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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: An embroidery book</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Anne Knox Arthur</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 7, 2023 [eBook #69723]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Alan and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK AN EMBROIDERY BOOK ***</div> - -<div class="figcenter"> -<img src="images/cover.jpg" alt=""> -</div> - - -<h1 class="sp">AN EMBROIDERY BOOK</h1> - -<div class="bbox"> - -<p class="xlarge sp">ANCIENT EGYPTIAN, ASSYRIAN,<br> -AND PERSIAN COSTUMES AND<br> -DECORATIONS.</p> - - -<p class="pad">By <b>Mary G. Houston</b> and <b>Florence S. Hornblower</b>.</p> - -<p class="pad"><i>Containing 25 full-page illustrations, sixteen of them -in colour, and 60 line diagrams in the text.</i></p> - -<p class="pad"><i>Small crown quarto.</i></p> - -<p>In this volume the history of Costume is traced -from the earliest ages. The illustrations (which are -taken chiefly from the British Museum) are given in -facsimile from the drawings of the artists of the period, -and, where the drawing is too primitive to be easily -understood, a garment is also shown drawn in modern -style; in addition, every type of garment illustrated -is accompanied by a flat pattern showing the <i>cut</i>. -Information of this special character on Ancient -Costume is usually very difficult to obtain, and it is -anticipated that the volume will be of first-rate -importance to dress designers, to theatrical designers, -and also to the schools in which historical costume -and the history of the progress of the human race -are subjects for study.</p> - -<p class="c"><span class="smcap">Published by</span> A. & C. BLACK, <span class="smcap">Ltd., 4, 5 & 6, Soho<br> -Square, London, W. 1.</span></p> -</div> - -<p class="c p4 less">AGENTS</p> - -<table class="less"> - -<tr> - <td class="tdlt"><span class="smcap">America</span></td> - <td class="tdlp"><span class="smcap">The Macmillan Company</span><br> - 64 & 66 Fifth Avenue, <span class="smcap">New York</span></td></tr> - -<tr> - <td class="tdlt"><span class="smcap">Australasia</span></td> - <td class="tdlp"><span class="smcap">Oxford University Press</span><br> - 205, Flinders Lane, <span class="smcap">Melbourne</span></td></tr> - -<tr> - <td class="tdlt"><span class="smcap">Canada</span></td> - <td class="tdlp"><span class="smcap">The Macmillan Company of Canada, Ltd.</span><br> - St. Martin’s House, 70 Bond Street, <span class="smcap">Toronto</span></td></tr> - -<tr> - <td class="tdlt"><span class="smcap">India</span></td> - <td class="tdlp"><span class="smcap">Macmillan and Company, Ltd.</span><br> - Macmillan Building, <span class="smcap">Bombay</span><br> - 309 Bow Bazaar Street, <span class="smcap">Calcutta</span></td></tr> - -</table> - -<hr class="full x-ebookmaker-drop"> - -<div class="figcenter" id="f1"> -<p class="captionl">PLATE I.</p> -<img src="images/fig1.jpg" alt=""> -<p class="captionc">A TABLE MAT. (<i><a href="#Page_41">See page 41.</a></i>)</p> -</div> - -<hr class="full x-ebookmaker-drop"> - -<p class="c xxlarge"> -AN</p> - -<p class="c big lsp"> -EMBROIDERY</p> - -<p class="c big"> -BOOK</p> - - -<p class="c p2"> -BY</p> - -<p class="c"> -<span class="up sp">ANNE KNOX ARTHUR</span><br> - -<span class="more sp">GLASGOW SCHOOL OF ART</span></p> - -<p class="c p4 sp med"> -CONTAINING SIXTEEN FULL-PAGE ILLUSTRATIONS<br> -—EIGHT OF THEM IN COLOUR—AND EIGHTY-<br> -SEVEN LINE ILLUSTRATIONS IN THE TEXT</p> - -<p class="c p4 large"> -A. & C. BLACK, LTD.<br> -<span class="less">4, 5 & 6, SOHO SQUARE, LONDON, W. 1.</span><br> -<span class="more">1920</span> -</p> - - -<hr class="full x-ebookmaker-drop"> - - -<p class="c">“<i>Go, little booke; God send thee good passage</i>”</p> - - - - - -<p class="c p4"> -<span class="more">TO</span><br> -MY MOTHER -</p> - - -<hr class="full x-ebookmaker-drop"> - - -<p class="ph2">NOTE</p> - - - -<p><span class="smcap large">The</span> Author’s thanks are due to the owners of the -pieces of embroidery illustrated in this book who kindly -lent them to her for reproduction:—Miss Beatrice Brooks, -Miss Marion Boyd, Miss Janetta S. Gillespie, Miss Mary A. -Gill, Miss Martha Stevenson, Miss Elspeth Stewart, Miss -Jessie Gibson (students of the Glasgow School of Art); -also to Miss Kay, Parkhurst, Cedars, Derby, for the -loan of three pieces worked by her pupils.</p> - - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p class="ph2">FOREWORD</p> -</div> - - -<p><span class="smcap large">Now</span> that many of our busy working people have -better regulations as regards the hours of the day’s -work, there is great need to provide occupation for the -day’s leisure; and needlework, as a leisure craft, is one of -the most refreshing and pleasant and profitable sources -of entertainment—provided always, that those who undertake -it realise that, with right thought and consideration -on the part of every worker, each should become, -as it were, a law unto herself, so that she should realise -also that she need, under no circumstance, be the -slave of old traditions, if she can give fitting reasons -for making a change which is to the purpose of her -work.</p> - -<p>To be in a healthy and living state, our art should -be constantly changing its fashion; if it stands still, -it is retrograde, and for some few generations we may -say this of British embroidery. What changes it has -undergone are due almost entirely to the commercial -enterprise of manufacturers of printed patterns—usually -foreign ones. The importation became very considerable -with the introduction of so-called Berlin woolwork, and -since that period the British needlewoman has set aside -her own ingenious arrangements and follows blindly -where the merchant leads, and British design for needlework, -as an expression of its people, is almost a dead -thing.</p> - -<p>Most people have a superstition that in knowledge of -a multitude of stitches lies the whole mystery of needlework. -This is emphatically not the case. There really -is no mystery about stitches; they are but the letters of -the needleworker’s alphabet, and the words of her language—to -be used according to her own ideas. One may -embroider poems; another may embroider prayers and -praises for her church; another may beautify a fair -woman’s garment or sing a little song in stitches for a -baby’s robe; yet another may be like a treatise on surgery, -repairing and restoring that which has been -damaged. But needlework does not exist for the stitches. -It is the stitches which—as they are well or ill-used—express -the worker, and, if she is a wise worker, she can -find out for herself most of the stitches she needs. Nor -is it necessary to be at great expense in needlework, -indeed, for those who take it up as a recreative craft -half the interest may lie in the fact that no material is -too common or too homely to be made into something -fitting and, therefore, beautiful—since the truest art is -to make a thing pleasing to the eye and yet entirely suited -to the purpose.</p> - -<p>The commonest failing of the designers of this country -is that they think that beauty lies in the elaboration of -ornament, and this is why the fashions of British dressmakers -fall short of those abroad. It is the little simple -contrivances, that are almost no more than a sort of -loving finish to the actual construction of a piece of -work, that give the highest standard of style in garments: -and the best training a needlewoman can have is to make -her seams, hems, openings and fastenings of garments -or household fitments things of beauty, while, at the -same time, she considers the uses and purpose of her -work. It is as a piece of engineering we should consider -the construction of our household hangings and covers -of our garments—planning that decoration should be -coarse or fine, as fits the material, and taking thought -also for the washing and wearing of it.</p> - -<p>The fashions of to-day show a very marked tendency -to decorative construction, due in great measure to a -change in the needlework for school children introduced -a few years ago. The tendency shows most interesting -results, especially in the fact that the shaping of clothing -has become very simple and that garments depend almost -entirely on stitchery for their decoration, rather than on -manufactured braids and trimmings; and the styles and -shapes are infinitely less stereotyped, so that clothing -for women tends to express more nearly the personality -of the wearer than it has done for many generations.</p> - -<p>The work of the hand—as apart from that of the -machine—is more and more in demand, and decorative -needlework, even in our shops, is becoming more to -be desired, for unique and personal characteristics and -expression, than it has been for a very long period. This -being the case, let our needlewoman take courage and -realise that in each mind there are possibilities of new -ideas and new inventions—that all materials open up -new opportunities, and that with little labour she may -greatly enhance and beautify the things she works and -find appreciative opening for her skill. Never was there -such universal demand for handwork of every kind, and -for such household fittings, which tend towards economy -and labour saving in particular, the need is almost -unlimited. Some of the most interesting embroideries -done during the last few years have been planned and -carried out in some of our Scottish schools by untrained -workers—designs so simple that the workers do not -realise that they are designing at all—since they draw -largely with needle and thread alone, and have little -assistance from chalk and other markings. And it is -this type of work, usually sewn in coarse yarns and on -rough canvas, flannel or homespun, that is perhaps the -most happy and most stimulating for a designer of needlework -to begin on. The work is so quickly achieved—so -gallant and bright in colour—so utilitarian in purpose and -of so little cost in outlay, that it is above all others to be -recommended. It needs no experience in stitchery to -work in bright wools, if the material is firm and strong, -and the writer has pleasant experience of maid-servants -and village wives in the north country making admirable -rugs, garments, and other embroideries, which command -good prices at the Artificers’ Guilds and other places -where a high artistic standard of design is required.</p> - -<p>It is only by means of such counter attractions in stimulating -leisure crafts, which pay their way as well as give -pleasure to the workers, that we can contend with the -spirit of restless excitement and craving for mere pleasure-giving -that is so marked a sign of the early days of -peace, and reconstruction can only come by countering -this mischievous tendency in young people by giving -them something that gives stimulus to their longing for -brightness and yet does not unduly tax those whose -days may be occupied in strenuous employment.</p> - -<p>How desirable it is that such gatherings of women -and girls as church sewing meetings, guilds and clubs, -should take up such new ideas in needlework and apply -for a competent instructor. How almost more desirable -is it that men might realise the pleasure a needle can give -if applied to bold construction and original work.</p> - -<p>It is by no means universal over the world that needlework -is a women’s craft; in many countries it is done -quite as much, if not more, by the men, and it is probable -that if our men took up this craft, it would show a very -marked tendency to individual and original expression.</p> - -<p>The power of invention is so great and serious a factor, -that it is almost too big a thing to touch upon here. We -do not exaggerate its importance when we say that this -faculty in human beings is what we can justly call the -Holy Ghost, for it is that in us which comes, not of ourselves, -but from direct inspiration, and the first principle -of education ought to be to open our minds to it, -in howsoever small and humble a fashion it comes, and -to make clear the way for its development and growth -towards greater things.</p> - -<p class="r"><span class="smcap large">Ann Macbeth.</span></p> - -<p class="l"><span class="smcap">Glasgow School of Art.</span></p> - - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p class="ph2">CONTENTS</p> -</div> - -<table class="less"> - -<tr> - <td class="tdc"><span class="mid">CHAPTER</span></td> - <td class="tdl"></td> - <td class="tdr"><span class="mid">PAGE</span></td></tr> - -<tr> - <td class="tdr"><a href="#c1">I.</a></td> - <td class="tdl">INTRODUCTORY</td> - <td class="tdr">1</td></tr> - -<tr> - <td class="tdrt"><a href="#c2">II.</a></td> - <td class="tdl">THE ART AND CRAFT OF EMBROIDERY—THE<br> - SIX POINTS</td> - <td class="tdrb">5</td></tr> - -<tr> - <td class="tdr"><a href="#c3">III.</a></td> - <td class="tdl">CONSTRUCTION AND DESIGN</td> - <td class="tdr">18</td></tr> - -<tr> - <td class="tdrt"><a href="#c4">IV.</a></td> - <td class="tdl">DARNING STITCHES—BACKGROUNDS AND<br> - FILLINGS</td> - <td class="tdrb">29</td></tr> - -<tr> - <td class="tdrt"><a href="#c5">V.</a></td> - <td class="tdl">NEEDLE-WEAVING—RUSSIAN OPEN-WORK—LINKED<br> - STITCHES</td> - <td class="tdrb">40</td></tr> - -<tr> - <td class="tdrt"><a href="#c6">VI.</a></td> - <td class="tdl">BUTTON-HOLE AND BORDER STITCHES—HEMSTITCHING<br> - AND OPEN FILLINGS</td> - <td class="tdrb">55</td></tr> - -<tr> - <td class="tdr"><a href="#c7">VII.</a></td> - <td class="tdl">LAID WORK—BASKET AND LINE STITCHES</td> - <td class="tdr">67</td></tr> - -<tr> - <td class="tdrt"><a href="#c8">VIII.</a></td> - <td class="tdl">COUCHING—FRENCH KNOTS AND BULLION<br> - STITCH</td> - <td class="tdrb">79</td></tr> - -<tr> - <td class="tdrt"><a href="#c9">IX.</a></td> - <td class="tdl">BRAIDS AND DESIGN—FAGGOTING—VEINING<br>—ANTIQUE - SEAMS—KNOT INSERTION AND<br> - EDGING</td> - <td class="tdrb">89</td></tr> - -<tr> - <td class="tdrt"><a href="#c10">X.</a></td> - <td class="tdl">INSERTIONS IN NEEDLE-WEAVING—POINT DE<br> - RÉPRISE—INTERLACING AND OPENWORK<br> - BACKGROUND</td> - <td class="tdrb">101</td></tr> - -<tr> - <td class="tdrt"><a href="#c11">XI.</a></td> - <td class="tdl">FRINGES AND TASSELS—HAND-MADE BRAIDS<br>—KNOTS - AND PICOTS</td> - <td class="tdrb">114</td></tr> - -<tr> - <td class="tdrt"><a href="#c12">XII.</a></td> - <td class="tdl">DRAWN-THREAD AND WHITE WORK—RHODIAN,<br> - RICHELIEU AND HEDEBO</td> - <td class="tdrb">134</td></tr> - -<tr> - <td class="tdrt"><a href="#c13">XIII.</a></td> - <td class="tdl">DECORATIVE FLOWERS AND LEAVES—EDGING<br> - AND INSERTION</td> - <td class="tdrb">155</td></tr> - -<tr> - <td class="tdr"><a href="#c14">INDEX</a></td> - <td class="tdl"></td> - <td class="tdr">179</td></tr> - - - -</table> - - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p class="ph2">LIST OF ILLUSTRATIONS</p> -</div> - -<table class="less"> - -<tr> - <td class="tdr"><span class="mid">PLATE</span></td> - <td class="tdl"></td> - <td class="tdr"><span class="mid">FACING PAGE</span></td></tr> - -<tr> - <td class="tdr"><a href="#f1">I.</a></td> - <td class="tdl">*A TABLE MAT</td> - <td class="tdr"><i>Frontispiece</i></td></tr> - -<tr> - <td class="tdr"><a href="#f2">II.</a></td> - <td class="tdl">SOME USEFUL STITCHES</td> - <td class="tdr">17</td></tr> - -<tr> - <td class="tdr"><a href="#f3">III.</a></td> - <td class="tdl">A RUNNER IN CRASH</td> - <td class="tdr">32</td></tr> - -<tr> - <td class="tdr"><a href="#f4">IV.</a></td> - <td class="tdl">*A PORTIÈRE</td> - <td class="tdr">49</td></tr> - -<tr> - <td class="tdr"><a href="#f5">V.</a></td> - <td class="tdl">*A BUREAU SCARF</td> - <td class="tdr">64</td></tr> - -<tr> - <td class="tdr"><a href="#f6">VI.</a></td> - <td class="tdl">A SIDEBOARD CLOTH</td> - <td class="tdr">69</td></tr> - -<tr> - <td class="tdr"><a href="#f7">VII.</a></td> - <td class="tdl">A TABLE CENTRE IN WHITE AND BLUE</td> - <td class="tdr">76</td></tr> - -<tr> - <td class="tdr"><a href="#f8">VIII.</a></td> - <td class="tdl">*A LUNCHEON MAT</td> - <td class="tdr">81</td></tr> - -<tr> - <td class="tdr"><a href="#f9">IX.</a></td> - <td class="tdl">*THREE COLLARS</td> - <td class="tdr">96</td></tr> - -<tr> - <td class="tdr"><a href="#f10">X.</a></td> - <td class="tdl">A TEA-COSY COVER</td> - <td class="tdr">101</td></tr> - -<tr> - <td class="tdr"><a href="#f11">XI.</a></td> - <td class="tdl">A NIGHTDRESS CASE</td> - <td class="tdr">108</td></tr> - -<tr> - <td class="tdr"><a href="#f12">XII.</a></td> - <td class="tdl">*THREE HAT BANDS</td> - <td class="tdr">113</td></tr> - -<tr> - <td class="tdr"><a href="#f13">XIII.</a></td> - <td class="tdl">*A BAG IN CANVAS AND WOOL</td> - <td class="tdr">128</td></tr> - -<tr> - <td class="tdr"><a href="#f14">XIV.</a></td> - <td class="tdl">CORNER OF COT COVERLET, UNFINISHED</td> - <td class="tdr">149</td></tr> - -<tr> - <td class="tdr"><a href="#f15">XV.</a></td> - <td class="tdl">TWO SIMPLE BASKETS</td> - <td class="tdr">156</td></tr> - -<tr> - <td class="tdr"><a href="#f16">XVI.</a></td> - <td class="tdl">*A CUSHION COVER</td> - <td class="tdr">168</td></tr> - -<tr> - <td class="tdc" colspan="3">*These illustrations are in colour.</td></tr> - -</table> - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p class="c xxlarge sp" id="c1">AN EMBROIDERY BOOK</p> -</div> - - -<h2>CHAPTER I</h2> - -<p class="c less">INTRODUCTORY</p> - -<div class="blockquot"> - -<p>“Give her of the fruit of her hands; and let her own works -praise her in the gates.”</p> -</div> - - -<p><span class="smcap large">Needlework</span>, as an artistic and practical craft, is -highly interesting from a decorative point of view, and -well within the scope of any intelligent worker. It -has distinct advantages over most crafts—it neither -requires great initial outlay for apparatus or materials, -nor does it demand a special workshop; thus, as a -domestic art, it commends itself to many of us on account -of its adaptability to the conditions of life, as well as for -its decorative value—as a means of adding grace and -beauty to our daily surroundings.</p> - -<p>During the thirteenth and fourteenth centuries -England was famed for the beauty and magnificence of -its ecclesiastical embroideries. These wonderful works -found their way into many countries and were eagerly -sought after by patrons of the beautiful; many pieces -still exist, preserved in our museums, churches, or in -private collections, to show us what extraordinary -ability and invention these ancient embroiderers must<span class="pagenum" id="Page_2">[Pg 2]</span> -have had. After the Reformation, when there was no -longer the great demand for ecclesiastical work—embroiderers -turned their attention to the decoration of -garments to be worn by the wealthier classes. In the -“Golden Days of Good Queen Bess,” and for some time -later, all the ingenuity and skill formerly applied solely -to church work was bestowed on the decoration and -beautifying of personal clothing—dresses, cloaks, coats, -waistcoats, caps, gloves, etc.; neither time, labour, nor -expense was spared, the worker’s ideal evidently being -to obtain the highest result of which he or she was -capable. Some of the quaint pattern books of those -days still exist, and they consist mostly of elements—dainty -flower sprays, sprigs, fruits, birds, animals, fishes, -border patterns and geometrical forms—all intended to -assist the workers in the composition and building up -of their designs and patterns.</p> - -<p>In the busy world of nowadays, we cannot hope ever -to attain to such perfection, nor to regain for embroidery -the high position it once held in this country; but we still -have many clever needlewomen who could produce -beautiful work provided they had a better knowledge of -how to set about it.</p> - -<p>This book has been planned with the hope that it may -be of use to many, and that it may create in both girls -and women the desire to construct and decorate for -themselves those simple articles of daily use which cost -so much to buy and which can be made and embroidered, -in simple patterns, with a little knowledge of construction -and stitchery, at a moderate expenditure of time and -money.</p> - -<p><span class="pagenum" id="Page_3">[Pg 3]</span></p> - -<p>Perhaps the reason why so many workers buy their -materials already stamped with a design, which often -proves unsuitable to the purpose for which it is intended, -and which gives small satisfaction when embroidered, is -because of a certain distrust of themselves, a want of -knowledge of their own powers of invention and ingenuity; -or it may be a lack of energy and initiative, a -reluctance to plan and create for themselves, due to the -fact that they have never been taught to express their -own ideas, but rather to depend on those of others. -Nevertheless, the sense of beauty is, in a greater or less -degree, common to us all. Why, therefore, should a -needleworker not develop her own ideas rather than -those of other workers? The designer, for example, -who may have as little knowledge of stitchery as the -needlewoman has of design, and who, therefore, cannot -realise the labour involved in its execution, may lose -much of his effect and may waste the time of the embroiderer. -It is generally agreed that no two people -have the same ideas; it is surely, then, of considerable -importance that each one should at least make some -attempt to express his or her own. If scope is given to -the creative and inventive powers they, like other -faculties, will grow in a most inspiriting manner; new -ideas, inherent instincts, perhaps dormant hitherto, will -spring up like flowers to encourage the beginner on the -upward path, and as interest becomes keener and confidence -grows, difficulties which at first appeared insurmountable -will quietly disappear as the worker plans -and thinks out a piece of embroidery from the foundation. -How interesting and attractive it will be to execute such<span class="pagenum" id="Page_4">[Pg 4]</span> -a piece of work, which will express the personality of the -worker in all parts, design, colour and stitchery. Greater -technical excellence, as well as charm, must accrue; the -embroideress will work with more judgment and understanding, -and because it has gained so much in interest -to her, she will be able to express herself more freely, and -her work will convey and suggest more to others.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_5">[Pg 5]</span></p> - -<h2 class="nobreak" id="c2">CHAPTER II</h2> -</div> - -<p class="c less">THE ART AND CRAFT OF EMBROIDERY—THE SIX POINTS</p> - -<div class="blockquot"> - -<p>“Chaires, Stooles and Screen, the same, all of Satten Stitch -done in Worsteads.”</p> -</div> - - -<p><span class="smcap large">We</span> shall now consider the six important points of -design.</p> - -<p><b>Art and Craft.</b>—Many women have an inherent -instinct for needlework—that is, the craft of the needle—for -the knowledge of how to use a needle and thread is -generally easily acquired; but it is quite otherwise when -the design, the artistic or imaginative part, has to be -carried out, as it ought to be, by the worker. Then all -sorts of difficulties arise, mostly imaginary, as those who -make an attempt may find.</p> - -<p>Let us here consider the design as a necessary part of -the workmanship. We shall be ambitious enough to -study embroidery from an artistic point, for the art and -the craft ought surely to go hand in hand.</p> - -<p><b>The Habit of Design.</b>—A special knowledge of -drawing is not essential for pattern making—a child will -make delightful patterns—nor for simple designs composed -of straight lines and geometrical forms, such as -might be happily applied to borders for articles of daily -household use or for personal wear. A ruler, a compass -and a sheet of squared paper are sufficient for initial -efforts: and once the habit of simple designing is acquired<span class="pagenum" id="Page_6">[Pg 6]</span> -it can become a wonderfully absorbing pastime, for eyes -that are opened to see will find designs on every side.</p> - -<p><b>Good Taste and Common Sense.</b>—To carry out -a piece of work successfully, however, the embroideress -must possess good taste and common sense; these are -indeed important qualities, the possession of which will -help the beginner enormously: add to these an eye for -colour and form, a practical knowledge of the stitches -commonly in use, some acquaintance with materials, -their utility and adaptability, and the worker will find -herself fairly well equipped to start her design.</p> - -<p><b>The Six Points.</b>—There are about six points to be -considered in connection with a piece of embroidery:—</p> - -<p><i>The Object and its Use.</i>—We must decide this, bearing -in mind the position the work will occupy when finished; -choosing a material suitable for the purpose, and with -due regard to the restrictions of economy.</p> - -<p><i>The Colour Scheme.</i>—Consider the environment, and -let the scheme be in harmony with or in contrast to the -background and surroundings.</p> - -<p><i>The Construction.</i>—Plan carefully and arrange for the -decoration, which should never interfere with the usefulness -of the finished work.</p> - -<p><i>The Building up of the Pattern.</i>—This should always -be done with a view to the limitations of the material.</p> - -<p><i>The Stitchery.</i>—This must also be adapted to the -material—with bold, effective types for the coarser -woven stuffs, and daintier, closer stitchery for the firmly -woven textiles.</p> - -<p><i>Finishing Touches.</i>—A beginner rarely realises the -importance of these, yet it is well worth while bestowing<span class="pagenum" id="Page_7">[Pg 7]</span> -thought on them; interest may be considerably -heightened by such additions or an otherwise good -piece of work rendered less attractive by lack of care -and thought at the final stages.</p> - -<p>It will now be seen that the design—the least mention -of which strikes terror to the soul of the uninitiated—does -not consist in the drawing or the making up of the -pattern alone, and that there are important preliminary -stages to be gone through. Indeed the design is well on -its way by the time the worker reaches the fourth point, -<i>i.e.</i>, the building up of the pattern.</p> - - -<p class="c"><span class="smcap large">The First Point: On the Choosing of<br> -Materials, Threads, Tools, Etc.</span></p> - -<p><b>Materials.</b>—Materials, threads, and needles are important -items, and should be chosen carefully; to spend -time and labour on embroidery on a poor foundation is -an extravagance rather than an economy—the tendency -being to make up for the poorness of the quality by the -profuseness of the decoration. Materials need not be -costly, but they should be good of their kind.</p> - -<p><b>Homely Materials.</b>—Charming things can be made -out of homely cloths, remnants and oddments. Texture, -tone and colour should be considered, both from a -practical and an artistic point of view; a background -that is pleasant to work upon is always an advantage. -Linens, of varying quality and texture, can be relied upon -for domestic purposes—they make for good stitchery, -they wash well, and are very durable. (Plate VII.) -Some unbleached materials are extremely economical.</p> - -<p><span class="pagenum" id="Page_8">[Pg 8]</span></p> - -<p><b>Greenhouse Shading.</b>—A soft creamy netting used -for greenhouse shading, which may be obtained from any -of the large seed merchants, is made in different widths -from 54 inches to 72 inches. It has an open mesh and -lends itself to all types of darning and needle-weaving—the -narrow widths make excellent semi-transparent sash -curtains, which may be brightened by applied bands of -coloured linen or chintz, and finished with rows of simple -running or tacking stitch in wools or in some of the -coarser makes of embroidery cottons. (Plate VIII.) -The thicker quality has a closer mesh and is admirable -for coverlets and hangings. These, when edged and -decorated with lines of bright-coloured washing braids, -and wide borders of coloured cretonnes—which again -may be connected with bars of needle-weaving or darning, -or any simple stitchery—make charming and economical -articles, such as any housewife might well be proud to -possess. (Plates V. and VI.) Covers and runners to -match might complete the set. This would be a pleasant -and instructive work for a girl’s leisure hours; she -might make just such a set for her bedroom, with the -addition of chair covers and cushions, adorning them -beautifully with some simple design and a colour scheme -of her own choosing.</p> - -<p><b>Damask and Huckaback.</b>—Damask linens, with -simple-patterned backgrounds, twilled sheetings, of -various makes, and huckabacks, can be used most -effectively for runners, mats, and luncheon sets; the soft, -warm, creamy tone of the unbleached material blends -harmoniously with bright-coloured threads and wools.</p> - -<p><b>Titian Canvas.</b>—Many coarser and more loosely<span class="pagenum" id="Page_9">[Pg 9]</span> -woven textures make most charming and desirable -backgrounds for bands of needle-weaving. (Plate VI.) -Coarse canvas in various colourings, woollen hopsacks, -floor-cloths, etc., are adaptable for many household -articles.</p> - -<p><b>Russian Crash.</b>—A common roller towelling, or -Russian crash, as it is also called, is a delightful material -(Plate III.), and may be had in narrow widths, varying -from 12 inches to 24 inches; it is woven by the Russian -peasantry in small handlooms and varies considerably -in texture and quality—but in all cases it is a most -durable and suitable linen for domestic purposes.</p> - -<p><b>The Scottish Blanket.</b>—Another pleasing material -for wool decoration is the well-washed, worn-out Scottish -blanket; with the smaller pieces one can make hassocks -and cushions which look wonderfully well in strong -colours in any flat stitch; the larger single blanket can be -used for coverlets or hangings—with applied decoration -where the material is too frail for general hard wear. -Decorated with edgings of woollen braids, etc., these will -look almost new, and certainly will give immense satisfaction -to the worker.</p> - -<p>Threads are to be had in great variety and in different -makes, many of which are excellent for embroidery. -Cottons and flaxes in various sizes and thicknesses in a -large range of colours can be combined most successfully.</p> - -<p><b>Embroidery Wools.</b>—Wools and yarns, particularly -the types known as fingering, in three, four, and five-ply, -are reliable both in colour and quality. It is -always advisable to shrink wools before using them for<span class="pagenum" id="Page_10">[Pg 10]</span> -embroidery if they are to be applied to articles which -require frequent washing. Crewel and tapestry wools, -to be had in hanks, “white heather” mending in balls, -are very convenient for needle-weaving and canvas -work, and they may be had in beautiful colours.</p> - -<p><b>Silks.</b>—Silks of different makes, embroidery or -knitting, filosel, filo-floss and a soft, thick variety known -as “Tyrian,” are all good for various purposes. The -latter is particularly useful for couching lines; filo-floss—a -bright, glossy silk with no twist in it—requires some -skill in the manipulating of it, therefore filosel or mallard -floss, each of which has a slight twist on it, is better for -the less-skilled worker. Carpet chenilles in colours, both -cotton and woollen, applied to coarse canvas or sacking, -are used for the making of mats and rugs. Woollen -and mohair, cotton and brush braids of the common -skirt type, carpet and binding braids, cords and French -tapes, coloured and washing gimps, all may be used with -advantage for embroidery. It is better to shrink some -of the loosely woven skirt and carpet braids before -applying them to the material, or they are apt to pucker -the material after washing.</p> - -<p>Good needles should always be used, with well-drilled, -good-sized eyes. Care should be taken to choose them -so that they may be exactly suited to the thread and to -the material; the eye should be large enough to hold the -thread easily, in which case it will make a hole in the -foundation of a sufficient size to allow the thread being -pulled through without roughening it. Scientific sharps -are very pleasant to use—numbers four, five and six, are -suitable for cotton and flaxes, crewel and chenille, and<span class="pagenum" id="Page_11">[Pg 11]</span> -long-eyed sharps for general embroidery and needle-weaving. -For openwork backgrounds such as are shown -in Plate XI, H, I, J, K, L, where no threads are withdrawn -from the material, a special needle with a large -thick stem and a small eye is used; it separates the -threads of the material and makes them easier to gather -into groups by means of the tightened thread.</p> - -<p>In working on loosely woven materials—such as -canvases—and for weaving patterns, tapestry, chenille, -or rug needles with blunt points are the most comfortable -to use; if these are not to hand, work with the eye of -the needle foremost.</p> - -<p>A well-fitting thimble, preferably vulcanite or silver -lined with steel, is necessary. It should be deeply pitted -to catch the eye of the needle and well finished, so as not -to roughen the thread. Scissors of different sizes are -required: a large pair with one sharp and one rounded -point—these for the cutting and preparing of the material; -a small sharply pointed pair for the snipping of threads; -a special pair with a little square knob on the one blade -and a sharp point on the other for cutting out threads -and sections between embroidered and openworked -parts; these are a safeguard and prevent the snipping -of the work.</p> - -<p>Frames are not necessary for the simpler types of -work, but for wide borders in needle-weaving, particularly -for the novice, a frame will fix the warp threads -by keeping them taut, and prevent puckering of the -material—little tambour frames which consist of a -couple of rings, the one fitting into the other, will serve -the purpose.</p> - -<p><span class="pagenum" id="Page_12">[Pg 12]</span></p> - -<p>Finally, a small emery cushion, for polishing the -needle should it get sticky or rusty, a piece of beeswax -is useful for flax threads, a stiletto for piercing eyelet -holes, a yard measure, a bodkin, and some small pins, -are all necessary items, which should always be at hand -when wanted.</p> - - -<p class="c"><span class="smcap large">The Second Point: The Colour Scheme.</span></p> - -<p>Colour lends an inexpressible charm to our daily life—it -is in nature that it exists in greatest beauty. The -wonderful robe of colour which she displays for us -throughout all seasons and in all countries, through -the flowers and fruits, trees and foliage, sea and sky, -the birds, animal and insect life, all under different -aspects and ever-varying circumstances, increase our -admiration and pleasure. We reflect and gratify our -need for colour in our intimate surroundings—dress, -hangings, furniture, carpets, pottery and pictures. The -embroideress who has a fine instinct for colour will arrange -a scheme wherein beautiful combinations of hues, tints, -and shades will mingle and produce a harmonious whole. -It is for those less favoured that the following hints are -given. A knowledge of the principles of colour will -serve as a guide, while the use of a chromatic circle, -<i>i.e.</i>, a colour circle, will be invaluable to the beginner. -This convenient arrangement wherein successive strips -of all the colours are placed concentrically in their due -proportions—as in the prismatic spectrum—will enable -her to study the varieties, the relations and the peculiarities -of colour and help her to arrange and select<span class="pagenum" id="Page_13">[Pg 13]</span> -those hues, tints and shades which will combine well -together; it will aid her to obtain happy effects with -some appreciation of its harmonies and contrasts.</p> - -<p>The three primary colours, green, red and blue—green -being now generally accepted as a primary instead of -yellow—offer the greatest contrast to each other. They -are the strongest and most powerful and exercise a -greater influence on the mind than any of the others; -add to these, orange, yellow, violet, white and black—the -sum of these six colours constitutes white, and the -absence of all, black—and we have the eight from which -all the other colours and their modifications can be made, -easily and systematically.</p> - -<p><b>Red</b> (<b>Complementary Colour, Bluish-Green</b>).—Red, -the strongest and most powerful, excites and -stimulates the eye. It was the first colour to be used -for decorative purposes by primitive man, and the first -to receive a name: it is the most predominant of the -warm colours, and on account of its fresh, bright, cheerful -character, is much used by beginners; but this very -assertive quality makes it rather difficult to combine -with other hues, therefore it is well to use it in small -quantities for general purposes. Red, in different hues, -has always been the symbol of power and distinction. -Scarlet has been used for regal robes and state ceremonials, -as well as for military purposes—it indicates -bloodshed and war, fierceness and courage. Red of a -rosy hue signifies divine love. It has been a favourite -colour with the poets from the days of Homer to our -own time. The complementary of red is bluish-green.</p> - -<p><b>Blue</b> (<b>Complementary Colour, Yellow</b>).—Blue<span class="pagenum" id="Page_14">[Pg 14]</span> -followed red—it is of a quiet retiring nature, soft and -soothing in effect, imparting the same quality to all the -hues in which it predominates. It is one of the cool -colours and is symbolically emblematical of heaven, -piety, and intelligence. The complementary of blue is -yellow.</p> - -<p><b>Green</b> (<b>Complementary Colour, Purple</b>).—Green, -the most prevalent colour in nature, and the least stimulating, -has a remarkably distinct and striking effect on -the eye. It is highly refreshing as well as soothing, and -is the necessary restful colour, the opposite of red. Yet -the nervous power of the eye is sooner exhausted by -strong greens than by any other hue; thus, a piece of -work with a preponderance of green is not so pleasing -to look at constantly as the piece where blue predominates. -Symbolically, green is the emblem of -bountifulness, youth, happiness and prosperity. The -complementary of green is purple (violet-red).</p> - -<p><b>Yellow</b> (<b>Complementary Colour, Blue</b>).—Yellow -approaches white, and is therefore a brilliant and -advancing colour. It possesses the greatest power of -reflecting light; is rather difficult to combine unless -modified. Bright yellow has been used emblematically, -to express charity, joyousness, plenteousness and old -age—greenish-yellow is the symbol of jealousy and envy. -Its complementary is blue.</p> - -<p><b>Orange</b> (<b>Complementary Colour, Greenish-blue</b>).—Orange, -coming between red and yellow, partakes of the -nature of both—it expresses warmth, fruitfulness and -wealth. The complementary colour is blue with a tinge -of green.</p> - -<p><span class="pagenum" id="Page_15">[Pg 15]</span></p> - -<p><b>Purple</b> (<b>Complementary Colour, Green</b>).—Purple -is the quietest of the rich colours, being composed of red -and blue. It varies in tone according to the amount of its -constituents. When blue is predominant it is symbolical -of mourning, expressive of sorrow, sadness, and is called -violet; when inclining to red it becomes warmer and -richer. It expresses dignity, pomp, and regal power. -Its complementary colour is green.</p> - -<p>These six bright colours, when used in conjunction -with black and white, with each other, or with their -complementaries, will strengthen, intensify and enrich -each other without altering their true value—when such -vivid effects and sharp contrasts offend the taste of the -worker, when they appear too crude, too conspicuous -and too obtrusive—which they are apt to do—they may -be harmonised quite simply, either by modifying the -complementaries or by using a tint or a shade, that is, a -lighter or a darker tone of the same colour. The strength -and potency of these startling contrasts are in this way -tempered; they become less glaring, less assertive, -pleasanter and simpler to arrange, and lose the jarring -effect they might have if used in their full brilliancy. -For simple household articles with little decoration -these bright colours may be used with charming effect. -It is well to remember, in choosing the tints and shades -of a colour, that the foundation material will have a -considerable influence on them. On a white ground they -will appear stronger and brighter, their tone being -heightened by the white or light background, while on a -black ground they appear more distinct and brilliant, -particularly light ones, the contrast being greater. Dull<span class="pagenum" id="Page_16">[Pg 16]</span> -hues gain in brightness when used with black and lose -accordingly when combined with white.</p> - -<p><b>Juxtaposition of Colour.</b>—Colours, then, when -associated, influence each other simultaneously in various -ways, darkening and lightening, adding to or detracting -from, as the case may be—thus, by placing a light and -dark one in contact, for example, black and white, the -former looks blacker, intenser, while the latter looks -more startlingly white on account of its dark neighbour.</p> - -<p>It is advisable, also, in arranging the colour scheme—after -taking materials and positions into consideration—to -determine at the very outset what the leading features -are to be, and to have <i>one</i> colour in the scheme more -predominant than the others, either in intensity or in -area. There should be some central point or points of -interest which will attract the eye to certain parts of the -construction.</p> - -<div class="figcenter" id="f2"> -<p class="captionr">PLATE II.</p> -<img src="images/fig2.jpg" alt=""> -<p class="captionc">SOME USEFUL STITCHES (<i><a href="#Page_29">See p. 29</a></i>)</p> -</div> - -<p><b>A Dominant Colour.</b>—A liberal use of a dominant -colour, by conveying a definite impression, will give -decision of character as well as beauty of tone to the work, -while a vague, uncertain, or too equally distributed -arrangement will leave an unsatisfied and indefinite -impression on the mind.</p> - -<p>There are abundant suggestions to be had from fields, -hedgerows, flowers, plumage of birds, etc., for the -embroideress who can adapt them to her purpose, but a -simpler plan for the beginner is to choose her colour -scheme from a good picture, a coloured illustration, a -piece of chintz, cretonne or good brocade, or, when -possible, to study the various pieces of old embroidery -preserved in our museums, as a record of the time -<span class="pagenum" id="Page_17">[Pg 17]</span>when we could compete with other countries, when -embroidery was almost the sole occupation of women -of rank, as it was of the occupants of the convents.</p> - -<p><b>Green.</b>—If we were to use one of the primaries as a -dominating colour, say green, a bluish-green, we might -have as a background a deep pomegranate red, the -design could be worked out in bluish-greens, grey-greens, -soft blues and purples, with touches of pale chamois -yellow here and there; all the colours should have a -tinge of bluish-green, the combining colour.