Chapter XIV: Part 14

These are divided into 3 groups = 3 pairs at point 1 = put up a pin = twisted linen passing = twist both pairs once = put up the pin at point 3 = add on 5 pairs at point 2 = put up the pin = go back through 3 pairs = twist the 2 last pairs = linen passing = put up the pin at point 3 = twist both pairs = linen passings, as seen in the illustration, to the right and left as far as point 11 = at point 13 intervert 6 pairs by a twisted linen passing = make a plait at point 14 = put up a pin in the middle of the same = pass through 2 pairs of bobbins with twisted linen passing = put 1 pair of bobbins aside at point 22 = put up a pin at the 2 first pairs at point 15 = work the leaf in lozenge stitch = put up a pin at point 16 near the first pair = twist both pairs once = linen passing = put up the pin at point 17 = go back in the same manner = work on in the same way to point 21 = put up the pin at point 22 = twisted linen passing to point 11 = tie up the first pair of the scallop with the bobbins of point 11 = bring the last pair back and work as at point 1 = then repeat and proceed in the same way to point 27 = twist the 2 pairs up to point 26 = put up the pin = make one lozenge stitch and join the plait, stitch to point 28 = continue the lozenge stitch to point 29 = join the bobbins of point 29 to those of point 21 by a plait = put up the pin = linen passing = twist the two last pairs once = put up the pin = linen passing = put up the pin at point 31 = twist both pairs once = 2 linen passings = put up the pin at point 82 = 2 linen passings = tie up the bobbins of point 33 with those of point 29 = plait stitch = put up the pin = join to point 34 with lozenge stitch = with the bobbins at point 28 make lozenge stitch to point 27 = put up a pin = twist 3 pairs once = make 2 linen passings = join with linen passing = continue the scallop according to the preceding description, from point 27 to point 35.

At point 34 make a leaf in lozenge stitch = put up the pin = continue from point 33 to point 36 with twisted linen passings = carry the first pair of bobbins of the lozenge to point 35 by means of 2 twisted linen passings = put up a pin in the middle of the 2 pairs = make a plait to point 37 = cross the pairs again as at point 13, in the beginning.

PILLOW LACE (figs. 807 and 808).—Worked with 30 pairs of bobbins.—These are divided: 14 pairs at point 1 = put up a pin on the left and right = with the last pairs make plaits to point 12 = add 2 pairs = make a double passing as for a plait = put up a pin in the middle of the pairs = plait with 2 pairs of bobbins to point 3 = add 2 pairs of bobbins = make a double passing as for the plait = put up a pin in the middle of the pairs = then go on in the same manner to point 4 = add 4 pairs of bobbins = put up the pin = at point 5, add 2 pairs of bobbins = make a plait = put up a pin and join to point 4 by a double passing.

MATERIAL: Fil à dentelle D.M.C No. 50.[A]]

At point 1, lay the two last pairs to the right = put up a pin = make a plait to point 6 = add 2 pairs of bobbins = 1 double passing = put up a pin = make a plait to point 7 with a pairs of bobbins = add 2 pairs of bobbins = 1 double passing = put up the pin = make a plait to point 8 = add 4 pairs of bobbins = 5 linen passings = put up a pin at the last passing = at point 9 add 2 pairs of bobbins = make a plait = put up a pin = join to point 8 with linen passing = make plaits from point 9 to point 10 = put up a pin = leave the pairs hanging = 5 linen passings with the bobbins of point 10 = put up the pin at point 11 = go back to point 10 with 5 passings = put up the pin = make a plait and tie up the bobbins at point 6 = leave these bobbins hanging down.

With the two first pairs at point 11, make a plait to point 12 = 1 linen passing at point 7 and join to point 12 by a plait = plait stitch = put up a pin = then plait stitch to point 13 and make the same connection as at points 12 and 7 = continue to plait to point 14 = put up the pin at the first pair = 7 linen passings = leave these bobbins hanging down = tie up the plait of point 5 with the 1st pair of point 4 = make a plait on the left = put up a pin at point 15 = make 5 linen passings on the right and put up the pin at point 16 = make a plait to point 17 = make the same connection as at point 7 and 12 = the same connection also at point 18 = make a plait to point 19 = put up the pin = make a plaited lozenge with one pair = leave 2 pairs hanging at point 20, left and right = continue to point 21 = leave 2 pairs hanging, left and right = make a plait to point 22 = begin again at point 17 and make a leaf in lozenge stitch to point 23 = make a second leaf from point 16 to point 23 = join the leaves at point 23 = make a plait with the first pair of point 16 to point 24 = put up a pin = enclose it with a double passing and make a plait = tie up the bobbins at point 15 = continue the edge to point 26 = make a leaf in lozenge stitch from point 32 to point 26 = tie up the bobbins at point 26 and make linen passings with the united bobbins to point 27 = with the bobbins of point 18 and point 20, therefore with 4 pairs, make a square in lozenge stitch = join the 3 leaves at point 23 = from point 23 to point 28 make a plait with the two first pairs of bobbins = put up a pin at point 28 = make a plait with picots to point 29 = lozenge stitch from point 32 to point 22 and point 33 = join to point 30 by a plait = plait to point 22 = work from point 34 to 35 in the same way as from point 1 to point 33 = at point 22 and point 35 the pairs cross each other.

