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diff --git a/old/69723-0.txt b/old/69723-0.txt deleted file mode 100644 index 12e725d..0000000 --- a/old/69723-0.txt +++ /dev/null @@ -1,6402 +0,0 @@ -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. - - - - - Transcriber's Notes: - - Bold type is shown as =strong=. - - Italics are shown thus: _sloping_. - - Variations in spelling and hyphenation are retained. - - Perceived typographical errors have been changed. - -*** END OF THE PROJECT GUTENBERG EBOOK AN EMBROIDERY BOOK *** - -Updated editions will replace the previous one--the old editions will -be renamed. - 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