</p> - -<p><b>Blue.</b>—Or we might choose blue, the pleasantest, -simplest and most harmonious combining colour, and -select as a background a warm white or cream. The -decoration could be carried out in various tones of blue, -deep rich blue, turquoise, deep and pale orange, and a -blue grey—much would depend on the tones used in -combination and the manner in which they were -employed. Always avoid a spotty effect, and do not -contrast colours too suddenly in an endeavour to -emphasise special points.</p> - -<p><b>Red.</b>—Red, when used as the predominant or combining -colour, looks best on a dark blue or a cream background. -With a dark blue ground, white or cream, -bright greens and a touch of dull orange will work in well -with the reds, the former combining to make the latter -less assertive. With a white ground and the same -colours, the work becomes suggestive of some of the -beautiful Bokhara embroideries in which reds, greens, -blues and yellows—the latter used sparingly—are combined -so gaily and instinctively.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_18">[Pg 18]</span></p> - -<h2 class="nobreak" id="c3">CHAPTER III</h2> -</div> - -<p class="c less">CONSTRUCTION AND DESIGN</p> - -<div class="blockquot"> - -<p>“A cunning workman, an embroiderer in blue and in purple -and in fine linen.”</p> -</div> - - -<p><span class="smcap large">We</span> shall now discuss the decorative points.</p> - -<p>The construction and the building up of the pattern -may be taken together.</p> - -<p><b>A Simple Pattern in Needle-weaving.</b>—The simplest -design for an initial effort should be one which could -be executed in needle-weaving such as is illustrated in -Plate I. Here the spaces for the decoration are marked -off on the material, there being no necessity to put any -design on to paper—the weaving may be done in any -simple primitive pattern, or from some of the more -interesting darning pattern samplers, or it may follow -some idea or fanciful invention of the worker. It should -be more or less symmetrical in colour and form, and -provided that sufficient thought is taken in arranging -the colour scheme and that the technique is good, -the result should be both pleasing and decorative. -(See <a href="#c5">Chapter V</a>. on needle-weaving.) Supposing the -material and the colour scheme to have been already -decided, and that a loosely woven texture—which -demands a simple conventional pattern with bold -stitchery and bright colour effects—has been chosen -(let it be a runner, table cover or any article suitable for<span class="pagenum" id="Page_19">[Pg 19]</span> -household use). It would be best, as simplicity must be -the keynote, to have a marginal or border design, built -up entirely on straight lines and geometrical forms. -First plan out the material and arrange for the decoration; -decide whether the pattern is to be placed on to a -wide hem, or inside a narrow one, or whether it is to be -applied as wide bars at the ends and edges of the runner. -The limited space at the disposal of the designer will -often aid and suggest the pattern.</p> - -<p>The decoration should, when possible, strengthen the -construction. Be careful at all times to place it where -it will not interfere with the usefulness of the object. A -cushion, for example, ornamented with raised embroidery -or with large beads, conveys the idea of <i>dis</i>comfort -rather than of comfort, which is, after all, the -<i>raison d’être</i> of a cushion, the addition to a room, -by means of colour and decoration, being a secondary -point.</p> - -<p>In the early days, when decoration was so freely -applied by primitive peoples to seams, hems, shoulder-straps, -indeed to all objects, it was their aim to increase -the usefulness of the article rather than to decorate it.</p> - -<p><b>A Border Pattern.</b>—When the above-mentioned -points have been decided, take squared paper, ruler, and -pencil, and draw a few nicely spaced lines; duplicate -the outer ones to give weight to the edges. All these lines -crossing at the corners will form the framework of the -design. Regularity and order are as essential in needlework -as in most crafts, therefore the care and precision -taken in the earlier stages will aid in the working of the -later.</p> - -<p><span class="pagenum" id="Page_20">[Pg 20]</span></p> - -<p><b>The Construction.</b>—Plan carefully and arrange for -the decoration, which should never interfere with the -usefulness of the finished work.</p> - -<p><b>The Corners.</b>—The treatment of the corners presents -the greatest difficulty. In a frame they are structurally -the weakest parts; for this reason the ornamentation -is placed at these parts to bind and strengthen, as well -as to decorate them. In a piece of needlework with a -simple border design they are again the most important. -One expects to find unity, enrichment and massiveness -there where the lines cross; we add, therefore, a few -extra lines or chequers to the corners. By this means -we enlarge them, and by so doing append dignity and -importance. Still greater emphasis and the necessary -note of interest will be given by the colour and the -stitchery—the treatment of which should always be in -the foreground of the mind of the designer.</p> - -<p><b>Principle of Repetition.</b>—Do not aim at great -variety of form; repetition is one of the first principles -of design. The beginner will save herself much worry -and labour if she keeps this principle before her, instead -of striving—as she invariably does—after variety. -She should make her form—a square, an oblong, or -whatever simple element she may have chosen—recur -at regular intervals, and all corners should be -alike.</p> - -<p><b>Masses connected by Lines.</b>—Masses should be -joined by connecting lines and the spacing so arranged -as to give value to the rest of the work.</p> - -<p><b>Value of Spaces.</b>—A form or element should never -be cramped into a space nor stretched out unduly in<span class="pagenum" id="Page_21">[Pg 21]</span> -order to fill one; it should be planned and balanced to -look as if it just belonged to it. A design is well balanced -when the elements are so adjusted that they are neither -too monotonous by over repetition nor confused by too -much variation.</p> - -<p><b>Diagonal Lines.</b>—It is safer at the earlier stages to -avoid diagonal lines, or forms made up of such lines, for -several reasons: they give a restless effect which should -be avoided if possible, they present to the embroideress -considerable difficulty of manipulation—coming, as they -must, on the bias of the material, which may easily be -tightened, puckered or pulled out of shape in the working -by the inexperienced hand.</p> - -<p><b>The Game of Design.</b>—There is really no limit to -the possible patterns which may be built up on straight -lines and geometrical forms. The needlewoman has only -to try with a ruler, pencil and squared paper in order to -discover that she may, after some little practice, make -most elaborate designs with interesting results. There -are, of course, certain fundamental principles which will -help her, but they are not many, and with the suggestions -already given she should be able to arrange many simple -designs suitable for her own use. It might be quite a -pleasant occupation for the younger members of a household, -on a winter’s evening, to start and play at design. -A time limit, perhaps a quarter of an hour for the first -effort, and a longer period as the patterns became more -elaborate, might be given; afterwards all the designs -could be exchanged, compared, criticised, and then -judged by an older member. In this way a “habit” -of pattern making might be cultivated. Many of the<span class="pagenum" id="Page_22">[Pg 22]</span> -designs should prove valuable to the craft worker as -well as interesting to the youngsters.</p> - -<p><b>Circles.</b>—From the making of patterns with straight -lines we go on to circular forms, with radiating lines. -This opens up a wide field to the embroideress, allowing -her to extend and vary her simple designs -indefinitely.</p> - -<p>With this new element, the circle, she can formulate -some of the more definite floral shapes, and arranging -them in an orderly manner, symmetrically, can make a -geometrical pattern suitable to her purpose; she can -make use of compasses, or if these instruments are not -at hand, any circular form, such as a plate or a coin, will -suit admirably. Should these prove too small, there is -always the simple device of the fixed pin encircled -by a thread, with the pencil at the opposite end, -which, when the pin is held firmly in the centre of -the space—as the thread must remain taut—will form -a circle, the size being fixed by the length of the -thread.</p> - -<p>Circles at once suggest natural forms and growth, -but to begin with the young designer must keep to -the geometrical side of Nature; natural floral forms will -come later. If she examines carefully a number of the -flowers of the field or hedgerow she will find that many -of these beautiful forms are built up on a geometrical -basis—she will note the radiating lines of the flowers, -the sepals, petals and stamens, the venation of leaves, -the manner in which the mid-rib gives off, gradually, the -beautiful curving lines which flow into the outer edges, -and the wonderful orderliness of the little seeds clinging<span class="pagenum" id="Page_23">[Pg 23]</span> -to the sides or centre of the seed vessel, and thus she -will realise that all curving lines are but segments, or -parts of circles of various sizes.</p> - -<p>To aid the designer in her first efforts let her turn to -an elementary text-book on botany—she will probably -find there a number of diagrams of horizontal sections -of the commoner wild flowers. These give the plan of -each flower typical of the family to which it belongs—all -the parts are arranged symmetrically in circles or -whorls, and show how the flower is built up. The -embroideress should find these sections full of suggestions; -she might take the simpler forms to begin with and -elaborate them, adding fresh details where necessary -for the development of her design. By comparing the -sections of one flower with another—of the wild rose -with the poppy, the purple loosestrife with the forget-me-not, -the primrose with the daffodil—she will be able -to obtain variety with simplicity and balance; then she -will connect and join all the masses with straight or -curved lines, and thus give completeness to her design.</p> - -<p>With increased knowledge of the structure of flowers -the embroideress will gain a keener sense of observation -which will be of great value when she studies the natural -forms.</p> - -<p>Setting forth once more on the high adventure of -making her own design, she will bring to her aid the -principles already learnt in the making of straight -lines while she was building up her patterns and -designs.</p> - -<p><span class="pagenum" id="Page_24">[Pg 24]</span></p> - - -<p class="c"><span class="smcap large">The Fifth Point: The Stitchery.</span></p> - -<p>We express ourselves and our ideas in embroidery by -means of stitches and colour.</p> - -<p>To have pleasure in the craft, the needlewoman must -have a fairly accurate knowledge of the technique. -Stitchery should at all times be as simple as possible, -and carefully adapted to the material and the design.</p> - -<p><b>Simpler Types of Stitchery.</b>—The commoner types, -those which by experience and long use have been proved -to be the most beautiful or the most practical, are the -best. All the more complicated forms are merely -modifications or combinations of these simple types, -many of which are used in “plain” needlework. There -are, in fact, few stitches which a careful worker cannot -master in a very short time.</p> - -<p><b>Stitchery not the Most Important.</b>—It is wise -to remember that stitchery is not the most important -factor, but only one of the many which go to the making -of good and artistic work. Beauty, in needlework, -consists, not in the variation and elaboration of stitch, -but in the harmony of material and technique, as well -as of form and colour.</p> - -<p><b>Unity of Stitch.</b>—Where coloured threads are used it -will often be found advantageous to adopt one stitch -only. Many of the charming pieces of embroidery stored -up in our museums give us an idea of what can be done -in this way, and though we lack, perhaps, both time -and patience nowadays, there is no reason why we -should not, by cultivation of our tastes, raise the level -of the art considerably above its present standard and<span class="pagenum" id="Page_25">[Pg 25]</span> -prove that we can still produce embroidery—of the -modest, reticent type—adapted to our own conditions -of life, which will reveal both refinement and artistic -delight.</p> - -<p>To execute a piece of work in one stitch would be -excellent practice for the young embroideress, whereby -she would learn to know and use a stitch in all its -varied aspects. She need not fear monotony—the -coloured threads will give sufficient variety. Let her -take the simplest of all stitches to begin with—the tacking -or basting stitch—and keeping it and its many varieties -in her mind when planning out the pattern, she will find -that she has many delightful ways of executing it. -Tacking or basting stitch, worked in rows, becomes -simple darning, a background stitch with which she may -make charming patterns and fillings, <i>ad libitum</i>. (Plates -II. and XII.) Worked closer, it is a running stitch, -wherewith braids may be tacked in place (Plate IV.), -frills gathered up, seams of frocks connected, or smocking -prepared. Finally, when worked with the same quantity -of thread on the under and upper surfaces of the material, -it attains a new dignity, and becomes satin stitch—the -stitch beloved of the young modern needlewoman, who -is generally inspired and stimulated by the wonderful -skill and precision of the Eastern needleworkers.</p> - -<p><b>White Backgrounds.</b>—White backgrounds, when -embroidered in white or with only a little colour, may -have much greater variation in stitchery; it is a relief -to the worker and an improvement to the work—indeed, -should the embroideress feel so disposed, she has here the -opportunity of displaying her knowledge of stitchery<span class="pagenum" id="Page_26">[Pg 26]</span> -to a considerable extent, always keeping, of course, -within the limits of good taste.</p> - -<p>She should endeavour to suit the stitchery to the -work, to produce the desired effect without too much -labour—not that work should ever be done in a hasty -or untidy manner—but, as said before, she should -adapt it to its purpose. It is well to remember that -large pieces of embroidery, generally seen from a -distance, demand bold, effective treatment; detail is -lost, so can be omitted; smaller pieces, seen at -closer range, should bear inspection, therefore more -delicate treatment may be applied; detail and finer -stitches can be seen to advantage. (See <a href="#c12">Chapter XII</a>. -for stitches and the method of working.)</p> - - -<p class="c"><span class="smcap large">The Sixth Point: The Finishings.</span></p> - -<p>The aim of the embroideress is to make her work -beautiful, as well as suitable for her purpose. If she has -the gift of originality she will also make it distinctive, -possibly unconsciously, by adding here and there those -little touches of individuality which will mark the work -as characteristic of herself.</p> - -<p>It is in the finishings that she has most scope for these -dainty devices; for by their means she may add interest -and artistic detail to the simple garment or article of -domestic use and render them charming things to look -at. She may attain this end, not by obtaining expensive -fitments, rich cords and silk tassels, such as are sometimes -applied, most unsuitably, to embroidered cushions, -table squares, and other objects that require frequent<span class="pagenum" id="Page_27">[Pg 27]</span> -washing, but by the use of braids (Plate VI.), and bindings -(Plate VIII.), and bands (Plate IV.), hand-made -cords and tassels, linings, edges, fringes, beads and -buttons, raffia and plaited straw.</p> - -<p>Thus, the amateur will find it well worth while -giving some thought to the making-up and finishing -off of her embroidery. She will soon realise, too, -the possibilities of making many of these ingenious -devices herself wherewith to adorn her work, and she -will feel well repaid in the end when she has contrived -some simple embellishment at little extra cost.</p> - -<p>Hand-made cords and tassels (Figs. 38<span class="allsmcap">A</span> and 41), fringes -and edgings (Figs. 34 and 42), may soon be made by -skilful fingers; bright-coloured skirt braids and carpet -bindings and hand-made cords of dyed string or wool give -a decorative effect to hems and borders—a wide hem looks -well with a heading of brush braid or a piping of coloured -galoon or narrow Russian braid oversewn with wool, or -a narrow band of needle-weaving. Material and edges -may be joined, chair backs and runners may be -brightened, dress fitments may be completed simply, -artistically and economically, by means of these braids, -connected with dainty joining stitches (Figs. 26 and 29).</p> - -<p>Wools of various qualities may be brought into service -to make fringes and cords for cushions, etc.; seams may -be decorated and joined with insertion stitches, worked -by hand (Fig. 25), or by the crochet needle (Fig. 63); -fastenings may be secured by latchets of wool, thread, or -silk, or cord, all of which are easy of manipulation and -much prettier than machine-made articles.</p> - -<p>By referring to Plate XIII., it may be seen that much<span class="pagenum" id="Page_28">[Pg 28]</span> -may be achieved by means of braid in the decoration of -a useful bag; for description, <a href="#Page_153">see page 153</a>.</p> - -<p>Charming hand-made braids which may be used for -many purposes, such as waist cords, latchets, ties, belts, -hat bands (Fig. 40), may be made by means of an -embroidery frame, a lace cushion or a small hand loom.</p> - -<p>For the handles and joinings of bags, see chapter on -needle-weaving.</p> - -<p>Beads and buttons are useful for ornamentation—they -give richness and weight wherever they may be placed; -and as an addition to fringes (Fig. 35), tassels and ties, -they are most effective. Flat beads and buttons may be -applied to embroidery provided they do not interfere -with the use of the object; this they would do if it -were in such constant use as to require frequent -washing.</p> - -<p>Small beads may often take the place of French knots, -giving much the same appearance to a border or hem.</p> - -<p>Washing galoons and gimps, bindings and trimmings, -may be effectively applied to dainty little tea and -luncheon sets, as well as to children’s dresses and -overalls, they may be further embellished with narrow -borders of needle-weaving worked in coloured cottons -or in flax threads.</p> - -<p>For method of making fringes, tassels and braids, etc., -<a href="#c11">see Chapter XI</a>.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_29">[Pg 29]</span></p> - -<h2 class="nobreak" id="c4">CHAPTER IV</h2> -</div> - -<p class="c less">DARNING STITCHES—BACKGROUNDS AND FILLINGS</p> - -<div class="blockquot"> -<p>“The needle’s work pleased her, and she graced it.”</p> -</div> - -<p><span class="smcap large">There</span> is an infinite variety of pattern to be made with -darning stitches, and fortunately many needlewomen -have sufficient originality to invent little variations to -suit their work and material. Most of the patterns on -Plate II. are intended to be worked on a loosely woven -foundation where the threads are easily counted, such -as some of the coarser linens, single thread canvases, -greenhouse shading, and tammy cloth for finer work. -These darning patterns are better worked with a blunt -needle and a long thread, as it is rather awkward, at times, -to join new threads in the middle of a pattern, especially -an openwork one (see <a href="#f2">Fig. H</a>). Simple fillings like -these may greatly enhance the effect of a piece of embroidery. -It will be seen by referring to Plate II. that -they might be worked so as to form quite a number of -patterns in straight lines (Fig. A), in waves or chevron -pattern (Fig. C), in clusters or stars (Fig. F), in lines of -slanting stitches (Fig. D), in groups of squares or chequers -(Fig. E), in vandykes (Fig. G), or in any of the openwork -stitches as Figs. J and L.</p> - -<p><b>A Simple Openwork Filling.</b>—Fig. J is a pretty -little pattern suitable for a border, for the foot of a<span class="pagenum" id="Page_30">[Pg 30]</span> -child’s frock, for a jumper, for table mats, or for any -article where a dainty openwork appearance is wanted. -It consists of straight lines in a vertical overcast stitch, -worked in rows, from left to right and from right to left.</p> - -<p>These upright stitches are in groups of two, worked -over four threads of the material; each row is separated -from the other by two strands of the material.</p> - -<p><b>To Work Fig. J.</b>—Unfortunately the Fig. J does -not show this filling to advantage. When the pattern -is worked it will be seen that the intervening strands, -in conjunction with the open spaces, form tiny little -crosses, which add transparency to the work.</p> - -<p>A filling more tedious to work, but with a more open -appearance, is got by overcasting every stitch on the -advancing row, and on the return row working the upper -part of each stitch into the lower space of the row above, -thus leaving no strands between the stitches or rows.</p> - -<p><b>Vandyke Border, Fig. G.</b>—This pointed pattern, -worked in a single row, makes a good finish for a border -or hem.</p> - -<p>To work as Fig. G, each group requires seven stitches -to form it, the shortest covering four threads and the -longest twelve; the last stitch of each group forms the -first of the next one.</p> - -<p><b>Pyramid Filling.</b>—The size of the groups may vary; -large and small vandykes may alternate. Another -filling somewhat similar may be made by taking the -stitches horizontally instead of vertically; in this way -groups of little pyramids are formed. Each row should -be worked with alternating pyramids. The simplest -method is to begin at the top with a short stitch over<span class="pagenum" id="Page_31">[Pg 31]</span> -two threads, work five more horizontal stitches, increasing -in width, right and left, by one thread, so that -the sixth stitch covers twelve threads of the material. -Work in oblique rows.</p> - -<p>Strips of vandyke pattern may be worked over large -backgrounds with good effect. Make five horizontal -stitches over five strands of canvas, each stitch being -below the other, but one thread to the right of the last; -then work four stitches beneath these, each stitch being -this time one thread to the left of the one above it; -continue for length required. Start the second row on -a level with the first and six or seven strands to the right -of it.</p> - -<p><b>Fig. B, Arrow-head Filling.</b>—This is a useful -stitch for covering the ground quickly. The three -stitches are here formed over six vertical and ten horizontal -threads, but, of course, the number must always -depend upon the quality of the material. The vertical -stitch is worked first, then the left slanting stitch, followed -by the right. In working with loosely woven cloth, it -is necessary to carry the working thread up behind the -material to the top to start each stitch. This uses -rather more thread, but the stitches lie better and the -work is not puckered.</p> - -<p><b>Fig. F, Star Filling.</b>—Here, a number of stars -are worked in successive rows. To make them quite -regular, each one should be begun at the same point. -In the Fig. F they are worked over sixteen strands: -start at the top left corner with a double stitch, then -make the horizontal stitch below, and so on till complete. -By tightening the working thread a little a hole is formed<span class="pagenum" id="Page_32">[Pg 32]</span> -at each corner, and in the centre of each star, which -makes the pattern an open one, provided the working -thread is not too thick, in which case it would fill up the -hole.</p> - -<p>An equally good background for a firmer material is -to work stars in two rows, diagonally, one up, one down, -leaving always an equal number of strands between each -star. In this way the material itself is formed into little -diamond-shaped panels or lozenges.</p> - -<p><b>Fig. C, Wave Pattern.</b>—This is one of the more -elaborate darning patterns. It makes a more solid -filling and takes rather longer to work than some of the -others. Many pleasing variations may be formed with -darning stitches, where the background weft or warp -threads are utilised to form the pattern.</p> - -<p><b>Damask Darning.</b>—Materials may be repaired by a -linen, twill, or damask darn, in which case the weft -threads have to be put in first by the worker before the -pattern can be woven.</p> - -<p>Work Fig. C by lifting two weft threads in descending -rows and passing over seven; after working six -rows the pattern is changed by the two weft threads -being lifted in ascending rows, the last of the descending -counting as the first of the ascending row.</p> - -<p>In a twill darn, the pattern of weft threads descends -all the time in regular diagonal lines.</p> - -<p>It is quite worth while copying some of these damask -patterns from table napery, and reproducing them on a -larger scale in bright colours—in order to see what -effective designs they are; they might well be utilised -as fillings for squares, stools, or cushions.</p> - -<div class="figcenter" id="f3"> -<p class="captionr">PLATE III.</p> -<img src="images/fig3.jpg" alt=""> -<p class="captionc">A RUNNER IN CRASH (<i><a href="#Page_63">See p. 63</a></i>)</p> -</div> - -<p><span class="pagenum" id="Page_33">[Pg 33]</span></p> - -<p><b>Fig. A, Single Darning.</b>—A simple grounding -pattern, such as that of Fig. A, is useful; it is quickly -worked, too, a number of threads being lifted by the -needle at each stitch. Start at the left corner; pass over -four and lift two weft threads alternately for the first -two rows; for the next two rows, lift the two weft -threads in a line with the centre of the long stitch, and -so on.</p> - -<p><b>Basket Pattern.</b>—A basket or brick pattern may be -got by working four rows with the lifted threads in a line, -instead of two, as Fig. A, before changing the stitch. -This pattern looks very well when the chequers are worked -with contrasting colours. Work four vertical stitches -first, in lines, and in one colour, over eight strands; then -take the contrasting colour and fill in all the horizontal -stitches. If one colour only is used these squares may -be worked in rows, the vertical and horizontal sections -alternately.</p> - -<p><b>Fig. H.</b>—This type of work makes a rather more -open background than some of the others; it is very -suitable for filling in small spaces, for handkerchief -sachets, nightdress bags or borders for collars or handkerchiefs.</p> - -<p>It should be worked with a fine coloured or white lace -thread, sufficiently strong to draw the strands firmly -together, yet fine enough to leave the spaces as clear as -possible. As a filling it is easily and quickly worked, as -no threads are drawn out, which is a recommendation.</p> - -<p>The pattern is worked over six threads both ways—with -the exception of the first stitch—and in two horizontal -lines. It will be noted that the stitches are not<span class="pagenum" id="Page_34">[Pg 34]</span> -quite vertical, being inclined towards each other in -twos.</p> - -<p><b>A Good Filling.</b>—To form the first stitches, bring -the needle out at the top left corner; count down over six -strands and three to the right; insert the needle and take -a horizontal stitch under six strands to the right. The -slanting stitch is now formed by inserting the needle into -the hole on the upper line made by the first stitch, and -taking a horizontal stitch under six strands to the right -on that line—the upper one; proceed in this way to the -end of the space. The next row is worked from right to -left. The thread should be tightened after each stitch -to increase the open space.</p> - -<p><b>Fig. D, Diagonal Filling.</b>—This grounding pattern -consists of rows of slanting stitches, worked downwards -over six strands of material; the working thread is -taken across from corner to corner of a square, each -successive stitch being taken three strands below the -upper one; a strand of the material forms a mid-rib -between the inverted rows. If preferred, these rows -might be separated by a line of backstitching, in which -case two threads should divide each row of slanting -stitches; this gives a clear line for the backstitching.</p> - -<p>These backgrounds and darning stitches described -above are well suited for working on coarse materials -with thick threads—as well as with finer ones; although -the patterns for the majority of workers are too laborious -for very fine stuffs, they may be used for small spaces in -linen embroidery such as fillings for flowers, or initials.</p> - -<p>Charming open groundings may be worked without -removing the threads of the foundation material, but by<span class="pagenum" id="Page_35">[Pg 35]</span> -drawing them in clusters tightly together, by means of -stitches. Compare Plate II., where the fillings, Figs. -H, I, B, K, L, and M, are worked in this way.</p> - -<p>These patterns can be only shown properly on a -loosely woven cloth, such as canvas, linen, or cambric. -For fine material a fine lace thread is required.</p> - -<p><b>Fig. I.</b>—This pattern consists of little squares and -crosses. In Fig. I it has been worked with a thick -thread and the strands have not been pulled together—in -order to show the method of working; but as already -explained, it requires a fine thread and tightened strands -to show to advantage.</p> - -<p><b>A Filling in Squares.</b>—Begin the pattern with -vertical stitches, in horizontal rows over six strands, -exactly as in Fig. 10, until the required space is filled, -drawing each group of threads tightly together; then -work the horizontal stitches over five strands to complete -the squares, tightening them also, but not to such -an extent as to pucker the material. The squares may -be made smaller and the open spaces larger if each stitch -is worked over twice with a very fine thread.</p> - -<p><b>Fig. K, Squares and Stars.</b>—Here, each square -takes up sixteen strands of linen, and each one is completed -before going on to the next. Work by overcasting -all round the outside of the square over four -strands, and make an inner square, as Fig. I, with a -cross stitch in the centre, taking care to finish with the -needle in a position to begin the next square.</p> - -<p><b>Fig. L, Square Stitch and Rhodian Embroidery.</b>—This -pattern is made up of rows of square -stitches separated by vertical ones. It is usually<span class="pagenum" id="Page_36">[Pg 36]</span> -worked without removing any threads from the -material, although with a very firm cloth it is rather an -advantage to do so when an insertion is wanted; in -the latter case the vertical threads connecting the rows -of square stitch are left out.</p> - -<p>This is a stitch one frequently finds in old linen -embroideries, particularly of old German and Italian -work—where it is used either as a border or insertion, -or as a separating line between squared or diamond-shaped -forms; there is a similarity in the working -of it to the stitches used by the people of the -Island of Rhodes—latterly known as Rhodes embroidery -or punch work—the only difference being -that it covers the entire background in Rhodian embroideries -and the threads are more closely drawn -together. In these Rhodian embroideries the rose is -frequently to be met with. It is the symbol which -invariably accompanies the head of Helios on its coins, -and to which the classic isle owes its name. Square -stitch can be worked in straight or in slanting lines, see -<a href="#f2">Fig. M</a>—the former is the simpler, as each square is -completed in one row, while the latter requires two rows -to complete it.</p> - -<p>To work on horizontal lines, Fig. L, begin at the -right-hand side and make an upright stitch over six -threads; take a slanting stitch at the back and bring the -needle out six threads to the left at the base. Take a -horizontal stitch to the right, inserting the needle at the -foot of the vertical stitch; take an upwards slanting -stitch at the back to the left and insert the needle into -the top of the first stitch. This forms three sides of the<span class="pagenum" id="Page_37">[Pg 37]</span> -square. Now bring the needle out in position to start -as for the first upright stitch. If properly worked, the -reverse side forms a series of crosses. Fig. L has a -row of these square stitches with an alternate row of -upright stitches worked from left to right between them. -This is a pretty and unusual combination of stitches, -and it makes a charming border worked in colour on a -loosely textured material for a collar or other small -article. Another variation of the same type, and still -more open, is to have double rows of square stitch -between each row of vertical stitches, the lower row of -little squares coming between those of the upper row.</p> - -<p><b>Fig. I, Square Stitch in Slanting Lines.</b>—To -work this stitch in slanting lines is rather a slower -process. The first row forms a series of zig-zags or little -steps on the right side, while on the wrong side it forms -two single lines on the bias of the material. Begin at -the right-hand side of the work; take a horizontal stitch -from left to right over six threads; a slanting stitch at -the back to the left brings the needle out six threads -below the starting-point. Take an upright stitch and -put the needle into this point—two sides of the square -are now formed. Take a slanting stitch at the back and -bring the needle out six threads to the left of the base of -the upright stitch and continue for the distance required. -This slanting line of square stitch is easily acquired if -the worker remembers the appearance of the stitch, on -the “wrong” side as well as the right.</p> - -<p><b>A Table Scarf in Russian Crash.</b>—This design is -another of the direct type in which the needle-woven -border forms the principal subject. The material is very<span class="pagenum" id="Page_38">[Pg 38]</span> -pleasant to work—it is of a soft greyish-cream colour, which -combines well with the wools and braids, and the texture -is sufficiently open to allow of the threads being easily -removed, which is a recommendation when preparing -for the needle-weaving and the fringe. The stitchery is -all done in wools, and the colours are dark heliotrope -with two lighter tints, blues (two tones), greens, a dark -and light emerald, and deep orange. The broad braid -is of soft blue, the narrow of straw colour. The design -forms a deep border divided into panels by bands of -braid; the bands are tacked into place by short button-hole -stitches in the darker shade of emerald green, -between which are tiny little loop stitches (Fig. 3), in -orange. The centre panel has a wide band of needle-weaving, -about three inches deep, which is divided up -into five groups; the groups are worked from the outside, -inwards, as in Plate I., and the various colours are introduced -into them. The most prominent colour in the -scheme is blue, accentuated in this case by the blue braid, -the blue edging, and the second and fourth groups of -weaving, which are worked in two shades of blue. The -first and fifth groups are woven in heliotrope with orange -in the centre; the middle group has light heliotrope on -the outer parts and pale green on the inner. This same -green is worked in oriental stitch on each side of the -central 3-inch bar, while the stitchery between the rows -of wide blue braid is in the lightest tint of heliotrope, -tacked down with tiny stitches of the darkest shade. -The two side panels are worked in satin stitch in two -tones of heliotrope, each row of chequers being connected -by small chequers in light green—they also are<span class="pagenum" id="Page_39">[Pg 39]</span> -worked in satin stitch. The lines of straw-coloured -braid are sewn down with French knots in heliotrope -(Figs. <span class="allsmcap">22A</span>, <span class="allsmcap">22B</span>). The pattern of the stitching on the -bands of braid which border the design is worked in the -same way as loop or oriental stitch; the needle is brought -out on one side of the braid and inserted on the other -side, just opposite, then brought out again in the centre -to the right, where the wool is tacked down with a tiny -stitch; the needle is again brought out on the edge of -the braid, about half an inch further on, inserted on the -lower edge and brought out in the middle again in order -to tack the wool down. These two stitches reversed give -the diamond shape of the insertion; three satin stitches -in orange give a bright little note to the edging. These -looped or petal stitches worked in different ways can be -used to form many pretty headings. The narrow edging -on the selvedges between the lines of blue braid is -charming; it consists of two loops of heliotrope in two -shades—the one worked within the other—with a closed -looped stitch in orange between each pair. When all -the embroidery is finished, the weft threads are withdrawn -from the remaining ends of the material, which -have been left for the fringe. Sometimes a fringe of a -closer texture or of a different type is worked, or the -material may be too short to allow of one—in all of which -cases a strip of cloth could be inserted under the braid -and sewn down with the pattern, then fringed.</p> - -<p>It is generally advisable when working with narrow -braids to take the ends through the material where they -can be stitched firmly in place; wider ones are often tied at -the ends to prevent spreading, then turned in and stitched.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_40">[Pg 40]</span></p> - -<h2 class="nobreak" id="c5">CHAPTER V</h2> -</div> - -<p class="c less">NEEDLE-WEAVING—RUSSIAN OPEN-WORK—<br>LINKED -STITCHES</p> - -<div class="blockquot"> - -<p>“A web made fair in the weaving.”</p> -</div> - -<p><span class="smcap large">Needle-weaving</span> is a form of decoration common to -all countries; it was practised by primitive peoples and -must have preceded embroidery. It was a means of -adding richness and colour much in favour with the -early Egyptians, who decorated their garments with -fringes and bands of needle-weaving. Mummy cloths -treated in this way are to be seen in the British Museum; -also specimens of early Coptic work, preserved in the -Victoria and Albert Museum, show that they were in -the habit of weaving little panels and borders with the -needle, with which to decorate their garments. This -desire to enrich and decorate with the needle, by means -of colour and pattern, the more important parts of their -apparel followed on the discovery of how to weave -cloth, and so we find that these early workers frequently -left out the weft threads and wove in beautiful patterns, -rich in colour, with the needle into these spaces. Later, -little panels, bars and medallions were worked in this -way and inserted into their garments. This needle-weaving, -which is practically tapestry with the needle, -seems to have reached a great degree of perfection in the<span class="pagenum" id="Page_41">[Pg 41]</span> -fifth century. There is very little to distinguish needle-weaving -from tapestry, except that the latter is done -with the shuttle instead of the needle.</p> - -<p>This weaving of patterns directly on to the material -is fascinating work. It is so effective, so rich in result, -and so charmingly appropriate to the material; there -must always be a certain stiffness and rigidity in the -pattern, caused by the upright warp threads, which -demand simplicity of treatment. Weaving, whether -done with needle, bobbins or shuttle, is just a method of -interweaving the warp threads with the weft; these weft-threads -may consist of wools, silks, cottons, or—decoratively, -of raffia, or even gold and silver threads.</p> - -<p>This type of work may be applied to all kinds of useful -household articles—table linen, bed linen, cushions, bags, -chair backs, footstools, book covers; also bands and -insertions for garments. There is room for such simple -pattern, combined in some cases with other stitchery, -on these and many other articles, where a marginal -decoration is appropriate.</p> - -<p><b>Description of Frontispiece.</b>—Plate I. shows a -table square worked on “Titian” canvas of a soft -brown tint. The original was 36 inches by 18 inches. -The edges of the canvas should be turned up and the -spaces arranged for the needle-weaving and coloured -bands before the weft threads are removed. Allow -about 3 inches for the open-work. Cut the weft threads -and pull them out. Fig. 31 shows method of working; -begin at the right-hand corner and weave the pattern over -six groups, three strands in each group—these are -worked in gold and yellow; repeat the same pattern on<span class="pagenum" id="Page_42">[Pg 42]</span> -the opposite side—it simplifies the work and saves time -and trouble if the weaving is done from the ends, working -inwards; thus two similar patterns are woven, one after -the other. If the band of weaving is carefully examined, -it will be seen that the gold-coloured threads form a -definite pattern on the background; if these are woven -in first, it will aid the worker and act as a guide for the -interlacing of the other colours. The next group, in -lemon and purple, is worked on nine groups of threads: -throughout all these patterns a group consists of three -strands. The purple lines are sewn in with a back -stitch. The third group is formed of a large cross in -orange surrounded with gold-coloured squares, which -in turn are completed with blue squares at the corners.</p> - -<p>The fourth, or central group, has two narrow bars on -each side, worked in soft green, blue, purple and gold.</p> - -<p>The inner cross of lemon wool with purple and gold can -be easily followed from the plate.</p> - -<p>The broad band of needle-weaving is edged by rows -of variegated chain stitch in brown and cream (for the -working of which, see <a href="#s1">Fig. 1</a>, p. 46), and followed by -rows of button-hole in orange (Fig. 11).</p> - -<p>The wide braid-like line in oriental stitch, along the -top, is worked very closely; along the sides the same -stitch is seen with wider spacing. This stitch is of the -herring-bone type—the needle is inserted vertically, -instead of horizontally, as in the case of the commoner -and better-known stitch. It is effective and economical, -as the bulk of the thread is on the surface.</p> - -<p>The tassels are of soft brown and bright blue wool -hung on to button-holed loops, for the making of which,<span class="pagenum" id="Page_43">[Pg 43]</span> -see <a href="#s2">Fig. 57</a>, Chapter XIII.; and for the tassels, <a href="#s3">Fig. 41</a>. -The ribbon border is worked in gold and purple silk.