PILLOW LACE (figs. 809 and 810).—Hang on 28 pairs of bobbins. Begin at point 1 with a plait, fig. 790 = put up a pin = * hang on 5 pairs at point 2 and put up a pin at the last pair = with the last pair make a plait to point 3 * = hang on a pair of bobbins = 1 linen passing = hang on a pair of bobbins = 1 linen passing = hang on 3 pairs of bobbins = 1 linen passing = 3 linen passings = put up a pin = 1 leaf in lozenge stitch to point 4 = hang on 2 pairs of bobbins = 2 plait stitches = put up a pin = make a leaf to point 5 = hang on 2 pairs of bobbins = 1 plait stitch = put up a pin = repeat in the reverse order to point 3.

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Put up a pin at point 9 = hang on a pair of bobbins = 1 linen passing = hang on a pair of bobbins = 1 linen passing = hang on a pair of bobbins = make a plait to point 11 = put up a pin = hang on 2 pairs of bobbins at point 12 = make a plait and tie the threads together with those of point 11 = on the left with 2 pairs, on the right with 3 pairs to point 13 for the edge = put up 2 pins and continue the edge with linen passings to point 14.

Return to point 15 and make a plait = put up a pin = divide the bobbins and put one pair on the right, the other on the left = take the bobbins at point 5 and 7 and make plaits to points 16 and 17 = make linen passings with the two pairs to point 18 = put up a pin and make a plait to point 21.

Make leaves in lozenge stitch from points 4 and 8 to points 19 and 20 = one leaf from point 16 to point 19 = make another leaf to point 22 and one to point 21 = make the same leaves on the left to points 20, 21 and 23 = cross the bobbins at point 21 = make leaves from point 21 to points 24, 26 and 26.

Make lozenge stitch with picots, with 3 pairs of bobbins from points 9 and 10 to point 22 = join the bobbins to leaf 22 = carry on the braid to point 26 = join 2 pairs of bobbins to the leaf = leave the 2 pairs at point 28 hanging down = carry on the braid to point 25.

Make a leaf at point 27 to point 14 = tie the threads together as at point 10 = carry on the edge to point 29 = put up a pin = make a plait with picots to point 30 = tie up the threads with those of leaf 28 = make a leaf to point 31 = introduce the threads into the edge = put up a pin = tie the threads together.

Make a plait on the left = leave 4 pairs of bobbins hanging down on the right, 2 pairs for the plait and 2 for the leaf = carry on the edge to point 32 = leave 2 pairs hanging for another leaf = continue the edge to point 33. Make a plait from point 21 to point 34.

Begin again on the left at points 1 and 2 and work, as on the right, to point 35 = cross the threads at point 25 = linen passing = distribute the pairs to point 36 = 2 pairs at point 37 = 2 at point 38 = 3 pairs at point 34 = plait to point 37 = join to point 38 = continue the plait and join to points 36, 35, 39 = at points 35, 36, 37 lozenge stitch with every 2 pairs of bobbins to point 40 = then join the next 6 pairs together = and work on with lozenge stitch to point 41 = work exactly in the same manner at points 31, 32, 34, 35, 39, 42 as at points 36, 37, 38, 40 to 41 = at point 41, all the threads are interwoven, and then divided into 3 sets = continue the leaves to points 45, 46 and 47. Then repeat in the reverse order from points 31, 38, 25, 32 and 39.

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ARMENIAN LACE (figs. 811 and 812).—The dresses of the Turkish women are often ornamented with flowers and leaves, executed in needlework which take the place of fringe and braid trimmings and are often even employed as adornments for the neck and arms instead of necklets and bracelets in metal work; though, as such, they do not always accord with our Western notions of good taste, the Armenian work is in itself, both sufficiently interesting and easy of execution, to deserve description here amongst other kinds of needlework that are adaptable to use. It may be imitated with capital effect in strong stiff washing materials, such as those indicated in our illustration, either upon a linen or cotton foundation or upon plush or silk.

The thread is first drawn into the edge of the stuff; you then carry it from right to left, determine the length of the squares, and working from left to right make on this first thread as many knots as you have room for.

Fig. 812 shows the formation of the knot, the manner in which the thread, passing from left to right, forms a loop, and how to pass your needle under the straightly extended thread and through the loop. You leave a space of one or two m/m. between the knots, according to the thickness of the thread you are using. Having covered the first thread with knots, you return to the edge for the next row of knots, but passing your needle this time under three threads.

The number of knots should be the same in each row, and the four sides of the square should be all equal.

When the squares are finished they are edged with picots on the two lower sides, as shown in fig. 812.

Thread of two colours was used for fig. 811, the squares being worked alternately in Écru and Brun-Caroubier and the picots, all in the latter colour.

