href="#Page_50">50</a>;</li>
-<li class="isub1">goblin, <a href="#Page_132">132</a>;</li>
-<li class="isub1">herring-bone, <a href="#Page_94">94</a>;</li>
-<li class="isub1">insertion, <a href="#Page_133">133</a>;</li>
-<li class="isub1">interlacing, <a href="#Page_108">108</a>;</li>
-<li class="isub1">Italian cross, <a href="#Page_137">137</a>;</li>
-<li class="isub1">lace, <a href="#Page_112">112</a>;</li>
-<li class="isub1">ladder hem, <a href="#Page_72">72</a>;</li>
-<li class="isub1">ladder, <a href="#Page_45">45</a>;</li>
-<li class="isub1">laid, <a href="#Page_70">70</a>, <a href="#Page_171">171</a>;</li>
-<li class="isub1">line, <a href="#Page_67">67</a>;</li>
-<li class="isub1">link, <a href="#Page_51">51</a>;</li>
-<li class="isub1">loop, <a href="#Page_98">98</a>;</li>
-<li class="isub1">Mexican, <a href="#Page_63">63</a>;</li>
-<li class="isub1">net, <a href="#Page_71">71</a>;</li>
-<li class="isub1">Oriental, <a href="#Page_42">42</a>, <a href="#Page_51">51</a>, <a href="#Page_65">65</a>;</li>
-<li class="isub1">outline, <a href="#Page_143">143</a>;</li>
-<li class="isub1">petal or loop, <a href="#Page_48">48</a>;</li>
-<li class="isub1">plaited, <a href="#Page_71">71</a>;</li>
-<li class="isub1">raised, <a href="#Page_94">94</a>;</li>
-<li class="isub1">reversible back, <a href="#Page_62">62</a>;</li>
-<li class="isub1">rope, <a href="#Page_46">46</a>;</li>
-<li class="isub1">Roumanian, <a href="#Page_73">73</a>;</li>
-<li class="isub1">Russian <a href="#Page_9">9</a>, <a href="#Page_37">37</a>;</li>
-<li class="isub1">satin, <a href="#Page_25">25</a>, <a href="#Page_67">67</a>, <a href="#Page_143">143</a>;</li>
-<li class="isub1">simple lace, <a href="#Page_112">112</a>;</li>
-<li class="isub1">split, <a href="#Page_47">47</a>;</li>
-<li class="isub1">square, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_68">68</a>;</li>
-<li class="isub1">square stitch in slanting lines, <a href="#Page_37">37</a>;</li>
-<li class="isub1">surface, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>;</li>
-<li class="isub1">tacking, <a href="#Page_25">25</a>, <a href="#Page_66">66</a>;</li>
-<li class="isub1">tailor's button, <a href="#Page_58">58</a>;</li>
-<li class="isub1">tambour, <a href="#Page_45">45</a>;</li>
-<li class="isub1">tent, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>;</li>
-<li class="isub1">unity of, <a href="#Page_24">24</a>;</li>
-<li class="isub1">weaving, <a href="#Page_128">128</a>.</li>
-
-<li class="indx">Stitchery, <a href="#Page_6">6</a>, <a href="#Page_24">24</a></li>
-
-<li class="indx">Straight lines, <a href="#Page_5">5</a>, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_29">29</a></li>
-
-<li class="indx">Stretching, <a href="#Page_173">173</a></li>
-
-<li class="indx">Stroke stitch, basket or, <a href="#Page_71">71</a></li>
-
-<li class="indx">Surface stitches, <a href="#Page_151">151</a>, <a href="#Page_152">152</a></li>
-
-<li class="indx">Syon Cope, <a href="#Page_82">82</a></li>
-
-
-<li class="ifrst">Table mat of white linen, <a href="#Page_75">75</a></li>
-
-<li class="indx">Table runner, <a href="#Page_63">63</a></li>
-
-<li class="indx">Tacking stitch, <a href="#Page_25">25</a>, <a href="#Page_66">66</a></li>
-
-<li class="indx">Tailor's button stitch, <a href="#Page_58">58</a></li>
-
-<li class="indx">Tambour stitch, <a href="#Page_45">45</a></li>
-
-<li class="indx">Tape, French, <a href="#Page_28">28</a>, <a href="#Page_82">82</a></li>