</p> - -<p>A sideboard runner worked similarly, but with two -wide bands of needle-weaving at each end and rather -wider lines of stitchery at the sides, was made to match -this table runner; the light colours of the border gave a -very gay touch to an otherwise sombre room.</p> - -<p>Plate II., Fig. N, illustrates another type of open-work -which is practised by the peasantry of Russia. It -is interesting and quite different in appearance from -some of the other peasant work. One distinguishing -feature is that two rows are worked in conjunction, and -another is the number of rows and the manner in which -they are worked. This form of open-work deserves to -be better known in this country. The pattern is formed -by means of blocks of stitches, which are not worked in -the ordinary darning or weaving stitch but by the overcasting -of laid threads; indeed, with the exception of -the first and final rows—which are hemstitched—the -entire work consists of the overcasting of threads; bars, -strands or groups, all are worked from right to left. The -Russian peasantry work most elaborate borders on -handsome linen of an open texture; these borders vary -in width from 2 inches to 18 inches, and are applied to -all kinds of articles for household and personal use. This -form of open-work is more durable than the type usually -done in this country; indeed, the material is strengthened -by the stitchery rather than weakened, as is frequently -the case with the usual method of treating drawn-thread -work.</p> - -<p>To work a border similar to Plate II., Fig. N,<span class="pagenum" id="Page_44">[Pg 44]</span> -begin by removing two threads; work a row of single -hemstitch into the space, over four threads, dividing the -material into clusters with six warp threads in each—the -hemstitching is done from left to right in the usual -way. To prepare for the next two rows, leave a narrow -bar of five weft threads and draw out six threads—the -number of threads to be removed will, of course, vary -according to the quality of the material, but the horizontal -intervening bars are always narrower than the -open spaces. Begin at the right hand; make the -number of upright stitches necessary to carry the thread -to the left of the group, which is to be worked into a -solid block; lay the thread across this group, and returning, -bring the needle out between the first and second -cluster of threads, on the right of the cluster; now put -the needle over the laid thread and bring it out under -the laid thread at the next group. Put the needle over -the thread again and bring it out at the left of the entire -group; in other words, overcast the laid thread from -right to left of the group—always pass the needle behind -a cluster of threads between each overcasting stitch; -continue to lay the thread and overcast back until the -space is filled, then work one straight stitch over the -upper horizontal bar; overcast one vertical cluster; slip -the carrying thread up behind; work another upright -stitch; overcast the second vertical cluster; again slip -the thread up through the back of the stitchery; then -work the upright stitches and repeat the laying and -overcasting to make the solid pattern again. Once the -method is acquired, it will be a simple matter to arrange -these solid masses in such a way as to form a pattern.<span class="pagenum" id="Page_45">[Pg 45]</span> -It is better to prepare and cut the threads of each row -just before working it; there is, in this way, less risk of -making mistakes by cutting the wrong threads. Another -reason for preparing the rows step by step is that the -material is easier to hold before the removal of the weft -threads than it would be after they have been withdrawn.</p> - -<p class="c"><span class="smcap large">Linked Stitches.</span></p> - -<p><b>Chain and Tambour Work</b> (<b>Fig. 1</b>).—Chain stitch, -which is said to have come to us from China, has been -for a long time little used in this country. Tambour -stitch—in high favour and greatly used by our grandmothers—was -produced later by the machine in such -quantities and in so mechanical and inartistic a manner -that it fell into disfavour, and unfortunately chain -stitch—which is practically the same, except that it is -worked with the needle instead of with a crochet hook—fell -with it. Nevertheless, it is a stitch which is most -useful and charming in its even and somewhat monotonous -regularity, especially where a great variety of -colour is used and a broad effect is wanted. A particularly -adaptable stitch, it lends itself, on account of -its linked nature, to the following of curves and spirals, -outlines and the filling of circular and oval forms. It -can be worked singly—as a powdering—or in a zig-zag -pattern—with two colours at once—which produces an -interesting result (Plate I.), or with a twist. Worked -openly with the needle inserted first to the left then to -the right to give a broader line, it is known as ladder -stitch, while twisted chain, worked closely, is known as rope<span class="pagenum" id="Page_46">[Pg 46]</span> -stitch. Linked chain and cable chain (Fig. 8) are more -elaborate forms of the same stitch. Much of the beautiful -Persian quilting done on linens is worked in chain -stitch on the wrong side, which gives the “quilting,” or -back stitch, on the right side.</p> - -<p><b>The Working of Tambour Stitch.</b>—Tambour -stitch, though of little use for small work, might still be -employed very effectively as a quilting stitch, and for -large pieces of work, such as table covers or hangings; -it is worked on a frame, and one can quickly acquire -facility with the hook and accuracy in the working of it.</p> - -<p><i>Method</i>:—The material is put in a frame; the thread -is kept underneath, where the left hand guides it; a -sharp-pointed hook is kept in the right hand and passed -through the material from the surface; it catches the -thread from the under side and bring it up in a loop; -the hook is inserted again and -the thread is again brought up -in a loop through the preceding -loop.</p> - -<div class="figleft" id="s1"> -<img src="images/fig4.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 1.</span></p> -</div> - -<p><b>To Work Chain Stitch</b> -(<b>Fig. 1</b>).—To work chain -stitch, bring the thread out -at the beginning of the line; -hold it down with the left -thumb; place the needle into -the hole, which the thread -already occupies, and take up -a small piece of the material—this -will vary from one-sixteenth to one-eighth of an inch -according to the thread and material; draw the thread<span class="pagenum" id="Page_47">[Pg 47]</span> -through, and the first link of the chain is complete; -insert the needle again at the spot where the thread -comes out and proceed as before. A cord-like effect -may be got by overcasting each link of the chain with -another colour: the eye of the needle should be used, -as the overcast stitch is taken over the links only.</p> - -<p><b>Chain Stitch in Two Colours.</b>—A variation to a -border may be given by working alternate links of -different colour.</p> - -<p><i>Method</i>:—Take two threads in the needle, a black and -a white, or a blue and a green, or any two contrasting -colours; bring the needle out at the starting point; hold -the black thread, which should be to the left, under the -thumb—the white thread is placed aside out of the way; -insert the needle, as for chain stitch, beside the held -thread and draw through—a chain stitch of black has -been formed. Next, hold the white thread under the -thumb, and form the white link, the black thread being -placed aside to the right this time. Work in this way -alternate black and white links; a little manipulation is -sometimes required to keep the thread not in use out of -sight (Plate I.).</p> - -<p><b>Split Stitch.</b>—Split stitch may be used for very fine -work, or for fixing down laid stitches, for which it is -particularly suitable; it has the appearance of a fine -chain stitch, but is in reality a single stitch which is -split, in the process of working, by the needle. Up to -the fourteenth century, it was generally used in figure -embroidery to express form, folds of drapery, and -features, and was a stitch well adapted for the purpose; -but as figure embroidery is quite beyond the scope of<span class="pagenum" id="Page_48">[Pg 48]</span> -this book and the simpler pieces of embroidery it -advocates, it is sufficient perhaps to explain the method -of working, rather than go into the particulars of its -history. It is worked from left to right.</p> - -<p><i>Method</i>:—Bring the thread to the surface at the left; -take a stitch, one-sixteenth of an inch, to the right with -the point of the needle towards the left; pierce the thread -which covers this space and draw the needle through it, -splitting the thread and forming a link-like stitch.</p> - -<div class="figleft"> -<img src="images/fig5.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 2.</span></p> -</div> - -<p><b>Coral Stitch</b> (<b>Fig. 2</b>).—Coral stitch is a good -decorative line stitch, easily and quickly executed. It -is known under several names, such as snail-trail and -knotted stitch, etc. It is composed -of single knots, worked -with the connecting thread on the -surface; sometimes the knots are -worked so closely together as to -have the appearance of beads, or -they may be worked half an inch -apart, and in rows, when they -make good lines for filling large -spaces or borders.</p> - -<p><i>Method of working</i>:—Bring the -thread through to the front; place -the left thumb on it, beyond the point where the -knot is to be made; take a stitch under the held thread -and at right angles to it; draw the needle through, still -holding the thread under the thumb, and tighten. This -stitch is suitable for working with wools on fine material.</p> - -<div class="figcenter" id="f4"> -<p class="captionr">PLATE IV.</p> -<img src="images/fig6.jpg" alt=""> -<p class="captionc">A PORTIÈRE.</p> -</div> - -<p><b>Petal or Loop Stitch</b> (<b>Fig. 3</b>).—Another useful -stitch is shown in Fig. 3. It is invaluable for the making -<span class="pagenum" id="Page_49">[Pg 49]</span>of small flowers and borders, for picking out edges, and -for emphasising lines (Plates IV., XIII.). The working -of a small flower is shown in Figs. 3 and 3<span class="allsmcap">A</span>.</p> - -<div class="figcenter"> -<img src="images/fig7.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 3.</span> <span class="smcap spacer">Fig. 3a.</span> <span class="smcap">Fig. 3b.</span></p> -</div> - -<p><i>Method</i>:—Bring the needle out in the centre of the -space; insert it again at the same point; bring it out -near the tip of the petal, as in Fig. 3<span class="allsmcap">A</span>, and tack it -down with a small stitch.</p> - -<p>Larger flowers can be quite artistically worked by -beginning with a small stitch at the foot of the petal, -and increasing by successive stitches until the outline is -reached (Fig. 3<span class="allsmcap">B</span>). The outer stitch can be worked in a -different colour or tone with pleasing effect. One of -the large conventional flowers in Plate XI. -has an outline of these stitches, while another -has the inner circle worked in the same -way (Plate IV.).</p> - -<div class="figright"> -<img src="images/fig8.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 4.</span></p> -</div> - -<p><b>Feather Stitch</b> (<b>Fig. 4</b>).—One of the -feather stitches, all of which are composed -of button-hole stitches, is illustrated in -Fig. 4. It is worked vertically, a stitch -being made alternately from left to right. -The width of the stitch may vary, but it<span class="pagenum" id="Page_50">[Pg 50]</span> -must be regularly worked and uniform in size, to look -well, when it presents a braid-like appearance which is -most ornamental for underlinen and other purposes. -The diagram explains the method of working.</p> - -<p><b>Fish-bone Stitch</b> (<b>Fig. 5</b>).—Fish-bone stitch is -another of the feather or button-hole type. There are -so many variations of those stitches, -which are well known to most needle-women—having -been used for the -decoration of underlinen for the last -generation or two—that only a few -need be mentioned here.</p> - -<div class="figleft"> -<img src="images/fig9.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 5.</span></p> -</div> - -<p>Quite a pretty and uncommon -variety (Fig. 5) is useful for the filling -of leaf forms, as well as for borders. -The stitch appears to be made up -of two long outer and two short inner ones, but as will -be seen by looking carefully at the diagram, there are -only two movements. It is worked just as in Fig. 4, -from left to right. It is very easily worked on loosely-woven -material, but where the texture is close, it is -simpler and safer to mark four lines on the material for -guidance, two outer and two inner, the latter closer -together.</p> - -<p><span class="smcap">To work Fig. 5.</span>—Begin to work from one of the -central lines—the one to the right; insert the needle on -the left outer line and bring it out on the left inner line, -keeping the working thread under the needle; continue -in this way, working vertically and keeping the stitches -regular and equally spaced. The outside stitches may -be made still longer and closer than those in the diagram<span class="pagenum" id="Page_51">[Pg 51]</span> -with good effects, particularly when used for a filling for -petals and leaves.</p> - -<p><b>Cretan Stitch.</b>—A still more pleasing variety, known -as Cretan stitch and frequently seen on Cretan or -Eastern embroideries, is worked similarly in horizontal -lines, but the outer and longer stitches are small, straight -and closely worked together, so that it makes an excellent -solid border stitch, which looks very handsome when -worked in metal threads.</p> - -<p><b>To work Cretan or Oriental Stitch.</b>—Draw four -lines on the material; start as in Fig. 5, on the right -inner line; insert the needle on the left outer line, and -bring it out on the left inner one with the thread under -the needle; take a stitch on the right outer line; bring it -out on the left inner line with the thread under the needle; -continue alternately from left to right, taking care to -keep the stitches exactly below each other. The -appearance of the line can be slightly varied by -increasing or decreasing the outer stitches. The inner -plaiting is regulated by the size of the stitches taken -on the outer edges. See -<a href="#f1">Plate I</a>., where the solid -blue line enclosed within the -chequered chain-stitched -lines is worked in this way. -The lines on either side of -the runner show the stitch -worked more openly.</p> - -<div class="figright"> -<img src="images/fig10.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 6.</span></p> -</div> - -<p><b>Link Stitch</b> (<b>Fig. 6</b>).—This is rather an unusual -stitch, being formed of links connected by short stitches. -To be effective, it should be worked with thick twisted<span class="pagenum" id="Page_52">[Pg 52]</span> -thread. It is easily done on a ground where the warp -and weft threads are sufficiently open to guide the -worker, otherwise two lines parallel should be marked -from a quarter to half an inch apart.</p> - -<div class="figleft"> -<img src="images/fig11.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 6a.</span></p> -</div> - -<p><b>To work Link Stitch</b> (<b>Fig. 6a</b>).—Begin -with the smaller stitches -(Fig. 6<span class="allsmcap">A</span>); bring the needle out in -the middle of the space to be -covered; insert on the upper edge -to the left, and bring out still further -to the left on the lower edge. Pass -the eye of the needle down through -the small stitch and insert again on the lower edge -slightly to the left of the previous one; take a vertical -stitch upwards and a little beyond the centre, having -the thread under the needle as in Fig. 6; pull the needle -through. These three movements complete the stitch, -the thread being now in position to -make the first small stitch again. -This stitch is called linked, or knotted -chain.</p> - -<div class="figright"> -<img src="images/fig12.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 7.</span>      <span class="smcap">Fig. 7a.</span></p> -</div> - -<p><b>To work Tête de Bœuf</b> (<b>Fig. 7</b>).—Another -variation of the loop or petal -stitch is called Tête de Bœuf. Work -a loop stitch as Fig. 7<span class="allsmcap">A</span>, then take a -stitch across from left to right; bring the needle out -above the stretched thread. Make another loop -stitch, which fixes this in place. This stitch is often -used as a powdering. It makes a good border stitch.</p> - -<p><b>To work Cable Chain</b> (<b>Fig. 8</b>).—Cable chain can -be worked in two ways. Two guiding lines will be of<span class="pagenum" id="Page_53">[Pg 53]</span> -assistance. Bring the needle out at the starting point -in the middle of the space; form a small loop by throwing -the thread round as Fig. 8; insert the needle in the -centre of this loop, which will vary -in size according to the thickness of -the thread and the size of the cable -wanted; bring it out about a quarter -of an inch lower down, taking care -to keep the thread under the point of -the needle; tighten the small loop to -the proper size with the right hand, -then, placing the thumb on the stitch, -pull the thread through. This forms both the small -and large link and the thread is in position to start -again. When worked in a firmly twisted thread, -such as Knox’s linen “cord” floss thread, it -makes a pretty border or line stitch. A row of -couching makes a good edging and emphasises the line -if required.</p> - -<div class="figright"> -<img src="images/fig13.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 8.</span></p> -</div> - -<p>By the second method, the small stitch is made first, -and the needle brought out to the surface about a -quarter of an inch lower down; put the needle through -the small stitch from left to right and place the thumb -on it; put the needle through -the large loop in process of making -from right to left and tighten the -thread sufficiently. The small -stitch has now to be made.</p> - -<div class="figleft"> -<img src="images/fig14.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 9.</span></p> -</div> - -<p><b>Braid Stitch</b> (<b>Fig. 9</b>).—When -a fairly heavy line is necessary, -Fig. 9 can be used. It has a<span class="pagenum" id="Page_54">[Pg 54]</span> -braid-like appearance, and for that reason is generally -known as braid stitch. Work from right to left and -start on the lower edge. Bring the -thread out and place the thumb on -it, and twist the needle round the -held thread, so forming a loose -twist on it (Fig. 9<span class="allsmcap">A</span>). Then insert -the needle in the upper line, a -little to the left of the starting -point; bring it out on the lower -line, exactly beneath; place the thread under the -needle, and draw through, keeping the thumb on the -stitch till tightened sufficiently to form the link.</p> - -<div class="figleft"> -<img src="images/fig15.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 9a.</span></p> -</div> - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_55">[Pg 55]</span></p> - -<h2 class="nobreak" id="c6">CHAPTER VI</h2> -</div> - -<p class="c less">BUTTON-HOLE AND BORDER STITCHES—HEMSTITCHING<br> -AND OPEN FILLINGS</p> - -<div class="blockquot"> - -<p>“And she that is wise, her time will pris.”</p> -</div> - - -<p><b>Part of a Curtain.</b>—This illustration (Plate IV.) -gives a part of a curtain, which is a fine piece of work. -The design has been well considered. The simple masses -are admirably juxtaposed; they have been skilfully -arranged in a manner singularly appropriate to the -work. As a piece of embroidery that would generally -be looked at from some distance there has been no time -spent on minute detail which would involve unnecessary -labour. The bold, yet dainty treatment of the needlework -is first-rate, and the whole arrangement of the -design, colour and stitchery show that the purpose for -which the embroidery was meant must have been continually -in the mind of the worker.</p> - -<p>The circular massed forms in rich reddish-orange are -set, most successfully, the one against the other; the -green masses, so simple in shape and satisfactory in -colour, are clearly silhouetted against the dark background; -the white oblongs with the little orange circles, -the applied hem and bands in vivid blue, the interesting -variation in stitchery, all go to make a charmingly -harmonious piece of simple decoration. Work of this -type can be made from materials which are quite inexpensive,<span class="pagenum" id="Page_56">[Pg 56]</span> -and its value on that account is increased -tenfold. In the illustration, the various parts of the -design, colour and stitchery are so clearly brought out -that a detailed description is not required. The background -is of linen of a firm quality; the applied forms -may be of linen or of any firm material in wool or cotton; -the embroidery is in wools, cottons and silks. For the -method of working the button-hole filling, see -<a href="#s4">Fig. 11</a>. -The large circular forms are fixed to the foundation with -a row of chain stitch; the little orange circles on the -white ground are in the same stitch (Fig. 1). The blue -bands are applied with darning or tacking stitch outlined -with coral stitch (Fig. 2), the hem with button-hole -stitch. The effective little groups of white on the green -ground are in petal stitch (Fig. 3). All the little square -blocks are in satin stitch. How interesting this constructional -design can become to the needlewoman who -uses her powers of mind and brain, and who applies her -ideas to decorate all manner of things. She would no -longer be content to work detached sprays of flowers and -leaves, strewn promiscuously over her work, once she -discovered what good patterns she could make with -simple shapes and with the aid of small pieces of bright-coloured -patches and short lengths of material, which -she might adapt and use for many purposes.</p> - -<p><b>Various Button-hole Stitches.</b>—Button-hole stitch -is one of the most useful of stitches, owing to its -construction and adaptability, and the decision with -which it marks a line. It can be used equally well -for plain needlework, embroidery, or needle-point lace; -for borders or fillings, either open or solid, for the<span class="pagenum" id="Page_57">[Pg 57]</span> -covering of raw edges, the outlining of <i>appliqué</i> forms, -or the working of flowers or leaves. The direction, -spacing and grouping of the stitch may be arranged -to suit the work and curved lines may be followed with -the utmost facility.</p> - -<p>Indeed, the interesting variations and combinations -which may be obtained by an ingenious worker are -endless.</p> - -<div class="figright"> -<img src="images/fig16.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 10a.</span></p> -</div> - -<p>There are two ways of working the stitch, single -button-hole (Fig. 10<span class="allsmcap">A</span>), and double or -tailor’s button-hole; the former, when -worked with rather a wide space -between each stitch, is generally -known as blanket stitch. Fig. 10<span class="allsmcap">A</span> -gives a corner for a border, which -will also make a suitable finish or -heading to the neck of a dress or -blouse; it may be spaced in various -ways, worked in slanting lines, or -with stitches of equal lengths, worked -over threads or narrow braids of a -different colour or tone. When the -heading forms a close line, it is usually considered as a -button-hole stitch. Plate I. shows two lines of button-holing -worked in groups of three, in orange wool, -between two rows of chequered chain stitch, where -they serve to connect the broad bands of orange which -surround the border of the runner.</p> - -<p>For the making of an actual button-hole, or where a -firmer and more decorative heading is wanted, it is -better to use the variety known as tailor’s button-hole,<span class="pagenum" id="Page_58">[Pg 58]</span> -which has an extra knot added to it; it is this knot -which gives greater firmness as well as beauty to the -stitch.</p> - -<p><b>To work Blanket Stitch</b> (<b>Fig. 10a</b>).—Blanket, or -single button-hole stitch, is so well known that it is -hardly necessary to describe it. Bring the needle out at -the left end of the line or border; place the thread under -the left thumb and insert the needle as shown in Fig. 10<span class="allsmcap">A</span>; -draw it through, still keeping the thumb on the thread—the -needle is thus brought out over it.</p> - -<p><b>Tailor’s Button Stitch.</b>—Tailor’s button-hole—the -method of working:—Put the needle into the same -position, with the thread under it, as for the single -stitch, then take the thread, near the eye of the needle, -in the right hand and pass it from right to left again -under the needle; draw the -needle through both loops -and the stitch is complete.</p> - -<div class="figleft"> -<img src="images/fig17.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 10.</span></p> -</div> - -<p><b>Crossed Button-hole</b> -(<b>Fig. 10</b>).—Fig. 10 shows -another variety of the -stitch. The threads are -crossed by sloping the -needle to the right for the -one, and to the left for the -other. When worked on a -loosely-woven material they -can easily be kept exact. -The knotted edge may be -further strengthened by a row of chain stitch, which -always improves the line. As may be seen from the<span class="pagenum" id="Page_59">[Pg 59]</span> -figure, either the under or upper stitches may be the -longer, but they should not be varied on the same -border, otherwise the regularity of the work will be -impaired.</p> - -<p><b>Flowers in Button-hole Stitch</b> (<b>Plate XIII.</b>).—Fig. -11 may be used for a solid or open groundstitch; -it makes a charming filling when worked over the material -for the petals of large flowers, each petal being outlined -with chain stitch, couching, or back stitching (Plate XI.). -When working over a foundation, the first row and the -last only are fixed to the material; the intervening rows -are worked into the headings or loops of the preceding -rows. When the spaces to be filled with stitchery of this -type are not of such a form as to allow of working continuously, -each row of stitchery must be attached to the -material at the sides, to keep it in position; the rows -are then worked to and fro from right to left, or <i>vice -versâ</i>.</p> - -<p><b>“A Portière”</b> (<b>Plate IV.</b>).—In this piece of work -an excellent example of this method of filling is seen; the -groups of five stitches worked in lemon wool, on a black -linen background, make a bright chequered effect, which -adds both interest and distinction to the design.</p> - -<div class="figright" id="s4"> -<img src="images/fig18.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 11.</span></p> -</div> - -<p><b>Button-hole Filling of a -Space</b> (<b>Fig. 11</b>).—Fig. 11 -shows clearly the method of -filling an open space in this -way. The edges must be -button-holed in the manner -described for white work, -unless a braid is used, when<span class="pagenum" id="Page_60">[Pg 60]</span> -the firm edge which it gives is sufficient without extra -stitching. Begin at the right upper corner; make three -small overcast stitches to carry the thread into position -for working the first row, which consists of groups of -three button-hole stitches worked loosely into the edges -of the braid or material; at the end of the row fasten the -thread to the braid; again overcast three stitches; work -the second row of button-hole into the loops or spaces of -the previous row; continue in this way until the space -is filled; the last row should be worked into the braid, -in order to keep the others in position.</p> - -<p>Plate X. has the central portion enriched by a filling -worked in button-hole in blue flax thread. It is commenced -from the centre; the lines of the pattern are then -followed towards the outer edges (see description on -<a href="#Page_112">p. 112</a>). Plate XI. shows a similar filling, in the flower -at the corner, which is also -worked in colour and finished -on the inner row of button-holing -by a line of back -stitch.</p> - -<div class="figleft"> -<img src="images/fig19.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 12a.</span></p> -</div> - -<p><b>A Diapered Border</b> -(<b>Fig. 12a</b>).—Quite an interesting -solid diapered -background may be obtained -by working these -stitches in rows, in groups of three or five. The -clusters are worked closely at the top; the second row -has the apex of each cluster fitting into the base -of the preceding one. A very pleasing border in -contrasting colours may be obtained in this way; the<span class="pagenum" id="Page_61">[Pg 61]</span> -two firm lines of button-holing will, of course, form -the outer edges.</p> - -<div class="figright"> -<img src="images/fig20.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 12b.</span></p> -</div> - -<p><b>Double Button-hole</b> (<b>Fig. 12b</b>).—Double button-holing -has two rows of button -stitch (Fig. 12<span class="allsmcap">B</span>). The first -must have the stitches spaced -so as to allow of the second -row of stitches dovetailing into -those of the first. This variety -can be applied very successfully to braid or galoons, in -which cases the stitches need not reach to the opposite -side as in Fig. 12<span class="allsmcap">B</span>.</p> - -<p><b>Leaves in Button-hole Stitch.</b>—A very good method -of filling leaves is to work them in two rows of button-holing, -back to back, the firm central line forming the -mid-rib of the leaf and the rather broken outer line -suggesting the serration of the edges. Small flowers, -flower centres and berries are frequently worked in this -way (Plate XIII.). The heading of the stitch forms the -outline. An old-fashioned, but quaint variety of ground-filling -to be seen on some of the earlier samples consisted -of successive rows of these little eyelet -stitches. The material was first pierced by a -stiletto at regular intervals; each hole was -then button-holed or overcast round. The -insertion of the needle into a common centre -formed an opening which gave a lighter effect -to the background.</p> - -<div class="figleft"> -<img src="images/fig21.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 13.</span></p> -</div> - -<p><b>Decorative Back Stitch</b> (<b>Fig. 13</b>).—This -figure is simply back stitch. To be effective -and to make room for the interlacing thread,<span class="pagenum" id="Page_62">[Pg 62]</span> -it should be worked rather larger than usual, and with -a thicker thread, from one-eighth to a quarter of an -inch in length. A thread of a contrasting tone is then -laced through, eye of the needle foremost, the loops of -each stitch being regulated before passing on to the next. -Back stitch was greatly in use in the seventeenth and -early eighteenth centuries, for the adornment of all sorts -of articles. Quilts, hangings, and personal clothing -were ornamented in this way with bands and patterns. -These were sometimes produced by chain stitch worked -on the wrong side of the material, which, as an -embroideress knows, forms a row of back stitching on -the reverse side—the right side in this case.</p> - -<p><b>Reversible Back Stitch.</b>—Sometimes these patterns -were worked in reversible back stitch, in order to make -both sides of the stitching alike, for in those days needleworkers -did not grudge either the time or the patience -spent on their embroideries.</p> - -<p>Reversible back stitch, so-called, is a running or -darning stitch. All should be regular and equal in -length, or the appearance of the work, when finished, will -not resemble back stitch. The “back” stitch is formed -by going over the line a second time with a running -stitch, which fills up the spaces -on both sides of the material -and renders it reversible.</p> - -<div class="figleft"> -<img src="images/fig22.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 14.</span></p> -</div> - -<p><b>Honeycomb Filling</b> (<b>Fig. -14</b>).—This pattern has an -advantage over some of the -more elaborate background -stitches; it is easily and<span class="pagenum" id="Page_63">[Pg 63]</span> -quickly worked, and most of the thread is on the -surface. It is known to some needlewomen as honeycomb -stitch, to others as Mexican stitch.</p> - -<p><b>To work Honeycomb or Mexican Stitch.</b>—To -obtain the best result work the small foundation stitches -in one tone and the interlacing in another. If worked on -a material where the warp and weft threads are distinct -the small stitches may be kept quite regular without -difficulty, otherwise it is better to mark their position -by means of a ruler and pencil. The spacing will vary -according to the material and the thread used; about -half an inch should be left between each small stitch for -bold effective work, and the second row should alternate -with the first. When all are in position, a long thread is -taken for the interlacing, which is done in rows. Fasten -the thread at the right top corner, and, eye of needle -foremost, pass through the first stitch in the top row, -down to the second, up to the top row again, and so on, -as shown in Fig. 14. As the edges are undefined, this -stitch requires a good firm outline round it.</p> - -<p><b>Table Runner</b> (Plate V.) of cream cotton canvas, -or netting, is of a very open texture; it is treated in a -simple direct manner, which is both pleasing to the eye -and interesting to the worker.</p> - -<p>It may be made of half-a-yard of material, 54 inches -by 18 inches. The pattern is worked in wools and thick -cottons, in stitchery eminently suited to the loosely-woven -texture.</p> - -<p><i>Method of working</i>:—Turn over on to the front surface -a single fold of about 1 inch on each side and tack in -place to prevent fraying; later on these raw edges will<span class="pagenum" id="Page_64">[Pg 64]</span> -be covered with galoon or braid. Allow about 12 inches -at each end for the wide hem, and from there about -14 inches for the needle-weaving. Get the centre line -by means of a measuring tape; cut ten warp threads at -each end of the bar, which in this material is about three-quarters -of an inch. Great care must be taken in cutting -the top threads to see that they correspond exactly with -those already cut. It is a good plan to draw the two -outer threads a little, the tightening of which will -indicate the exact place to cut the upper ones. This -bar should be worked before the adjacent bars are cut. -Leave a strip of material about half an inch wide on -either side, then proceed to cut the weft threads, as -before, for the broader bands—each is about one-and-three-quarter -inches wide, so that twenty-four threads -are withdrawn.</p> - -<div class="figcenter" id="f5"> -<p class="captionr">PLATE V.</p> -<img src="images/fig23.jpg" alt=""> -<p class="captionc">A BUREAU SCARF.</p> -</div> - -<p>In weaving these wide strips, a frame is of assistance -on account of the very soft nature of the material: the -pattern should be easily followed from the illustration, -but perhaps a few suggestions might help the beginner. -Fig. 31 gives the method of weaving. Start with cream -cotton or flax; run a few stitches on the under side; bring -the needle to the point and weave, by passing over three -of the double warp threads and under three, backwards -and forwards, until these upright threads are completely -covered—it is necessary during this process to press -down the threads closely from time to time, and care -must be taken not to tighten the groups too much or the -material will get puckered. Repeat these woven bars -in different groups of colour to the end of the strip, which -gives five groups in cream flax and three in colour, jade -<span class="pagenum" id="Page_65">[Pg 65]</span>green, reddish-purple, royal blue. Cover the half-inch -bands of material with a herring-bone or oriental stitch, -worked in cream linen floss embroidery thread. Take -up the strands in groups of three on either side—this -separates the threads into groups and simplifies the -weaving of the next strip. Proceed now with the more -elaborate weaving. It will be noticed that the weaving -moves in a step-like manner, and that the pattern -changes three times in each ascending or descending line, -so that each line from edge to edge is divided into threads. -Begin with the green group and pass under and over four -groups of thread (in Plate V. the group worked in purple -is the most distinct). Each group, as before, consists of -three double warp strands; weave one-third of the space, -then leave out the fourth group; continue to weave on -three groups for another third of the space; leave out the -third group; finish with two groups. Overcast one stitch -into the canvas and weave over two fresh groups downwards -for one-third of the distance, then over the next -two groups of the second third; then take up the two next -groups and weave to the edge of the threads—thus -weaving diagonally in groups of two from the bottom of -the bar, this last row produces a series of steps. Repeat -the same in ascending groups; finish exactly in the -same manner as before, with the exception that the -weaving over four groups is this time at the top of the -bar—these masses of weaving are separated by plain -bars of cream, woven over four groups. The cut threads -at the top are button-holed to keep them secure. Lines -of darning stitches connect the edges with the woven -bars. The bands of galoon are now laid over the turned-over<span class="pagenum" id="Page_66">[Pg 66]</span> -folds, hemstitched on the one side and button-holed -on the other, with dull blue; a line of tacking -stitch in cerise gives a touch of bright colour to the outer -edge.</p> - -<p>Turn up about 6 inches at each end to give weight to -the hems; fill the central parts with darning stitches -worked in rows—it is best to mark off the central unworked -space with lines before beginning this darning; -this serves as a guide and prevents the stitching from -encroaching on the space.</p> - -<p>The galoon on either side is attached with button-holing -and French knots—the spaces being filled with -laid threads in cream, couched in the same colour. -Latchet darns give emphasis and connect the green bars. -Finally, the band of green is placed over the hem to -finish it. The edges of the galoon are button-holed with -blue to correspond with the rest of the runner.</p> - -<p>Latchet darns are bands of weaving; the upright -threads are laid, not too closely, to represent the warp -threads, then the weft threads are woven in backwards -and forwards; the edges are kept free exactly as in the -other woven bars. These latchet darns make an -excellent finish either to a bag, where they serve to hold -the drawing-up cords, or to a dress, where they ornament -or keep the belt in position.</p> - -<p>All strands withdrawn, when of a useful length, should -be carefully kept. They can be used in many different -ways to make cords, tassels, or fringes.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_67">[Pg 67]</span></p> - -<h2 class="nobreak" id="c7">CHAPTER VII</h2> -</div> - -<p class="c less">LAID WORK—BASKET AND LINE STITCHES</p> - -<div class="blockquot"> - -<p>“And thou shalt embroider the coat of fine linen, and thou -shalt make the girdle of needlework.”</p> -</div> - - -<p><b>A Sideboard Cloth.</b>—Plate VI. gives an example of -a very handsome sideboard cloth. The canvas is of the -tough hard-wearing type, generally used to cover basket -hampers, but under the skilful fingers of the embroideress -it became a beautiful piece of work, with which one might -well adorn a good piece of furniture. The illustration -shows the design, which is of the simple straight-line -type. The canvas, of rather a heavy weight, is of a rich -warm brown; the threads of floss embroidery linen are -in rich blue, tussore colour, emerald green, grey-green, a -pale blue-green and brown. The design is placed at the -ends, where it forms bars and blocks of rich colouring. -It occupies about 8 or 9 inches, 6½ inches for the embroidery, -and 2½ inches for the wide band of braid. The -stitchery is made up of bars of needle-weaving with bars -and blocks of solid embroidery. The wide bands at the -top and foot, enclosing the central portion, are of needle-weaving -in a perfectly simple pattern. Each band is -about 1 inch wide; they are worked in blue-brown and -three shades of green. The bar in the central panel is -woven in tussore and light green, surrounded by a border -in satin stitch of emerald green. The upright bars or<span class="pagenum" id="Page_68">[Pg 68]</span> -straps on either side are woven in bright blue with blue-green -crosses in the centre; the chequered squares in -tussore and blue are enclosed by emerald green bands in -satin stitch. The background of the central panel is -worked in chequers of blue tussore and light bluish-green; -the little crosses, hardly visible in the illustration, are -all in emerald, while the darning stitch, which forms the -background, is in bright blue.</p> - -<p><b>Square Stitch.</b>—The remainder of the background -is worked in square stitch (see <a href="#f2">Figs. L and M</a>). A fold of -the canvas turned over on to the right side has a frayed -edge; three or four threads are withdrawn—this gives a -pretty soft effect; the fold is tacked down over a creamy-fawn -skirt braid, with lines of couching in tussore. -These lines have the appearance of back stitching, but -are in reality couched down; they are sewn in that -interesting method of bygone days, when embroiderers -worked much in gold threads.</p> - -<p>“<b>Point rentré et retiré.</b>”—The surface thread is -pulled through and caught underneath by means of -another thread which never appears upon the surface at -all; this method has been applied to backgrounds worked -in silk, as well as in gold (p. 81). It is economical in use -and very durable. One can well understand the reason -of its use, but not the cause of its falling out of use. -Probably this was due to the gradual decadence of embroidery -in this country towards the end of the fourteenth -century, or perhaps the then new method of couching—in -use at the present day—involved less time and -labour.</p> - -<div class="figcenter" id="f6"> -<p class="captionr">PLATE VI.</p> -<img src="images/fig24.jpg" alt=""> -<p class="captionc">A SIDEBOARD CLOTH</p> -</div> - -<p>The wide dark bar at the end of the work is of dark -<span class="pagenum" id="Page_69">[Pg 69]</span>brown braid, about 2½ inches wide, with straps of the -lighter braid couched down in brown thread; these -straps are carried down over the fringe which has been -added in the various colours with a crochet hook (p. 115). -The sideboard cloth is 54 inches by 22 inches wide. The -fringe is about 4 inches deep.</p> - -<p><b>Laid Work.