LACE AND INSERTION IN KNOTTED STITCH (fig. 813).—Excepting in the case of the returning thread, the same stitches are used for the pretty border and insertion given in fig. 813, as for the Armenian lace.

The stitches that form the insertion are attached, on both sides, to an English braid, something of the nature of Rhodes linen, which is open-worked before the knotted work upon it is begun.

As in the preceding figure, two colours are used alternately, the change from one to the other is distinctly marked in the engraving.

The outside edge consists of light scallops, formed by the regular increase and decrease of the stitches. The original piece of work from which our drawing was taken, forms the border of a dark blue plush carpet; the red and écru hues of the lace harmonize exceedingly well with the soft colour of the plush.

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INSERTION IN KNOTTED STITCH (figs. 814 and 815).—This kind of work, similarly composed of knotted stitches, can be used instead of crochet insertion or single and cut openwork in linen. It looks exceedingly well as a trimming for bed and table linen and is executed on foundation threads or cords, which connect the different figures together, with closely connected rows of knots between.

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INSERTION IN KNOTTED STITCH (figs. 816 and 817).—The mode of making the insertion in knotted stitch, which is represented in the two accompanying engravings, is supposed to be of Italian origin, but we have met with quite as perfect specimens of work done in the same way, which were the products of Persia and Asia Minor. We have called it by the same name as the preceding patterns, for even the way in which the stitch is worked is almost the same. Through some slight difference however in the interlacing of the threads, shown by the open loops in fig. 817, the stitches lie closer together and are alike on both sides of the work.

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No difficulty will be found in making out the course of the rows; it is best to begin by the two rows of stitches that form the perpendicular bars and make the stitches, that compose the 4 staves between the bars next. For the little picots see fig. 700.

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LACE IN KNOTTED STITCH (figs. 818 and 819).—This charming little lace, which is of Italian origin, was taken from a cushion cover, used for church purposes. The stitches, made in the order indicated in the working detail, fig. 819, are overcast at the last with a fleecy thread, such as Coton à repriser D.M.C, of a rather sober colour, such for instance as Bleu-Indigo 334, Rouge-Géranium 352, or Jaune-Rouille 363.

You overcast the slanting bars and pass over the stitches that connect the two picots.

RETICELLA LACE (figs. 820 and 821).—The Reticella laces are generally made on a design traced upon parchment, similar to those required for the laces described later on. But as the manner of working has been modified in the lace represented here, we thought it as well to adopt the same simplification, often used in beautiful pieces of old needlework, which consists in substituting a braid made upon a pillow, for the bars made with the needle.

You begin by laying and fastening down the braid by means of very small stitches upon the lines of the pattern, which should be traced upon black paper; you next proceed to make the centre bars, covered with plain button-hole stitches, on which you mount a row of stitches, like those of fig. 755; these are followed by another bar, to make which, you pick up the loop of the stitches of the preceding row and by another row like the second, finished off with picots, like those illustrated in fig. 700. The bases of the pyramids likewise consist of bars, button-holed on both sides and edged on the inside with picots.

The stitches of the first row should not be too close together, that there may be room for those of the second row between, as we have already explained in fig. 702, in the chapter on Irish lace.

The inside of the pyramids is worked in the stitch represented in fig. 755, the picots round them are like the ones in fig. 599.

The lace, represented in fig. 820 in its original size, was worked in Fil à dentelle D.M.C No. 80, whilst the second engraving, representing the same subject, shows us how perfectly well it can also be made in heavier and coarser materials, these being in this instance, Lacets superfins D.M.C No. 4 and Cordonnet 6 fils D.M.C No. 20.

VENETIAN LACES (figs. 822, 823, 824, 825, 826, 827, 828).—Under the name of «Venetian point» are comprised, not only certain kinds of pillow lace, but even more generally, the beautiful needle-made lace, the outlines of which are bordered with handsome scallops in high relief.

We shall confine our attention in the present instance to the needle-made Venetian lace as the other can be learnt without any great difficulty by following the instructions already given for the making of pillow lace.

The preparation of the pattern, in most kinds of needlework, is a most important matter and one requiring the greatest care, but in the case of needle-made lace and pillow lace the processes are different.

The paper on which the design is traced must first be backed or lined with unglazed black paper (made specially for this purpose). Prick holes all along the lines of the pattern, at exactly the same distance from each other, remove the tracing and tack the black paper upon rather coarse linen.

This done, you take from three to five lengths of the thread of which the lace is to be made, lay them down together upon the lines marked by the prickings and secure them at each hole by a stitch made over the threads.

Fig. 822, with the others of the same series in their natural size, show the proper distance that should be left between the prickings, and the laying down of the threads begun; whilst in fig. 823, we have the threads laid down throughout, even for the little eyelet holes, which are to be open-worked afterwards.