-
-<li class="indx">Tapestry-weaving, <a href="#Page_103">103</a></li>
-
-<li class="indx">Tassels, <a href="#Page_28">28</a>, <a href="#Page_66">66</a></li>
-
-<li class="indx">Tassels, simple, <a href="#Page_120">120</a></li>
-
-<li class="indx">Technique, <a href="#Page_24">24</a></li>
-
-<li class="indx">Tent stitch, <a href="#Page_130">130</a>, <a href="#Page_132">132</a></li>
-
-<li class="indx"><i>Tête de Bœuf</i>, <a href="#Page_52">52</a></li>
-
-<li class="indx"><i>Tête de Bœuf</i>, to work, <a href="#Page_52">52</a></li>
-
-<li class="indx">Thimble, <a href="#Page_11">11</a></li>
-
-<li class="indx">Threads, <a href="#Page_9">9</a></li>
-
-<li class="indx"><i>Toile cirée</i>, <a href="#Page_76">76</a>, <a href="#Page_93">93</a></li>
-
-<li class="indx">Transferring the design, <a href="#Page_172">172</a></li>
-
-<li class="indx">Treatment, <a href="#Page_26">26</a></li>
-
-<li class="indx">Twisted chain, <a href="#Page_45">45</a></li>
-
-
-<li class="ifrst">Unity of stitch, <a href="#Page_24">24</a></li>
-
-
-<li class="ifrst">Value of spaces, <a href="#Page_20">20</a></li>
-
-<li class="indx">Vandyke border, <a href="#Page_30">30</a></li>
-
-<li class="indx">Vandyke insertion, <a href="#Page_73">73</a></li>
-
-<li class="indx">Veining, <a href="#Page_95">95</a></li>
-
-<li class="indx">Venetian pattern book, <a href="#Page_91">91</a></li>
-
-<li class="indx">Venetian picot, <a href="#Page_149">149</a></li>
-
-<li class="indx">Velvet, <a href="#Page_79">79</a>, <a href="#Page_131">131</a></li>
-
-<li class="indx">Velvet ribbon, <a href="#Page_96">96</a></li>
-
-
-<li class="ifrst">Warm colours, <a href="#Page_13">13</a></li>
-
-<li class="indx">Washing galoons and gimps, <a href="#Page_28">28</a></li>
-
-<li class="indx">Washing woollen embroideries, <a href="#Page_175">175</a></li>
-
-<li class="indx">Wave pattern, <a href="#Page_32">32</a></li>
-
-<li class="indx">Weaver's knot, <a href="#Page_124">124</a></li>
-
-<li class="indx">Weaving, <a href="#Page_77">77</a></li>
-
-<li class="indx">Weaving stitch, <a href="#Page_128">128</a></li>
-
-<li class="indx">Weft threads, <a href="#Page_41">41</a></li>
-
-<li class="indx">White embroidery, <a href="#Page_83">83</a></li>
-
-<li class="indx">White ground, <a href="#Page_15">15</a></li>
-
-<li class="indx">White work, washing, <a href="#Page_175">175</a></li>
-
-<li class="indx">Wool, latchets of, <a href="#Page_27">27</a></li>
-
-<li class="indx">Woollen embroideries, washing, <a href="#Page_175">175</a></li>
-
-<li class="indx">Wools, <a href="#Page_9">9</a></li>
-
-<li class="indx">Wools, fingering, <a href="#Page_177">177</a></li>
-
-<li class="indx">Work bag, <a href="#Page_169">169</a></li>
-
-<li class="indx">Worker, personality of the, <a href="#Page_4">4</a></li>
-
-<li class="indx">Working of tambour stitch, <a href="#Page_46">46</a></li>
-
-<li class="indx">Woven textures, <a href="#Page_9">9</a></li>
-</ul>
-
-<hr class="full x-ebookmaker-drop">
-
-<p class="c med">THE WHITEFRIARS PRESS LTD., LONDON AND TONBRIDGE.</p>
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-<div class="transnote">
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-<p class="c">Transcriber’s Notes:</p>
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-<p>Variations in spelling and hyphenation are retained.</p>
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