</b>—Laid work is particularly effective for -the filling of large surfaces, where a bold definite mass of -colour is required. It is a method of applying threads -which gives a rich appearance almost similar to that -achieved by the <i>appliqué</i> of some rich silk material. -The stitches are on the surface only and are generally -very long; they have to be crossed and recrossed by -other strands, which in their turn are tied down by little -stitches. When worked in floss silk, a favourite medium -with Eastern embroiderers, it is a stitch <i>par excellence</i> -for showing off the beauty and lustrous sheen of the -thread, but it is not a very durable type of work, and is -therefore only suitable for such articles as are not -exposed to hard wear, unless worked in wools or thick -cottons. All the threads on the surface are “laid,” as -the term is, in parallel lines either vertical or in whatever -direction is best, in order to allow the couching lines to -accentuate the form or pattern; it adds to the durability -of the work if these threads are laid rather widely -apart to begin with, as it allows the needle to get a firmer -hold of the material; the spaces are then filled up by -working over the surface a second time. Compare -Fig. 15 and note first layer of stitches. For example, let -us suppose the vertical threads are laid—the horizontal -ones, of another colour perhaps, could be placed over<span class="pagenum" id="Page_70">[Pg 70]</span> -them, about three-quarters of an inch apart; small -upright stitches, about half an inch apart, could couch, -or fasten these down, one row alternating with the other. -This is a most decorative method of filling in large -flowers or leaves. Single petals can be laid diagonally, -crossed and tied down, or a complete flower may have -laid lines radiating from the centre, with the second -layer of threads in concentric circles couched down with -small stitches of a contrasting -colour.</p> - -<div class="figleft"> -<img src="images/fig25.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 15.</span></p> -</div> - -<p><b>Chequered or Basket -Pattern</b> (<b>Fig. 15</b>).—Fig. 15 -gives a plaited or basket -pattern; after the vertical -threads are laid or placed in -position in such a way as to lie easily—just filling the -form—the weaving in of the cross threads is a simple -matter.</p> - -<p><b>To work a Chequered Pattern.</b>—Begin at the right-hand -corner and pass the needle over and under three -strands for three rows, then reverse the chequer by lifting -the stitches previously passed over. This work looks -much better if the darning is all done from right to left. -It is not so economical in thread, but much more practical -on account of its greater durability, as the threads all lie -the same way; they are carried back behind the material -instead of being worked to and fro as in ordinary darning.</p> - -<p>The Italian, Spanish and Japanese embroiderers make -great use of these laid stitches which, like most other -stitches, probably originated in the East, as they are to -be met with in most oriental embroideries.</p> - -<p><span class="pagenum" id="Page_71">[Pg 71]</span></p> - -<div class="figright"> -<img src="images/fig26.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 16.</span></p> -</div> - -<p><b>Basket or Stroke Stitch</b> (<b>Fig. 16</b>).—This figure -gives another good line in rather high relief stitchery. -It is sometimes called plaited stitch, -sometimes fishbone, but it is really -a stroke stitch; it is most effective -and useful for a solid line, whether -worked on coarse material with a -thick twisted thread, or on fine -material with a correspondingly fine -twisted silk thread. It has a strong -resemblance to some of the plaited Slav or Algerian -stitches. It may be easily worked on most materials, -especially if a couple of guiding lines are traced before -setting to work. Quite a broad border may be attempted -which will look well if worked in a coarse thread.</p> - -<p><b>To work Basket Stitch.</b>—Bring out the needle at -the top of the line on the left; make a slanting stitch -downwards to the right line; pass the needle under the -material and bring it out on the left opposite; take a -slanting stitch upwards over the first stitch to the right -and insert the needle a little lower than the level of the -first stitch; then pass under the material to the left -side again and bring it out just under the first stitch; -take a slanting stitch downwards -again and continue by -taking a cross and a slanting -stitch alternately.</p> - -<div class="figleft"> -<img src="images/fig27.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 17.</span></p> -</div> - -<p>Net stitch can also be used -as a surface stitch or as a -filling for an open space. It -is a method of interlacing<span class="pagenum" id="Page_72">[Pg 72]</span> -which one frequently finds on the seats of small chairs, -in the construction of baskets and other wicker articles. -It may be worked with the lines set further apart than -those in the figure. The horizontal lines are stretched -first, not too tightly; these are followed by oblique lines -which start from the left lower corner. The final row, -also in oblique lines, starts at the right; each row is interlaced -with two others. It is useful and most effective -when used as a surface stitch, as a filling for geometrical -forms; when used as a lace stitch worked in a linen -thread the lines may be duplicated. This net is generally -the foundation on which the design is made.</p> - -<p><b>Openwork Hems</b> (<b>Fig. 12</b>).—Openworked hems -may usually be applied to all types of woven materials, -to drawn thread work, and to household linen. They -are more decorative than the ordinary hem.</p> - -<p><i>Method</i>:—Draw out the number of threads required—this -will always depend on the quality of the material, -and varies from two to six; lay the folds for the hem -and tack them just above the open space; fasten the -thread on the left and insert the needle from right to left -under four, five, or six threads; pull through the needle -and re-insert, taking a vertical stitch under three or four -threads of the folded material. Plate V. shows a border -of green galoon fixed with hemstitching on the inner -side; as the material is very loosely woven, no threads -have been withdrawn. The same stitch is used for a -heading for a fringe (Fig. 34); it prevents the material -from fraying and collects the strands into groups.</p> - -<p><b>Ladder Hemstitch</b>.—A more open appearance may -be given by withdrawing a few more threads and hemstitching<span class="pagenum" id="Page_73">[Pg 73]</span> -the lower edges also; this makes a narrow -insertion, for by grouping the same threads together, as -in the upper row, little perpendicular strips are formed -which gives wider spacing—the bars suggest the rungs of -a ladder, and on this account it is generally known as -ladder hemstitching.</p> - -<p><b>Vandyke Insertion.</b>—A vandyke form is also effective; -it is worked by grouping the stitches of the second -or lower row, after hemstitching the upper row, in the -following method:—Take up half the threads of the -first cluster and half of the second on the needle, then -proceed as in upper row; by dividing the groups of the -upper row in this way a series of slanting stitches is -formed when the lower row is complete.</p> - -<p><b>Antique Hemstitch.</b>—There are several other ways -of hemstitching which only vary slightly; perhaps the -most decorative form is that usually seen on old embroideries, -where the thread is carried round a narrow -rolled hem, not a folded one.</p> - -<p><i>Method</i>:—Work from right to left, beginning at the -right corner; pass the needle over and under a cluster of -four threads; draw it out at the place inserted; pass it -over the edge of the rolled hem -and bring it out on the left of -the cluster, ready to take the -next stitch, over and under the -second group of four strands.</p> - -<div class="figright"> -<img src="images/fig28.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 18.</span></p> -</div> - -<p><b>Roumanian Stitch</b> (<b>Fig. -18</b>).—Cretan, oriental, or Roumanian -are the various names -applied to this well-known stitch.<span class="pagenum" id="Page_74">[Pg 74]</span> -It is frequently to be met with in the early English -embroideries, particularly those of the seventeenth -century. It is one of those adaptable stitches which -are so helpful for the decoration of borders, fillings, -leaves, flowers; it has therefore always been much -used by embroiderers.</p> - -<p><b>To work Fig. 18.</b>—This figure hardly needs description, -being merely a long stitch tacked down. Begin -on the left of the space to be filled; insert the needle on -the right edge and bring it up in the centre; take a small -stitch over the stretched thread to fix it down and bring -the needle out at the left edge again, just below the first -stitch. If the thread is stretched loosely across as in -the V-shaped portion of the braid collar, Plate IX., a -broad and effective means of filling narrow spaces or -tacking a braid in position can be obtained with economy -of time and material.</p> - -<div class="figleft"> -<img src="images/fig29.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 19.</span></p> -</div> - -<p><b>To work Fern or Fish-bone Stitch</b> (<b>Fig. 19</b>).—This -stitch, somewhat similar in form, also makes a good -border line or even a filling, if worked in rows, see <a href="#f2">Fig. D</a>, -<a href="#f11">Plate XI</a>., where a centre line of material gives the rib. -In Fig. 19 the stitches meet in the -centre and have a definite central rib. -A central line should be marked on the -material before starting to work it. -Bring the thread out at the left; take a -slanting stitch towards the centre and -insert the needle just beyond the line; -bring it out at the opposite edge; take -another slanting stitch and insert just -beyond the line again. This slight overlapping<span class="pagenum" id="Page_75">[Pg 75]</span> -of the stitches in the middle gives the solid -effect to the stitch.</p> - -<p><b>Chequered Fern Stitch.</b>—A pleasing variation may -be introduced into a quiet border by working this stitch -in two colours; two or three stitches worked in each colour -will give a chequered effect, and help to relieve monotony -if necessary. Work with two threads, bringing each to -the surface as required. This stitch makes a good filling -for leaves, the mid line being suggestive of the mid-rib.</p> - -<div class="figright"> -<img src="images/fig30.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 20.</span></p> -</div> - -<p><b>Loop-stitch Border</b> (<b>Fig. 20</b>).—This border is of -the familiar loop or petal stitch. It has been already -described (Figs. 3<span class="allsmcap">A</span> and 3<span class="allsmcap">B</span>). It makes -a very pretty border between broad -bars of needle-weaving. The method -of working is quite the same, the only -difference being in the length of the -tying stitch, which in this border forms -the stem, while in the flowers it ties -the edges of the petals; the loops are -thus reversed in the working. The -border may easily be followed from -Fig. 20. Plate VIII. shows this stitch -applied to the edges of the squares at the corners, -where it serves to accentuate them as well as to -soften their outline.</p> - -<p><b>Table Mat of White Linen.</b>—Plate VII. gives a -table mat embroidered in blue; it is the central mat of -an afternoon tea set. The design is of a very simple -nature, composed by the loops and curves of the French -tape. The main curves are formed of four short lengths -which meet at the ends and sides. Each piece of tape<span class="pagenum" id="Page_76">[Pg 76]</span> -takes a curve at the centre and begins and ends with a -spiral; the outer sides can be put in with one length of -braid—eight short pieces will do equally well; little -remainders may be economically disposed of in this way. -The inner parts of the curves give the opportunity for -openwork detail which enriches, while it lightens the -background. The design should be drawn out on paper. -All lines which represent the braid must be parallel and -spaced as nearly as possible to correspond to the width -of it; it is important to remember that braid spreads -when curving and therefore the centres of loops or -circles become smaller when placed on the material; -this must be allowed for in the drawing out of the -design. Care and accuracy are necessary both in forming -the curves and in tacking on the braid; the beauty -of the work would be marred by uncertain lines and -unequal curves.</p> - -<div class="figcenter" id="f7"> -<p class="captionr">PLATE VII.</p> -<img src="images/fig31.jpg" alt=""> -<p class="captionc">A TABLE CENTRE IN WHITE AND BLUE</p> -</div> - -<p>Plate VII. has not much variety of stitch; the -relief given by the blue stitches prevents any feeling of -monotony.</p> - -<p><i>Method</i>:—Tack on the braid round the outer edges; -overseam the inner edges of the parts which take the -curves; prepare for the more open spaces by snipping -the linen, the way of the warp and the weft, quite close -to the braid; then turn the edges in under the braid -and button-hole with blue thread, not too closely, the -needle should enter easily into the head of the stitches -for the making of the lace stitch—“<i>Point de Réprise</i>.” -These openings may be backed by small pieces of -<i>toile cirée</i>; a little medallion of button-holed linen -should be placed in the centre and tacked firmly in -<span class="pagenum" id="Page_77">[Pg 77]</span>place. The connecting threads for the weaving of the -little bars or bridges are laid in two or four strands, -according to the fineness of the thread. Begin at the -outer edge; carry the thread to the inner medallion, and -slip the needle, eye first, through a loop of button-hole -stitch; overcast the next one, and carry the thread from -there back to the outer edge; then weave over and under -these two strands till the centre is reached. Oversew one -or two button-hole loops and lay the threads for the next -bridge; this, when woven, will finish at the outer edge -again. Oversew the stitches until the position for the -next bar is reached, and continue till the circle is filled -in. The corners are worked similarly with a few added -bridges here and there to fill in spaces, which would -otherwise be rather empty. These oval openings and ends -might be worked in what is known as Richelieu work, instead -of in the manner described. It is rather a quicker -method, but not quite so firm, nor are the bars so flat.</p> - -<p><i>Method</i>:—Button-hole the inner edge of the space, -also round the edge of the little inside medallion; then -lay three strands of thread as the foundation of the -bridges (see <a href="#s5">Fig. 24</a>); button-hole these to the edge and -oversew the button-hole stitches of the outer edge until -the thread is in position for the next strap.</p> - -<p>When the work is finished, the linen under the bars is -carefully cut away with a very sharp pair of embroidery -scissors.</p> - -<p>Run round the outer edges of the spaces which are -to be filled in with a filet or net pattern with two -rows of tacking stitch to strengthen, and button-hole -over this.</p> - -<p><span class="pagenum" id="Page_78">[Pg 78]</span></p> - -<p>To prepare the mesh background, turn on the wrong -side, then cut six and pass six horizontal threads alternately; -remove the cut threads; turn the work half round -and prepare the threads, previously the vertical ones, in -the same way, that is, cut and withdraw six, pass six. -Turn the work to the right side again and oversew the -strands, one stitch into each little space, taking care to -let the stitches slant in the same direction on the return -row. This groundwork is also described in connection -with Plate XV. The braid has a row of French knots in -blue to finish the inner edge. For the finishing of the -edges of the mat, a firmer edge will be made by cutting -the linen a quarter of an inch beyond the braid and -turning it back under the braid, then button-hole this -double edge and the braid together in blue. The little -lace edge may be worked with the needle or with the -crochet hook; in Plate VII. the latter was used. The -lower loops are worked in white, the edging in blue -with picots is worked into it. For description, see -<a href="#c13">Chapter XIII.</a> on crochet edgings.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_79">[Pg 79]</span></p> - -<h2 class="nobreak" id="c8">CHAPTER VIII</h2> -</div> - -<p class="c less">COUCHING—FRENCH KNOTS AND BULLION<br> -STITCH</p> - -<div class="blockquot"> - -<p>“When she rode in coach abroad, was always knotting thread.”</p> -</div> - - -<p><span class="smcap large">Couching</span> is a pleasant and most useful method of -applying threads, cords or braids to materials of various -kinds. For filling in forms, circles, or squares it is equal -to chain stitch, and should be worked similarly—all -forms, whether squares or curves, are better to be commenced -from the outer edge and worked inwards, in -order to preserve the shape. Special care is required -for the outlining of squares or angular forms where the -tendency is to tighten the applied material, whether -threads or braids, in turning the corners. At these -points the threads or braids should lie easily and they -should be firmly sewn down with closer stitchery. -Couching is one of the simplest means of decorating -velvet, a material always difficult of manipulation, and -particularly so for the beginner, on account of the pile, -which is apt to cause irregularity in the stitchery.</p> - -<div class="figcenter"> -<img src="images/fig32.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 21.</span> <span class="smcap padl">Fig. 21a.</span></p> -</div> - -<p><b>Couching</b> (<b>Figs. 21, 21a</b>).—This stitch is often -worked in a frame—it is easier to keep the material -stretched; when working diagonal lines or circles, -where much of the stitchery comes on the cross of the -material, it is advisable to do so. By means of couching, -the embroideress may sharply define an outline, fill<span class="pagenum" id="Page_80">[Pg 80]</span> -in various forms, geometric or otherwise, repair a worn -surface, work diaper patterns, or attach metal threads -and braids to her embroidery (Plate XVI.).</p> - -<p>It is a name applied to a method of attaching -threads singly or in groups to a foundation by means -of another thread, usually a single one. Under all -circumstances this should be finer than the thread or -cord sewn down. It is most economical in use as the -threads lie on the surface—a point well worth consideration -(Plate III.).</p> - -<p>Probably it was originally used for the sewing on of -gold threads, which were too precious to be wasted, -being made of pure metal—naturally the difficulty of -drawing these metal threads through the material would -lead to the simplest means of attachment. At any rate, -this method of sewing on gold threads was in general use -all over Europe as early as the twelfth century.</p> - -<div class="figcenter" id="f8"> -<p class="captionr">PLATE VIII.</p> -<img src="images/fig33.jpg" alt=""> -<p class="captionc">A LUNCHEON MAT. (<a href="#Page_86"><i>See page 86.</i></a>)</p> -</div> - -<p>Couching is particularly useful as an outline to stitching, -especially where a weak line requires defining. An -irregularly sewn form, whether floral or geometrical, may -be much improved, and the colour may also be enhanced, -by a firmly couched outline. It is most convenient for -sewing down applied work. Primarily it covers the join, -and is of considerable importance in aiding the colour -<span class="pagenum" id="Page_81">[Pg 81]</span>scheme (Plate IV.). Where simple treatment shows to -advantage, couched threads, outlined with metal cord, -give the necessary means of expressing taste and choice -of colour, and with a little extra stitching to indicate -veinings or whatever detail there may be, couching can -again be applied with good results, instead of resorting -to another stitch. It is worked from right to left; the -small tying down stitches may be straight or slanted, -but they ought not to be placed too far apart—for -simple decorative work, from a sixteenth to a quarter -of an inch, the latter for the attaching of wools or yarns -and narrow braids, the former for finer work. One of -the commonest mistakes of a beginner is to couch with -a thick thread, each stitch varying from a half to one-and-a-half -inches apart. This entirely destroys the -character and effect of the applied threads. When couching -a straight line with cord or braid it should be held -rather tightly, while with wool or silk a pretty bead-like -appearance can be got by holding the thread rather -loosely (Plate XVI.).</p> - -<p>The fashion of sewing on a cord invisibly—as in -upholstery—by untwisting the cord slightly between -each stitch should never be resorted to for embroidery.</p> - -<p><b>Ancient method of Couching, “Point rentré et -retiré.”</b>—A most interesting method of couching, which -unfortunately fell out of use, was practised up till the -middle of the fourteenth century. The couching thread -was on the reverse side, and was generally of strong -waxed linen thread, which did not appear on the surface -at all. The ground material was formed of two layers -of linen, and the gold or silk thread was kept on the<span class="pagenum" id="Page_82">[Pg 82]</span> -surface, only penetrating the layers of linen at intervals -where the linen couching thread had drawn it through.</p> - -<p>Some of the beautiful specimens of early English -work, the famous Syon Cope and the Jesse Cope, to -be seen in the Victoria and Albert Museum, the backgrounds -of which are covered with couching done -in this quaint and durable fashion, are well worth -studying. The linen background of the Syon Cope is -couched in coloured silk, that of the Jesse Cope in fine -gold.</p> - -<p>The two lines on the outer edges of the sideboard -runner, which has almost the appearance of back -stitching, are worked in this way (Plate VI.).</p> - -<div class="figleft"> -<img src="images/fig34.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 22a.</span> <span class="smcap pad6">Fig. 22b.</span></p> -</div> - -<p><b>French Knots</b> (<b>Figs. 22a, 22b</b>).—French knots can -be applied with artistic effect in many ways, not as an -outline, but as an adjunct -to some of the line stitches, -such as chain stitch, couching, -back stitch, etc. -(Plate XIV.). They may -be used to add touches of -colour to a pattern, to -modify or enrich it (Plate -XIII.); to powder backgrounds, either single or in -clusters, qualifying both texture and colour; to outline -or fill in flower centres, to form stamens (Plate XI.); -to fill in lattice patterns or any form that requires -some contrast of stitch or colour.</p> - -<p><i>Method</i>:—To work a French knot, bring out the -needle at the point where the knot is to be; place the -thumb of the left hand over the thread (Fig. 22<span class="allsmcap">A</span>); twist<span class="pagenum" id="Page_83">[Pg 83]</span> -the needle once round this tightened thread; turn the -point to the right—thumb still holding the thread—and -insert it just behind the point where it came out, and draw -the thread through to the back, or when some experience -has been gained, the needle may be drawn through on -the right side in position for the next knot.</p> - -<p>The Chinese, who are adepts, frequently work entire -pieces of embroidery in knots with such care and precision -that they are almost mechanical in appearance. -They have a method of knotting their thread first, then -sewing each knot down. This method was also common -in England about the seventeenth century. At that time -ladies used to work up hanks of thread, and, by means of -a small cushion and a netting needle, work a succession -of knots on the entire length; these hanks were wound -up into balls ready for applying to the work in hand.</p> - -<p>It is better in making French knots to use a thick -thread, or if a large knot is required, two or more threads -in the needle are more satisfactory than twisting one -several times round the needle. Plate V. shows knots -applied to the edges of the galoon, which serve to fix it -down, as well as to give a finish -to the latchet darns.</p> - -<div class="figright" id="s8"> -<img src="images/fig35.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 23.</span></p> -</div> - -<p><b>Bullion Knots</b> (<b>Fig. 23</b>).—Bullion -knots are frequently -used in white embroidery where -variety of stitch is made use of -in order to relieve the monotony. -They consist of little -tight coils of thread and can be -used most successfully to form<span class="pagenum" id="Page_84">[Pg 84]</span> -the centres of large flowers, either in a mass or in pattern. -Squares or lozenge-shaped forms with a French knot in -each space make rather interesting fillings.</p> - -<p>Fig. 23 shows how bullion knots might be applied in -lines radiating from the centre to form small flowers.</p> - -<p><b>Flower Centre in Bullion Stitch.</b>—<i>Method of -working</i>:—Bring the thread up on the surface at the -centre; insert the needle at the outer edge of the circle, -and draw it out for half its length at the centre, beside -the thread, which now take hold of with the right hand, -and twist firmly, but not too tightly, round the needle -six or eight times according to the size of knot required. -Then place the thumb of the left hand on the coil and -draw the thread carefully through till it is tight. It is -always advisable to keep the thumb over the coil during -the whole process if possible.</p> - -<p><b>A Good Flower Centre.</b>—Make a number of bullion -knots to fit the circle, then surround the outer circle with -one or two rows of close regularly-sized French knots. -Bullion stitch may be used for small flowers—each petal -being made of two knots, meeting at the tip—for leaves, -inside fillings, ground powderings and sprigs.</p> - -<p>Fig. 23 <i>a</i> shows how to make picots in bullion stitch. -They are generally worked into a bar or loop of button-hole -stitch, which may form an edging, as in Fig. 37, or -an open loop, as in Fig. 23 <i>b</i>. Picots of this type when -worked in a fine linen thread are used for the outlines -and edgings of laces. To work as Fig. 23 <i>a</i>, make the -required number of button-hole stitches, then insert the -needle for half its length through the head of the last -one; twist the thread round the needle from left to<span class="pagenum" id="Page_85">[Pg 85]</span> -right six, eight, or ten times, according to the thickness -of the thread and the size of the picot required; place -the thumb of the left hand over the coil and draw the -needle and thread gently through; keeping the thumb -still on the coil, tighten the thread until the stitch has -been drawn up into a small semi-circle; then continue -the button-hole stitch till the next picot is reached. -Note Fig. 23 <i>b</i>—the thread is placed under the needle -before it is drawn through.</p> - -<p>If a larger picot is required, it may be made in button-hole -stitch instead of bullion stitch. Button-hole the -bar or loop to the left of the required picot, and lay the -foundation or padding threads for the picot by carrying -a thread to and fro three times from the left to the right; -pass the needle each time through the edges of the button-hole; -when the third thread is laid the needle is at the -right side of the picot; button-hole the loop closely till -it is covered, then continue on to the next point. Open-looped -button-hole edging looks very well with three -bullion stitch picots, but the worker requires to be of a -patient temperament, as each loop takes some time to -work.</p> - -<p>Bullion knots are used very frequently in Mount-mellick -work. This type of needlework originated in -Ireland; it is of a very elaborate nature, generally done -in coarse white threads on a strong white linen or jean -foundation. Here monotony in tone allows for a great -variety of stitching. Openwork is not combined with -it, as the patterns in which it is worked are mostly of a -bold conventional floral type; most of the stitches used -are those which give a raised effect, such as the different<span class="pagenum" id="Page_86">[Pg 86]</span> -linked stitches, chain, cable, raised-stem stitches, French -and bullion knots, and padded satin stitch. The flowers -are filled in with a great variety of lace stitches.</p> - -<p>Button-hole bars are useful for connecting two edges -such as the two sides of a lined bag, the seams of a -child’s frock, or for adding a false hem to any dainty -article. They are in common use for modern openwork -embroidery, where they form connecting links between -the various parts of the design.</p> - -<div class="figleft" id="s5"> -<img src="images/fig36.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 24.</span></p> -</div> - -<p><b>Button-hole Bars</b> (<b>Fig. 24</b>).—Fig. 24 shows the -method of working connecting bars. The objects to be -joined together may be of any -shape, provided the lines are more -or less parallel with each other. -Begin by button-holing one part -of the work, which will give a -basis or line into which the bars -may be worked, then button-hole -the part to be joined to it a -few stitches, until the place where the bar is to be is -reached; lay each of the threads into a different loop -of the button-holing—this gives a greater strength and -wider surface to work upon; when finished, button-hole -along the edge as before, until the next point where a -bar is to be worked is reached. These bars are worked -over three threads, and should, when worked in lines, -be made before the material is cut, otherwise it is -better to have the two parts to be joined tacked down -on to a piece of stiff linen, glazed calico, or brown paper.</p> - -<p><b>A Luncheon Set.</b>—This illustration gives a table -centre in cream canvas embroidered in bright blue,<span class="pagenum" id="Page_87">[Pg 87]</span> -green, red, cream, yellow, heliotrope and black. The -design is simple; it is more or less governed by the mesh -of the material and the method of working it, which -renders the construction so simple and gives a quaintness -and rigidity admirable in effect. By examining the -illustration it will be seen that the central portion of the -design is occupied by a broad band of needle-weaving, -about two inches wide, worked on the weft threads, -the warp or vertical threads having been withdrawn -to the required depth. The weaving forms seven -separate groups, each of which is composed of two -colours. The whole mass, rich in effect, is finished on -either side with two bars of latchet darning; these are -worked similarly to repairing darns, but are left free at -the sides. They are edged with an oriental stitch in -blue which may be worked much closer and more -regularly (see <a href="#f1">Plate I.</a>, where, as a heading to the -band of needle-weaving, it has almost the effect of a -braid). The corners, which balance the wide needle-woven -bar, are worked in chequers of red, green, and -blue; the larger squares are in green, worked in a simple -stitch similar to Fig. 18. A row of equally distributed -petal or loop stitches (Fig. 3, p. 49) breaks the severity -of the line; seven lines of couching—sewn in self-colours—connect -the two ends. The edges of the cloth -are turned over on the surface and finished with a -row of blue galoon—Prussian binding; this is tacked in -place on each side with little triangular stitches in green -embroidery cotton. Through these stitches a thread of -bright red is interlaced; this is followed by a second -one in cream colour. Large tassels (Fig. 41, p. 120) in<span class="pagenum" id="Page_88">[Pg 88]</span> -blue make a finish to the corners. Six little mats, 12 -inches by 9 inches, when finished, were made to match, -each having a border and couched lines similar to those -of the scarf. Little blue tassels of appropriate size -completed this useful little set.</p> - -<p>One yard of material, 54 inches wide, is required to -make the complete set, that is the table scarf, 54 inches -wide by 24 inches, and six little mats, 14 inches by 10 -inches; this allows for folds at ends and sides. If braid -is used for finishing the hems, after calculating the -quantity an extra yard should be allowed, as with so -many corners to turn one is apt to be too short in the -end, and these braids are often difficult to match.</p> - -<p>Wools and thick cotton threads may be used and a -large-eyed blunt-pointed needle for the weaving and -darning.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_89">[Pg 89]</span></p> - -<h2 class="nobreak" id="c9">CHAPTER IX</h2> -</div> - -<p class="c less">BRAIDS AND DESIGN—FAGGOTING—VEINING—ANTIQUE<br> -SEAMS—KNOT INSERTION AND EDGING</p> - -<div class="blockquot"> -<p> -“There’s nothing neere at hand, or fartherest sought,<br> -But with the needle may be shap’d and wrought.” -</p> -</div> - -<p><b>Braids.</b>—Braids in different widths are invaluable -to the embroideress who wishes to execute rapidly a -piece of work suitable for daily household use, which -may possibly be exposed to the smoky and foggy city -atmosphere, and on which she does not wish to expend -much time, labour, or money.</p> - -<p>Braids of various kinds and qualities—mohair, alpaca, -woollen, cotton or silk—can be utilised in many ways, -and for different objects, as well as for the finishing -and decoration of hems and borders (Plates IX. and -XII.).</p> - -<p>Those which have an unbroken edge are the best for -ornamental purposes. They may form the basis of -simple geometrical patterns (Fig. 45); lines may be -arranged to go in different ways, running vertically from -end to end of a table scarf (Plate VI.), horizontally, as -Plate III., or diagonally—the direction is immaterial; all -are simple to arrange, with the exception of diagonal lines, -which always require care in the placing and stitching, on -account of the different stretching qualities of the braid<span class="pagenum" id="Page_90">[Pg 90]</span> -and of the material. Sometimes the bands of braid are -placed singly, sometimes in pairs, one braid—usually in -a contrasting colour—being superimposed on the other. -They may cross each other at right angles, they may -entwine or interlace (Plate X.), or they may be formed -into circles or spirals (Figs. 45, 51).</p> - -<p>The manner in which braids themselves are made, -with the twistings and interlacings of strands and groups -of threads, is interesting; this renders them peculiarly -suitable for the designing of interlacing patterns, both -simple and intricate (Figs. 49, 50).</p> - -<p>The word “braid” is taken from the verb of the old -Anglo-Saxon “bregdan,” or “bredan,” signifying to -weave, to entwine, to braid; the latter word bearing, in -those days, the meaning “to plait,” a word which came -into use at a later date.</p> - -<p>The use of braid for decorative purposes has come -down to us from very early times—it has always been -used by Eastern peoples much more than by those of -the Western countries. Some of the elaborately worked -pieces of Indian and Persian work, where tinsel braids -are freely employed, are things to marvel at.</p> - -<p>The peasant costumes of many countries—particularly -those for gala days—are made gorgeous by the addition -of bands of brilliantly coloured braids, enriched in many -cases by embroidery. Braids are used on uniforms, in -an official sense, where they are considered as symbols of -honour—the higher the grade, the more elaborate the -decoration.</p> - -<p>Care must be taken with the arrangement of these -patterns—all curves must be exact, interlacing designs<span class="pagenum" id="Page_91">[Pg 91]</span> -must be correct, the series of bands always passing -alternately the one under the other.</p> - -<p>The possibilities for the treatment of braids and bands, -for the decoration and enrichment of them, open up an -interesting field to the young designer. By comparing -some of the plates it will be seen that much has been -done in a simple way by the use of these braids and -tapes.</p> - -<p>Many of the old illuminated manuscripts show wonderful -interlacing designs, many of which were copied or -adapted by embroiderers of the period.</p> - -<p>An old Venetian pattern book, published in 1562, gives -beautiful examples of the letters of the alphabet worked -first with an outline in narrow braid, an elaborate twisted -design being then woven in and out of the double lines -with a narrow braid, with the help of a tapestry needle; -the delicate points and finishings of the letters being -finished in satin stitch.</p> - -<p>Perhaps the best way to go about a design in which -bands of braid are to form the foundation of the design -would be to take one form and try how it might be -adapted to suit the conditions of space and material. A -border for a circular form is simpler in construction than -one for a square—the corners of the latter always -requiring special attention—but after a few preliminary -trials it will be readily seen what the possibilities are.</p> - -<p><b>Interlacing Knots.</b>—Interlacings of knots and bands -are always interesting, and the working out of these -designs should be a profitable exercise for a beginner. -There is such variety in their construction, such simple -or intricate patterns to be made out of these continuous<span class="pagenum" id="Page_92">[Pg 92]</span> -and interlacing lines, that all craft workers have found -in them a ready means of ornamentation. Knot designs -of a simple kind may be applied in the form of braids and -cords to many useful articles of domestic use; the most -direct way to work out some elementary designs would -be to take a length of soft cord and some pins, and using -the back of a cushion as a foundation, or a covered table, -pin out a geometrical design—a square would be suitable -for the first attempt—and develop it. The first square -might have the braids twisted into small loops at the -corners, the second might have the sides indented or -looped, and so on. Make a series of these with every -possible variation; then all could be drawn in a note-book, -in squared paper—for the sake of ease and -accuracy. The ends of the cords or braids should -be pinned together in order to form a continuous -band.</p> - -<p>The next step would be to interweave a second length -of cord into those already formed. Care is necessary to -interlace the bands, so that each passes over and under -the other in regular rotation. This second band might -take the form of another square, set the reverse way, -or a circular form might be introduced. When all possibilities -have been worked out, they also should be noted. -By degrees more complicated and intricate knots may -be attempted.</p> - -<p>Sometimes an elaborate form may be worked out on -paper to begin with, then interlaced and pinned out in -cord. The embroideress will find a note-book and a -square of canvas very useful for reference, also as -aids to memory: in the former, she can make notes of<span class="pagenum" id="Page_93">[Pg 93]</span> -designs and suitable detail, of colour schemes taken from -pictures, materials and embroideries, suggestions for -finishing and fastenings of garments, little notes and -quotations suitable for embroidery—all sorts of interesting -matter which the eye is quick to see but which the -memory cannot always recall at the right moment. In -the square of canvas or coarse linen, divided into sections, -might be worked some of the more interesting or unusual -stitches, or groups of stitches; or pleasing combinations -of stitches and colour might be preserved as the opportunity -occurred. These might serve to suggest or recall -methods and varieties suitable to some work in hand.</p> - -<p><b>Faggoting.</b>—Faggoting is a stitch which is used to -connect two edges, particularly such edges as require a -dainty finish, or to fill in an open space, or to serve as a -foundation for some interlacing stitch. It is much used -for joining ribbons, braids, or thin materials, such as -ninon, chiffon, or crêpe.</p> - -<p><i>Method</i>:—Prepare the material for faggoting by -tacking it on to a piece of stiff <i>toile cirée</i>, glazed calico, -or if that is not at hand, stiff brown paper will answer the -purpose. This is done in order to keep the edges at an -equal distance. The width of the space may vary from -one-quarter to three-quarters of an inch; the joining -thread should vary in thickness—the wider the space, the -thicker the thread. Draw two parallel lines on the -foundation as a guide, if necessary, and tack the material -to these lines. If a braid or ribbon or any material -with a finished edge is used, there is no need for turnings, -but with a raw edge it is necessary to turn in three-eighths -of an inch and to press them with an iron before starting.</p> - -<p><span class="pagenum" id="Page_94">[Pg 94]</span></p> - -<p>To work the stitch, begin at the upper end of the left-hand -corner with a small stitch; cross to the opposite -side; take a stitch, keeping the thread under the needle; -work alternately from side to side, always inserting the -needle from the outside. Keep the stitch regular, the -same size and the intervals of equal distance.</p> - -<p>Faggoting is practically a herring-bone stitch, but the -needle is inserted vertically. See <a href="#f1">Plate I</a>. and compare -the stitchery in blue which forms a line up either side. -It forms the foundation for many interlacing stitches of -which there are quite -a variety adaptable -to various purposes.</p> - -<div class="figleft" id="s11"> -<img src="images/fig37.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 25.</span></p> -</div> - -<p>By interlacing -threads as in Fig. 25, -where the dotted line -represents the interwoven -thread, the -whole of the foundation -stitches can be covered. It must be done in -rows, one after the other. The first row is drawn much -tighter than the one in Fig. 25, each successive -row being placed on the outside of the previous row, till -eventually the faggoting foundation has almost disappeared.</p> - -<p>A very good line of raised stitchery can be worked on -to a foundation of herring-bone stitching. The threads -are laced in, one row at a time, as shown in Fig. 25. See -<a href="#f14">Plate XIV</a>., where it is worked round the outer edge, also -in the nightdress case (<a href="#f11">Plate XI</a>.), where it forms the -narrow inner border.</p> - -<p><span class="pagenum" id="Page_95">[Pg 95]</span></p> - -<p>“<b>Point d’Alencon.</b>”—Faggot or Russian is one of -the stitches used in the making of point lace or Honiton -point. As a lace stitch, it goes under the name of “<i>Point -d’Alencon</i>.” It is used to join the braids; it also makes -one of the principal filling stitches for leaves or oval -spaces.</p> - -<div class="figright"> -<img src="images/fig38.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 26.</span></p> -</div> - -<p><b>Veining</b> (<b>Fig. 26</b>).—Fig. 26 shows a well-known -joining stitch, which looks well if done in a twisted silk, -wool, or linen. It makes a pretty -insertion, and adds much to the -appearance of a seam. It is a -narrow line stitch, therefore the -two edges of the material should -not be too widely spaced. Prepare -the edges in the same -manner as for faggoting and tack -them on to a stiff foundation.</p> - -<p><i>Method</i>:—Fasten the thread to the edge of the -material; carry the needle across to the opposite edge; -insert it under and bring it through the material; twist -the thread twice round the needle and insert it on the -opposite side from underneath, as shown in the diagram; -oversew a few stitches along the edge to carry the thread -into position for the next stitch. This insertion is useful -for joining braids, for dress fitments and other purposes; -it is much in vogue for the joining of thin materials, such -as chiffon and ninon or crêpe; these require to have a -fold laid and pressed before being tacked on to the paper.