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When all this preliminary work is finished, the pattern is ready for the lace stitches that are to form the filling in, between the raised outlines. In order to keep your work perfectly clean and preserve it from unnecessary contact with your fingers, cover all those parts of the pattern you are not immediately engaged on, with a piece of blue paper with a hole, about the size of a pea, cut in it. This you move along as you go, working only at the part of the pattern which is visible through the hole, keeping all the rest carefully covered up and sewing paper over each part as soon as it is finished; this should not be removed until you are ready to join all the separate parts together with bars or latticed ground and work the button-hole edges.

All the different lace stitches that are used as fillings must be begun and fastened off at the outline threads, which you must be careful not to drag out of their place.

We again remark, for the benefit of those of our readers who may not have read the preceding chapter attentively, that in working all the finer lace stitches, the needle should be held with the eye towards the worker and the point turned outwards. All the inside portions of the pattern have to be worked in separately; (for a choice of stitches to serve as fillings see figs. 720 to 762) until all the spaces are filled, as represented in figs. 825 and 826. The stitches should be selected as far as possible, to suit the style of the design. Flowers look best worked in an open or lattice stitch, leaves on the other hand in a thick close stitch.

When all the insides are done, the edges and outlines have to be closely button-holed.

The old Venetian laces are bordered with scallops in high relief, worked over a thick pad of laid threads, as described on p. 83, fig. 191, relating to Venetian embroidery.

MATERIALS—For the open stitches: Fil à dentelle D.M.C Nos. 100 to 200.—For the outlining and for the padding: Coton surfin D.M.C Nos. 120 to 150.]

VENETIAN LACE WITH NET GROUND (fig. 829).—The outlining of the figures with several strands of Coton surfin D.M.C, should, in the case of detached pieces of lace, be done at once, but where the figures are connected by bars or by a net ground as in fig. 825, the button-holed outlines should be done last. Thus in making the lace, fig. 829, you should begin by working all the insides of the flowers and foliage, then the net ground which may be replaced by bars with picots and then only proceed to the outside button-holing and the scallops.

As all this kind of lace-work is very laborious and takes a long time to do, we advise our readers to use thread that is slightly tinted; in the first place it does not turn yellow as white thread is liable to do and secondly, being softer and less twisted it takes every bend and turn more readily than the stiffer white material does.

Of all the different kinds of thread, so frequently alluded to in these pages, the higher numbers of Fil d’Alsace D.M.C and Fil à dentelle D.M.C are the best for the finer kinds of lace, and they all have the soft ivory tint, we so admire in the old needlework.

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SPRAY IN NEEDLE-POINT (fig. 830).—Needle-point lace, also called Brussels lace, requires the same preparatory work as Venetian lace; but it seldom contains such a variety of stitches and openwork as the latter.

The flowers are generally worked in one of the stitches, represented in figs. 720 and 740; the outlines are less thickly button-holed and the stitches, set everywhere less closely.

Here also, the finished parts should be carefully covered with paper to keep them from getting soiled.

The needle-point lace designs are ordinarily speaking more realistic and as regards the composition, less artistic and severe than the Venetian point ones.

The spray, represented in our engraving, is a specimen of an ordinary Brussels lace pattern and of the stitches it is worked in.

FOOTNOTES:

[A] See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.

Miscellaneous fancy work.

As the plan on which this book was constructed rendered a systematic classification of the different subjects it treats of necessary, a certain amount of miscellaneous fancy work, which does not come under any of the previous headings remains to be dealt with in the present chapter. In most cases the illustrations and the accompanying directions are but an application to a practical use of the different kinds of stitches already described in previous chapters and those who are familiar with all these various branches of needlework will have no difficulty in understanding what follows.

KNOTTED CORD (figs. 831, 832, 833, 834, 835).—The knotted cord referred to in the letter press belonging to figs. 772 and 773 in the chapter on Irish lace, comes under the present heading: in making it, the fingers take the place of a crochet needle.

You tie two ends of thread or braid together, take one thread in the left hand fig. 831, and with the forefinger of the right, pull out a loop long enough for the left forefinger to pass through and hold the end of the thread tight with the little finger of the right hand.

Then draw the left forefinger backwards through the loop and behind the thread that is round the loop and lies in the left hand, fig. 832. As you lay the thread round the left forefinger, you must pass the knot and the ends of thread as well, over into the left hand, and with the right hand pull the thread that lies on the right and draw up the loop, fig. 833.

In fig. 834, representing the fourth position of the hands, you are shown how the forefinger of the right hand lifts up the thread and passes through the loop on the left hand; the end will consequently also pass immediately into the right hand and the left hand will tighten the knot.

It is by thus drawing up first a loop on the right and then one on the left that this pretty cord is produced.

Skilful hands will soon learn to make a cord of the same kind with four threads, as follows: knot the four ends of thread together, make a few knots, using two threads as one, then dropping the loop on your forefinger, put the next one upon it and draw up the knot, passing however the threads over those that you dropped. Then drop the loop you have on your finger again and take up the first loops.

For the cord made with double threads, represented in fig. 835 on a magnified scale, use Cordonnet 6 fils D.M.C or one of the other materials mentioned at the foot of the illustration. Soutache D.M.C will always be found to be very suitable for this purpose.

