Chapter II: Part 2

CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want to carry a latticed-hem or a simple open-work pattern, round a corner, you must cut and loosen the threads, on both sides, about one c/m. from the edge of the hem, as seen in fig. 92. The loose threads can be pushed into the turning, and the edge button-holed, as in fig. 93.

If however, on the other hand, the stitching be continued without interruption, as indicated in the upper part of fig. 94, the loose threads must be brought to the wrong side, and as represented in the lower part of fig. 94, fastened down with a few stitches.

CUT OPEN-WORK (PUNTO TAGLIATO).—For cut open-work, threads have to be drawn out both ways, the number of course to depend on the pattern. Threads, left between others that have been cut out, serve as a foundation on which a great variety of stitches can be worked. Stuffs, equally coarse in the warp and woof, should be chosen for all cut open-work, for then the empty spaces that remain, where threads have been drawn out both ways, will be perfectly square.

DRAWING OUT THREADS BOTH WAYS (fig. 96).—The same number of threads must be drawn out each way; most patterns require the same number of threads to be left as are drawn out. In fig. 96, three threads have been drawn out and three left.

CUTTING OUT THREADS (fig. 97).—We often meet with cut open-work patterns, set in another kind of embroidery. In such cases, the threads that are to be cut out, must be cut a few millimetres within the edge, and then drawn out, so that there may be a frame of the stuff left intact outside.

BUTTON-HOLING THE RAW EDGES (fig. 98).—In very fine linen textures, the threads can simply be cut out, but in the case of coarser stuffs, and when a pattern ends in steps as in figs. 103, 104, 105, the raw edges must be button-holed as in fig. 98, or 99.

OVERCASTING THE RAW EDGES (fig. 99).—Cording the raw edges, is even better than button-holing them. Count the number of threads carefully that have to be cut out, run in a thread to mark the pattern, and then only, cut the threads through, at least two threads within the line.

OVERCASTING THE TRELLISED GROUND (fig. 100).—If you only have a small surface to embroider, you can draw out all the threads at once. But in the case of a large piece of work it is better to begin by removing the threads in one direction only, and completing all the little bars, one way first; after which you draw out the threads the other way and embroider those you leave. In this way you will secure greater equality and finish in your work.

GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).—Finish the first row of bars along the edge completely, to begin with. In the second row, overcast the bar, down to half its length, then carry your thread over two empty spaces, see the letter _a_, come back to the bar, overcasting the thread which you threw across first, and passing the needle under the bars of the stuff. In the second rows that intersect the first, marked by letter _b_, the threads meet in the middle of the empty space.

In fig. 102, finish the bars, overcast both ways first, and then fill in the ground with interlaced threads, worked row by row, throwing the thread from one square to the other as you go, and doubling it, as you return. For the bars, see the chapters on net embroidery, and Irish lace.

LATTICE-GROUND AND DAMASK STITCH FOR SQUARE, FIG. 105 (fig. 103).—Our illustration shows a third kind of openwork ground with one corner in damask stitch, of the square represented in fig. 105. The little bars which intersect each square crossways, are made in two divisions, by carrying the thread to the opposite bar and back. In the same way, the second thread is carried over the first. The damask stitches are described in the next chapter, in figs. 143 and 144.

LATTICE-GROUND AND DAMASK STITCHES FOR SQUARE, FIG. 105 (fig. 104).—Damask, or gobelin stitches, are given in figs. 152, 153, 154. The ground of this part of the square (fig. 104) is adorned with narrow bars, worked in darning stitch. From the centre of one bar, proceed three bars made on three foundation-threads, and a fourth made on two, on account of the passage to the next bar.

QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-STITCH (fig. 105).—Original size 48 c/m. square. This handsome square is worked in unbleached cotton on a white ground; it may also be worked in colours. A very good effect is produced by using Chiné d’or D.M.C[A] red, blue, or green for the gobelin stitch, and a uniform pale tint for the cut open-work.

Figs. 101, 102, 103, 104 illustrate in detail, one quarter of the square, which is represented here one third of the original size. The centre piece (fig. 104) is bordered by four stripes, two long and two short; the former containing two lozenge-shaped open-work figures separated and finished off by damask stitches; the latter, only one such figure. For the insertion in single open-work, that recurs three times, you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.

Original size 48 c/m. square.

MATERIALS suitable for Holbein linen: Fil à pointer D.M.C No. 15 or 20, and Coton à repriser D.M.C No. 25.[A]

For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in place of the latter, Coton à broder surfin D.M.C No. 190.[A]]

DRAWING IN THE PATTERN (fig. 106).—Darning in the threads, as you do into a net foundation is a slower process and one that requires greater skill than drawing them in. The illustration shows the proper order and direction of stitches for Fig. 108. In this case likewise, the little bars must be finished, before the actual pattern is filled in.