</p> - -<p>A very pretty addition to a border, whether for a -piece of ornamental work, for the edging of a collar, the -joining up of a bag, or for the foot of a jumper, is made<span class="pagenum" id="Page_96">[Pg 96]</span> -by inserting between the material a line of gold tinsel or -velvet ribbon, braid, or even material of a contrasting -colour. This must be tacked on firmly to a foundation -of stiff calico or brown paper, then attached by an -insertion to the edges of the material.</p> - -<div class="figleft"> -<img src="images/fig39.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig</span>. 27.</p> -</div> - -<p>This stitch, whether used as an insertion or as a filling, -must also in this case be carefully arranged and regularly -worked, otherwise the appearance of the work is spoiled. -The threads should in all cases be tightened sufficiently -to give the necessary firm twist to the line. To obtain -the technique of many of these insertion stitches it is -only needful to practise them for a few minutes on a -piece of material as a preliminary to the actual working -of them. This enables the worker to see what size of -thread to use, and it gives her the opportunity of trying -and comparing various colours -without the irksome task of -unpicking.</p> - -<p>Fig. 27 is worked much the -same as Russian stitch (Fig. -25), except that it is worked -closer and the thread picked -up by the point of the needle -before it is inserted on the -opposite side—this twisted -faggot stitch is really a combination of the veining and -faggot insertion and is used for the same purposes.</p> - -<div class="figcenter" id="f9"> -<p class="captionr">PLATE IX.</p> -<img src="images/fig40.jpg" alt=""> -<p class="captionc">THREE COLLARS. (<a href="#Page_162"><i>See page 162.</i></a>)</p> -</div> - - -<div class="figright"> -<img src="images/fig41.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 28.</span></p> -</div> - -<p><b>Antique Seam</b> (<b>Fig. 28</b>).—In earlier times, when the -linens were woven in narrower widths, the seams were -always connected in a more interesting method than at -the present day, when, if a flat seam is wanted, the -<span class="pagenum" id="Page_97">[Pg 97]</span>selvedges are invariably oversewn. One of the older -methods is shown in Fig. 28. It makes a firm, flat and -decorative row of stitching. For the joining -of selvedges of bed-linen a narrow slanting -stitch sewn in white was used; for more -decorative purposes a coloured and a larger -straight stitch was used, as Fig. 29. To -work, lay the two selvedges parallel to -each other and tack or pin them quite flat. -Begin on the left side and insert the needle -from below on the right and left sides alternately; -in this way the threads cross each other between -the selvedges. In connecting a very thin material in -this way it makes a good finish.</p> - -<div class="figcenter" id="s12"> -<p class="captionr"></p> -<img src="images/fig42.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 29.</span> <span class="smcap padl">Fig. 29a.</span></p> -</div> - -<p>Fig. 29 gives an effective stitch for a decorative joining -of two edges. It may be applied to bands, cushion covers -and household embroideries generally.</p> - -<p><i>To work</i>:—Prepare the seams by placing the two -selvedges flat on to a stiff foundation, say quarter of an -inch apart; secure the thread on the left upper edge; -insert the needle at the lower edge a little to the right; -pull through with the thread to the right of the needle;<span class="pagenum" id="Page_98">[Pg 98]</span> -make a little stitch, as Fig. 29; pull through with the -thread under the needle. This makes a good firm -insertion; a thick twisted thread is the most suitable. -Fig. 29 shows the insertion rather widely spaced. Plate -XII. shows this stitch worked in wool, where it is applied -to the edges of braids, which form the foundation for a -useful collar.</p> - -<div class="figleft"> -<img src="images/fig43.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 30.</span></p> -</div> - -<p><b>A Useful Edging.</b>—Fig. 30 gives a knotted loop -stitch which is again borrowed from the many useful lace -stitches. It is an edging -which may be worked in -silks, flax, cotton, threads, -or wools. In Plate XII. -it forms the finish to the -braid collar, where it is -worked in thick cotton -thread. This loop stitch makes a charming insertion if -worked on to the edges of any suitable material—narrow -ribbon or hat straws. The working of the -stitch is clearly shown in Fig. 30. The two edges are -joined with an interlacing stitch of a contrasting colour, -with raffia, cord, or narrow ribbon. Bands of hat -straw could be joined in this way and made up -into delightful light and economical summer hats. -The shape could be then placed over a foundation of -wire and the brim stiffened with wire, button-holed on -to the straw with a silk, flax, or raffia thread.</p> - -<p><b>A Collar of Braid.</b>—Plate XII. illustrates an interesting -piece of work, built up of oddments of skirt braid, -silver tinsel, braid, silks and wools.</p> - -<p>Very charming dress and coat fitments may be made<span class="pagenum" id="Page_99">[Pg 99]</span> -in this way, and all sorts of scraps and remainders of -trimmings and braids, silk patches and patterns may be -utilised. The construction is very simple. The best -way to set about the making of these braid collars, cuffs, -or bands is to cut out the desired shape—the exact size -wanted. The pattern is then placed on to a piece of -glazed calico and the outline traced firmly upon it. A -still more direct method is to cut out the pattern in stiff -brown paper and utilise it as the foundation on which to -tack the braids. Care must be taken to have the shape -correct before starting to work with the materials. This -being assured, arrange a braid or cross-bar of material -round the outer part; tack it at the outer edge with bright-coloured -wool on to the paper foundation, then adjust -the bars and panels, allowing the ends of the braids to -slip under the outer braid. Circles or squares of ribbon, -velvet, or tinsel, placed in the most important parts and -tied to the outer edges with lines of braid or ribbon, -which, in turn, might be connected with open stitchery, -fork-pin insertion (Fig. 73), or some small beads, are very -pretty. All give scope for individual taste and ingenuity -in colour and material. If the collar is on the round, -the outer bands must be flexible, in order to take the -curve nicely.</p> - -<p>The collar in the illustration has for the outer row -a skirt braid of a soft dove grey. It is tacked in -place with a line of couching in royal blue wool, sewn -on with a silk thread—reel twist is very good—of -the same colour; the stripes of cream-coloured braid -are ornamented with coral-coloured wool in long stitches, -tacked down the centre to form a point. The smaller<span class="pagenum" id="Page_100">[Pg 100]</span> -panels have been placed in position previously; they -consist of chequered silk ribbon in grey and heliotrope. -All the short lines are connected with Russian stitch -worked in coral wool, the bands of cream braid being -laid on over them and then sewn down; finally the -inner edge of the border is couched down. The edges -are now all tucked out of sight, the brown paper is cut -away from the back, all ends, edges and tags are secured -and made neat with tiny overcasting stitches, and the -collar may either be lined or sewn on in place without -lining, as the case may be.</p> - -<p>It is often necessary to confine the cut edges of the -broad braid, in order to prevent them from spreading, -by winding a thread round and tying it just above the -part to be cut—this often saves time and trouble in the -long run.</p> - -<div class="figcenter" id="f10"> -<p class="captionr">PLATE X.</p> -<img src="images/fig44.jpg" alt=""> -<p class="captionc">A TEA-COSY COVER (<a href="#Page_112"><i>See p. 112</i></a>.)</p> -</div> - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_101">[Pg 101]</span></p> -<h2 class="nobreak" id="c10">CHAPTER X</h2> -</div> - -<p class="c less">INSERTIONS IN NEEDLE-WEAVING—POINT DE RÉPRISE—<br>INTERLACING -AND OPENWORK BACKGROUND</p> - -<div class="blockquot"> -<p> -“There she weaves, by night and day,<br> -A magic web with colours gay.” -</p></div> - - -<p><b>A Chequered Pattern</b> (<b>Fig. 31</b>).—Chequered patterns -look well in needle-weaving. A number of colours -may be introduced if the spacing permits.</p> - -<div class="figright"> -<img src="images/fig45.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 31.</span></p> -</div> - -<p>Fig. 31 shows a diagram of needle-weaving which -gives the method of working a chequered pattern on the -upright or warp threads. Prepare the bar or band by -removing the weaker -(weft) threads; a little -decorative line of -stitchery may then be -added by hemstitching, -button-holing, or -herring-boning the -edges; this adds a -finish and groups the -warp threads into -clusters which is an advantage—it saves trouble when the -actual weaving begins by keeping the weft threads in -place; cross stitch and oversewing are useful stitches for -the same purpose. The worker should be careful to -group the strands equally by dividing them into clusters<span class="pagenum" id="Page_102">[Pg 102]</span> -of three, four, or six threads. In Fig. 31 the upper -row is hemstitched loosely, to show the method (see -also <a href="#s6">Fig. 34</a>, p. 114, for hemstitching). The lower -edge of the diagram is not hemstitched; if the threads -are woven in closely it is not always necessary to do so, -although a line of stitchery is an improvement—it -softens the edge and adds to the appearance of the -weaving (see <a href="#c5">Chapter V.</a>).</p> - -<p><i>Method of working Fig. 31</i>:—Withdraw the threads of -the material for three-quarters of an inch wide, and of -the desired length; cut the weft threads at one end and -the corresponding threads at the opposite end. If the -bar is long, correctness of line may be ensured by pulling -and tightening a single thread on the upper and lower -edges—these will indicate the exact spot for cutting them -without risk of mistake. Take a fairly long thread of -wool and a blunt-pointed tapestry needle; a loose but -regularly-woven canvas is the best material to work on -to begin with, and wool or flax threads give the best -results. The threads are easily seen and counted, and -there is not the same chance of their being dragged or -over-tightened. Secure the thread by running a few -stitches on the under side; bring the needle up between -two groups of threads; pass it alternately over one group -and under the other until a piece the size of the chequer -wanted has been filled in. As the needle passes to and fro -it should press down each row of weaving closely together; -this has the same effect as the “comb” which the weaver -uses to press down the weft threads of his fabric. The -first block being finished, pass to the next two groups by -carrying the needle over and under as before, and<span class="pagenum" id="Page_103">[Pg 103]</span> -pressing down each row with the needle; the second -compact mass will then be woven as in the diagram. To -reach the next block, slip the needle down the back of -the second chequer; this will bring it into position to -work the lower block. Continue in this way to the end -of the row, always passing the needle—at the back—through -the group of woven threads to get into position -for the next block.</p> - -<p><b>Reversible Needle-weaving.</b>—These chequers may -be worked in slanting rows, or they may form a vandyke -pattern, ascending and descending in a series of little -steps; the V-shaped spaces between at top and bottom -of the line may be filled in with another pattern or with -rows of chequers in a contrasting colour. Both sides of -the patterns are alike, and when the beginnings and -finishings of threads are neatly done it may be reversible. -This is one difference between needle-weaving and -tapestry-weaving; in the latter the work is done with the -wrong side or back of the pattern uppermost; it shows -the starting and fastening off of threads, as well as the -passing of threads from one part to another, all of which -makes the one side unpresentable.</p> - -<p><b>Another Pattern.</b>—Some simple insertions may be -worked by varying, slightly, the arrangement of the -groups. Begin as in Fig. 31, but weave over three -groups of threads instead of two; having arrived at the -centre, carry on weaving over two more groups to the -right and include the last group of the block just darned, -to form the beginning of the new block. By repeating -these groups of three alternately at the top and at the -foot, always using the last of the previously darned block<span class="pagenum" id="Page_104">[Pg 104]</span> -as the first of the next, a pretty little pattern is formed—a -central cluster of threads is left between each block, -which may afterwards be oversewn with a contrasting -colour, or left with the warp threads of the material -exposed. A very open and particularly effective insertion -for a hem is made by working over two groups of -four threads each—three or six strands of thread in each -cluster if preferred. Begin exactly as in Fig. 31, at the -left lower corner, and weave to the centre; then take in -one more cluster and weave in with it the last one of the -previous block; work to the top; slip the thread down to -the centre; weave over two clusters, adding one of those -previously woven with another group; continue in this -way to the end. By adding a new cluster to the one -already in use the threads are pulled further apart, and -a wider opening between the groups is the result. With -these few suggestions, the worker will find that she can -arrange and vary these insertions to suit her material -and her own taste.</p> - -<p><b>Filet Background.</b>—Small squares, ovals, circles, or -indeed any shaped space may be filled in with a net or -filet background, then darned in with a simple pattern. -The usual way of opening a square or oval (Plate X.) is -to button-hole the form round the outside, then turn the -work on to the wrong side and cut the horizontal threads -at the edge—near the button-holing; draw and cut again -at the opposite side these same threads. The whole -of the space is cut and divided up; a bar of threads -is left between each of the open spaces, always leaving -the same number of threads between each three or four, -and cut and draw the next three or four. When the<span class="pagenum" id="Page_105">[Pg 105]</span> -horizontal threads are cut and drawn, cut the vertical -ones in the same way; when these are finished, begin to -oversew each line, with one stitch into each hole backwards -and forwards, until each line, horizontal and -vertical, is oversewn. Care must be taken to make all -oversewn stitches lie the same way. Note—the preparation -of the background is done on the wrong side. Little -geometrical shapes and patterns may now be darned in. -As said above, the number of threads left in between -these open spaces may vary; the fewer there are, the -more open the squares will be. The result of this cutting -and pulling of threads is a net background which can be -worked in many different ways. The usual method is -to oversew all the horizontal lines first, taking care to let -the stitches lie the same way in each row; turn the work -half round to oversew the remaining lines in the same -way.</p> - -<p>There is another way of making an open background -which might commend itself to those who are averse to -removing the threads, that is, by cutting the material -which forms the background into narrow strips and oversewing -the bars. It should be marked off in double -horizontal lines rather less than an eighth of an inch -apart; place these double lines at regular intervals about -half an inch apart; rule them in chalk or pencil, then -mark off the half-inch spaces into vertical lines an -eighth of an inch apart; these vertical lines are then -cut two or three at a time with a sharp pair of scissors -and oversewn one by one in rows, overseaming the -upper and lower horizontal bars by the way.</p> - -<p>Very charming needle-woven bands can be arranged<span class="pagenum" id="Page_106">[Pg 106]</span> -for different purposes by button-holing squares or oblongs, -cutting and withdrawing four threads each way and -leaving eight between. When a square is button-holed—with -twenty-eight vertical and horizontal threads in -the enclosure—there will be four solid squares connecting -nine open ones, that is, one open square in the centre -with the four solid squares at each corner, and the open -ones surrounding them. Each solid square has eight -single threads surrounding it; divide these into two groups -by interweaving four threads under two and over two. -When finished, there will be two woven bars connecting -each side of the small squares with each other and with -the outer button-holed square. These woven bars -could occur at regular intervals among the more solid -needle-woven portions.</p> - -<p>Many very charming things may be made in this way -with woven threads. These primitive patterns can be -worked with ease in such varied forms, alone or as -adjuncts to embroidery (Plate VI.), that an inventive -needle-woman can ornament in rich colours, or without -the aid of colour, many interesting pieces of work, provided -she takes care to weave regularly and keeps her -design simple and suited to the material.</p> - -<div class="figcenter"> -<img src="images/fig46.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 32.</span></p> -</div> - -<p><b>“Point de Réprise” or Darning Stitch.</b>—Fig. 32 -shows an insertion worked on a foundation or trellis. -This stitch, which may be used as a filling for open spaces -or for the decoration and joining of two edges, is an -interesting one, and most effective when worked. In -cottons, wools, or silks it could be applied to many -different purposes quite suitably; worked on linen with -silk or flax threads, it might provide a dainty insertion<span class="pagenum" id="Page_107">[Pg 107]</span> -for some article of personal wear; worked in wool, it -could decorate simply collars, cuffs and bands for a -dress or jumper suit. Fig. 32 gives merely one form with -the method of weaving, but there are many others to -which the woven pyramid is applied. It is much -quicker and simpler in execution than the button-hole -pyramid, which is firmer but much more tedious to -work—the former, too, looks well in wools and thick -threads, while the latter requires lace thread. Woven -pyramids are frequently used by point lace workers; this -is called by them “<i>point de réprise</i>,” and applied to the -fillings of circles and leaf shapes where the little cone-like -forms work in very appropriately. The foundation of -Fig. 32 is a double line of faggoting in Russian stitch; a -single line is worked first; the stitches are taken widely -apart, then a second row is worked between the spaces -of the other, so that a series of little diamond-shaped -spaces are formed as in Fig. 25. Begin at the edge of -the braid and weave the pyramid from the base so that -the points may meet at the centre; be careful to weave -an equal number of threads into each cone-like shape, -or they will vary in size.</p> - -<p><b>Pyramid Insertion.</b>—An insertion of alternate pyramids,<span class="pagenum" id="Page_108">[Pg 108]</span> -with the bases at the centre, is more open and does -not take so long to work. Make a foundation of faggot -stitch, a single row this time, then carry the thread to -the point of one of those stitches and weave over two -threads to the centre. As these little cones should always -be worked from the point, carry the thread to the top -of the braid by overcasting the faggot thread; weave -again towards the centre; when finished, the bases of the -pyramids will form a central line.</p> - -<p>An equally simple insertion and quite as effective is to -work the pyramids in button-hole stitch on to each -faggot thread. After forming the foundation stitches—the -trellis—begin at the point as before, and work two -button-hole stitches on each side before crossing over to -the other side; otherwise it is worked exactly as the -former pattern detailed above. Two rows of faggot -stitch may be used for the foundation of quite a number -of different woven patterns. Little rosettes or wheels are -formed by five threads; at the junction of the stitches—at -the centre of the space—are four threads; add another -by carrying a central thread to the first group; work the -rosettes over the five threads in a similar manner to -Fig. 54, weaving the threads in and out; when finished, -slip the needle under the finished rosette to the next -intersection of the stitches and work the second rosette -and so on. Descriptions are always tedious to follow—the -best way is for one to work with needle and thread -while another reads the directions aloud.</p> - -<div class="figcenter" id="f11"> -<p class="captionr">PLATE XI.</p> -<img src="images/fig47.jpg" alt=""> -<p class="captionc">A NIGHTDRESS CASE (<a href="#Page_128"><i>See p. 128</i></a>.)</p> -</div> - -<p><b>Interlacing Stitch</b> (Fig. P, Plate II.).—This interesting -insertion stitch is one which will well repay the worker -for her trouble in mastering it. Although not a complicated -<span class="pagenum" id="Page_109">[Pg 109]</span>stitch, there are little points to be noted in the -laying of the foundation threads which, if omitted, prevent -the interlacing threads from working in properly.</p> - -<div class="figright"> -<img src="images/fig48.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 33.</span></p> -</div> - -<p>Fig. 33 shows a diagram with the method of laying the -foundation stitches:—One row is worked over the other; -this lattice work supports -the interlacing threads, -which also require two -rows to work them. Fig. P -shows the insertion completed. -At a casual -glance, Fig. 33 appears to -consist of two rows of -herring-bone stitch, the -one superimposed upon the other; but if a short line of -herring-boning is worked and compared with the diagram -the difference will be noted at once. In working the -foundation, let the threads lie loosely on the surface to -allow for the interlacing threads.</p> - -<p><i>Method</i>:—Secure the thread at the left lower line; -take a short horizontal stitch, three-quarters of an inch -to the right on the upper line. Note—place the thread -under the needle when drawing the stitch through; this -keeps the working thread under the diagonal stitch just -formed. Cross to the lower line, and three-quarters of an -inch further on take a horizontal stitch, but this time -the thread is not kept under the needle, as it comes out -on top and lies over the last diagonal. Proceed in this -way until the end of the row is finished, then compare -carefully with the diagram. Make sure before starting -the second row that all the diagonal stitches beginning<span class="pagenum" id="Page_110">[Pg 110]</span> -at the left of the upper row pass under those crossing -from right to left; this is achieved, as said above, by -keeping the thread under the needle on the upper row. -The first row of the lattice being finished, start at the -left of the upper line and work in the same way as before; -cross to the lower line, and take the horizontal stitch -exactly beneath that of the previous row; then slip the -eye of the needle under the thread of the diagonal stitch -and take the horizontal stitch on the upper line with the -thread under the needle. Working in this way, little -diamond-shaped spaces are formed. With the completion -of the second row, it will be seen that the stitches -are all interlaced over and under each other with the -utmost regularity. For the inter-threading of the -pattern, take a long thread and a blunt-pointed needle; -the thread only enters the material at the starting and -finishing of the work. Secure the thread at the left in -the middle of the space between the upper and the lower -lines; if an open insertion, it must be secured at the top. -In Fig. 33, the thin dotted line represents the interlacing -thread, which passes over and under the little crosses on -the upper line and down to the crossing at the centre; -thus the first row of interlacing threads are all worked -on the upper half of the foundation stitches. When the -end of the line is reached, turn the thread round the last -central cross and return, interlacing the threads on the -lower half of the herring-bone foundation. Note, in -passing to the centre of the line, that the threads interlace -regularly with those of the upper row, as they must -pass to the upper side of the central crosses. By this -time it will be seen how beautifully these threads fit into<span class="pagenum" id="Page_111">[Pg 111]</span> -one another, but should any little mistake have occurred -in the foundation stitches—the supporting lattice work—the -equal and regular inter-threading will be found -impossible. The thread must be chosen to suit the size -of stitch—the foundation threads are practically covered. -In Fig. P they are shown rather too clearly at the -edges; also in Fig. 33 the interlacing thread is not in -proportion to the size of the lattice work, but a little -practice will soon show the worker the size of thread -suitable for a border; a half-inch border requires a good -stout thread to fill the space—too thin a thread will make -the insertion rather poor in appearance, while too thick -a thread will make the interlacing difficult to manipulate. -This insertion looks well with all types of threads, therefore -it can be used for many purposes. For making -decorative hems for household linen it is most useful, -and gives one quite a pleasant change from the usual -hemstitch; it is also more practical, because much more -durable. No threads are withdrawn; a single fold of the -material turned over to the front surface is the preliminary; -this is firmly secured by the two lines of -herring-bone stitch. Large decorative initials could be -worked with the same stitch; placed in the centre just -below the hem, they would look very well—it would be -better to draw these out on squared paper for the first -trial, one or four squares to each cross, according to the -size of the initial wanted. The insertion could be used -for many purposes. In some of the old German linen -work of the fourteenth century this stitch is applied to -household linen—in geometrical patterns to borders, -insertions and corners, where it looks very appropriate;<span class="pagenum" id="Page_112">[Pg 112]</span> -they are worked with white thread on white linen, but -there is no reason why they should not be embroidered -on a coloured linen—blue would look very effective -worked in white threads or <i>vice versâ</i>. At a later date, -some of the Eastern countries adapted this stitch to -their own type of work and design, conventional flowers -being carried out with admirable effect in coloured silks. -The worker would find this adaptation rather difficult -unless she had done a fair amount of line work.</p> - -<p><b>Cosy Cover.</b>—Plate X. illustrates a piece of work -suitable for everyday use. It is a washable cosy slip -worked in white linen with a pattern in braid. In this -example the braid is flexible enough to take the curves -of the design easily; it is tacked on, as previously -described in the nightdress case (Plate XI.), on the outer -edges, and gathered up with tiny oversewn stitches on -the inner, to make the curves lie nicely. The design is -very simple; it is made up with French braid in -varying lengths formed into curves at the corners; the -ground is of white linen. The braid is sewn on in blue -cotton with a small button-hole stitch; the little daisies -of loop stitch and the surface filling of the centre are also -in colour. The open web in the centre is a simple lace -stitch worked in button-holing.</p> - -<div class="figcenter" id="f12"> -<p class="captionr">PLATE XII.</p> -<img src="images/fig49.jpg" alt=""> -<p class="captionc">THREE HAT BANDS (<a href="#Page_129"><i>See p. 129.</i></a>)</p> -</div> - -<p><i>Method</i>:—Cut away the linen (see description, <a href="#f10">Plate -X.</a>); work round the opening a row of button-hole stitch -not too closely set, then work ten loose loops similar to -Fig. 54. Catch the last loop of the circle into the first -to join; then on the last-formed loop work six button-hole -stitches; pass the next loop; work six button-hole -stitches again into the following loop—the third; -<span class="pagenum" id="Page_113">[Pg 113]</span>proceed in this way to the end of the row. Work on in -continuous rows until the centre is reached; each group -of pyramids must have one stitch less in each row as -the circle becomes smaller. Finally, at the apex, the -thread is twisted once round each loop; carry the thread -to the edge of the material by overseaming the edge of the -first pyramid; finish it off on the back of the linen. The -square mesh for the open-work is prepared as described on -p. 127. The open-work clusters of the background may -be grouped differently from those in the illustration, -where they are oversewn horizontally and vertically. -Quite a pretty variety would be to work them in diagonal -lines securing each cluster with a knot stitch.</p> - -<p><i>Method</i>:—Start the thread at a part on the left where -a definite oblique line may be laid. Work a stitch with -the thread under the needle, through the stitch and -tighten the knot; carry the thread obliquely to the next -cluster and repeat the knot. Another method is, after -preparing the background, to fill up the spaces with four -open loops of button-hole stitch; work each loop into -half the cluster of surrounding threads—the other half is -used in working the adjacent square; in other words, the -open square is filled in with four little loops, the needle -being passed through the first loop to join it with the -last before passing on to the next square, and the -clusters of loose warp and weft threads are divided and -pulled apart by the loops, leaving a little oval-shaped -opening. The edges of the cosy are worked round with -loops (see <a href="#s2">Fig. 57</a>). These finish the sides and serve as a -means of lacing the two halves together. This manner of -finishing makes for simplicity in the washing and ironing.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_114">[Pg 114]</span></p> - -<h2 class="nobreak" id="c11">CHAPTER XI</h2> -</div> - -<p class="c less">FRINGES AND TASSELS—HAND-MADE BRAIDS—<br>KNOTS -AND PICOTS</p> - -<div class="blockquot"> - -<p>“And bid them that they make them fringes in the borders of -their garments.”</p> -</div> - - -<p><span class="smcap large">Fringes</span> are used to form an ornamental border for -various articles; they seem to be the most natural finish -to many of the loosely-woven textures. They can be -knotted in different ways into simple or elaborate -patterns, or they can be enriched with groups and bands -of coloured threads or beads. The most simple are those -produced by the unravelling of the horizontal or weft -threads. In planning out a piece of work to be finished -off with a fringe, allow 6 or 7 inches for it—or whatever -depth is wanted; finish it after the rest of the work has -been completed, as the frayed edges -are apt to get soiled and untidy if -unravelled before.</p> - -<div class="figleft" id="s6"> -<img src="images/fig50.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 34.</span></p> -</div> - -<p><b>To prepare a Fringe.</b>—Withdraw -a few threads at the head of -the space and work a row of single -hemstitching, or overcast it with -large stitches. There is only a -single ply of material, but this stitching, while giving -firmness, adds a decorative value and prevents the -loosening of the weft threads. Fig. 34 explains the<span class="pagenum" id="Page_115">[Pg 115]</span> -method of hemstitching; if the strands or warp threads -look rather poor and thin, additional weight may be -given to the whole by darning in either some of the -weft threads, which have been removed, or by adding -various coloured ones.</p> - -<div class="figright"> -<img src="images/fig51.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 35.</span></p> -</div> - -<p>Fig. 35 shows one way of adding threads. These -are fixed into place most easily by means of a crochet -hook.</p> - -<p><i>Method</i>:—Wind the thread round a piece of cardboard -sufficiently wide—that is, -almost twice the depth of the -required fringe; cut the threads -along one edge of the cardboard, -and the strands are ready for use. -Put the hook into the material near -the edge from behind; lay the loop -of the doubled length of thread on the hook and draw -it through, then slip the two ends through this loop and -tighten (Fig. 35).</p> - -<p>Many pretty variations may be made by adding beads -or narrow ribbons, tassels or knots (Plate VI.). Those -tasteful finishing touches add greatly -to the appearance of the work.</p> - -<div class="figleft"> -<img src="images/fig52.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 36.</span></p> -</div> - -<p><b>Knotted Fringe.</b>—Fig. 36 has -the strands in groups knotted together, -then divided and knotted -again. These knots take up a fair -quantity of thread, thus the length -allowed for the fringe must depend -on the number of rows of knots, as well as on the coarseness -or fineness of the thread used. The thicker and<span class="pagenum" id="Page_116">[Pg 116]</span> -firmer the texture of the strands, the greater the length -of thread required for the knots. The method of making -the knots being shown in the figure, it needs little explanation. -After the first row of knots is formed, the -second row is made up of the groups of threads hanging -from these knots—they are divided, and half a group -is taken from the right and left respectively. Three or -four rows may be added in this way, each succeeding -row of knots coming between those of the row above.</p> - -<div class="figleft"> -<img src="images/fig53.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 37.</span></p> -</div> - -<p><b>A Flat Knot.</b>—Fig. 37 gives a flat knot used in fringe-making -by macramé workers. At one -time (in the sixteenth century), priests’ -vestments were frequently trimmed -with this handsome type of fringe, -consisting chiefly of knots grouped into -various patterns. It was then known -under the name of “<i>punto a gruppo</i>”; -later it was called macramé, from an -Arabic word meaning ornamental -fringe or trimming. The Genoese used -it for the trimming of bridal dresses. -These knots can be added directly to -a hem, or worked over a cord.</p> - -<div class="figright"> -<img src="images/fig54.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 38.</span></p> -</div> - -<p><i>Method</i>:—Arrange the thread in groups of two double -strands, as in Fig. 37 <i>a</i>; take the two outside strands, and -passing the left one under the middle strands, and the -right-hand one over them—these middle strands meanwhile -being held taut between the second and third -fingers—bring the left-hand strand out, as Fig. 37, and -the right-hand strand under so that their positions are -reversed. Complete the knot by crossing the reverse<span class="pagenum" id="Page_117">[Pg 117]</span> -way again and tighten to finish. Quite a pretty fringe -can be made by working a row of four of these flat knots -in succession over four strands, one knot below the other; -the second row has the knots made on four strands—two -strands taken from each of the groups immediately -above—this brings the knots of the second row alternating -with those of the upper row, as in Fig. 36.</p> - -<p><b>Twisting and Crossing.</b>—Fig. 39 gives a little hand-made -braid, very useful for many purposes, for small -headings, or for finishings, edges, or seams. It is a simple -plait made with four strands of any firm -thread or narrow braid—the latter is the -more suitable for embroidery. Lace plaits -similar to this require bobbins and a pillow, -as well as a suitable lace or linen thread; -but the gimps for embroidery can be made -quite nicely by fixing the knots to some firm -foundation and winding the cord, string, or -braid on to a piece of cardboard. The plait is -done by means of twisting and crossing. -These terms are used in the making of pillow -lace. “Twisting” always means passing the -right-hand strand over the left (Fig. 38 <span class="allsmcap">A</span>), and “crossing” -means the passing of the inner left-hand strand -over the inner right-hand strand (Fig. 38 <span class="allsmcap">B</span>).</p> - - -<div class="figcenter"> -<img src="images/fig55.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 39.</span> <span class="smcap padl">Fig. 39a.</span></p> -</div> - -<p><b>Hand-made Gimp.</b>—Fig. 39 shows the braid in -process. Each pair of threads is twisted once, then the -inner threads are crossed; this is repeated to the end, -care being taken to keep all threads as equal as possible. -Fig. 39<span class="allsmcap">A</span> is the same braid with picot edgings. These -picots may be placed at every second loop instead of<span class="pagenum" id="Page_118">[Pg 118]</span> -every fourth as in the figure. They are made with the -help of pins fixed into the foundation; the outside thread -is passed round the pin before twisting with the next -strand.</p> - -<div class="figright"> -<img src="images/fig56.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 40.</span></p> -</div> - -<p><b>To make a Lace Pillow-Cushion.</b>—Fig. 40 is a still -more elaborate braid, consisting of five double strands. -It could be more easily worked on a cushion—a large pin-cushion -tilted against a table would do, or the worker -could make a pillow-cushion for herself, such as some -lace-makers use, in the following way: Cut a piece of -firm cotton or linen about 20 or 22 inches wide and 22 -to 24 inches long; join up the length by the machine; -hem the two ends and run a drawing string through them<span class="pagenum" id="Page_119">[Pg 119]</span> -to close the ends. Cut two circles of cardboard 4 or 5 -inches in diameter; draw up one end of the pillow and -place a circle of cardboard in against the closed end; fill -the cushion with bran or cork—such as is used for packing -grapes—horsehair, or sawdust; stuff tightly; then -place the other circle of cardboard on top and tighten -up the second end by means of a -strong cord run through the edges. -This little cushion can be placed -into a wooden box or basket, -which is better to be weighted a -little to keep it steady. Some -pillows are made like a cylinder -and fitted into a box, which is -higher at the back than at the -front; others are made with an -axis which is fitted into grooves cut -in the side of the box; this enables -the worker to turn the pillow and -also allows the lace as it is worked -off to fall behind into the box.</p> - -<p><b>Braid.</b>—To work Fig. 40, fix on -to the cushion in a straight line five lengths of braid, -knotted as in Fig. 38.</p> - -<p><i>Method</i>:—Twist the first and second pair once; cross; -twist the second and third pair once; cross; twist the -third and fourth pair once; cross; twist the fourth and -fifth pair once; cross; place a pin at the right-hand edge; -twist the fourth pair once; twist the fifth pair once; -cross; twist the third and fourth pair once; cross; -twist the second and third pair once; cross; twist the<span class="pagenum" id="Page_120">[Pg 120]</span> -first and second pair once; cross; place a pin at the left-hand -edge; twist the first pair twice; twist the second -pair once; cross, and repeat from: twist the second and -third pair once; cross, and so on for length required. -This braid when worked with bobbins and a stout linen -thread will be excellent for teaching the method of -making grounds for some of the simpler pillow laces.</p> - -<p><b>Simple Tassels.</b>—Fig. 41 gives a small tassel.</p> - -<div class="figcenter" id="s3"> -<img src="images/fig57.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 41.</span> <span class="smcap padb">Fig. 41a.</span> <span class="smcap">Fig. 41b.</span></p> -</div> - -<p><i>Method</i>:—Take a piece of cardboard, rather wider -than the length of the finished tassel, and wind some -wool rather slackly round it, twelve to twenty times, -according to the size and thickness of the tassel to be -made. Take a long large-eyed needle with a doubled -thread; slip it through the wool close to the cardboard; -pass the ends through the loop and pull firmly to tighten. -Cut the wool at the opposite edge of the cardboard. -Pass the thread through the centre of the bunch of wool -and knot it two or three times to form a padding for the -head. Sometimes a wooden bead helps to fill out the -head, the needle being passed through it to keep it in -place; after which the thread is knotted. Figs. 41 and -41<span class="allsmcap">B</span> give the making of the neck of the tassel. Take a<span class="pagenum" id="Page_121">[Pg 121]</span> -needle with a double thread and wind it round the neck -two or three times; pass the needle through the loop, then -up the centre of the head and out at the top—here -another bead adds to the appearance of the finished -tassel—the ends serving to attach it to the embroidery. -A much more elaborate finish may be made by button-holing -the head of the tassel, beginning at the neck and -working in rows towards the top. If the tassel is large -enough to admit of it, a crochet-covered top, beginning -with a chain and working upwards, is very quickly made; -long chains ending with beads may finish the lower part -effectively. Plate VIII. shows simple tassels made in -this way—those on Plate I. are rather more elaborate.</p> - -<div class="figright" id="s7"> -<img src="images/fig58.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 42.</span></p> -</div> - -<p><b>Needle-made Picots</b> (<b>Fig. 42</b>).—This edging requires -a good stout thread, linen, twisted silk, wool, or -fine string, according to the purpose for which it is -required. It may be worked on a braid, a cord, or the -edge of the material. There -is no great difficulty in the -working of these picots, but -absolute regularity of the -loops and knots is essential—in -order to secure this, a -mesh, or if that is not to -hand, a pencil may be used -to keep the loops uniform in size. After some practice, -the worker will probably dispense with a mesh and use a -pin to keep the loops in place while making the knot.</p> - -<p>Fig. 42 shows the method of working. Fasten the -thread securely and take the first stitch, which is of the -button-hole type, with the thread under the needle;<span class="pagenum" id="Page_122">[Pg 122]</span> -then slip the thread round the mesh, passing it behind -and bringing it out over the front of it; put the needle -behind the loop (see <a href="#s7">Fig. 42</a>) and twist the thread round -the needle, over and under it; pull through and tighten -the knot. If a pin is used, pass the needle behind the -first little loop, then put the pin -into position—a quarter or half -an inch below the edge; pass the -thread round the head of it; -make a loop round the point of -the needle and tighten.</p> - -<div class="figleft"> -<img src="images/fig59.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 43.