BALLS FOR TRIMMINGS (figs. 836, 837, 838, 839, 840, 841).—Amongst the crochet patterns are two that are finished off with balls; to make these, begin by cutting a number of rounds of cardboard, two for every ball, with holes in the middle, fig. 836.

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If you have a great many balls to make it is well worth your while providing yourself with a metal die of the proper size, to cut the rounds with.

Lay two of these rounds together and cover them closely with stitches, fig. 837, using for this purpose Coton à tricoter D.M.C (knitting cotton) or Coton à repriser D.M.C (darning cotton).[A]

When the round is entirely covered, put the scissors in between the two circles of cardboard and cut open the stitches all round the outer edge, fig. 838; then draw a piece of thread between the two circles and knot it firmly round the stitches that meet in the centre hole, fig. 839; leave sufficiently long ends of thread hanging to form a loop by which the ball can afterwards be fastened to the heading of the fringe; when the stitches are knotted together you cut and pull out the cardboard, fig. 840, and snip the thread with your scissors until it becomes quite fluffy and the ball is perfectly round, as shown in fig. 841.

TAMBOUR WORK (figs. 842, 843, 844, 845).—Since the introduction of the sewing machine, by means of which this charming kind of embroidery can be so quickly and easily executed, it has somewhat gone out of favour. As however, the fine patterns with a good deal of shading in them, can be far more accurately worked by hand than by machine, tambouring, which is in point of fact merely a form of crochet, has lately been revived. The piece of stuff on which the tambour work is to be done must be mounted on a frame.

The loops which are made with a small hook, called a tambour needle, form a fine chain stitch and must be regular and even; to facilitate this a sort of thimble, fig. 842, is worn on the forefinger of the right hand, formed of a small plate of sheet brass, rolled up but not joined, so as to fit any finger; it is open at the top like a tailor’s thimble and has a little notch on the side which is placed above the nail, and in which you lay the tambour needle whilst you work. From the thimble being cut slightly slanting at the top, it follows that the inside where the two ends meet is a little shorter than the outside.

The thread is drawn through in a loop to the front of the work by means of the hook, whilst it is held at the back in the left hand, and when the needle is put downwards through the stuff, laid round it. The needle in its downward and upward passage, should be kept in the notch in the thimble and the stuff pressed down with the thimble, as the needle is drawn up to the surface of the work, fig. 844.

A little practice is necessary to acquire the right action of the hands, there being always a tendency, the same as in tatting and macramé, to confuse the movements of the two. As soon as you realize that the upward drawing of the needle and the downward pressure of the stuff with the thimble must be simultaneous, you will find that you can work with great rapidity and with admirable results. Thread with a very strong twist, which the hook will not split, is the only suitable kind for tambouring. Of the D.M.C materials, Fil d’Alsace[A] and Fil à dentelle[A] are the most to be recommended.

Numbers of patterns, originally intended for other kinds of embroidery can be executed in tambour work; amongst those contained in this Encyclopedia, figs. 192, 210, 216, 219, and 227 are the ones that are best adapted to the purpose.

SMYRNA STITCH WORKED WITH A CROCHET-NEEDLE (figs. 846, 847, 848, 849).—In the chapter on tapestry, p. 137 we remarked that Oriental carpets and mats could be worked in different other ways, to be subsequently alluded to at greater length.

Smyrna stitch requires only a crochet needle and is worked on very coarse canvas or Java linen. You take a coarse mesh of cotton, such as Nos. 6, 8 or 10 of Colon à tricoter D.M.C (knitting cotton), cut it into lengths of 8 c/m., fold two lengths together in half, stick in the crochet needle from above, under two threads of the canvas, take hold of the loop with the hook, fig. 846, and draw it in; then push out the hook to seize the ends of the cotton and draw them through the loop which is on the needle, as indicated by the little arrow in fig. 847. The stitches or tassels should be two or three double threads of the canvas apart. As you finish each row, comb the ends of the tassels out carefully with a fine metal comb. When the whole piece of work is finished shear the entire surface, quite even, with a pair of sharp scissors. Fig. 849 shows a square of the work completed, presenting that warm velvety appearance which distinguishes the Smyrna carpets.

MALTA STITCH (figs. 850, 851, 852, 853, 854).—This stitch is much used by the Maltese; it is the same as the «point tricot» excepting that in the latter, the loops formed by the return of the thread are open and the stitches packed very closely together, whereas in the Maltese work there is always one close loop and two open tassels.

COLOURS: Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 311 and Rouge-Cornouille 449.[A]]

It is worked as follows: take a thick bunch of lengths of Coton à repriser D.M.C, pass it under two vertical threads of the stuff, from right to left, fig. 850, leaving an end, 1 or 2 c/m. long, lying on the surface of the work; put the needle in again under the two threads that are in front of the first stitch and leave the tassel, formed by the first stitch, above the one by which you bring the needle back between the two stitches.