DARNING IN THE THREADS (fig. 107)—In old needle-work we often find the pattern reserved, that is, left blank and outlined by the grounding. As it is difficult, especially in executing minute, and delicate figures, to withdraw the threads partially, without injuring the linen foundation, they are withdrawn throughout, and new ones drawn in, to form the pattern. To explain this more clearly, the original threads of the material are represented in a lighter shade than the new ones that are drawn in; the course of the stitches is indicated in a darker shade.

BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig. 108).—This insertion, suitable according to the foundation it is worked on, for the decoration either of curtains, table-covers, bed-linen or underclothing, is made as shown in fig. 106. If intended for the decoration of any article made of white linen, we recommend unbleached materials for the lattice-work, and bleached for the pattern, to bring it out in strong relief.

INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).—This insertion can be introduced into any kind of linen material, and used for ornamenting towels, aprons, bed-linen and table-linen. When it is used to connect bands of cross-stitch embroidery, the open-work should be of the same colour as the embroidery, and the pattern worked in white or unbleached cotton, to correspond with the foundation. In fig. 109, the pattern is half as large again as in the original.

MATERIALS—For Holbein linen: Fil à pointer D.M.C No. 15 or 20, Cordonnet 6 fils D.M.C No. 8, 10 or 15 for the bars.—Coton à tricoter D.M.C No. 16 or Coton à repriser D.M.C No. 12 or 25 for darning or drawing in the pattern.

For finer linens: Fil à dentelle D.M.C Nos. 25 to 30, or Cordonnet 6 fils D.M.C Nos. 25 to 40 for the bars and Coton à repriser D.M.C No. 50 for darning or drawing in the pattern.]

CUT OPEN-WORK PATTERN (figs. 110 and 111).—This pattern, more of the nature of lace than any of the former, is well adapted for trimming, not only household articles but also church furniture, altar-cloths and the like, which are required to wash, as it can be worked in any width.

Fig. 110, a magnified representation of the work in process of execution, shows alternately, ten threads withdrawn each way and six left, with open spaces between. The arcs are worked over three carefully laid threads, carried across from the middle of one bar to the middle of the bar at right angles to it, the wheels on the other hand are begun and finished at the same corner. Overcast the cut edges, and hem-stitch the outside layer of stuff (figs. 61 and 62).

GREEK CUT OPEN-WORK PATTERN (fig. 112).—After the foregoing explanations, no difficulty will be found in copying the beautiful Greek cut open-work pattern, illustrated in fig. 112. Here, we have in the original, 48 threads drawn out in the middle, both ways, from one straight bar to another, (these bars being darned) with open spaces between; and in the lower and narrower division, 21 threads drawn out each way. The cut edges, from bar to bar, are hem-stitched on both sides, leaving four threads of the stuff between.

The long bars, in the second figure, are button holed on both sides, those with the picots, on one side only.

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.

Net and damask stitches.

Many net embroidery patterns and damask stitches consist of a combination of ordinary running and darning, others of chain, stem and cross stitch.

NET EMBROIDERY.—All these kinds of stitches can be worked on the coarse Greek net, as it is called, as well as on the finest quality of real Brussels net.

Stripes of net, finished off with button-hole edging, and ornamented with one or other of the following patterns, make very pretty washing laces and the like; net laid upon Irish point and converted by needlework into a lace ground, makes an excellent substitute for a hand-made ground, which demands much labour and time.

MATERIALS SUITABLE FOR NET EMBROIDERY.—The choice of material must be determined by the quality of the net and the effect to be produced. For a coarse make of net and a very marked pattern, the lowest numbers of D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. 1, 2, 3 should be used; if the net be fine and the pattern a delicate one, then the higher numbers of the following are preferable: Coton à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50, Coton à broder surfin D.M.C Nos. 100, 120, 150. The latter must be adjusted to the required size before being used, that is to say as many strands of it removed, as is necessary in order to reduce it to the proper thickness.

TRACING WITH RUNNING STITCHES (fig. 113).—Have your pattern traced on linen or paper; tack the net upon it, and copy it carefully on the net with running stitches. As in darning, the stitches must run first above and then beneath, alternating in each succeeding row. At the turn of the lines, the stitches cross each other, as shown in the illustration.