</span></p> -</div> - -<p>Fig. 43 shows the same edging -with an additional row worked -over a narrow braid—several threads could be substituted -for the braid.</p> - -<p><b>Button-holed Rings.</b>—Button-holed rings are useful. -They are generally made over a foundation of soft -threads, which serves the double purpose of padding and -strengthening them.</p> - -<div class="figright"> -<img src="images/fig60.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 44.</span></p> -</div> - -<p><b>Laces, Edgings, Central Fillings.</b>—Danish needle-workers -use these rings a great deal as foundations for -making both laces, and edgings, also -central fillings. The former they apply -to their beautifully worked embroideries -as insertions or finishings; the latter -have some arrangement of grouped -stitches worked round a button-holed -ring, then sewn on to the parts prepared -for them. They use a ring stick, which is graduated in -such a way as to enable them to make rings in several -sizes, also to make any number in the one particular size<span class="pagenum" id="Page_123">[Pg 123]</span> -desired. Rings are quite simply made. The thread is -wound round the stick six to ten times, according to the -size of the ring, and a stitch or two of button-holing is -worked before removing it; then work round the threads -until it is complete and finish by passing the needle -through the head of the first stitch and slipping it inside—and -along the line of strengthening threads; cut off neatly. -Rings may have pyramids worked round them, in which -case a definite number of button-hole stitches should be -made. If a ring is covered with twenty-eight button-hole -stitches, four pyramids of six stitches each could be -made, with one stitch between each pyramid; with -thirty stitches, six smaller pyramids, with one stitch -between each, could be worked in.</p> - -<p>Rings could be made over a metal or bone foundation -when they are used to support any weight, as for the -draw strings of a bag, or to attach a splasher to a wall; -for lacing or connecting the front or shoulders of a -jumper or child’s frock they can be either made on -threads or metal rings.</p> - -<p>Note the interesting method of applying rings in -Plate XIII.; see also <a href="#s8">Fig. 23 <i>b</i></a>, which shows method of -working rings with picots of bullion stitch.</p> - -<p>Very useful indestructible buttons can be made of -very thickly padded small rings in which the stitches -practically fill up the centre; twisted bars, crossed, -should be worked at the back for the purpose of attaching -these buttons to the garments which they are to adorn.</p> - -<p><b>Ornamental Knot</b> (<b>Fig. 45</b>).—Knot work, like -embroidery and lace, seems to have originated in the -East.</p> - -<p><span class="pagenum" id="Page_124">[Pg 124]</span></p> - -<p>All of the following knots may be worked more simply -from the diagram than from the description.</p> - -<div class="figleft"> -<img src="images/fig61.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 45.</span></p> -</div> - -<p>Fig. 45 is commenced at the top or foot, where the <b>X</b> -is marked. The braid is joined -there under the curve; it is formed -of one piece of braid, and can make -a very good centre for a cushion, -applied in a coloured braid, if sufficiently -enlarged. It could have a -decoration within the curves of conventional -flowers, or, on the other -hand, it might be enclosed by a narrow geometrical border. -It could also be worked in chain, couching, or oriental -stitches instead of braid.</p> - -<div class="figright"> -<img src="images/fig62.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 46.</span></p> -</div> - -<p><b>Weaver’s Knot</b> (<b>Fig. 46</b>).—The weaver’s knot, used -by all weavers for the joining of warp threads—weft -threads are worked with the weaving—is -a well-known knot. It is -illustrated in Fig. 46 and consists -of two loops interlaced; when -finished, one loop has the ends -crossed while the other has the two -lines lying parallel. It can be easily followed from -the figure. A simple method of tying it is to take -the end of the new joining thread and form it into a -loop with the threads crossed; note that the short end -is under and pointing to the left, and the long upper -end is pointing to the right. Place this loop between -the finger and the thumb of the left hand and hold it -upright; take the end of the working thread in the -right hand, and putting it from behind up through<span class="pagenum" id="Page_125">[Pg 125]</span> -the loop, pass it round between the thumb and the -first finger, under the short end of the new thread and -over the long one, down into the upright loop again. -Tighten the ends of both threads.</p> - -<div class="figright"> -<img src="images/fig63.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 47.</span></p> -</div> - -<p><b>The Carrick Bend</b> (<b>Fig. 47</b>).—This knot is simple -and ornamental. It could be used -quite successfully for embroidery and -braiding. It is used by sailors for -tying hawsers. To arrange the -knot take one piece of narrow braid -or cord and form it into a loop on -the table; cross the ends—the under and shorter one -points towards the worker; take the second cord in the -right hand and pass it under the complete curve of the -loop in a diagonal direction (see Fig. 47); passing then -over the long and under the short end, enter into the -loop and pass it under the diagonal line and out over -the loop. This knot looks well—tighter or looser -according to the width—when placed at intervals on a -border and connected by lines of stitches.</p> - -<div class="figleft"> -<img src="images/fig64.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 48.</span></p> -</div> - -<p><b>The Reef Knot.</b>—This knot varies slightly from -Fig. 46. It forms a rather neater -one than the weaver’s knot and is -also more ornamental.</p> - -<p><i>Method</i>:—Make a loop as before -at the end of the new thread. Hold -it upright between the thumb and -the first finger of the left hand, but do not cross the ends; -take the end of the working thread and pass it up through -the loop from behind: put it round between the thumb -and the finger, under the two ends of the held thread,<span class="pagenum" id="Page_126">[Pg 126]</span> -then down through the loop again; draw up both pairs -of threads. The reef knot, as its name indicates, is used -by sailors for tying the reef points of a sail.</p> - -<div class="figleft"> -<img src="images/fig65.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 49.</span></p> -</div> - -<p>Fig. 49 shows a knot which may be made of braid or -of two rows of cord, on a larger scale, or it may be -worked in chain stitch as a -smaller knot. When made in -narrow braid or cord the second -cord is laced through after the -knot has been formed by the first -cord. This knot could be used -for a border, placed at regular -intervals with lines of cords connecting the one knot -with the next; to fill up a corner the central loop could -be made larger. It looks well when worked in chain -stitch or in couched lines.</p> - -<div class="figright"> -<img src="images/fig66.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 50.</span></p> -</div> - -<p><b>The Chinese Knot</b> (<b>Fig. 50</b>).—This knot, used for -the ornamentation of a sailor’s collar, is made of one -cord. One loop is made long -enough to pass round the neck, -under the collar. Used as a -part of the border design the -end loops may be made as long -as required to fill the space. -The Chinese knot makes an -ornamental fastening for anything that might require -it. To make it, start at the <b>X</b>; from there it can be -easily followed from Fig. 50. It takes the form of two -hearts reversed and interlaced; the outer loops are -formed in the process.</p> - -<div class="figright"> -<img src="images/fig67.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 51.</span></p> -</div> - -<p>Fig. 51 is made up of two pieces of braid. The crosses<span class="pagenum" id="Page_127">[Pg 127]</span> -show where the ends disappear under the curves. This -knot could be used similarly to Figs. 45 and 49.</p> - -<p>Knots are not generally used in embroidery for the -starting or finishing of threads, but sometimes a new -thread has to be -joined directly on -to the old one, in -which case a firm, -non-slipping knot is -necessary. Figs. 46, -47, 48 are all useful -for joining threads.</p> - -<p><b>Nightdress Case in Blue and White.</b>—Plate XIV. -shows a charming and useful nightdress case in white -linen, embroidered in white and blue flax. The simple -interlacing design is laid on in white French tape, which -develops into leaves at the centre and corners, and gives -scope for a pleasant change in stitchery. The braid is -fixed in place on the outer edge by a button-hole stitch -worked in flax thread over three strands of blue. The -material is cut and turned in and button-holed—this -gives a little raised edge and accentuates the outer line; -the inner edge is marked out by a line of back stitching -(Fig. 13), and French knots worked in blue (Fig. 22). -The spaces between the interlacing braids are worked in a -filet or net pattern—which is simply worked but rather -tedious on account of the necessary preparation.</p> - -<p><i>Method</i>:—Remove four vertical threads and leave -four of the linen; repeat this within the space; then -remove four horizontal threads and leave four; repeat. -These little groups of threads are kept closely together<span class="pagenum" id="Page_128">[Pg 128]</span> -by means of overcasting stitches—which should be done -with a very fine thread—worked in rows over the warp -threads, then over the weft. The linen in the centre -of the leaf forms at the centre and corners should be cut, -turned under the braid and button-holed, as described in -Plate XIV. The outer ones are filled in with button-holed -bars, which may be worked as described in Fig. 24, or they -may be inserted after the button-hole edge is finished, by -laying two or three strands, button-holing them, and overcasting -three or four stitches along the edge to carry the -needle into position for the next bar. The opening in the -centre is worked in pyramids and bars, alternately (see -description of <a href="#s9">Plate XIV.</a>). It will be seen that the two -outer leaves of the centre group are worked in a weaving -stitch which gives the appearance of mid-rib and veins.</p> - -<p><i>Method</i>:—After the inner edge is button-holed, carry -six threads to and fro from point to base to form the -foundation; then weave by passing the thread over -three and under three strands until the point for the -first vein is reached. Press the threads closely together -with the needle to make the line solid; then carry the -working thread across to the edge to and fro and back -to the edge; weave into and out of these three strands -until the mid-rib is reached again; weave a couple of -threads into the centre rib, then form the vein on the -opposite side in the same way, and proceed in this way -until the base is reached. The stitch must be very -evenly worked and well pressed up by the needle continuously -to get the right effect. The inner leaves are -worked with a row of open button-holing, after which -button-holed loops (Fig. 59) and pyramids are arranged -<span class="pagenum" id="Page_129">[Pg 129]</span>to fill up the space. The braid-like appearance of the -inner border is obtained by working a row of herring-bone -stitch to form a foundation; a long flax thread is -then interlaced as shown in Fig. 25. See also border -to <a href="#f14">Plate XIV</a>. This interlacing thread is worked in, -row after row, until the desired thickness has been got. -In Plate XI. the foundation stitch is in blue and the -interlacing in white flax thread—the little blue points -of the herring-bone stitch peeping out on either side -give a pretty effect. Two rows of fine chain stitch -(Fig. 1) finish the dainty border.</p> - -<div class="figcenter" id="f13"> -<p class="captionr2">PLATE XIII.</p> -<img src="images/fig68.jpg" alt=""> -<p class="captionc">A BAG IN CANVAS AND WOOL. (<a href="#Page_153"><i>See page 153.</i></a>)</p> -</div> - -<p>The outer edges following the curves of the braid are -worked in open button-holed loops (Fig. 59) which in -Plate XI. are done with the needle; but this edging -may be done more simply, if desired, with a crochet hook, -by forming a row of chain loops, then covering them with -double crochet stitch (see <a href="#Page_157">p. 157</a> for description).</p> - -<p>The edging of needle-made loops is, of course, preferable -to any other, but in these days, when most of the -household linen must go to the laundry, these little -crochet edgings might quite suitably be worked directly -on to little mats, table-napkins, and many other articles. -They are quickly worked and wear excellently.</p> - -<p><b>Hat Bands.</b>—The illustration shows two hat bands, -both of which might be made in a colour to go with a -hat or suit.</p> - -<p><b>A Flowered Hat Band</b> (<b>Plate XIIa.</b>).—Plate XIIA. -consists of a piece of cotton—celtic canvas—about -5 inches wide; the length will vary and must depend on -the shape and size of the hat. To make a similar band, -prepare a fringe about half an inch deep on one side<span class="pagenum" id="Page_130">[Pg 130]</span> -only; turn the fringed edge over the plain one and tack -into position; crochet two lines of insertion (Fig. 65) in -wool or in any material preferred. Make the flowers -as in Figs. 66 and 67; those in the centre of the illustration -are made up of three separately worked flowers, -the smallest one is in silver tinsel. The large flower -groups are placed on the band alternately with the -smaller sprigs. For the making of the leaves see <a href="#s10">Fig. 68</a>, -p. 160. This band may be made in a very short time; -it is a very suitable hat decoration for rough weather, -as rain does not destroy either the foundation or the -crochet flowers.</p> - -<p><b>A Velvet Hat Band with Cross Stitch</b> (<b>Plate XIIc.</b>).—Cross -stitch, so little used nowadays in this country, -except for the marking of household linen, seems to -have been well known from a very early date by all -needle-workers. It, and many other varieties of a -similar nature, was worked on canvas or linen in -patterns where the threads were counted. At one time -these embroideries were so characteristic of the various -countries that their origin was generally recognised by -the pattern and the colour in which they were worked. -The Italian cross stitch, embroidered on a very fine -linen, was mostly done in a reddish-purple, and frequently -worked in a two-sided stitch. Red, blue and yellow -were the predominating colours of the Slav, Hungarian -and Swedish peasantry. Very large pieces, destined -for wall hangings, were worked in tent stitch or cross -stitch, in designs suggestive of those used for tapestry -weaving. These have even been called tapestries on that -account. The famous Bayeux tapestry represents an<span class="pagenum" id="Page_131">[Pg 131]</span> -interesting series of events of English history from -the accession of Edward the Confessor to the death -of Harold at Hastings; it is worked in coloured wools -on linen canvas: this is, of course, not really tapestry; -a true tapestry is formed by the interlacing or weaving -of warp and weft threads by means of a needle or a -shuttle (see chapter on <a href="#c5">needle-weaving</a>).</p> - -<p>Plate XIIc. shows a dainty band made on velvet -ribbon; the quaint little basket of flowers in cross stitch -on a gold-coloured foundation may be worked quite -simply on to any material, but in order to keep the -rigidity which is characteristic of the stitch it is necessary -to have a piece of fine canvas as a foundation. -The ribbon is tacked on over it, and the design is worked -over the two materials. In the case of velvet this method -is reversed, as the pile is always an obstacle in the way -of accurate sewing. The canvas is laid on top of the -velvet; the cross stitch is then easily worked and the -threads of the canvas are removed, one by one, when the -work is finished. The centre piece of Fig. C is of gold-coloured -velvet worked in this way. It is caught down -on the outer edges by gold tinsel threads, couched closely -to keep them in position; the strips of orange-coloured -velvet applied on either side and peeping through the -stitchery give a gay little touch to the panel, which is -finished off by lines of gold thread and two little gold -beads. The strips of decoration at equal intervals are -somewhat similar, but not so elaborate. No cross -stitch is used except in the front.</p> - -<p>Much may be done with canvas stitches, provided -they are applied to designs which are treated in a<span class="pagenum" id="Page_132">[Pg 132]</span> -conventional manner. The form of the stitch, occupying -a square space, would enable the worker to make -out patterns on squared paper; chair seats and cushions -could be worked very satisfactorily in geometrical -designs.</p> - -<p>Baskets and bags, worked on canvas in wools, cottons -and raffia, can be very useful; the canvas should always -be worked with a thread which fills the mesh. For fine -embroidery it is often better to work it in a frame, particularly -for fine cross stitch or petit point, or when -worked over two plies of cloth—the frame prevents the -under cloth from puckering.</p> - -<p>Some of the darning stitches, too (Plate II.), could be -applied successfully to bags; if small, they could be -worked in silk on a fine-meshed canvas. Cross stitch -requires no description, except that it is worked in two -rows; this allows the threads of the second row—on the -return journey—to cross over those of the first. A quick -method of filling a line is to work a half-stitch over a -stretched thread.</p> - -<p><b>Tent Stitch or Petit Point.</b>—the finest of the canvas -stitches—is, like the first half of the cross stitch, worked -over a single thread of canvas.</p> - -<p>Goblin stitch is worked over one vertical and two -horizontal strands. A close herring-bone stitch looks -well alternating with rows of an upright stitch for a -canvas-made basket in various colours.</p> - -<p>There are many other canvas stitches, but varieties -will be easily constructed by the worker. Canvas may -be bought with a single or double thread, of a coarse or -fine quality. A wide-meshed canvas of a stiff quality,<span class="pagenum" id="Page_133">[Pg 133]</span> -used for rugs, is very satisfactory for the making up of -work bags or baskets with raffia.</p> - -<p><b>A Braid Hat Band</b> (<b>Plate XIIb.</b>).—A hat band or -collar made from remainders of braids is illustrated on -Plate XIIb. The original was made as a collar to wear -with a suit, but it looked so fascinating as a hat band -that it was worn as such. It is a perfectly straight band -and the illustration shows very clearly some of the -insertion stitches already mentioned (see Figs. <a href="#s11">25</a> and <a href="#s12">29</a>). -Prepare it in the manner already described for the braid -collar (Plate IX.). Cut a piece of brown paper to the -size wanted and tack the braids upon it. In the illustration -three rows of black skirt braid, with a row of -black chenille in the centre, go to form the foundation. -The upper and central rows have a line of blue braid -laid over them, just close to the chenille. Join the -braids with faggot stitch on the one side (Fig. 25) and -a knot stitch (Fig. 29) on the other. The knot stitch -is in turquoise blue wool, the faggot in jade green with -a stronger green interlaced. The lines of bright blue -braid are connected at one side and the edging (Fig. 30) -is worked over the other. This edging has a thread -intertwined with it so that the loops are connected, -instead of being detached as in Fig. 30. When all the -braids are connected the paper is cut away from the back.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_134">[Pg 134]</span></p> - -<h2 class="nobreak" id="c12">CHAPTER XII</h2> -</div> - -<p class="c less">DRAWN-THREAD AND WHITE WORK—RHODIAN,<br> -RICHELIEU AND HEDEBO</p> - -<div class="blockquot"> - -<p>“Be rich in patience if thou in goods be poor.”</p> -</div> - - -<p><span class="smcap large">Many</span> of the pretty delicate lace stitches which look -so complicated when worked in fine lace threads, on a -net or cambric foundation, can be used with admirable -effect for the filling in of spaces and the covering of -surfaces of some of the coarser stuffs; worked in wools -and thick threads they lose their filmy and lace-like -appearance, and can be adapted quite nicely to the more -utilitarian articles. The arrangement of the stitches -may be chosen to suit all kinds of materials; they may -be very open or only partly so, but as a rule, the simpler -these surface stitches are, the better they look. The -main idea being to bring the background into tone with -the rest of the work, the worker should choose a stitch -which will have just the amount of colour to give the -right tint or shade to the material. Diapers are also -commonly used to tone in the background; single spots -or groups of spots, which may be represented by French -knots or bullion knots, flower or leaf sprigs worked in -loop stitch, and all simple types of darning may be -requisitioned for the purpose. Interlacing patterns can -frequently be made up of two or more stitches combined,<span class="pagenum" id="Page_135">[Pg 135]</span> -and may often be invented on the spur of the moment -by the interested needlewoman. There are endless -varieties to be made out of button-hole stitch, which is -the foundation stitch of most needle-point laces (Figs. 53 -and 11). Weaving stitch—interweaving of threads—is -another upon which many laces, needle-point and -pillow, are built up (Figs. 32, 62, 17 and 40). These two -are often combined (Figs. 54 and 55); add to them -darning stitch, both simple and patterned, and we have -got one step towards lace-making. But lace-making is -not for the busy woman or householder, who has her day -fully occupied, but rather for the few who possess skill, -good patience, and many unoccupied hours—these must -belong to the woman who would excel in the art of producing -the delicate fabric. It is most interesting to -trace the development of lace; how needle-weaving of -the more simple, primitive type later became drawn-thread -work or openwork, in which finer threads and -materials were used; under the skilful fingers of the -inhabitants of the convents works of exquisite skill -were produced, vestments and hangings, all destined to -ornament the church. In England in the sixteenth and -seventeenth centuries lace came into general use, and -was worn in great profusion by Queen Elizabeth and her -Court. Fine steel needles were made in England during -this reign. Naturally this must have had some effect -on embroidery, but the change does not appear to have -been noticeable. Linen was embroidered in silk in -various colours, and further ornamented with drawn -work. This drawn work was followed by cut work, -and from these we have the origin of lace. These first<span class="pagenum" id="Page_136">[Pg 136]</span> -laces were of two kinds: Lacis and Cut Work. They were -heavy in texture and suited to the costumes of the period.</p> - -<p><b>Lacis.</b>—In lacis the background consisted of a network -of squared meshes upon linen on which a pattern -was darned in linen thread, coloured silks, or gold -threads; it was worked usually in large pieces, for -coverlets and bed hangings, curtain borders, and altar -cloths.</p> - -<p><b>Cut Work.</b>—Cut work had the background at certain -parts drawn, other parts were cut away and the edges -button-holed. Probably this stitch was invented for the -purpose of protecting these cut edges. This darned -netting and cut work, <i>point coupe</i>, were often combined -on the one piece.</p> - -<p><b>Reticella.</b>—The next step, of course, was to work -without a linen foundation. The threads were arranged -in a frame, on a foundation which was only there to hold -the threads in position while they were worked into -various patterns, and filled with button-hole stitches. -All the laces of this period were geometric in design—squares -and circles combined with cut work, drawn -work and embroidery. It was not until about the end -of the seventeenth century that these gave place to -flowing lines and more elaborate and complicated workmanship -with a net background.</p> - -<p>Some of the earlier peasant embroideries are singularly -interesting. There is a personality and a quaintness of -thought combined with those spontaneous designs, a -brightness of colour so instinctive, and an inventiveness -of method so freely displayed that one has only to see -the embroideries to realise their charm.</p> - -<p><span class="pagenum" id="Page_137">[Pg 137]</span></p> - -<p>The art and craft has passed from generation to generation. -Some nations are distinguished by the exquisite -skill with which the work is executed, others by the multiplicity -of colours; the patterns predominating are -mostly of the geometrical type. Some of the sixteenth -and seventeenth-century Italian drawn work (<i>punto -tirato</i>), in which the weft or warp threads were removed; -<i>punto tagliato</i> (cut work), in which both the weft and -warp threads were cut away, leaving only connecting -bars of the linen, are inspiring to the needlewoman of -leisure.</p> - -<p>From these embroidered and cut-linen works reticella -and needle-point laces arose.</p> - -<p><b>Hedebo Embroidery.</b>—The embroidery done by -the peasantry of Denmark is worked almost entirely in -button-hole stitch, on a firm linen ground, and with a -coarse linen thread. (The Danish women always wear a -little shield of metal when they are working on the -second joint of the little finger to protect it—the constant -friction would be apt to cut the finger otherwise.)</p> - -<p>It is an exceedingly durable type of embroidery or -lace—for it partakes of the nature of both—and is simple -to work. The designs are mostly of the geometrical -type, consisting of squares, circles, ovals, etc., worked -in button-hole stitch, arranged to form borders, corners, -or centres for table and bed linen. By combining other -embroidery stitches with the button-hole stitch many -charming pieces of work might be produced without -much difficulty. Many of the Danish peasantry earn -their livelihood by means of this beautiful work.</p> - -<p id="s9">Plate XIV. illustrates the corner for a panel for a<span class="pagenum" id="Page_138">[Pg 138]</span> -pram or cot coverlet in process. The centres of the -forms are all worked in the typical hedebo work, while -the outer parts are filled in with a variety of stitches. -To prepare the simple design, make a series of squares -and circles in paper and connect them with double lines; -arrange and space them symmetrically. Leave sufficient -space between each circle to allow for the surrounding -stitchery (see <a href="#c3">chapter on design</a>). Then, when finished, -draw directly on to the linen with compasses or any small -round shape; leave sufficient material for a hem or -border. The linen should be of a good firm quality. Use -a sewing needle—No. 6 scientific sharp—and a lace -thread—Taylor’s Mecklenberg, No. 6, or Knox’s two-cord -linen lace thread, No. 25 or 30, are suitable.</p> - -<p><i>Method</i>:—To prepare a circle, outline it with two -rows of tacking stitch, keeping most of the thread on the -surface by lifting a tiny stitch of linen. Tack the piece -to be worked over <i>toile cirée</i> or over a stiff piece of brown -paper; with sharp pointed scissors snip a small piece -out of the centre of the circle, and by the warp and weft -threads, cut up almost to the edge to allow the material -to be turned back quite close to the edges of the double -row of tacking, about six cuts to the half-circle. Begin -to work in the following way:—Secure the thread at the -edge nearest the worker by running it along the outline -for a short distance—knots are never used—and bring -it out on the surface; hold the material so as to be able -to work towards the centre of the circle—that is, away -from the worker; make the first stitch by inserting the -needle from underneath; draw up the thread until there -is only a small loop left; put the needle through the loop<span class="pagenum" id="Page_139">[Pg 139]</span> -from underneath and tighten with a jerk of the thread. -Repeat these stitches, but not too closely, round the circle, -turning the material under as the work proceeds; finish -with the last stitch into the first loop. The button-hole -stitches should not be worked either too closely or too -tightly—about six or seven stitches to a quarter of an -inch. The inner row is worked in open button-hole -loops (see <a href="#s13">Fig. 52</a>), one loop into the head of every fourth -stitch; this can be strengthened by working back along -the top, one stitch into each loop. A close row of -button-holing, or, if preferred, another row of open -button-holing, should be sufficient to fill the circle. Carry -the thread down over the first button-hole loop, which is -a single thread, and secure it at the back of the linen.</p> - -<p>The centre filling, composed of groups of three loops -and pyramids, is worked as in Fig. 59. The working -of continuous pyramids is described in connection with -the cosy slip. Isolated pyramids are worked in a slightly -different manner. Starting from the left, work seven -button-hole stitches into the heads of the seven stitches -surrounding the open space; overseam back to the left; -work six button-hole stitches into the previous row; -overseam back; work five button-hole stitches and overseam -back, when there is only one stitch left; overseam -down the right side of the pyramid; this brings the -needle into position to work the next group of loops. -When all pyramids and loops are finished, pick up a -pyramid and a loop alternately with a button-hole -stitch into each; overseam one stitch into each loop, -then down the side of the last-made pyramid; fasten -off at the edge.</p> - -<p><span class="pagenum" id="Page_140">[Pg 140]</span></p> - -<p>The flowers in Plate XIV. are worked down the outer -edges in blue and white linen embroidery thread. The -stitchery used can be fairly well seen from the illustration. -The largest flower in the corner has a row of -eyelet holes, made at equal distances to finish the hedebo -centre; the space is further ornamented with open -button-holing (Fig. 53, Plate X.) in blue. This stitching -should be commenced at the centre; the final row is -worked into the linen and headed by a line of back -stitch in white; a line of chain stitch in blue finishes the -flower. The flower on the left has a waved line of -closely set French knots, filling up the space, followed -by a row of chain stitch in white. The little outer -spaces between the curves are filled in with oriental -stitch (Fig. 18); these alternate with French knots -worked in blue. The flower on the right is filled in with -loop or petal stitch, and finished with a double row of -blue knots.</p> - -<p>Rhodes embroidery is rather different from the other -peasant embroideries. It is less varied, and so it is more -monotonous and less interesting to work than many of -the openwork or drawn-thread varieties. It seems to -be of very ancient origin, and though it has been brought -into prominence lately, under different names, it is only -a revival of the old form of needlework done by the -people of the Isle of Rhodes and adapted to modern -methods. The old work was done on hand-made linen; -the background was worked in red and the design left -in the linen, with an outline stitch to define it; it was -thrown strongly into relief by the colour of the worked -background.</p> - -<p><span class="pagenum" id="Page_141">[Pg 141]</span></p> - -<p>“<b>Punch Work.</b>”—In America this embroidery is -known under the name of “Punch work.” It is much -used as dress trimmings and for bed linen and table -wear; as the fabric is not weakened by the withdrawal -of the threads, it stands wonderfully well for articles of -daily household use.</p> - -<p>The linen should be loosely-woven so that the warp -and weft threads can be gathered easily together without -puckering the work—if hand-made, so much the better; -a linen working thread, strong but fine, and a thick -needle are required so as to separate the strands of the -material. Special needles may be had from needlework -depots at 1<i>d.</i> each. The strong fine thread draws the -clusters together and yet does not fill up the open spaces -which are a feature of the background. Fig. M, Plate II., -gives an idea of how the stitch is worked, but in the -figure the working thread is cotton, and each group of -five threads is gone over twice, so that the open spaces -are rather smaller than they would be if a linen thread -had been used. When the material has been chosen -and the design traced on, fix the work on to a drawing-board, -and with a ruler mark off the dots in rows one-eighth -of an inch apart; note particularly in starting -the first row of dots, that they are in a perfectly straight -line—with the warp or weft of the linen; this is very -important, as the work will not look well unless care is -taken in marking these dots. If the warp and weft lines -of the material are easily followed without strain to the -eyes, these dots need not be marked, but in many cases -it is better to have a guide of some sort, particularly -when fine linen or muslin is used. Another method of<span class="pagenum" id="Page_142">[Pg 142]</span> -marking in the pattern of dots is to use an open canvas -as a guide; this can be placed over the linen and fixed -with drawing-pins at the top; the dots can be marked -with a knitting needle or traced at regular intervals -through the threads of the canvas with a sharp-pointed -pencil. The only difficulty in using the canvas is that -the lines of warp and weft of the linen are hidden, so -care must be taken to make both materials correspond, -otherwise the dots will be off the straight line and the -work will prove most unsatisfactory when finished. -Some workers prefer to do the outlining of the design -first and the background afterwards, others reverse the -process—much depends on the worker herself; the -background can be kept free from puckering by placing -the work in a frame.</p> - -<p><b>To work Fig. M.</b>—Tie the thread to begin with; -bring the needle out at the first dot of the top left-hand -corner; put it down through the dot to the right; pull -the three or four strands together and repeat this -horizontal stitch to tighten; pass the needle diagonally -under to the second left-hand dot—exactly under the -first; make an upward stitch into the first dot; pull -strands together; repeat stitch and tighten—this brings -the needle to the surface again with one horizontal and -one vertical stitch completed. Repeat these two stitches -to the end of the row. These stitches should form three -sides of a square, the fourth side being added with the -second row.</p> - -<p>When the edge of the space is reached, turn the work -round so as to be able to work from the top down, as -at starting. Make a little stitch to keep the thread firm,<span class="pagenum" id="Page_143">[Pg 143]</span> -on the wrong side, then bring the needle out at the dot -to the left; put it down through the previous hole—horizontal -stitch; repeat; take a vertical stitch, putting -the needle down into the previous hole, and, completing -the square (Fig. M), repeat; pass the needle diagonally -under the material to the next dot, and so on. When -a very fine material is used the groups of threads may -be held together by a single stitch instead of a double -one. This background may be worked in a different -way, all the horizontal stitches being worked first, and -then the whole turned half round and the vertical -stitches, which are now horizontal, worked next. This -may commend itself to some, being rather a simpler -method; it is done entirely in horizontal stitches and -needs no description after studying the first method. -After the background is finished the design may be -worked in with satin stitch, chain stitch, outline stitch -or button-hole stitch. This should be done in the hand.</p> - -<p><b>Richelieu Embroidery.</b>—Richelieu embroidery—another -of the embroideries worked in button-hole -stitch—is even simpler in execution than Danish work, -as the material is not cut away until the button-holed -bars—which connect the pattern—are finished. It is -worked in the hand, generally over a piece of <i>toile cirée</i>—American -cloth specially made for embroidery. The -entire design is outlined in small tacking stitches with -embroidery cotton; the bars are then worked in—they -always have picots, which is characteristic of Richelieu -work. For the working of bars see <a href="#s5">Fig. 24</a>, and of -picots, <a href="#s2">Fig. 57</a>. Care must be taken to secure the ends -of the bars, by passing the needle through the linen to<span class="pagenum" id="Page_144">[Pg 144]</span> -the back and making a stitch, before running the stitches -along the outline to the point for the making of the next -bar. The design is then button-holed all over in equal-sized -stitches; the flower centres are worked in, and -finally the linen is cut away very close to the button-holed -design with a sharp pair of embroidery scissors.</p> - -<div class="figleft" id="s13"> -<img src="images/fig69.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 52.</span></p> -</div> - -<p><b>Edging: Point de Bruxelles</b> (<b>Fig. 52</b>).—This -Fig. 52, which consists of a piece of Honiton braid with -an edging, shows the working of one of the most elementary -of the lace stitches. It will be seen at a glance -that it is the familiar button-hole stitch worked in loose -loops; to lace-makers it is known -as <i>point de Bruxelles</i>. It is a -stitch constantly in use with them -as it forms a good foundation net, -and charming patterns may be -made with it when worked in rows, -backwards and forwards. <i>Point de Bruxelles</i> is frequently -found in laces of different types as it may be worked -closely or openly to suit various styles and designs. The -stitches are worked into the loops of the previous row; -sometimes a strengthening thread is stretched from right to -left, in which case the button-hole loops are worked from -left to right over this thread, as well as into the loops of -the upper row. There are many beautiful varieties of -patterns for covering spaces or openwork fillings to be -made from this simple foundation stitch, by varying -the grouping of some and duplicating others (Fig. 53). -What is known as double-net stitch has two button-hole -stitches worked into each of the loops of the previous -row. When used as a surface stitch worked in coarse<span class="pagenum" id="Page_145">[Pg 145]</span> -threads the loops may be fairly loose, provided care is -taken to keep them regular in shape and size. For -those who are not expert a frame is helpful or a piece -of stiff glazed calico or brown paper—either might be -utilised to keep the material stretched.</p> - -<p>As a filling for an open space they should be worked -much smaller and closer in a linen thread, the size mainly -depending upon the opening to be filled in.</p> - -<div class="figright"> -<img src="images/fig70.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 53.</span></p> -</div> - -<p><b>Point de Sorrento.</b>—In this (Fig. 53) there is a -pleasing variety of the same stitch. It also has a special -name among laceworkers—<i>point -de Sorrento</i>, although only -varying slightly in the arrangement -of the loops from <i>point de -Bruxelles</i>. It is used principally -for the filling of open spaces and -is comparatively quickly worked. -Good results, too, can be had by -filling in large spaces with -woollen threads of the twisted type. In the first row -the stitches are taken rather closely together but equally -distributed in the second row; one stitch is worked -into the last loop of the first row; one loop is missed; -one stitch into each of the two following loops, and -so on across the space. The pattern starts on the left -side and is worked to and fro, the third row, therefore, -starts from the left again with one stitch into the -smaller loop and three into the wider loop.</p> - -<div class="figcenter"> -<img src="images/fig71.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 54.</span> <span class="smcap padl">Fig. 54a.</span></p> -</div> - -<p>Fig. 54 is rather a favourite pattern, but the making -of the small wheels or roses is just a little tedious. The -foundation is a row of looped button-hole stitches,<span class="pagenum" id="Page_146">[Pg 146]</span> -similar to Fig. 52, worked into a circle of braid or a row -of not too closely worked button-holed material as -described on p. 138. If the circle is small, another row -added to this and drawn up by overcasting the inner -circle will often be sufficient. The little wheels take -up quite a large space themselves, but where such -elaborate stitching is wanted they look very effective.</p> - -<p><i>Method</i>:—After the row of open loops has been made, -overcast a single stitch into each loop and draw up the -thread to tighten the circle; the first row of open -button-holing should be nicely spaced to leave room for -the forming of the little wheels. The little wheel-like -forms are woven in and out of the connecting stitches -as is clearly shown in Fig. 54<span class="allsmcap">A</span>. Another method of -filling in a circle is as follows:—Make a row of open -button-holing as Fig. 52, spaced widely, so that there -may be eight or ten loops in the round. This done, -draw them up by overcasting one stitch into each loop; -then carry the thread back to the edge of the braid at -the starting point of the first button-hole loop—this is -necessary to complete the first loop, the last half of<span class="pagenum" id="Page_147">[Pg 147]</span> -which, so far, has only got one strand. Add two more -threads to this half-loop by carrying the needle to the -centre and back again; this acts as a strengthening or -padding thread to the half-loop, which has now to be -button-holed from the outer edge to the inner circle. -Each loop is worked in the same way, always adding the -padding threads and starting the button-holing from the -braid, and from there working towards the centre. -When each loop has been worked, button-hole round -the inner circle with the heading towards the outer -ring; slip the thread up through the first bar and finish -off neatly.</p> - -<div class="figright"> -<img src="images/fig72.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 55.</span></p> -</div> - -<p>Fig. 55 gives a simple method of filling in a square -opening with a circular form. It is not so complicated -as one might suppose. Start at -the lower left-hand corner and -lay the threads for the square; -then the first diagonal line is -stretched across to the top right-hand -corner; overcast it back—in -the method shown in the -diagram—as far as the centre -only. From this point—the -centre—each thread is laid in succession to the edge—vertical, -diagonal, horizontal, each one in turn—and -overcast back to the centre; when the circle is complete, -overcast the second part of the first diagonal back to the -edge. The loose button-hole loops are then worked, -two into each side of the side and the thread, passing -round the first incomplete loop, is interlaced round the -inner circle to strengthen and tighten it (compare<span class="pagenum" id="Page_148">[Pg 148]</span> -Fig. 55). Now complete the first button-hole loop; make -the final outside circle and finish off the thread. If the -filling looks rather thin when finished it may be solidified -by working a row of close button-holing round the inner -circle.