The needle must now follow the same course it took for the first stitch and the thread must be drawn out far enough to form a loop as long as the tassel; you then repeat the second stitch, carrying back the working thread however this time above the loop, after which you cut the two open ends the same length as the loop. In the Maltese work, three times as many threads have to be left between the tassels as are covered by the stitch.

Thus if your stitch cover 4 threads of the foundation, you should leave 12 threads between the tassels, and if it cover 6, you should leave an interval of 18 threads, that the stuff may always be visible between the little tassels or balls.

Fig. 854 represents a portion of a curtain, embroidered on Flemish linen in the colours indicated at the foot of the engraving; these may be arranged according to the taste of the worker.

Malta embroidery is mostly done on coarse coloured linen fabrics or on single thread canvas.

TRIANGULAR TURKISH STITCH (figs. 855, 856, 857, 858, 859). Amongst the many pretty stitches for which Turkish embroideries are distinguished, there is one in particular, which though apparently very difficult, is in reality quite the reverse; it resembles line stitch upon straight threads, only that in the East it is generally worked in diagonal lines, each row requiring two journeys to and fro.

In the first, fig. 855, the needle must always be carried, first over, then under two threads in a diagonal line and so on to the end of the row.

Coming back, you pass the needle under the stuff and the stitch on the right side, and bring it out at the bottom of the stitch; then you make a back stitch over two horizontal and two vertical threads, pass the needle over two straight threads, put it in behind the same, bring it out again near the upper stitch and then insert it near the bottom vertical stitch; after this you carry it to the second stitch lower down and pass it over the same. Four threads should meet in every hole which the needle makes. The third and fourth row should be worked in a colour that forms a sharp contrast with the one in which the two first rows are worked and constitute with these one complete row of stitches, fig. 856.

Figs. 857, 858 and 859 show how the same stitch can be worked in straight, instead of in diagonal rows.

The dark shade in fig. 859 shows the first row of stitches, the light, the second, or rather the third and fourth, as four rows of stitches are required to make one complete row of triangular Turkish stitch.

PATTERN WORKED IN TRIANGULAR TURKISH STITCH AND GOBELIN STITCH (fig. 860).—The diagonal lines are all worked with Chiné gold and blue, and gold and red. The stitch we have just described is most effective in conjunction with other kinds of embroidery, as illustrated in fig. 860, where it is combined with Gobelin stitch.

The running foundation is divided into slanting squares; the diagonal lines are all worked in gold and red. The squares number 9 stitches inside, these are followed by a tenth which is covered by the first stitch of the next square. Where two kinds of coloured gold thread are used, one square will be framed on all sides by one kind, say, gold and blue for instance, the next by the other, gold and red.

The stalk that divides the two little leaves and has a small lozenge at the top, is begun above the fifth of the 9 stitches; you make 5 stitches, but in such a manner as to end at the top of these 5 with the stitch that runs in a diagonal direction over the threads, turned to the inside of the stalk, so that the last stitch of the first row may form with the first stitch of the second row, a triangle at the top of the stalk, which is surmounted by the aforesaid lozenge.

The lozenges in Chiné gold and light blue, of which there are three in each of the half squares, besides those that terminate the stalk, consist of 9 stitches, the first, extending over 3 threads, the second over 5, the third over 7, the fourth over 9 and the fifth over 11; the four next decreasing in a similar manner. The leaves in Chiné gold and green, on either side of the stalk, also begin with a stitch over 3 threads of the stuff, followed by 8, each increasing in length by one thread on the side of the stalk, but all equal on the other, the last extending over 12 threads of the stuff. After these 9, the subsequent 8 must decrease in the same manner by one thread on the opposite side; then you make 4 more extending over only 3 threads and set the contrary way to the others.

The zigzag border and the small squares of 5 stitches within it are worked entirely in Chiné gold and red.

COLOURS—For the Chiné: Gold and red, gold and dark blue and gold and green. For the Coton à broder: Noir grand-teint 310.[A]]

TURKISH EMBROIDERY (fig. 861).—The powdering of flowers and also the border are worked like the preceding pattern in two-sided Gobelin stitch. Embroidery of this kind looks best on Algerian linen, which is exactly like the Turkish stuff. It is not absolutely necessary to count the threads for the little flowers and stalks, but it is as well to do so for the border, that you may be sure to get the zigzags perfectly regular.

The petals of the flowers are worked alternately in Chiné gold and red, and gold and blue, the centre in Or fin D.M.C pour la broderie and the leaves and stalks in Chiné gold and green. The petals are set with stem stitch in fine black Coton à broder and if the embroidery is to be the same on both sides this setting must be repeated at the back.

The distribution of colours in the border is left to the taste of the worker, but we should recommend for the zigzags Chiné gold and red, as being the most effective.

APPLIQUÉ WORK (fig. 862).—Appliqué work means the laying on of pieces of one kind of stuff on to a foundation of a different kind, so as to form a pattern—these pieces of stuff of various shapes and sizes, taking the place of solid needle-made embroidery.

Appliqué work may be done on linen, silk, velvet, plush and leather. The stuff out of which the pattern is cut has, in most cases, to be backed first with very fine tissue paper.