NET PATTERN (fig. 114).—Here too the pattern is traced with running stitches, which are run in on both sides of each row of meshes. The thread is carried first to the right, and then to the left, under every alternate bar of the net and out again. Between the first and second rows, one thread of the foundation must be left uncovered. In the next row, the thread is carried back again, so that it encircles each mesh. In the third row, the thread passes under the same bar of net as in the second, the threads touching each other. The fourth row is a repetition of the first.

NET PATTERN (fig. 115).—This consists of two rows of stitches. In the first, the single stitches run diagonally from left to right, over and under a mesh; in the second row the triple stitches, also carried diagonally across a mesh, lie from right to left.

NET PATTERN (fig. 116).—Begin with a double row, as in fig. 114; this is followed by a row of cross-stitch, touching the others, for which the thread has to be carried, first under one of the straight bars of the mesh and then diagonally, across it. A second, similar row of stitches backwards, completes the crosses. This can be further varied by the introduction of a row of triple stitches, after the double row, as in fig. 115, and the repetition of the two first only.

These rows can also be worked in two colours, or in white thread and washing gold.

NET PATTERN (fig. 117).—Begin at the top, carrying the thread, first under and then over two bars and a mesh, and then underneath as before. In the second as in the first row, the threads must be drawn in, so that 4 threads always meet in one mesh, and two run parallel to each other through the same mesh.

NET PATTERN (fig. 118).—This pattern, which resembles fig. 117 in the execution, is thickened by triple stitches. Above, where in the preceding row three threads were laid, the thread should be single.

Very pretty varieties are to be obtained by the introduction of several colours. Take white, for instance, for the first row, and different shades of the same colour for the second, third, fourth and fifth rows; such as, Bleu-Lapis 345, 344, 343, 333, 342, [A] or Rouge-Cardinal 348, 305, 304, 347, 346, [A] or Rouge-Géranium, Brun-Caroubier or any other colour that is absolutely fast.

NET PATTERN (fig. 119).—After one row of cross-stitch, such as was described in fig. 116, add a second, carrying the thread under the bar that lies between the first stitches, so that the two rows only cover three threads of the net. The close bands of cross-stitch must be divided from each other by one row of net bars.

NET PATTERN (fig. 120).—Draw the thread twice backwards and forwards, as in darning, through one row of meshes. In the next, make four stitches over one mesh and two bars. After the fourth stitch, the thread is carried forward under two bars to the next group. The meshes filled in thus are divided from each other by two double rows of darning stitches. Here you may introduce a variety in the colour, using either white and unbleached, or unbleached and pale blue, or some other combination of the kind.

NET PATTERN (fig. 121).—Make three diagonal stitches over three bars and two meshes, then returning to the mesh out of which the first stitches come, make three more in the opposite direction. In the second row, the stitches meet in the same mesh as those of the first.

NET PATTERN (fig. 122).—Carry the thread upwards from below, over a bar of the net, then pass it horizontally under another bar and carrying it downwards, pass it under a diagonal bar and cover the other three. In the second row, your loops must be turned the opposite way. When the whole foundation is finished, run a thread over the whole surface and overcast it. A good effect is produced by using white and unbleached cottons, in alternate rows.

NET PATTERN (fig. 123).—This pattern consists of one row of overcasting, one of stitches like those described in fig. 114, and one of cross-stitch, as in fig. 39, running diagonally across the stuff. Besides the cottons already mentioned, washing gold thread (Or fin D.M.C pour la broderie), may be used for the overcasting. Dead gold introduced into simple needlework of this kind enlivens it extremely.

NET PATTERN (fig. 124).—Three kinds of stitches are required for this pattern. In the first row the stitch lies crossed underneath the net; in the second, 3 stitches are made over one mesh, the first and the last of which are carried across three meshes. In the third row, button-hole stitches are carried from right to left over two diagonal bars, in such a manner that the thread is drawn through the mesh facing the loops, and the next stitch comes out under the loop of the preceding one.

NET PATTERN (fig. 125).—Fill in every other diagonal row of meshes with chain stitch, inserting the needle into the same mesh it came out of, so that the thread lies in front of the needle, in a loop. The rows of chain stitch may be made with two or three rows of meshes between them. Even the diagonal lines by themselves, make a very pretty foundation for other stitches.

NET PATTERN (fig. 126).—The first row worked from left to right, consists of three loop stitches upwards and three downwards, each over one bar. In the second row, divided from the first by one row of stitches, the inner loops must be turned towards each other; in the third, the outer ones. Any of the stitches, already described, can be introduced into this pattern to enliven it.

NET INSERTIONS (figs. 127 and 128).—These two, as well as the subsequent patterns, are most of them worked in darning stitch and simple overcasting.