</p> - -<p>This stitch is an interesting one and rather less used -than the common <i>point de Bruxelles</i>, on account of the -initial difficulty of keeping it quite regular; a little -practice very quickly gives facility to a careful -worker.</p> - -<div class="figleft"> -<img src="images/fig73.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 56.</span></p> -</div> - -<p><b>A Netting Knot</b> (<b>Fig. 56</b>).—The knot is similar to -that used for netting. In working an open space as -in Fig. 56, it will be found of -considerable aid—towards the -equalising of the loops—if horizontal -lines are drawn on the -foundation material. The loop -may be fixed with a pin into -position, and the needle being -inserted behind the loop of the -upper row and the stretched -thread, the working thread is -then twisted over and under the needle before the thread -is drawn up. This stitch can also be worked without the -strengthening horizontal lines, either in diagonal or -straight lines. To work it diagonally, make the first -loop in the left top corner of the square; overcast a few -stitches along the top to reach the position for starting -the second row; each loop is secured with the knot as -in Fig. 56, their regularity and equal length being -ensured by the pin which is stuck into the foundation. -<span class="pagenum" id="Page_149">[Pg 149]</span>In netting, a knitting needle or small mesh is used -instead of a pin.</p> - -<div class="figcenter" id="f14"> -<p class="captionr">PLATE XIV.</p> -<img src="images/fig74.jpg" alt=""> -<p class="captionc">CORNER OF COT COVERLET—UNFINISHED (<a href="#Page_138"><i>See p. 138</i></a>)</p> -</div> - -<p><b>Edgings.</b>—A very dainty and durable little edging -may be made by working this knot on to a coloured or a -lace braid. In Fig. 30 the knot comes at the edge of the -material, while with this <i>point Turc</i> knot the edge of the -loop is knotted. If the loop in the edging in Fig. 30 is -worked rather tighter, it also makes a very durable finish.</p> - -<div class="figright" id="s2"> -<img src="images/fig75.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 57.</span></p> -</div> - -<p><b>Picots</b> (Fig. 57).—The little pin picot is occasionally -used as a finish to a button-hole edging. It is rather -ineffective, having only a single thread, which is apt -to disappear after a little -wear. Fig. 23 gives a much -more substantial picot in -bullion stitch.</p> - -<p>To work Fig. 57, button-hole -a few stitches along the -edge or bar as the case may be; fix a pin into the material -or bar and pass the thread under it; take a stitch into -the material; bring the needle out at the back; slip it -under the three threads from left to right (see Fig. 57) -and draw through. Make a firm knot close to the edge -of the material, then continue the button-holing till the -next point is reached.</p> - -<p><b>Venetian Picot.</b>—A more substantial picot is used in -Venetian lace and embroidery as follows:—Make a -connecting bar by stretching three threads across from -one edge of the opening to the other, as in Fig. 26. -Button-hole half-way across, then insert a pin as Fig. 57, -but pass the thread under the pin and over the bar -twice; then begin to button-hole the picot at the point<span class="pagenum" id="Page_150">[Pg 150]</span> -where the pin is inserted and work five or six button-hole -stitches till the bar is reached; the point must be closely -covered, then continue the button-holing of the bar.</p> - -<div class="figleft"> -<img src="images/fig76.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 58.</span></p> -</div> - -<p>Fig. 58, <i>a</i>, <i>b</i>, <i>c</i>, show how a solid little picot may be -worked as an edging; it should have some decorative -stitch to join up the -picots, such as large -overcasting, button-hole, -chain or couching -stitch. It is generally -easier to work the picots -with the edge held -away from the worker. -Make a loop as at <i>a</i>; -fasten it with a pin; then take the thread to the top of -the loop and pass it round as <i>b</i>. Then interlace backwards -and forwards, passing the needle under the thread -before going over to the opposite side, <i>c</i>. Repeat four -or five times until the loop is filled. A twisted thread -of a fairly thick make is most suitable for these picots.</p> - -<div class="figright"> -<img src="images/fig77.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 59.</span></p> -</div> - -<p><b>A Button-hole Edging.</b>—Fig. 59 shows how to -work an edging which -is particularly suitable -for household linen, -table mats, towels, etc.; -being both strong and -durable, it will stand the -hard wear which household -articles in daily -use are subjected to.</p> - -<p>Figs. 60 and 61 are<span class="pagenum" id="Page_151">[Pg 151]</span> -very good surface stitches, both of which make bold -and most effective headings to a border or band of -needle-weaving. Both depend considerably on the care -with which the foundation stitches are worked; if these -are not equally distributed and the interlacing thread -carefully adjusted to form the circles or links of the -pattern the decorative value -of the line or filling is spoilt.</p> - -<div class="figright"> -<img src="images/fig78.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 60.</span></p> -</div> - -<p><b>A Border Stitch</b> (<b>Fig. -60</b>).—To work as Fig. 60 -three rows are required to -complete the stitch. First -make a row of horizontal stitches on a level with each -other; then take a long thread and pass the needle, eye -foremost, up under the first small stitch, down through -the second, and so on, till the first row is finished—the -second row of interlacing -completes the link.</p> - -<div class="figleft"> -<img src="images/fig79.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 61.</span></p> -</div> - -<p><b>An Interlacing Border -or Filling</b> (<b>Fig. 61</b>).—The -stitch may also be used as -a background or filling, in -which case the ground must -first be patterned over with alternating rows of horizontal -and vertical stitches, equally spaced. The vertical -stitches hold the lower and upper edges of the links -together—one such stitch is seen on the left of Fig. 60. -Fig. 61 looks well if the foundation stitches are worked -in one colour and the interlacing threads in another. -By looking at the figure it will be seen that four small -horizontal stitches are required to support the interlacing<span class="pagenum" id="Page_152">[Pg 152]</span> -threads, in groups of two. These must be equally -spaced so that the rings may be equal in size. After -the foundation stitches are worked proceed exactly as in -Fig. 60. Take a long thread for the interlacing of the -first row; pass the eye of the needle foremost through -the small stitches to prevent splitting of the threads; -follow by a second row, which completes the ring.</p> - -<p>Fig. 13 gives a row of large back stitching with an -interlacing thread which is worked in a similar way, and -which makes a good firm -line or heading to a border -or hem.</p> - -<div class="figleft"> -<img src="images/fig80.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 62</span></p> -</div> - -<p><b>Two Leaf Fillings</b> -(<b>Fig. 62</b>).—This filling for -a leaf or oval form is quickly -worked; it may be used -equally well for a surface -stitch. Fig. 62 represents a -leaf with a lace braid for the outline. The central -thread which forms the mid-rib is stretched first, the -loosely worked loops are then threaded over this. This -very simple arrangement looks remarkably well, and can -be still further enriched by spacing the loops much -wider apart, stretching horizontal lines across the spaces -and forming little woven wheels, or rosettes, over them, -down the mid-rib. This is, of course, a much more -elaborate type of leaf, and would be used to fill quite a -large space.</p> - -<p>There are many simpler methods of filling leaf forms -or oval spaces—a row of button-holing, <i>point de Bruxelles</i> -(Fig. 52) worked round the inner edge, followed by<span class="pagenum" id="Page_153">[Pg 153]</span> -one or two rows of looped button-hole stitch (Fig. 53), -and closed down the centre by a line of faggot, or Russian -stitch, finally overcasting a few stitches to the edge in -order to finish off the thread neatly.</p> - -<p>Similarly, Fig. 62 <i>b</i>, may also be worked either as a -surface filling or as an open one. The horizontal lines -are stretched first, then overcasting from left to right of -the straight lines fixes these transverse threads; otherwise -they would be apt to get out of place, as they are -only threaded over the one line and under the other.</p> - -<p><b>Point de Venise</b> (<b>Fig. 62</b> <i>a</i>).—This can be worked on -to baby garments, or to any article where a dainty -finish is required. It looks even better if the heading is -of some of the lace braids. The thread is secured at the -edge and a looped stitch is taken as a foundation thread -into which are worked four button-hole stitches—to -form a scallop. This charming edging is much used in -<i>point de Venise</i>. The same stitch also makes a beautiful -filling pattern.</p> - -<p><b>A Useful Bag.</b>—Plate XIII. illustrates what -may be done with such simple materials as canvas, -braid and wool. The foundation of canvas has the design -traced on to the material; it consists of a series of little -circles and half-circles, which overlap here and there, -and which are eventually turned into gay little conventional -flowers by means of bright-coloured wools. -These flowers are mostly worked in petal stitch (Fig. 3<span class="allsmcap">A</span>), -and French knots (Fig. 22<span class="allsmcap">A</span>). The band is enclosed by -two rows of braid, oversewn with green, blue and purple -wool. The foot of the bag is made up of an oval of -braid worked in rows from the centre outwards; the<span class="pagenum" id="Page_154">[Pg 154]</span> -tassels, also of braid, are brightened by rings and tags -of wool; little thin lines of tinsel threads are darned -into the canvas—these serve to connect the embroidered -band with the upper decoration. The embroidered rings -which hold the draw strings are extremely pretty. This -note of originality, and indeed, the whole bag, conveys -to one’s mind the impression of the bright personality -of the worker who thus gives outward expression of the -joy it gives her to work with her needle.</p> -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_155">[Pg 155]</span></p> - -<h2 class="nobreak" id="c13">CHAPTER XIII</h2> -</div> - -<p class="c less">DECORATIVE FLOWERS AND LEAVES—EDGING<br> -AND INSERTION</p> - -<div class="blockquot"> - -<p>“Take the gifts, too, to serve as monuments of my hand -labour.”</p> -</div> - - -<p><span class="smcap large">These</span> little flowers are a dainty trimming for hat -bands (Plates IX. and XII.), collars, ribbon, ties and -jumpers, for dress decoration, or as an addition to -almost any article of daily wear: further, they are so -simple to work that a very few directions will enable -any one to make and apply them to whatever object may -be chosen for decoration.</p> - -<p><b>Crochet.</b>—All crochet consists of a series of little -loops made by a needle or hook, these being worked or -drawn together in various ways to form patterns or -designs suitable for edgings, insertions, motifs, etc., for -domestic use, and innumerable articles of personal wear.</p> - -<p>The foundation stitch is a chain, and all patterns -commence with it—two or three or more, according to -the article to be formed. Most crochet patterns are -worked in rows, backwards and forwards, or all from one -end; in the former case, the work must be turned at -the end of the row, after making two or three stitches -to allow for turning; therefore, the second, fourth, and -sixth row, etc., will be worked on the opposite side from<span class="pagenum" id="Page_156">[Pg 156]</span> -the first, third, and fifth, etc. When the rows are all -started from the same end, the wool must be cut off at -the end of each row, and commenced again at the -beginning of the next. Crochet is -worked, as in ordinary needlework, -from right to left.</p> - -<div class="figright"> -<img src="images/fig81.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 63.</span></p> -</div> - -<p><b>Chain Slip-knot</b> (<b>Fig. 63</b>).—We -will start then with a slip-knot, -which forms the first loop for the -chain (Fig. 63). Wind the wool once round the first two -fingers of the left hand and pull the long end of the wool -through the circle thus made in a such a way as to form -a loop; insert the hook; pull both ends of the wool and -tighten the knot sufficiently to leave -an easy passage for the hook through -it. The next stitch is made by taking -up the long end of the wool with the -hook and drawing it through the loop. Repeat this -process until the length of chain required has been -obtained (Fig. 64). A little practice will soon give the -regularity of stitch necessary.</p> - -<div class="figleft"> -<img src="images/fig82.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 64.</span></p> -</div> - -<p><b>Single Stitch.</b>—To practise single crochet, make a -chain about 12 inches long; put the hook into the upper -half-loop of the second chain; throw the wool over the -point and draw it through this half-loop and through -the loop which is already on the hook. Proceed in this -way to the end of the chain; work one chain; turn and -work back again, taking care to put the hook into the -upper half of the stitch of the previous row. Thus the -first stitch of each succeeding row is always worked into -the back of the last stitch of the preceding row.</p> - -<div class="figcenter" id="f15"> -<p class="captionr">PLATE XV.</p> -<img src="images/fig83.jpg" alt=""> -<p class="captionc">TWO SIMPLE BASKETS (<i><a href="#Page_169">See p. 169</a></i>)</p> -</div> - -<p><span class="pagenum" id="Page_157">[Pg 157]</span></p> - -<p><b>Double Stitch.</b>—Double stitch is not very different -from single stitch. Put the hook into the upper half of -the third chain from the hook, as in single stitch; pass -the wool over the hook and draw it through. There are -now two loops on the hook. Pass the wool over again and -draw it through these two loops; continue to the end of -the chain and turn as in single stitch.</p> - -<p><b>Treble Stitch.</b>—This stitch uses up much more wool -than the two preceding ones. Begin by passing the -wool over the hook, then insert it in the upper half of -the chain already made; draw the wool through and -there will be three loops on the hook. Put the wool over -the hook and draw it through two loops; put it over a -third time and draw through the two remaining stitches. -That completes a treble stitch. It will now be noticed -that for a single stitch the wool passes over the hook -once, for a double stitch it passes over twice, and for a -treble stitch it passes over three times.</p> - -<p><b>Long Treble Stitch.</b>—Long trebles are made by -passing the wool twice over the hook to begin with, then -working it by drawing the needle through two by two, -always remembering to pass the wool over the hook, just -as in treble stitch. When working trebles to and fro, -four or five chain stitches must always be made at the -end of each row before turning. When the work is -turned, these chain stitches form, or rather replace, the -first treble, which is skipped. This keeps the edges more -regular.</p> - -<div class="figleft"> -<img src="images/fig84.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 65.</span></p> -</div> - -<p><b>Ladder Insertion</b> (<b>Fig 65</b>).—Fig. 65 forms a useful -little insertion or ladder on which to place the crochet -flowers. It connects the groups and prevents the<span class="pagenum" id="Page_158">[Pg 158]</span> -spotty appearance which would be rather a disadvantage -if the flowers were scattered in arrangement (Plate XII.). -It is very simply worked. Make a chain the required -length, then add three or four stitches for turning, to -allow for the depth of the -treble; insert the hook -into the fifth half-loop, -counting backwards, and -make a treble stitch as described -(p. 157); crochet -one or two chain between -each treble stitch to correspond -with the number of -chain stitches passed over.</p> - -<p><b>Hooks.</b>—In making the flowers, it is better for a -novice to work with a bone crochet hook and wool; -steel hooks are used for fine threads, flax, silk, or cotton, -and are not quite so easy to manipulate as bone or -wooden ones. The point of the hook ought to be quite -free from roughness, as the wool -or thread of any kind is so easily -ruffled.</p> - -<div class="figright"> -<img src="images/fig85.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 66.</span></p> -</div> - -<p><b>Flowers</b> (<b>Fig. 66</b>).—To make -the simplest flower, work five -chain and join (Fig. 66 <i>a</i>). This -figure is worked very loosely in -order to show the method. Then -make seven chain and one double -crochet into the ring; five chain -and one double crochet into the -ring. Work in this way until<span class="pagenum" id="Page_159">[Pg 159]</span> -seven little petals have been formed, then join into -the third chain; finish off by cutting the wool and -pulling it through. Thread a needle with the cut end, -and slip it down the chain to fasten off. This forms -a tiny flower, which may be duplicated in various -tones of the same colour and sewn on to the foundation -with cross stitch or French knots. The sizes of the -flowers will vary considerably according to the thickness -of the hook and thread used, as well as to the -method of working, but it is always better to crochet -flowers firmly to keep them in shape.</p> - -<div class="figright"> -<img src="images/fig86.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 67.</span></p> -</div> - -<p><b>A more elaborate Flower</b> (<b>Fig. 67</b>).—Fig. 67 gives -a slightly more elaborate -flower.</p> - -<p><i>Method</i>:—Work six or -seven chain and join by -pulling the loop through -the first stitch. To make -the petals, work four chain; -three treble stitches into -the ring; four chain and -one single or double stitch -into the ring—this completes -a petal. Notice that the four chain at the -beginning and end form the sides of the petal. Be -careful not to split the wool while working, as this spoils -the appearance of the flower. Make five, six, or seven -petals and join at the ring as before.</p> - -<p>If a larger flower is wanted, make a small flower as -Fig. 66 for the centre, and work the petals into the -openings instead of into the ring; the petals may be<span class="pagenum" id="Page_160">[Pg 160]</span> -made fuller also by adding more treble stitches to each -one.</p> - -<p>Figs. 66 and 67, if worked in silk, cotton, or flax, make -quite a pretty decoration; the flowers may be folded into -various shapes and an interesting touch of colour or a -stitch here or there, or an outline of button-holing will -add richness and variety to the work (Plate XV.).</p> - -<div class="figleft" id="s10"> -<img src="images/fig87.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig</span>. 68.</p> -</div> - -<p><b>Leaves</b> (<b>Fig. 68</b>).—Leaves are quite simple to make, -and, of course, will vary in size and form, just as the -flowers do, according to the size of -the hook and the thickness of wool -used. A chain forms the mid-rib of the -leaf, and into this double, treble and -long treble stitches are worked up one -side of the chain and down the other, -the long trebles coming at the widest -part and decreasing towards the tip.</p> - -<p><i>Method</i>:—Make nineteen chain as -a foundation; work one single stitch -into the second chain from the hook, one double crochet -into each of the next two chain, one treble stitch into -each of the next two chain, one long treble into each -of the next eight chain, one treble into each of the next -two chain, one double crochet into the next chain, three -double crochet into the last chain. These three stitches -form the tip of the leaf. Continue with one double -crochet into the next chain; on the other side of the -chain a treble stitch into each of the next two chain, -and so on—repeating the stitches as on the ascending -side—to the end of the chain (Plate XII.). This leaf -may be enlarged by working a row of double stitch all<span class="pagenum" id="Page_161">[Pg 161]</span> -round, while a smaller one may be made by starting -with thirteen or fifteen chain and putting in fewer -long trebles.</p> - -<div class="figright"> -<img src="images/fig88.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 69.</span></p> -</div> - -<p><b>Wired Leaves</b> (<b>Fig. 69</b>).—Another type of leaf -(Fig. 69) is made with two lengths -of covered green millinery wire—any -wire will do so long as it is -covered—which are tied together in -the centre with green silk and then -bent into the form of a leaf and -fastened at the foot with silk or -wool. The wire is then interlaced -with wool, flax, or silk, or chenille, in -green, blue, or any colour desired. -As the weaving proceeds in and out, -take care to push the rows closely together until the tip is -reached; pass the needle and thread twice round the -tip and slip the needle down the centre to the stem, -where the thread is wound round and round until it is -firm and a sufficient length of stem is covered.</p> - -<p><b>Wired Flowers.</b>—Flowers may -be made in the same way, each petal -being treated as a leaf; five or six -are then tied together to form the -stem, and French or bullion knots -added in another colour—to give -stamens and pistil for the centre.</p> - -<div class="figleft"> -<img src="images/fig89.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 70.</span></p> -</div> - -<p><span class="smcap">A Useful Cord</span> (<span class="smcap">Fig. 70</span>).—Fig. -70 makes a very good finish -for various purposes; it is a chain -made with double stitch. Begin<span class="pagenum" id="Page_162">[Pg 162]</span> -with two chain; put the hook into the first chain; pass -the thread over and draw it through in a loop; pass -the thread over again and draw it through the two loops -on the hook; put the hook into the left side of the -stitch just made; pass the thread over the hook and -draw it through; pass the thread again over the hook -and draw it through both stitches; continue in this -way till length required has been worked. This little -cord will be useful for bags, edgings for coats and -jumpers and many other articles.</p> - -<p><b>Tricot</b> (<b>Fig. 71</b>).—Fig. -71 represents another type -of crochet, sometimes called -Victorian or Tunisian crochet -or simply crochet tricot. It -makes a firm, close, yet -elastic piece of work, and -is specially suited to the -making of children’s slippers, -scarves, bonnets, reins, braces, collars, hat bands, etc. -It is always worked in rows—never in rounds—and -a long straight hook with a knob at the end is necessary -as all the stitches on the advancing row are kept on -the hook and worked off on the return row—these two -rows complete the stitch, which is worked on the right -side backwards and forwards.</p> - -<div class="figleft"> -<img src="images/fig90.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 71.</span></p> -</div> - -<p>Tricot crochet is commenced with a chain the exact -length and finished off with single stitch.</p> - -<p><b>A Tricot Collar</b> (<b>Plate IX.</b>).—The collar in Plate -IX. is worked in Knox’s linen “cord” floss thread. -Make sixteen chain and work three rows of double<span class="pagenum" id="Page_163">[Pg 163]</span> -stitch to keep the ends from curling up as they would -do if the tricot stitch was started right away. For the -tricot, the loop row is worked thus:—Put the hook -through the first stitch; pass the thread over and draw -it through in a loop; put the hook through the second -stitch and pass the thread over; draw through in a loop; -continue in this way to the end of the row, when there -should be sixteen loops on the hook. Put the thread -over the hook and draw it through one loop; pass the -thread over and draw it through two loops; keep on -repeating this, passing the thread over and drawing -through two loops until there is only one stitch left on -the hook. These two rows complete the stitch. In the -next row, the loop row, put the hook through the hole -between the first and second stitches; pass the thread -over and draw it through; pass the thread over the -hook again and draw it through the first of the two loops -on the hook; repeat to end of row, always putting the -hook into the hole between the stitches; count the -stitches at the end of the rows, as it is quite a common -mistake for a beginner to increase or decrease by missing -or making stitches.</p> - -<p>The collar is finished with a row of single stitch right -round, a deep picot fringe to the ends with flowers -worked in Knox’s linen “cord” floss thread in delicate -tints edged with silver thread and placed in groups to -give weight, interest and finish to the whole.</p> - -<p><b>Picots.</b>—Picots (Fig. 72) make a dainty finish for an -edging of crochet, needlework, or lace. Collars, table -mats and many small articles may be improved by these -light points of various shapes; the one objection to them<span class="pagenum" id="Page_164">[Pg 164]</span> -is that they lose in appearance after washings and so are -not suitable for rough wear unless substantially made.</p> - -<p><b>Plain Crochet Picots.</b>—Crochet picots are quickly -and easily worked. For a plain triangular point, make -six chain, then work one treble stitch into the first -chain made, that is the stitch furthest from the hook. -Repeat six chain and one treble into the first chain -for the length required—the six chain form the little -triangular points or picots, the treble stitch forms the -heading.</p> - -<p><b>Dropping Picots.</b>—These dropping picots are a -little more solid in appearance than the plain picots. -Make five chain; withdraw the hook from the loop and -insert it in the second of the five chain stitches just made; -take up the loop dropped; pass the thread over the needle -and draw it through the two loops; repeat with five -chain; drop the last loop; insert in second chain; take up -the dropped loop; put the thread over the hook and draw -through both loops. Continue in this way for the length -required.</p> - -<p><b>Crochet Lace Picots</b> (<b>Fig. 73</b>).—Lace picots, as the -name suggests, are generally worked in fine threads; -nevertheless, they can make very effective trimmings if -worked in wool or stout thread over a mesh, and will -wear wonderfully well.</p> - -<p><b>Two-chain Picots.</b>—Commence with two chain; -put the hook into the first chain; pass the wool over and -draw it through the stitch—there are now two loops on -the hook; work two chain, then slip the loop nearest -the end of the hook off on to a thin wire or mesh and -repeat. Put the hook into the first of the two chain;<span class="pagenum" id="Page_165">[Pg 165]</span> -pass the wool over and draw it through the stitch; work -two chain and slip off the last loop. It is sometimes -easier to withdraw the needle from the two loops instead -of slipping the last loop off the end of the hook and to -replace it into the front loop.</p> - -<p>This edging may be sewn to a piece of work.</p> - -<div class="figright"> -<img src="images/fig91.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 72.</span></p> -</div> - -<p><b>Picots</b> (<b>Fig. 72</b>).—The following picot is worked -directly on to the edge -of the finished piece of -crochet, or it may be -worked into a length of -chain and overcast to -the edge of any article -suitable. Put the hook -into the first stitch; -pass the wool over and -draw through; work one double crochet (see <a href="#Page_157">p. 157</a>) -into the next chain; draw out the loop to the desired -length for the picot and slip it on to a mesh or pencil; -insert the hook into the horizontal stitch at the foot of -the loop; pass the wool over the hook and draw a loop -through; make a double crochet stitch into the next -chain; draw out the loop and slip on to the mesh; -repeat to the end of the work.</p> - -<p><b>Two-pronged Fork.</b>—A very quickly worked insertion, -fringe, or edging may be made by means of a two-pronged -fork. The little implement can be manufactured -quite easily at home. For a fringe, a wooden -fork is necessary, with one wide and one narrow prong. -The usual fork is of thick steel wire and varies in size, -but as steel wire is too hard for the unskilled worker to<span class="pagenum" id="Page_166">[Pg 166]</span> -manipulate, a softer metal would be more satisfactory. -A length of copper wire about one-eighth of an inch in -diameter and 15 inches long, could be beaten into the -form of a hairpin (Fig. 73) by means of a hammer; if the -metal is too hard to take the curve it can be softened -by annealing it. The width between the prongs may -vary in different forks according to the width of the -insertion to be made, from half an inch to 3 inches apart -is the usual spacing. The -stitch is made with a crochet -needle, which will also vary -in size according to the -material used; for working -in fingering wool, three or -four ply, a No. 1 steel crochet -needle does very well. Cotton, -flax, wool, raffia, string and -metal threads, all may be -worked up to form various -useful articles for decorative -purposes. An effective fringe -could be made by threading -beads into the wool; the beads could be kept at the -edge of the wide prong.</p> - -<div class="figleft"> -<img src="images/fig92.jpg" alt=""> -<p class="captionc"><span class="smcap">Fig. 73.</span></p> -</div> - -<p><b>An Insertion or Fringe.</b>—Method of working:—This -insertion may be worked in two ways. By looking -at Fig. 73 it will be seen that the stitch is a very simple -one. Make a slip-knot as Fig. 63, and one chain; withdraw -the hook. Place the fork with the prongs upwards -in the left hand, between the thumb and the middle -finger; slip the chain stitch on to the left prong with the<span class="pagenum" id="Page_167">[Pg 167]</span> -thread towards the worker. Insert the hook from below -into it, then carry the thread round the right prong and -pass it over the point of the hook; pull it through the -loop; make one chain; put the thread round the left -prong and turn the fork to the right—slipping the hook -over the right prong at the same time so that it remains -in the same position between the prongs with the handle -to the worker; insert the hook into the stitch on the -left prong from below; catch the thread and pull through; -there are now two loops on the hook; close these by -putting the thread over and drawing it through both. -Repeat with the thread round the left prong as before.</p> - -<p><b>Raffia.</b>—A simple braid is done in three movements, -the fork being turned between each three. When -the fork is filled, closely covered, slip off the loops and -reinsert the two prongs into the last five or six loops, -then continue for the required length. Two or three -braids may be joined together by slipping one loop over -another, or a contrasting thread may be taken and two -loops on the one side may be joined together by a double -stitch; then make three chain; two loops on the other -side, joined again, then three chain; working in this -way, the joining forms a little row of vandykes in chain -stitch. The outer edges are then strengthened by one -double stitch into two loops; two chain; one double -stitch into the next two loops; two chain, and so on.</p> - -<p>Carpet and skirt braids may be joined together by -means of an insertion made in twine or raffia—the latter -being the more decorative. After making a row of gimp -on a wide-pronged fork, connect it to the carpet braid -by working two double crochet stitches into each loop<span class="pagenum" id="Page_168">[Pg 168]</span> -and two into the braid—if a sufficient number of rows -are joined together a strong and useful shopping bag -may be made, finished with handles of plaited raffia and -braid.</p> - -<p>A pretty crochet edging suitable for finishing off many -articles of personal wear or for domestic use, which wears -and washes well, may be worked directly on to the -material. Work a row of button-hole stitch into the -edges of the material; space the stitches rather widely so -as to allow of an easy entrance for the crochet hook—this -makes a daintier edging than inserting the needle directly -into the material. It is worked in three rows—a linen -thread gives the best effect. To work the first row, begin -with one double stitch into a button-hole loop, then two -chain, and one double crochet into every second button-hole -loop; on approaching the corners, work into every -loop so as to allow the next row to lie easily round them—nothing -spoils good work so much as to see the stitching -tightened and strained round the edges and corners. -When the first row is finished join the stitches with a -single stitch and commence the second row. Make eight -or ten chain according to the thread used and size of loop -wanted, then work double crochet into every third or -fourth loop of the previous row—give ease to the corners -by working three double crochet into each loop at the -finish of the row; join as in second row. For the third -row work ten or twelve double crochet stitches over the -chain loops, as these stitches should cover the chain loops -closely, when they look similar to button-hole stitching. -The appearance of this edging will naturally vary considerably -according to the size of the needle and thread -<span class="pagenum" id="Page_169">[Pg 169]</span>used. A very serviceable edging, not too minute, is -made with a No. 4 steel crochet hook and linen “L.C.” -crochet thread, No. 14.</p> - -<div class="figcenter" id="f16"> -<p class="captionr">PLATE XVI.</p> -<img src="images/fig93.jpg" alt=""> -<p class="captionc">A CUSHION COVER.</p> -</div> - -<p><b>Another Edging</b> (<b>Plate VII.</b>).—A very effective -edging is worked into a row of needle button-hole -stitch. Like the one above, it wears and washes -well. First row: work one double crochet into one -of the button-hole headings; make ten chain; pass -six button-hole loops and work one double crochet into -sixth loop; continue making ten chain and one double -crochet until the row is complete. Break off the thread. -Start the second row with one double crochet in the centre -of the chain loop; make ten chain and work one double -crochet into the centre of the next loop, and so on to the -end of the row; then join and break off the thread. The -third row is worked in a coloured thread. Take a blue -linen or cotton thread and start this row by working into -the first loop. Two double crochet, four chain, four -double crochet, four chain and two double crochet. Work -the same number of stitches in each loop. The chain -stitches form little picots; this makes a dainty little -finish to a table centre. Compare Plate VII.</p> - -<p>Plate <span class="smcap">XVb</span>. gives an example of a work bag made -from rug canvas. It is worked in cross stitch in two -shades of blue, light green and a reddish-purple raffia. -The edges are turned in and finished off with a border of -soft blue brush braid; the handles are of raffia, plaited, -in the different colours; the basket is lined with a printed -silk which matches the various colours.</p> - -<p>Plate XV. gives a Japanese basket woven in grass, -trimmed with cherry-coloured braid and crocheted<span class="pagenum" id="Page_170">[Pg 170]</span> -flowers—the flowers are sewn on with dark blue; the -lining consists of two shades of blue. The handles are -of cherry-coloured carpet braid. These baskets are so -very useful for the holding of odds and ends, mending, -or embroidery. Some of the simplest woven Japanese -baskets look very well when trimmed with braids in gay -colourings and little crochet flowers. The busy woman -might well have one of these useful little baskets with -work ready to her hand, or suitable in their contents to -her various rooms.</p> - -<p><b>A Cushion Case</b> (<b>Plate XVI.</b>).—The original is a -charming piece of work. The background, of a soft blue -tone, is worked in blues, bright greens, heliotrope and -cream. The design, in straight lines and circles, has two -bars of needle-weaving, the definite pattern of which is -shown to advantage by the plain woven bars on either -side. The bars are worked similarly to the latchet darns -which are frequently used instead of rings to support the -draw strings of bags.</p> - -<p>The design is so simple that it might be drawn directly -on to the material—this should not be a difficult matter -if the threads of the canvas are regularly woven. Put -in the main lines first—in the illustration these lines are -worked in satin stitch; use a ruler and a chalk pencil—the -latter is easily rubbed out if a mistake is made—then -run in the design in wool or thread. Measure off the -bars for needle-weaving, but do not cut and draw the -threads until ready to work them. Great care must be -taken in planning out the various parts of the design -to have all lines running accurately with the warp and -weft of the material, otherwise, when the woven bars are<span class="pagenum" id="Page_171">[Pg 171]</span> -put in, they will accentuate any mistake made. The -corners are in “laid” stitch, that is, the threads are -stretched loosely across from one side of the square to -the other, horizontally, then vertically—or <i>vice versâ</i>; -they are then sewn down at the junctions with tiny -cross stitches, which requires some care if the squares -are not to be displaced. The rows of running or tacking -stitches accentuate the oval in the centre. Cut and -draw the threads for the needle-weaving after the outer -band of satin stitch has been worked. The plain bars -should be worked in first, as they are simpler in construction. -When these plain bars are finished, divide up -the strands into groups of seven for the pattern, and one -group of eight—the latter forms the start and finish of -the pattern which should have four groups in each. -Weave in all the purple blocks to begin with; these, as -may be seen from the illustration, are widest at the base. -Weave over seven groups for one-eighth of the space; -leave out a group of threads on either side and weave -over five; then over three, and then over one group; -each step is fully one-eighth in height. This process is -then reversed, and the weaving finishes at the opposite -side over seven groups. The start and finish over four -groups can be followed from the illustration. The -central figures alternating in green and blue will then be -woven in without difficulty.</p> - -<p>The circles in the centre are worked in rows of satin -stitch; the flat green beads are surrounded by French -knots in cream, and each circle is surrounded on the -outer edge by button-holing in blue of a lighter tint than -the canvas.</p> - -<p><span class="pagenum" id="Page_172">[Pg 172]</span></p> - -<p><b>Useful Hints.</b>—As a preliminary to the embroidery -of a piece of work comes the putting on of the pattern. -This may be done in different ways, but whichever way -is chosen, it is well to realise from the outset that -accuracy is essential. All possible care should be taken -with the drawing on or tracing of the pattern or design; -all straight lines should follow the warp and the weft -of the material, when they are visible—the slightest -unevenness causes unnecessary trouble in the after-working.</p> - -<p><i>Transferring the Design</i>.—As previously mentioned, -in a design for coarse canvas a geometric pattern may -be put on with a ruler and a chalk pencil, but as chalk -gives a thickish blunt line and is also very easily rubbed -off, it is necessary to fix the design, either by running it -round with a needle and thread, or by taking a fine -brush and going over the chalk lines with Chinese white -or oil paint thinned with turpentine. Another method -is to lay a sheet of tracing paper over the design and -trace it through clearly and accurately; then, following -the plan of the little ones in the kindergarten with their -embroidery cards, lay the traced design, face up, on a -pad of felt, or on two or three folds of woollen material, -and prick little holes very closely together, along the -lines of the design.</p> - -<p><i>Pouncing</i>.—A needle or a fine glass-headed steel pen -will serve as a pricker. Lay the pricked design face -downwards on to the material—which has previously -been pinned on to a drawing board; fix the tracing, and -with a soft pad dipped in powdered chalk and charcoal -rub lightly across the holes from left to right—keep<span class="pagenum" id="Page_173">[Pg 173]</span> -always rubbing in the same direction; on removing the -tracing, the pattern should be perfectly clear. Take a -fine brush and go over the design with Chinese white or -red oil paint thinned with turpentine; this is called -pouncing. The superfluous chalk or charcoal will blow -off.</p> - -<p><i>Carbon Paper.</i>—A simpler method is to use carbon -paper, which may be had in yellow, blue and red. Fix -the material on a board and place the design carefully -and evenly on to it. Secure with drawing-pins at the -top line—leave the lower part free; raise the design—like -a flap—and place the carbon paper, colour downwards, -on to the material, then pin down the lower edges of the -design. Do not put the pins through the carbon paper -as they leave an ugly mark wherever pressure is applied; -thus rings and bracelets should be removed before tracing. -The upper pins keep the design in position, and progress -may be noted by removing the lower pins and lifting the -tracing and the carbon paper without disturbing the -position of the design.</p> - -<p>Yet another way is to trace the design through on to -a piece of tarlatan—an open-meshed muslin; this being -done, place the tarlatan over the material, take a drawing -pen, and with Indian ink run over the lines already there. -If this is quickly done, a clear line should show on the -material.</p> - -<p><i>Stretching.</i>—Embroidery sometimes gets rather -puckered while working. It can be much improved, not -by ironing, which is apt to flatten too much, but by -stretching. Simple needle-weaving with flat stitchery -may be laid on to two or three folds of blanket and<span class="pagenum" id="Page_174">[Pg 174]</span> -pressed without harm. For most other kinds of work -it is better to lay it face downwards on a board which -has already been covered with a napkin or a fine towel; -fix it at regular intervals with drawing-pins, and while -doing so stretch the material into its right shape, if -possible; be careful not to stretch it out of shape, which -would be worse than ever; then lay a damp cloth over -the work, leave it over-night to dry, and the puckering -should have disappeared by the time it is dry.