This is done in the following manner with starch paste, which dries quicker than any other. Spread the paste on the paper with a brush, carefully removing all the little lumps; it should only be just liquid enough to make the stuff and the paper adhere perfectly together and above all must never penetrate to the right side of the stuff. When the paper has been evenly spread with the paste, lay your stuff upon it and smooth and press it down with a clean cloth, stroking it out carefully in the line of the thread to prevent its becoming in the least dragged or puckered, or any air remaining between it and the paper.

You next lay several sheets of paper without a mark or a fold in them, on a perfectly smooth flat board, and upon these, your paper-lined stuff, covered in its turn with several loose sheets of paper, all being kept in their place by another board with several stones or heavy weights laid upon it to act as a press. Leave the stuff in the press until it be quite dry. You will find that any kind of fabric, even the slightest, can be rendered available in this manner for appliqué work, not even plush or velvet being in the least injured by the process.

You then transfer the whole pattern on to the foundation, whatever it happen to be, but only the detached figures on to the paper-lined stuff, carefully cutting out the latter with a very sharp pair of scissors so as to avoid unravelling the threads along the edges.

The foundation, stretched in a frame, as described on page 115, fig. 236, is to be placed on a board or table in such a manner that only the stuff rests upon it, whilst the frame projects on all four sides.

Then cover the cut-out figures with paste on the wrong side and fit them into their proper places upon the foundation. In larger pieces of work especially, this should be done as quickly as possible so that a board with weights upon it, to serve as a press, may be laid over them all at once.

The board must not be removed until the paste be dry; then you can begin the needlework, fastening down the appliqué figures and finishing them off round the edges by laying down a fine round, cord, or by flat stitches.

You either sew on the cord with invisible stitches, opening it a little at each stitch so as to slip the needle and thread in between the twist, or else with ordinary overcasting stitches.

COLOUR: Rouge-Cardinal 346[A].]

In either case it must be so laid on as completely to hide the cut edges and keep them from fraying.

Should you wish to frame the appliqué figures with flat embroidery, you must bring your needle out close to the cut edge and enter it, 1 or 2 m/m. within the edge from above.

Both, cord and flat stitch setting, should be of a subdued shade and if possible, of a colour to match the foundation.

MOROCCO EMBROIDERY (figs. 863, 864, 865, 866).—This work named after the country where it was originated, belongs both to the class of darned and damask embroidery.

In fig. 864, the stitches are formed by passing over 5 threads and taking up the sixth. Coming back you take up the third of the 5 threads first missed and proceed in the same manner over the whole surface of the work, unless the lines of the pattern require you to depart from this rule; as, for instance, in certain parts of fig. 864, where you will notice stitches, carried over 7 or 8 threads; also in the borders, fig. 865 and 866, where the stitches are arranged in a rather arbitrary manner, in order to bring out the pattern more clearly.

Fig. 864 represents the fourth part of one of the subjects that make up the design fig. 863; that is, four such, joined together, form one of the squares of fig. 863.

Figs. 865 and 866 are patterns of two little borders and an insertion, suitable as a finish to fig. 863, which can be enlarged to any size by the addition of other squares to those that are represented here.

Most of the stuffs, already so frequently alluded to in this work, can be used as a foundation for this kind of embroidery, provided the right working materials to go with it are chosen; Coton à tricoter or Fil à pointer should only be used for the coarser stuffs, such as Rhodes linen No. 1, or Russian linen and the different kinds of tammy cloth, whereas the other kinds of D.M.C threads and cottons and especially the finer numbers, are best adapted for embroidery on fine stuffs, such as Rhodes linen No. 2, and Spanish or Algerian linen.

SPANISH EMBROIDERY (figs. 867 and 868).—Spanish embroidery consists almost exclusively of button-hole stitch, fig. 171, and flat stitch, fig. 221.

COLOURS: Bleu-Indigo 312, 322, 334 and Bleu pâle 668.[A]]

The button-hole stitches, for which the more subdued shade of the colours indicated should always be taken, or else yellow, dark or pale, to match the gold thread, are made over two threads of gold and follow the outlines of the pattern, which should be more or less appropriate to this style of embroidery. One of the gold threads always keeps the inside of the line and follows it throughout in an unbroken course, whilst with the second, the outside one, you form picots, folding the gold thread over from right to left and catching down the loop by a button-hole stitch, which is introduced into the loop itself and carried over the combined gold threads, as shown in the left corner of fig. 868, representing one quarter of the whole design, where the position of the needle and the way in which the picot is secured are plainly indicated.

For the scallops, a round material with rather a strong twist should be used, such as Soie de coton D.M.C No. 100[A] or Fil à dentelle D.M.C Nos. 70 to 100[A], wound on reels.

Where the picots have to fill up empty spaces of a larger size, you can join several together by connecting them each in turn with the first.