The scallops in fig. 127 are formed of darning stitches, over 4, 3, 2 and 1 mesh, respectively. In the intervening space, which is five meshes wide, the stitch shown in fig. 118, may be introduced.

In repeating the pattern, the stitches forming the scallops, must be made to run in the opposite direction. Instead of the thread, simply drawn through the middle, little stars like those described in fig. 134, have a very pretty effect.

In fig. 128, the thread is first carried round one mesh and then on to the next scallop. In the second scallop, which turns the opposite way, the thread is carried once more round the last mesh after the pyramid is completed, and then on, to the next figure.

NET PATTERN (fig. 129).—This checked pattern is also worked in darning stitch. Carry the thread, as in fig. 125, through every second row of meshes. When the bottom rows are all finished, the upper ones are worked across them in the same way. Here the stitches may, if preferred, be distributed more sparingly. But if they are set wider apart, the spaces between should be filled up in some way. Little dots, made of Coton à repriser D.M.C, will answer the purpose best.

NET INSERTIONS (figs. 130, 131, 132).—These three patterns are specially suitable, for insertions, neck-tie lappets and the like, in the place of crochet, pillow, and other kinds of lace. Both design and stitch are clearly enough represented in the subjoined figure for further explanation to be unnecessary. All three should be worked with rather coarse cotton, and Soutache D.M.C[A] (braid) drawn in, produces an excellent effect.

NET PATTERN (fig. 133).—These delicate little figures can be worked into a close pattern, or can be strewn singly over the surface. The closer you set the stitches, the more clear and distinct the stars will be. The thread must be drawn in to the centre mesh from without, so as to be invisible if possible, and then back again to the outside when the stitches are finished.

NET PATTERN (fig. 134).—These flowerets have a very pretty effect, set either singly, or in double or triple rows, and are very useful for filling up gaps or supplementing rows.

NET PATTERN (fig. 135).—These star-shaped figures, their longest stitch covering three straight bars and two meshes, the shortest, three diagonal bars and two meshes, may like the above flowerets, be ranged closely together in rows, so that four stitches, two horizontal and two vertical ones, meet in one mesh. Cotton of two colours should be used, in order that the figures may be distinct from each other: white and unbleached are the best, in cases where bright colours would be unsuitable.

NET INSERTION (fig. 136).—These diamonds make a very pretty grounding either set separately, or in a continuous pattern. The design is slight, nevertheless, when it is worked in coarse cotton, the effect is exceedingly handsome, especially if the inside, in addition to the star here given, be enriched with ordinary darning-stitches, worked in fine gold thread, as we have already mentioned.

NET TRACERY WITH BORDER (fig. 137).—In order to bring out the pattern and the colours, use instead of cotton, Soutache D.M.C, or Lacets surfins D.M.C. Both are to be had in all the colours, given in the list of colours of the D.M.C threads and cottons. The little border can be used in conjunction with any of the preceding patterns, but care must be taken not to let it get twisted in the working. To prevent this, slip a coarse needle under the last stitch, and draw the braid flat over it.

BROAD NET LACE TRACERY (fig. 138).—The pattern of this pretty lace must first be transferred to stout paper, or oil-cloth. All the leaves and stalks, and the button-holing round the open centres of the flowers, are worked in a pale green, the two bottom flowers in Turkey red, the star-shaped one in blue, the calyx in which the stalks unite, in dark red, and the little bells, in the lightest green.

NET DARNING.—We conclude with some directions for darning net, a valuable art, by means of which many a curious piece of old needlework is preserved. Coarse and fine net are all darned in the same way.

Laying the first thread (fig. 139).—Tack the net which is to be darned, closely to the defective part, upon either oil-cloth or coloured paper and cut the edges straight to the thread; Your thread must be of exactly the same size, as that of which the net is made. It takes three rows of stitches to imitate the net ground; in the first place, as shown in fig. 139, cross-threads must be laid from side to side, carried as in darning, a little beyond the edges of the hole and so as to surround each mesh with a slanting stitch.

LAYING THE SECOND THREAD (fig. 140).—Secondly, beginning from one corner, threads are laid diagonally across the first layer. The cross-threads of the foundation are encircled by a stitch, made from right to left, the needle is then carried under the next horizontal bar, and the first layer of threads is overcast with similar stitches.

LAYING THE THIRD THREAD (fig. 141).—Thirdly, threads are carried across the second and first layers. They must start, far enough from the edge, for the second layer of threads to be overcast at the same time, so that there may be no loose threads left on the wrong side. In this third journey, every diagonal thread of the foundation is to be encircled with a stitch, taken upwards from below, the cut edges being strengthened in the same way. Then, to form the little cross in the fabric, the thread must be conducted by means of a second stitch, under the single horizontal thread, outwards, to the next-diagonal thread.