</p> - -<p>There is really no need to pucker work if it is held -properly. Some stitches are more inclined to tighten -than others, but it is generally when working across the -material that they tighten it. The work should always -be held in a convex position over the fingers, and when -working in wools—which are sometimes very elastic—the -needle-worker should see that the threads lie easily -over the surface. If the background appears rounded -at the worked part on the under-side, the wools are too -tightly strained. When mistakes are made it is always -wiser to cut them out than to unpick—it does not harm -the material in the same way, and it is not extravagant, -as threads are generally too much roughened for use -after unpicking.</p> - -<p><i>Knots</i>, as a rule, should be avoided; threads should -always be cut, not broken off. The best way to commence -a new thread is to run a few stitches on the right side on -a part which will be covered afterwards by embroidery. -This keeps the wrong side tidier, and the threads more -secure. A long thread does not make for good work, -as a rule; it gets roughened before it is finished and -takes longer to pull through.</p> - -<p><span class="pagenum" id="Page_175">[Pg 175]</span></p> - -<p>Braids and thick threads can be taken through to the -wrong side by making a hole with a stiletto, or by using -a needle and thread. Bring the needle through the hole -and pass it round the braid, then pass it back through -the same hole and pull the braid through the hole with -it; in the case of a coarse thread, the needle will make a -large enough hole. In working with flax, note the -direction of the fibre by drawing it through the fingers. -The needle should be threaded at the smooth end, so that -when the thread is drawn through the material it is not -roughened. In working with double wool, cotton, or -silk, pass two separate threads through the eye—both -threads are then running the same way. Always keep -the finished part of the embroidery covered up while -working, if possible; it keeps it fresher and the threads -do not get rubbed. Hot hands discolour the threads, -roughened fingers ruffle them. Washing in warm water -with the free use of pumice stone will help in both cases.</p> - -<p><i>Washing Woollen Embroideries.</i>—The soap should be -of a good quality and free from alkali, which injures the -colours. Flake the soap and dissolve it in boiling water; -whip it into a lather; add cold water until it is of a comfortable -heat for the hands, and put the embroidery in. -Squeeze and work it gently—but on no account rub it—until -it is clean, then rinse in warm water, and again in -cooler water; squeeze the water out; hang up immediately—in -the open air, if possible; dry quickly and pin out -on a board, and iron damp on the wrong side on a folded -blanket. White work may be washed in a lather of Lux—any -soap which does not contain alkali may be used. -Proceed as for coloured work, squeezing the dirt out, not<span class="pagenum" id="Page_176">[Pg 176]</span> -rubbing; rinse and stretch over a towel or put in the open -air till almost dry. It is then laid face downwards on -several folds of blanket, a damp cloth placed over it, and -a hot iron passed backwards and forwards until it is -quite dry—the cloth prevents the iron from soiling the -material on the back and equalises the moisture. Velvet -should be held while being pressed, or the iron should -be fixed face up and the velvet passed over it. All wools -should be shrunk before being worked on to articles such -as sash curtains and coverlets, which require washing. -Steep them in a bath of hot water for some hours; hang -them up—in the hank—to drip; when dry, they will be -as soft as when new.</p> - -<p>Braids should be subjected to the same treatment—they -may probably lose a very little colour if they are -not reliable of their kind.</p> - -<p><b>Practical Hints about Materials.</b>—There is sometimes -difficulty in obtaining threads and materials of a -coarse make and weave suitable for carrying out articles -similar to those illustrated throughout the book. A -short list of the names of firms where such may be bought -is given below for the benefit of readers.</p> - -<p>Canvases and crashes particularly suited to needle-weaving -may be obtained from Messrs. Brown and -Beveridge, Ltd., 194, Bath Street, Glasgow. These -are of good quality, in great variety and excellent -colouring.</p> - -<p>Titian canvas, one of the heaviest makes, is very -suitable for runners, table covers and large objects -generally; it may be had in three widths, 27 inches, -50 inches and 72 inches, in mole, blue and soft brown.<span class="pagenum" id="Page_177">[Pg 177]</span> -Art canvas and antique canvas, both of a regular weave -in quiet colours, are lighter in make.</p> - -<p>In vandyke canvases the warp and weft threads, which -are of different colours, blend very harmoniously. Art -linens and bloom linens are charming; the latter are -woven in two colours. Celtic canvas in cream, fawn, red, -green, and a beautiful rich blue, are guaranteed fast dyed.</p> - -<p>Cotton repps and Sundour unfadeable materials are also -suitable and useful for household decoration.</p> - -<p>Messrs. Brown and Beveridge, Ltd., also supply -tapestry and crewel wools and a soft thick silk thread -known as Tyrian embroidery silk.</p> - -<p>Linens of different makes and colours can be obtained -so easily that it is not necessary to mention any special -firm. Heavy unbleached linen sheetings and towellings -can be procured from some of the Irish linen -manufacturers.</p> - -<p>Messrs. Murphy and Orr, Donegal Street, Belfast, -make a heavy twill unbleached linen to be recommended -for coverlets.</p> - -<p>Messrs. J. and J. Baldwin and Partners, Ltd., supply, -through their various agents, wools and yarns of a soft -quality and in excellent ranges of colour. “White -Heather,” three-ply, and a thicker “Rainbow” embroidery -wool, sold in balls, are both good.</p> - -<p>Fingering wools, three, four and five-ply, in light -colours, may be had from any of the numerous Scotch -wool shops—Messrs. Fleming and Reid, Greenock.</p> - -<p>Messrs. W. and J. Knox, Ltd., Kilbirnie, manufacture -linen and lace crochet threads in cream, ecru and Paris -white, also linen floss embroidery threads in a wide<span class="pagenum" id="Page_178">[Pg 178]</span> -range of beautiful colours. L.C. linen lace thread -in various thicknesses, numbering from 8 to 70. The -medium sizes from 35 to 50 are suitable for the background -of Rhodian embroidery.</p> - -<p>“Cord” floss, a thick twisted thread, is suitable for -knitting; hats, collars, short jumpers, bags, etc., may -be made from it.</p> - -<p>Messrs. Kirkby, Beard & Co., Redditch, supply -needles of a reliable quality.</p> - -<p>Blunt-pointed tapestry needles, No. 18, suitable for -needle-weaving, crewel and chenille needles, and the -excellent “Scientific Sharps” may be had from most -of the needlework depots, or through any of their agents.</p> - -<p>Simple wooden looms for the making of braids, hat -bands, ties, girdles, etc., with instructions and with a -piece of work started, may be had from the Dryad Works, -42, Nicholas Street, Leicester. The same firm supplies -raffia in brilliant colours and raffia needles.</p> - - -<hr class="full x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="c14">INDEX</h2> -</div> - -<ul class="index"> -<li class="ifrst">American cloth, <a href="#Page_143">143</a></li> - -<li class="indx">Antique hemstitch, <a href="#Page_73">73</a></li> - -<li class="indx">Antique seam, <a href="#Page_96">96</a></li> - -<li class="indx">Applied work, <a href="#Page_80">80</a></li> - -<li class="indx">Arrow-head filling, <a href="#Page_31">31</a></li> - -<li class="indx">Art and craft, <a href="#Page_5">5</a></li> - -<li class="indx">Art canvas, <a href="#Page_177">177</a></li> - - -<li class="ifrst">Background, open, <a href="#Page_105">105</a></li> - -<li class="indx">Backgrounds, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_82">82</a>, <a href="#Page_104">104</a></li> - -<li class="indx">Back stitching, <a href="#Page_152">152</a></li> - -<li class="indx">Bag, a useful, <a href="#Page_153">153</a></li> - -<li class="indx">Bag, work, <a href="#Page_169">169</a></li> - -<li class="indx">Bags, <a href="#Page_132">132</a></li> - -<li class="indx">Balance, <a href="#Page_23">23</a></li> - -<li class="indx">Bands, needle-woven, <a href="#Page_105">105</a></li> - -<li class="indx">Basket, Japanese, <a href="#Page_169">169</a></li> - -<li class="indx">Basket or stroke stitch, <a href="#Page_71">71</a></li> - -<li class="indx">Basket pattern, <a href="#Page_33">33</a>, <a href="#Page_70">70</a></li> - -<li class="indx">Basket stitch, <a href="#Page_67">67</a></li> -<li class="isub1">to work, <a href="#Page_71">71</a></li> - -<li class="indx">Baskets, <a href="#Page_132">132</a></li> - -<li class="indx">Beads, <a href="#Page_19">19</a>, <a href="#Page_28">28</a></li> - -<li class="indx">Blanket, Scottish, <a href="#Page_9">9</a></li> - -<li class="indx">Blanket stitch, to work, <a href="#Page_58">58</a></li> - -<li class="indx">Bokhara embroideries, <a href="#Page_17">17</a></li> - -<li class="indx">Border, <a href="#Page_129">129</a></li> -<li class="isub1">diapered, <a href="#Page_60">60</a></li> -<li class="isub1">geometrical, <a href="#Page_124">124</a></li> -<li class="isub1">interlacing, <a href="#Page_151">151</a></li> -<li class="isub1">pattern, <a href="#Page_19">19</a></li> -<li class="isub1">stitch, <a href="#Page_151">151</a></li> -<li class="isub1">vandyke, <a href="#Page_30">30</a></li> - -<li class="indx">Braid hat band, <a href="#Page_133">133</a></li> - -<li class="indx">Braid, Honiton, <a href="#Page_144">144</a></li> - -<li class="indx">Braid stitch, <a href="#Page_53">53</a></li> - -<li class="indx">Braids, <a href="#Page_28">28</a>, <a href="#Page_76">76</a>, <a href="#Page_89">89</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Braids, hand-made, <a href="#Page_28">28</a>, <a href="#Page_117">117</a></li> - -<li class="indx">Brocade, <a href="#Page_16">16</a></li> - -<li class="indx">Building up of the pattern, <a href="#Page_6">6</a></li> - -<li class="indx">Bullion knots, <a href="#Page_83">83</a></li> - -<li class="indx">Bullion stitch, <a href="#Page_84">84</a></li> - -<li class="indx">Button-hole stitches, <a href="#Page_56">56</a></li> -<li class="isub1">bars, <a href="#Page_86">86</a></li> -<li class="isub1">crossed, <a href="#Page_58">58</a></li> -<li class="isub1">double, <a href="#Page_61">61</a></li> -<li class="isub1">edging, <a href="#Page_150">150</a></li> -<li class="isub1">filling of a space, <a href="#Page_59">59</a></li> -<li class="isub1">loops, open, <a href="#Page_139">139</a></li> -<li class="isub1">pyramid, <a href="#Page_107">107</a></li> -<li class="isub1">rings, <a href="#Page_122">122</a></li> - -<li class="indx">Button-hole stitch, flowers in, <a href="#Page_59">59</a></li> - -<li class="indx">Button-hole stitch, leaves in, <a href="#Page_61">61</a></li> - -<li class="indx">Buttons, <a href="#Page_28">28</a></li> - -<li class="indx">Buttons, indestructible, <a href="#Page_123">123</a></li> - - -<li class="ifrst">Cable chain, <a href="#Page_52">52</a></li> - -<li class="indx">Cable chain, to work, <a href="#Page_52">52</a></li> - -<li class="indx">Canvas, <a href="#Page_8">8</a>, <a href="#Page_67">67</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>, <a href="#Page_177">177</a></li> - -<li class="indx">Canvas stitches, <a href="#Page_131">131</a></li> - -<li class="indx">Carbon paper, <a href="#Page_173">173</a></li> - -<li class="indx">Carpet chenilles, <a href="#Page_10">10</a></li> - -<li class="indx">Carrick bend, <a href="#Page_125">125</a></li> - -<li class="indx">Celtic canvas, <a href="#Page_129">129</a></li> - -<li class="indx">Central fillings, <a href="#Page_122">122</a></li> - -<li class="indx">Chain stitch, <a href="#Page_45">45</a>, <a href="#Page_79">79</a>, <a href="#Page_126">126</a>, <a href="#Page_143">143</a></li> -<li class="isub1">in two colours, <a href="#Page_47">47</a></li> -<li class="isub1">to work, <a href="#Page_46">46</a></li> -<li class="isub1">twisted, <a href="#Page_45">45</a></li> - -<li class="indx">Chenilles, carpet, <a href="#Page_10">10</a></li> - -<li class="indx">Chequered fern stitch, <a href="#Page_75">75</a></li> - -<li class="indx">Chequered pattern, <a href="#Page_70">70</a>, <a href="#Page_101">101</a></li> - -<li class="indx">Chequered pattern, to work, <a href="#Page_70">70</a></li> - -<li class="indx">Chequers, <a href="#Page_29">29</a></li> - -<li class="indx">Chinese knot, <a href="#Page_126">126</a></li> - -<li class="indx">Circles, <a href="#Page_22">22</a>, <a href="#Page_79">79</a></li> - -<li class="indx">Colour, <a href="#Page_12">12-17</a></li> - -<li class="indx">Colour, juxtaposition of, <a href="#Page_16">16</a></li> - -<li class="indx">Colour, restful, <a href="#Page_14">14</a></li> - -<li class="indx">Colour scheme, <a href="#Page_6">6</a>, <a href="#Page_80">80</a></li> - -<li class="indx">Colours, six bright, <a href="#Page_15">15</a></li> - -<li class="indx">Colours, warm, <a href="#Page_13">13</a></li> - -<li class="indx">Common sense, <a href="#Page_6">6</a></li> - -<li class="indx">Construction, <a href="#Page_6">6</a>, <a href="#Page_20">20</a></li> - -<li class="indx">Cool colours, <a href="#Page_14">14</a></li> - -<li class="indx">Cope, Jesse, <a href="#Page_82">82</a></li> - -<li class="indx">Cope, Syon, <a href="#Page_82">82</a></li> - -<li class="indx">Coptic work, <a href="#Page_40">40</a></li> - -<li class="indx">Coral stitch, <a href="#Page_48">48</a></li> - -<li class="indx">Cords, <a href="#Page_66">66</a></li> - -<li class="indx">Cords, hand-made, <a href="#Page_27">27</a></li> - -<li class="indx">Corners, <a href="#Page_20">20</a></li> - -<li class="indx">Cosy cover, <a href="#Page_112">112</a></li> - -<li class="indx">Cot coverlet, <a href="#Page_138">138</a></li> - -<li class="indx">Couching, <a href="#Page_68">68</a>, <a href="#Page_79">79</a></li> - -<li class="indx">Couching, ancient method of, <a href="#Page_81">81</a></li> - -<li class="indx">Crash, Russian, <a href="#Page_9">9</a>, <a href="#Page_37">37</a></li> - -<li class="indx">Cretan stitch, <a href="#Page_51">51</a></li> - -<li class="indx">Cretonne, <a href="#Page_16">16</a></li> - -<li class="indx">Crochet, <a href="#Page_69">69</a>, <a href="#Page_155">155</a></li> -<li class="isub1">a useful cord, <a href="#Page_161">161</a></li> -<li class="isub1">chain slip-knot, <a href="#Page_156">156</a></li> -<li class="isub1">double stitch, <a href="#Page_157">157</a></li> -<li class="isub1">dropping picots, <a href="#Page_164">164</a></li> -<li class="isub1">flowers, <a href="#Page_158">158</a></li> -<li class="isub1">hooks, <a href="#Page_78">78</a>, <a href="#Page_158">158</a></li> -<li class="isub1">insertion, an, <a href="#Page_166">166</a></li> -<li class="isub1">lace picots, <a href="#Page_164">164</a></li> -<li class="isub1">ladder insertion, <a href="#Page_157">157</a></li> -<li class="isub1">leaves, <a href="#Page_160">160</a></li> -<li class="isub1">long treble stitch, <a href="#Page_157">157</a></li> -<li class="isub1">mesh, <a href="#Page_165">165</a></li> -<li class="isub1">picots, <a href="#Page_163">163</a>, <a href="#Page_165">165</a></li> -<li class="isub1">plain picots, <a href="#Page_164">164</a></li> -<li class="isub1">raffia, <a href="#Page_167">167</a></li> -<li class="isub1">single stitch, <a href="#Page_156">156</a></li> -<li class="isub1">treble stitch, <a href="#Page_157">157</a></li> -<li class="isub1">tricot, <a href="#Page_162">162</a></li> -<li class="isub1">two-chain picots, <a href="#Page_164">164</a></li> - -<li class="indx">Crossed button-hole, <a href="#Page_58">58</a></li> - -<li class="indx">Cross stitch, <a href="#Page_101">101</a>, <a href="#Page_130">130</a>, <a href="#Page_131">131</a></li> - -<li class="indx">Cross stitch, Italian, <a href="#Page_130">130</a></li> - -<li class="indx">Curtain, part of a, <a href="#Page_55">55</a></li> - -<li class="indx">Curving lines, <a href="#Page_23">23</a></li> - -<li class="indx">Cushion case, <a href="#Page_170">170</a></li> - -<li class="indx">Cut work, <a href="#Page_136">136</a></li> - - -<li class="ifrst">Damask, <a href="#Page_8">8</a></li> - -<li class="indx">Damask darning, <a href="#Page_32">32</a></li> - -<li class="indx">Darning patterns, <a href="#Page_29">29</a></li> - -<li class="indx">Darning, single, <a href="#Page_33">33</a></li> - -<li class="indx">Darning stitches, <a href="#Page_29">29</a>, <a href="#Page_106">106</a></li> - -<li class="indx">Darns, latchet, <a href="#Page_66">66</a>, <a href="#Page_170">170</a></li> - -<li class="indx">Decorative back stitch, <a href="#Page_61">61</a></li> - -<li class="indx">Decorative initials, <a href="#Page_111">111</a></li> - -<li class="indx">Design, <a href="#Page_21">21</a></li> - -<li class="indx">Design, habit of, <a href="#Page_5">5</a></li> - -<li class="indx">Design, transferring the, <a href="#Page_172">172</a></li> - -<li class="indx">Designs, interlacing, <a href="#Page_90">90</a>, <a href="#Page_127">127</a></li> - -<li class="indx">Diagonal filling, <a href="#Page_34">34</a></li> - -<li class="indx">Diagonal lines, <a href="#Page_21">21</a>, <a href="#Page_79">79</a></li> - -<li class="indx">Diapered border, <a href="#Page_60">60</a></li> - -<li class="indx">Dominant colour, <a href="#Page_16">16</a></li> - -<li class="indx">Double button-hole, <a href="#Page_61">61</a></li> - -<li class="indx">Double-net stitch, <a href="#Page_144">144</a></li> - -<li class="indx">Drawing, <a href="#Page_5">5</a></li> - -<li class="indx">Drawn work, Italian, <a href="#Page_137">137</a></li> - - -<li class="ifrst">Eastern embroiderers, <a href="#Page_69">69</a></li> - -<li class="indx">Ecclesiastical embroideries, <a href="#Page_1">1</a></li> - -<li class="indx">Edgings, <a href="#Page_9">9</a>, <a href="#Page_27">27</a>, <a href="#Page_122">122</a>, <a href="#Page_149">149</a></li> - -<li class="indx">Embroiderers, Eastern, <a href="#Page_69">69</a></li> - -<li class="indx">Embroideries, Bokhara, <a href="#Page_17">17</a></li> - -<li class="indx">Embroideries, ecclesiastical, <a href="#Page_1">1</a></li> - -<li class="indx">Embroideries, peasant, <a href="#Page_136">136</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Embroideries, washing woollen, <a href="#Page_175">175</a></li> - -<li class="indx">Embroidery, Hedebo, <a href="#Page_137">137</a></li> - -<li class="indx">Embroidery, Rhodian, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Embroidery, Richelieu, <a href="#Page_143">143</a></li> - -<li class="indx">Embroidery threads, linen floss, <a href="#Page_177">177</a></li> - -<li class="indx">Embroidery, white, <a href="#Page_83">83</a></li> - -<li class="indx">Emery cushion, <a href="#Page_12">12</a></li> - -<li class="indx">Eyelet holes, <a href="#Page_140">140</a></li> - - -<li class="ifrst">Faggoting, <a href="#Page_93">93</a></li> - -<li class="indx">Fern stitch, <a href="#Page_74">74</a></li> - -<li class="indx">Filet background, <a href="#Page_104">104</a></li> - -<li class="indx">Filet pattern, <a href="#Page_77">77</a></li> - -<li class="indx">Fillings, <a href="#Page_29">29</a></li> -<li class="isub1">arrow-head, <a href="#Page_31">31</a></li> -<li class="isub1">central, <a href="#Page_122">122</a></li> -<li class="isub1">diagonal, <a href="#Page_34">34</a></li> -<li class="isub1">honeycomb, <a href="#Page_62">62</a></li> -<li class="isub1">in squares, <a href="#Page_35">35</a></li> -<li class="isub1">leaf, <a href="#Page_152">152</a></li> -<li class="isub1">openwork, <a href="#Page_29">29</a>, <a href="#Page_144">144</a></li> -<li class="isub1">pyramid, <a href="#Page_30">30</a></li> -<li class="isub1">star, <a href="#Page_31">31</a></li> - -<li class="indx">Fingering wools, <a href="#Page_177">177</a></li> - -<li class="indx">Finishing touches, <a href="#Page_6">6</a>, <a href="#Page_115">115</a></li> - -<li class="indx">Finishings, <a href="#Page_26">26</a></li> - -<li class="indx">Fishbone, <a href="#Page_71">71</a></li> - -<li class="indx">Fishbone stitch, <a href="#Page_50">50</a></li> - -<li class="indx">Fitments, <a href="#Page_26">26</a>, <a href="#Page_27">27</a></li> - -<li class="indx">Flat knot, a, <a href="#Page_116">116</a></li> - -<li class="indx">Flowered hat band, <a href="#Page_129">129</a></li> - -<li class="indx">Flowers in button-hole stitch, <a href="#Page_59">59</a></li> - -<li class="indx">Fork-pin insertion, <a href="#Page_99">99</a></li> - -<li class="indx">Foundation net, <a href="#Page_144">144</a></li> - -<li class="indx">Frames, <a href="#Page_11">11</a>, <a href="#Page_79">79</a></li> - -<li class="indx">French knots, <a href="#Page_28">28</a>, <a href="#Page_82">82</a></li> - -<li class="indx">French tape, <a href="#Page_75">75</a></li> - -<li class="indx">Fringe, knotted, <a href="#Page_115">115</a></li> - -<li class="indx">Fringe, to prepare a, <a href="#Page_114">114</a></li> - -<li class="indx">Fringes, <a href="#Page_28">28</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_114">114</a></li> - - -<li class="ifrst">Galoon, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a href="#Page_83">83</a></li> - -<li class="indx">Galoons and gimps, washing, <a href="#Page_28">28</a></li> - -<li class="indx">Geometrical border, <a href="#Page_124">124</a></li> - -<li class="indx">Geometrical forms, <a href="#Page_5">5</a>, <a href="#Page_19">19</a></li> - -<li class="indx">German linen work, <a href="#Page_111">111</a></li> - -<li class="indx">Gimp, <a href="#Page_117">117</a></li> - -<li class="indx">Goblin stitch, <a href="#Page_132">132</a></li> - -<li class="indx">Good filling, a, <a href="#Page_34">34</a></li> - -<li class="indx">Good taste, <a href="#Page_6">6</a></li> - -<li class="indx">Greenhouse shading, <a href="#Page_8">8</a></li> - -<li class="indx">Groundings, open, <a href="#Page_34">34</a></li> - - -<li class="ifrst">Habit of design, <a href="#Page_5">5</a></li> - -<li class="indx">Hand-made braids, <a href="#Page_28">28</a>, <a href="#Page_117">117</a></li> - -<li class="indx">Hand-made cords, <a href="#Page_27">27</a></li> - -<li class="indx">Harmony, <a href="#Page_24">24</a></li> - -<li class="indx">Hat bands, <a href="#Page_129">129</a></li> - -<li class="indx">Hedebo embroidery, <a href="#Page_137">137</a></li> - -<li class="indx">Hems, openwork, <a href="#Page_72">72</a></li> - -<li class="indx">Hemstitch, antique, <a href="#Page_73">73</a></li> - -<li class="indx">Hemstitching, method of, <a href="#Page_115">115</a></li> - -<li class="indx">Herring-bone, <a href="#Page_65">65</a></li> - -<li class="indx">Herring-bone foundation, <a href="#Page_110">110</a></li> - -<li class="indx">Herring-bone stitch, <a href="#Page_94">94</a></li> - -<li class="indx">Hints about materials, practical, <a href="#Page_176">176</a></li> - -<li class="indx">Hints, useful, <a href="#Page_172">172</a></li> - -<li class="indx">Honeycomb filling, <a href="#Page_62">62</a></li> - -<li class="indx">Honeycomb, to work, <a href="#Page_63">63</a></li> - -<li class="indx">Honiton braid, <a href="#Page_144">144</a></li> - -<li class="indx">Huckaback, <a href="#Page_8">8</a></li> - - -<li class="ifrst">Indestructible buttons, <a href="#Page_123">123</a></li> - -<li class="indx">Indian work, <a href="#Page_90">90</a></li> - -<li class="indx">Individuality, <a href="#Page_26">26</a></li> - -<li class="indx">Initials, decorative, <a href="#Page_111">111</a></li> - -<li class="indx">Insertion stitches, <a href="#Page_133">133</a></li> -<li class="isub1">pyramid, <a href="#Page_107">107</a></li> -<li class="isub1">simple, <a href="#Page_103">103</a></li> -<li class="isub1">vandyke, <a href="#Page_73">73</a></li> - -<li class="indx">Interlacing border, <a href="#Page_151">151</a></li> - -<li class="indx">Interlacing designs, <a href="#Page_90">90</a>, <a href="#Page_127">127</a></li> - -<li class="indx">Interlacing knots, <a href="#Page_91">91</a></li> - -<li class="indx">Interlacing stitch, <a href="#Page_108">108</a></li> - -<li class="indx">Isolated pyramids, <a href="#Page_107">107</a></li> - -<li class="indx">Italian cross stitch, <a href="#Page_130">130</a></li> - -<li class="indx">Italian drawn work, <a href="#Page_137">137</a></li> - - -<li class="ifrst">Japanese basket, <a href="#Page_169">169</a></li> - -<li class="indx">Jesse Cope, <a href="#Page_82">82</a></li> - -<li class="indx">Joining of selvedges, <a href="#Page_97">97</a></li> - -<li class="indx">Juxtaposition of colour, <a href="#Page_16">16</a></li> - - -<li class="ifrst">Knot, a flat, <a href="#Page_116">116</a></li> - -<li class="indx">Knot work, <a href="#Page_123">123</a></li> - -<li class="indx">Knots, <a href="#Page_83">83</a>, <a href="#Page_126">126</a>, <a href="#Page_127">127</a></li> - -<li class="indx">Knots, French, <a href="#Page_28">28</a>, <a href="#Page_82">82</a>;</li> -<li class="isub1">netting knot, <a href="#Page_148">148</a>;</li> -<li class="isub1">ornamental knot, <a href="#Page_123">123</a>;</li> -<li class="isub1">reef knot, <a href="#Page_125">125</a>;</li> -<li class="isub1">weaver's knot, <a href="#Page_124">124</a></li> - -<li class="indx">Knotted fringe, <a href="#Page_115">115</a></li> - - -<li class="ifrst">Lace edge, <a href="#Page_78">78</a></li> - -<li class="indx">Lace-making, <a href="#Page_135">135</a></li> - -<li class="indx">Lace pillow-cushion, to make a, <a href="#Page_118">118</a></li> - -<li class="indx">Lace stitch, simple, <a href="#Page_112">112</a></li> - -<li class="indx">Lace stitches, <a href="#Page_144">144</a></li> -<li class="isub1"><i>Point d'Alencon</i>, <a href="#Page_95">95</a></li> -<li class="isub1"><i>Point de Bruxelles</i>, <a href="#Page_144">144</a></li> -<li class="isub1"><i>Point de Reprise</i>, <a href="#Page_76">76</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a></li> -<li class="isub1"><i>Point de Sorrento</i>, <a href="#Page_145">145</a></li> -<li class="isub1"><i>Point de Venise</i>, <a href="#Page_153">153</a></li> -<li class="isub1"><i>Point rentré et retiré</i>, <a href="#Page_81">81</a></li> -<li class="isub1"><i>Point Turc</i>, <a href="#Page_149">149</a></li> - -<li class="indx">Laces, <a href="#Page_122">122</a></li> - -<li class="indx">Laces, needle-point, <a href="#Page_135">135</a>, <a href="#Page_137">137</a></li> - -<li class="indx">Lacis, <a href="#Page_136">136</a></li> - -<li class="indx">Ladder hemstitch, <a href="#Page_72">72</a></li> - -<li class="indx">Ladder stitch, <a href="#Page_45">45</a></li> - -<li class="indx">Laid stitches, <a href="#Page_70">70</a>, <a href="#Page_171">171</a></li> - -<li class="indx">Laid work, <a href="#Page_67">67</a>, <a href="#Page_69">69</a></li> - -<li class="indx">Latchet darns, <a href="#Page_66">66</a>, <a href="#Page_170">170</a></li> - -<li class="indx">Latchets of wool, <a href="#Page_27">27</a></li> - -<li class="indx">Leaf fillings, <a href="#Page_152">152</a></li> - -<li class="indx">Leaves, <a href="#Page_130">130</a></li> - -<li class="indx">Leaves in button-hole stitch, <a href="#Page_61">61</a></li> - -<li class="indx">Line stitch, <a href="#Page_67">67</a></li> - -<li class="indx">Linen floss embroidery threads, <a href="#Page_177">177</a></li> - -<li class="indx">Linen work, German, <a href="#Page_111">111</a></li> - -<li class="indx">Linens, <a href="#Page_7">7</a></li> - -<li class="indx">Lines, <a href="#Page_20">20</a></li> - -<li class="indx">Lines, curving, <a href="#Page_23">23</a></li> - -<li class="indx">Lines, diagonal, <a href="#Page_21">21</a>, <a href="#Page_79">79</a></li> - -<li class="indx">Lines, straight, <a href="#Page_5">5</a>, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_29">29</a></li> - -<li class="indx">Link stitch, <a href="#Page_51">51</a></li> - -<li class="indx">Link stitch, to work, <a href="#Page_52">52</a></li> - -<li class="indx">Linked chain, <a href="#Page_46">46</a></li> - -<li class="indx">Loop stitch, <a href="#Page_98">98</a></li> - -<li class="indx">Loop stitch border, <a href="#Page_75">75</a></li> - -<li class="indx">Luncheon set, <a href="#Page_86">86</a></li> - - -<li class="ifrst">Macramé, <a href="#Page_116">116</a></li> - -<li class="indx">Masses, <a href="#Page_20">20</a></li> - -<li class="indx">Material, practical hints about, <a href="#Page_176">176</a></li> - -<li class="indx">Materials, <a href="#Page_7">7</a></li> - -<li class="indx">Mesh, <a href="#Page_121">121</a></li> - -<li class="indx">Metal rings, <a href="#Page_123">123</a></li> - -<li class="indx">Mexican stitch, <a href="#Page_63">63</a></li> - -<li class="indx">Mexican stitch, to work, <a href="#Page_63">63</a></li> - -<li class="indx">Mount-mellick work, <a href="#Page_85">85</a></li> - - -<li class="ifrst">Needle-made picots, <a href="#Page_121">121</a></li> - -<li class="indx">Needle-point laces, <a href="#Page_135">135</a>, <a href="#Page_137">137</a></li> - -<li class="indx">Needle-weaving, <a href="#Page_28">28</a>, <a href="#Page_67">67</a>, <a href="#Page_87">87</a>, <a href="#Page_101">101</a></li> - -<li class="indx">Needle-weaving, pattern in, <a href="#Page_18">18</a></li> - -<li class="indx">Needle-weaving, reversible, <a href="#Page_103">103</a></li> - -<li class="indx">Needle-woven bands, <a href="#Page_105">105</a></li> - -<li class="indx">Needles, <a href="#Page_10">10</a></li> - -<li class="indx">Net stitch, <a href="#Page_71">71</a></li> - -<li class="indx">Netting knot, <a href="#Page_148">148</a></li> - -<li class="indx">Nightdress case in blue and white, <a href="#Page_127">127</a></li> - - -<li class="ifrst">Oddments, remnants and, <a href="#Page_7">7</a></li> - -<li class="indx">Open background, <a href="#Page_105">105</a></li> - -<li class="indx">Open button-hole loops, <a href="#Page_139">139</a></li> - -<li class="indx">Open groundings, <a href="#Page_34">34</a></li> - -<li class="indx">Openwork fillings, <a href="#Page_29">29</a>, <a href="#Page_144">144</a></li> - -<li class="indx">Openwork hems, <a href="#Page_72">72</a></li> - -<li class="indx">Orange, <a href="#Page_14">14</a></li> - -<li class="indx">Oriental stitch, <a href="#Page_42">42</a>, <a href="#Page_51">51</a>, <a href="#Page_65">65</a></li> - -<li class="indx">Originality, <a href="#Page_29">29</a></li> - -<li class="indx">Ornamental knot, <a href="#Page_123">123</a></li> - -<li class="indx">Oversewing, <a href="#Page_101">101</a></li> - -<li class="indx">Outline stitch, <a href="#Page_143">143</a></li> - - -<li class="ifrst">Pattern book, venetian, <a href="#Page_91">91</a></li> - -<li class="indx">Pattern, building up of the, <a href="#Page_6">6</a></li> - -<li class="indx">Pattern in needle-weaving, <a href="#Page_18">18</a></li> - -<li class="indx">Pattern making, <a href="#Page_5">5</a></li> - -<li class="indx">Pattern, primitive, <a href="#Page_18">18</a>, <a href="#Page_106">106</a></li> - -<li class="indx">Pattern, wave, <a href="#Page_32">32</a></li> - -<li class="indx">Patterns, <a href="#Page_29">29</a>, <a href="#Page_70">70</a>, <a href="#Page_137">137</a></li> - -<li class="indx">Peasant embroideries, <a href="#Page_136">136</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Persian quilting, <a href="#Page_46">46</a></li> - -<li class="indx">Persian work, <a href="#Page_90">90</a></li> - -<li class="indx">Personality of the worker, <a href="#Page_4">4</a></li> - -<li class="indx">Petal or loop stitch, <a href="#Page_48">48</a></li> - -<li class="indx">Petit point, <a href="#Page_132">132</a></li> - -<li class="indx">Picot, Venetian, <a href="#Page_149">149</a></li> - -<li class="indx">Picots, <a href="#Page_149">149</a></li> - -<li class="indx">Picots in bullion stitch, <a href="#Page_84">84</a></li> - -<li class="indx">Picots, needle-made, <a href="#Page_121">121</a></li> - -<li class="indx">Plaited stitch, <a href="#Page_71">71</a></li> - -<li class="indx"><i>Portière</i>, a, <a href="#Page_59">59</a></li> - -<li class="indx">Pouncing, <a href="#Page_172">172</a></li> - -<li class="indx">Primitive pattern, <a href="#Page_18">18</a>, <a href="#Page_106">106</a></li> - -<li class="indx">Principle of repetition, <a href="#Page_20">20</a></li> - -<li class="indx">Principles of colour, <a href="#Page_12">12</a></li> - -<li class="indx">"Punch work," <a href="#Page_141">141</a></li> -<li class="isub1">to work, <a href="#Page_142">142</a></li> - -<li class="indx"><i>Punto a gruppo</i>, <a href="#Page_116">116</a></li> - -<li class="indx">Pyramids, <a href="#Page_123">123</a></li> -<li class="isub1">filling, <a href="#Page_30">30</a></li> -<li class="isub1">insertion, <a href="#Page_107">107</a></li> -<li class="isub1">isolated, <a href="#Page_139">139</a></li> - - -<li class="ifrst">Quilting, Persian, <a href="#Page_46">46</a></li> - - -<li class="ifrst">Raised stitchery, <a href="#Page_94">94</a></li> - -<li class="indx">Reef knot, <a href="#Page_125">125</a></li> - -<li class="indx">Remnants and oddments, <a href="#Page_7">7</a></li> - -<li class="indx">Repetition, principle of, <a href="#Page_12">12</a></li> - -<li class="indx">Restful colour, <a href="#Page_14">14</a></li> - -<li class="indx">Reticella, <a href="#Page_136">136</a></li> - -<li class="indx">Reversible back stitch, <a href="#Page_62">62</a></li> - -<li class="indx">Reversible needle-weaving, <a href="#Page_103">103</a></li> - -<li class="indx">Rhodian embroidery, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Ribbon, velvet, <a href="#Page_96">96</a></li> - -<li class="indx">Richelieu embroidery, <a href="#Page_143">143</a></li> - -<li class="indx">Richelieu work, <a href="#Page_77">77</a></li> - -<li class="indx">Ring stick, <a href="#Page_122">122</a></li> - -<li class="indx">Rings, <a href="#Page_123">123</a></li> - -<li class="indx">Rings, metal, <a href="#Page_123">123</a></li> - -<li class="indx">Rope stitch, <a href="#Page_46">46</a></li> - -<li class="indx">Rosettes, <a href="#Page_108">108</a></li> - -<li class="indx">Roumanian stitch, <a href="#Page_73">73</a></li> - -<li class="indx">Rugs, <a href="#Page_133">133</a></li> - -<li class="indx">Runner, table, <a href="#Page_63">63</a></li> - -<li class="indx">Russian crash, <a href="#Page_9">9</a>, <a href="#Page_37">37</a></li> - -<li class="indx">Russian stitch, <a href="#Page_96">96</a></li> - - -<li class="ifrst">Satin stitch, <a href="#Page_25">25</a>, <a href="#Page_67">67</a>, <a href="#Page_143">143</a></li> - -<li class="indx">Seam, antique, <a href="#Page_96">96</a></li> - -<li class="indx">Selvedges, joining of, <a href="#Page_97">97</a></li> - -<li class="indx">Scissors, <a href="#Page_11">11</a></li> - -<li class="indx">Scottish blanket, <a href="#Page_9">9</a></li> - -<li class="indx">Sideboard cloth, <a href="#Page_67">67</a></li> - -<li class="indx">Silks, <a href="#Page_10">10</a></li> - -<li class="indx">Simple insertions, <a href="#Page_103">103</a></li> - -<li class="indx">Simple lace stitch, <a href="#Page_112">112</a></li> - -<li class="indx">Simplicity, <a href="#Page_23">23</a></li> - -<li class="indx">Single darning, <a href="#Page_33">33</a></li> - -<li class="indx">Six bright colours, <a href="#Page_15">15</a></li> - -<li class="indx">Snail-trail, <a href="#Page_48">48</a></li> - -<li class="indx">Snail-trail, method of working, <a href="#Page_48">48</a></li> - -<li class="indx">Spaces, value of, <a href="#Page_20">20</a></li> - -<li class="indx">Split stitch, <a href="#Page_47">47</a></li> - -<li class="indx">Square stitch, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_68">68</a></li> - -<li class="indx">Square stitch in slanting lines, <a href="#Page_37">37</a></li> - -<li class="indx">Star-filling, <a href="#Page_31">31</a></li> - -<li class="indx">Stitches, antique hem, <a href="#Page_73">73</a>;</li> -<li class="isub1">arrangement of, <a href="#Page_134">134</a>;</li> -<li class="isub1">back, <a href="#Page_152">152</a>;</li> -<li class="isub1">basket or stroke, <a href="#Page_71">71</a>;</li> -<li class="isub1">blanket, <a href="#Page_58">58</a>;</li> -<li class="isub1">border, <a href="#Page_151">151</a>;</li> -<li class="isub1">braid, <a href="#Page_53">53</a>;</li> -<li class="isub1">bullion, <a href="#Page_84">84</a>;</li> -<li class="isub1">button-hole, <a href="#Page_56">56</a>;</li> -<li class="isub1">canvas, <a href="#Page_131">131</a>;</li> -<li class="isub1">chain, <a href="#Page_45">45</a>, <a href="#Page_79">79</a>, <a href="#Page_126">126</a>, <a href="#Page_143">143</a>;</li> -<li class="isub1">chequered fern, <a href="#Page_75">75</a>;</li> -<li class="isub1">coral, <a href="#Page_48">48</a>;</li> -<li class="isub1">Cretan, <a href="#Page_51">51</a>;</li> -<li class="isub1">decorative back, <a href="#Page_61">61</a>;</li> -<li class="isub1">double-net, <a href="#Page_144">144</a>;</li> -<li class="isub1">fern, <a href="#Page_74">74</a>;</li> -<li class="isub1">fish-bone, <a href="#Page_50">50</a>;</li> -<li class="isub1">goblin, <a href="#Page_132">132</a>;</li> -<li class="isub1">herring-bone, <a href="#Page_94">94</a>;</li> -<li class="isub1">insertion, <a href="#Page_133">133</a>;</li> -<li class="isub1">interlacing, <a href="#Page_108">108</a>;</li> -<li class="isub1">Italian cross, <a href="#Page_137">137</a>;</li> -<li class="isub1">lace, <a href="#Page_112">112</a>;</li> -<li class="isub1">ladder hem, <a href="#Page_72">72</a>;</li> -<li class="isub1">ladder, <a href="#Page_45">45</a>;</li> -<li class="isub1">laid, <a href="#Page_70">70</a>, <a href="#Page_171">171</a>;</li> -<li class="isub1">line, <a href="#Page_67">67</a>;</li> -<li class="isub1">link, <a href="#Page_51">51</a>;</li> -<li class="isub1">loop, <a href="#Page_98">98</a>;</li> -<li class="isub1">Mexican, <a href="#Page_63">63</a>;</li> -<li class="isub1">net, <a href="#Page_71">71</a>;</li> -<li class="isub1">Oriental, <a href="#Page_42">42</a>, <a href="#Page_51">51</a>, <a href="#Page_65">65</a>;</li> -<li class="isub1">outline, <a href="#Page_143">143</a>;</li> -<li class="isub1">petal or loop, <a href="#Page_48">48</a>;</li> -<li class="isub1">plaited, <a href="#Page_71">71</a>;</li> -<li class="isub1">raised, <a href="#Page_94">94</a>;</li> -<li class="isub1">reversible back, <a href="#Page_62">62</a>;</li> -<li class="isub1">rope, <a href="#Page_46">46</a>;</li> -<li class="isub1">Roumanian, <a href="#Page_73">73</a>;</li> -<li class="isub1">Russian <a href="#Page_9">9</a>, <a href="#Page_37">37</a>;</li> -<li class="isub1">satin, <a href="#Page_25">25</a>, <a href="#Page_67">67</a>, <a href="#Page_143">143</a>;</li> -<li class="isub1">simple lace, <a href="#Page_112">112</a>;</li> -<li class="isub1">split, <a href="#Page_47">47</a>;</li> -<li class="isub1">square, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_68">68</a>;</li> -<li class="isub1">square stitch in slanting lines, <a href="#Page_37">37</a>;</li> -<li class="isub1">surface, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>;</li> -<li class="isub1">tacking, <a href="#Page_25">25</a>, <a href="#Page_66">66</a>;</li> -<li class="isub1">tailor's button, <a href="#Page_58">58</a>;</li> -<li class="isub1">tambour, <a href="#Page_45">45</a>;</li> -<li class="isub1">tent, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>;</li> -<li class="isub1">unity of, <a href="#Page_24">24</a>;</li> -<li class="isub1">weaving, <a href="#Page_128">128</a>.</li> - -<li class="indx">Stitchery, <a href="#Page_6">6</a>, <a href="#Page_24">24</a></li> - -<li class="indx">Straight lines, <a href="#Page_5">5</a>, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_29">29</a></li> - -<li class="indx">Stretching, <a href="#Page_173">173</a></li> - -<li class="indx">Stroke stitch, basket or, <a href="#Page_71">71</a></li> - -<li class="indx">Surface stitches, <a href="#Page_151">151</a>, <a href="#Page_152">152</a></li> - -<li class="indx">Syon Cope, <a href="#Page_82">82</a></li> - - -<li class="ifrst">Table mat of white linen, <a href="#Page_75">75</a></li> - -<li class="indx">Table runner, <a href="#Page_63">63</a></li> - -<li class="indx">Tacking stitch, <a href="#Page_25">25</a>, <a href="#Page_66">66</a></li> - -<li class="indx">Tailor's button stitch, <a href="#Page_58">58</a></li> - -<li class="indx">Tambour stitch, <a href="#Page_45">45</a></li> - -<li class="indx">Tape, French, <a href="#Page_28">28</a>, <a href="#Page_82">82</a></li> - -<li class="indx">Tapestry-weaving, <a href="#Page_103">103</a></li> - -<li class="indx">Tassels, <a href="#Page_28">28</a>, <a href="#Page_66">66</a></li> - -<li class="indx">Tassels, simple, <a href="#Page_120">120</a></li> - -<li class="indx">Technique, <a href="#Page_24">24</a></li> - -<li class="indx">Tent stitch, <a href="#Page_130">130</a>, <a href="#Page_132">132</a></li> - -<li class="indx"><i>Tête de Bœuf</i>, <a href="#Page_52">52</a></li> - -<li class="indx"><i>Tête de Bœuf</i>, to work, <a href="#Page_52">52</a></li> - -<li class="indx">Thimble, <a href="#Page_11">11</a></li> - -<li class="indx">Threads, <a href="#Page_9">9</a></li> - -<li class="indx"><i>Toile cirée</i>, <a href="#Page_76">76</a>, <a href="#Page_93">93</a></li> - -<li class="indx">Transferring the design, <a href="#Page_172">172</a></li> - -<li class="indx">Treatment, <a href="#Page_26">26</a></li> - -<li class="indx">Twisted chain, <a href="#Page_45">45</a></li> - - -<li class="ifrst">Unity of stitch, <a href="#Page_24">24</a></li> - - -<li class="ifrst">Value of spaces, <a href="#Page_20">20</a></li> - -<li class="indx">Vandyke border, <a href="#Page_30">30</a></li> - -<li class="indx">Vandyke insertion, <a href="#Page_73">73</a></li> - -<li class="indx">Veining, <a href="#Page_95">95</a></li> - -<li class="indx">Venetian pattern book, <a href="#Page_91">91</a></li> - -<li class="indx">Venetian picot, <a href="#Page_149">149</a></li> - -<li class="indx">Velvet, <a href="#Page_79">79</a>, <a href="#Page_131">131</a></li> - -<li class="indx">Velvet ribbon, <a href="#Page_96">96</a></li> - - -<li class="ifrst">Warm colours, <a href="#Page_13">13</a></li> - -<li class="indx">Washing galoons and gimps, <a href="#Page_28">28</a></li> - -<li class="indx">Washing woollen embroideries, <a href="#Page_175">175</a></li> - -<li class="indx">Wave pattern, <a href="#Page_32">32</a></li> - -<li class="indx">Weaver's knot, <a href="#Page_124">124</a></li> - -<li class="indx">Weaving, <a href="#Page_77">77</a></li> - -<li class="indx">Weaving stitch, <a href="#Page_128">128</a></li> - -<li class="indx">Weft threads, <a href="#Page_41">41</a></li> - -<li class="indx">White embroidery, <a href="#Page_83">83</a></li> - -<li class="indx">White ground, <a href="#Page_15">15</a></li> - -<li class="indx">White work, washing, <a href="#Page_175">175</a></li> - -<li class="indx">Wool, latchets of, <a href="#Page_27">27</a></li> - -<li class="indx">Woollen embroideries, washing, <a href="#Page_175">175</a></li> - -<li class="indx">Wools, <a href="#Page_9">9</a></li> - -<li class="indx">Wools, fingering, <a href="#Page_177">177</a></li> - -<li class="indx">Work bag, <a href="#Page_169">169</a></li> - -<li class="indx">Worker, personality of the, <a href="#Page_4">4</a></li> - -<li class="indx">Working of tambour stitch, <a href="#Page_46">46</a></li> - -<li class="indx">Woven textures, <a href="#Page_9">9</a></li> -</ul> - -<hr class="full x-ebookmaker-drop"> - -<p class="c med">THE WHITEFRIARS PRESS LTD., LONDON AND TONBRIDGE.</p> - -<div class="transnote"> - -<p class="c">Transcriber’s Notes:</p> - -<p>Variations in spelling and hyphenation are retained.</p> - -<p>Perceived typographical errors have been changed.</p> - -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK AN EMBROIDERY BOOK ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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