When you have bordered all the outlines with button-hole stitches and picots, fill up the spaces enclosed within the lines, which properly speaking form the pattern, with flat stitch embroidery, worked in Coton à broder or Coton à repriser; after which the whole surface is sewn over with fine little spangles which give the sparkling look that constitutes the peculiar charm of this kind of embroidery. The flowers are covered with a fancy stitch that forms regular little lozenges, and every second row of stitches is hidden under a spangle.

With regard to the colours indicated at the foot of fig. 867, this is how they were distributed in the original, from which our engraving was taken; all the outlines in button-hole stitch, in Bleu pâle 668; the tops of the flowers in Bleu-Indigo 334; the bottom parts in Bleu-Indigo 332, and all three shades of blue so blended together in the solid parts of the design as to be undistinguishable from each other. It is not absolutely necessary to keep to the colours here indicated; there is no reason whatever why a greater variety should not be introduced, but in every case the more subdued shades should be selected; a pale red, for instance, for the flowers, a green and a brown for the arabesques, will always be found to produce a very pretty and harmonious effect.

When all the needlework is finished, you cut away the stuff underneath the network formed by the picots, with a pair of sharp scissors.

A word remains to be said with regard to the copying of fig. 868.

Our readers will notice that in fig. 867 the flowers and arabesques succeed and grow out of each other; that whilst the four quarters are symmetrical, yet at the same time, the curves in each quarter take a different inclination.

You cannot therefore simply repeat the subject four times; when you have copied the one quarter, given in fig. 868, you must lay this first quarter on again at the cross + on the left side; when the second quarter is finished, you again turn the copy to the left and tack it on at the +; when you come to the fourth quarter the lines of the first quarter must exactly meet those of the last. We beg here to draw attention to the directions, relative to the copying of patterns, given in the subsequent chapter.

BASKET STITCH ON LINEN (fig. 869).—This stitch has some resemblance with the Greek stitch, fig. 278, and the Montenegrin, fig. 306, only that it is not crossed like the latter.

Basket stitch can be worked on all kinds of stuffs, on counted threads or on a wide or narrow tracing, with fine or coarse thread, and more or less closely, according to the taste of the worker.

You insert the needle from right, and pass it under, from 3 to 6 threads of the foundation, according to the stuff and the material you are using, then downwards from left to right, and over, from 6 to 8 threads, into the stuff again from right to left; then you push it under the stuff in an upward direction and bring it out on the left in the middle of the space left between the last stitch and the top of the second. The dotted line in the engraving indicates the course of the stitches.

OLD GERMAN KNOTTED STITCH (fig. 870).—This is a stitch often met with in old church and house linen embroidery. A beautiful design worked in this way is given further on.

Contrary to most stitches, this is worked upwards; the needle is put in horizontally under the stuff, the thread tightly drawn, then laid from left to right and drawn through underneath the first stitch and a tight knot made. We find the same stitch, worked in a variety of ways, according to the taste and skill of the worker; for instance the knots may be set slanting, as in fig. 870, or else straight and very close together, as in fig. 873, where they present the appearance of a close string of beads, or again wide apart, as they are in fig. 876.

All these ways are admissible but care should be taken in each case, to make the stitches perfectly regular; it is the direction which is given to the stitch and the number of threads taken up with the needle that changes the appearance of the stitch.

RAISED STEM STITCH (figs. 871, 872).—Take a very thick thread, such as Fil à pointer D.M.C No. 10 or 20, or one of the coarser numbers of Cordonnet 6 fils D.M.C, lay it as a foundation thread along the line of your pattern and work over it wide stem stitches, as represented in figs. 172 and 173, either in the same number of thread used for the foundation thread, or a finer, according to the stuff you are embroidering upon.

You may overcast the same stitch in the manner indicated in fig. 872, using a different colour for the second layer of stitches to produce an agreeable variety.

BORDER IN DIFFERENT KINDS OF STITCHES (fig. 873).—The straight lines of this border are all worked in old German knotted stitch in écru thread, forming a thick round cord which stands out from the surface in high relief; the flatter outlining of the outside figures is done in basket stitch in soft blue knitting cotton. The little oblong figures within the two inner lines of the border are worked in Gobelin stitch, in red embroidery cotton, and the filling of the figures, outlined in basket stitch, in one or other of the Irish lace stitches, worked in white lace thread, either so that all the stitches enter the stuff, or form a network over it.

The work may be simplified by sewing Soutache D.M.C or Lacet superfin D.M.C along the straight lines instead of embroidering them in basket stitch.

ROUMANIAN STITCH (figs. 874, 875).—This consists of stitches that are worked in the width of the stuff, intersected by back-stitches set slightly slanting.

Though the engraving is so clear as to render it hardly necessary, we subjoin an exact description of the way the stitches run.

Bring out the needle on the left, 2 or 6 threads beyond the line your embroidery is to follow; with regard to the number of threads you take up, you must be guided by the quality of the stuff and the material you have selected: put the needle in on the right, the same distance in advance of the line as before and bring it out in the middle of the stitch; then passing the needle over the first stitch, put it in again one or two threads in advance of the point where it came out, and draw it out close to where the first stitch began.