In places where the net is worn, it can be strengthened in the same manner, the stitches being made the way of the stuff.

DAMASK STITCHES.—As a rule the pattern is simply outlined with stem and cord stitch, and the inside spaces are left plain. In spite of the time this simple tracing takes to do, the effect is rather poor and scanty. If however, the inside of the leaves and flowers, be filled in with damask stitch, the result is very handsome.

Not only can the following stitches, which are suitable for any linen coarse or fine, be used for this kind of embroidery, but most of the net and lace patterns too, and these combined with button-holing and flat stitch produce charming effects.

MATERIALS SUITABLE FOR DAMASK STITCHES.—All the threads and cottons used for net work can also be used for damask stitches, according to the material and the kind of work. We will enumerate them once more: Coton à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50, Coton à broder surfin D.M.C Nos. 100, 120, 150.[A]

This kind of embroidery is generally done with a very coarse needle, to press the threads of the stuff closely together and make the light spaces between, which appear in many of the following illustrations.

FIRST PATTERN (fig. 142).—Carry the needle in a slanting direction over three threads and bring it out, from right to left, under three perpendicular ones, then again slanting, over three threads, from left to right, and out again underneath three horizontal ones, downwards from above. Thus the first stitch lies across, from right to left, the second, lengthways. On the wrong side, the stitch forms a regular succession of steps.

SECOND PATTERN (fig. 143).—This is worked exactly in the same manner as fig. 142, only that the second row of stitches touches the first, so that two threads enter and issue from the same hole.

THIRD PATTERN (fig. 144).—Though at first sight, this stitch is very like the Holbein or stroke stitch, it is very different in the execution. It is worked in two rows, to and fro; in the first, you make all the vertical stitches side by side in the width of the stuff, drawing your thread very tightly, in the second, coming back, you make the horizontal stitches in a straight line, at right angles to the first stitches. On the wrong side the stitches are crossed; they in thin stuffs, show through, and quite alter the appearance of the right side.

FOURTH, PATTERN (fig. 145).—In the first row, the thread is carried slanting upwards from right to left, over two threads, then downwards under two. Coming back, the stitches must be set the opposite way, so that four threads meet in one hole.

FIFTH PATTERN (fig. 146).—This is worked like fig. 145, only that the stitches must cover three threads each way. In the second row, you take up one thread on the right and two on the left, to form your stitches.

SIXTH PATTERN (fig. 147).—Here, the stitches form a chess-board pattern. You begin with a diagonal stitch over two threads and bring your needle up again into the same line it started from. The second stitch covers three threads, the third six, the fourth eight; the next three decrease, successively in length, in the same proportion.

SEVENTH PATTERN (fig. 148).—Two kinds of cotton have to be used for this pattern, one of them soft and flat, like Colon à repriser D.M.C[A] (darning cotton) or Coton à tricoter D.M.C (knitting cotton)[A] for the flat stitches, and the other strongly twisted, like Cordonnet 6 fils D.M.C No. 8, 10, 12 or 15,[A] for the cross stitches.

The five flat stitches cover three threads in width and six in height, and lie from right to left and from left to right. In the second row, which must be two threads distant from the first, the stitches must lie in the contrary direction. In the lozenge-shaped space between, make four cross stitches, over four threads in height and two in width.

EIGHTH PATTERN (figs. 149 and 150).—Make five stitches over 8 horizontal threads, miss 6 threads and make another 5 stitches. The groups of long stitches above and beneath the first row, encroach over two threads of the first group, so that a space of only four threads remains between two groups. The stitch between these groups is generally known as the rococo stitch.

Bring out your needle between the third and fourth of these threads, and insert it again above, drawing it out afterwards between the second and third horizontal thread, and securing the first stitch with a back stitch. Make the three remaining stitches, as explained in fig. 150.

NINTH PATTERN (fig. 151).—This consists of straight bands of flat stitches, covering three threads each way, with spaces 8 threads wide between, ornamented with a small pattern in stroke stitch, (see chapter on Tapestry and Linen embroidery).

DAMASK STITCH FOR FIGS. 103 AND 105 (fig. 152).—The stitches, here represented on a large scale, form the border to the square in cut open-work in fig. 105. The long diagonal stitches, on either side, can be made to look fuller and more distinct, by using a soft, coarse cotton.

TENTH AND ELEVENTH PATTERNS (figs. 153 and 154).—The former of these is used for filling in the short stripe in fig. 105, the second for the long inside one. Fig. 153 is clear enough to need no explanation; with reference to fig. 154, it is however as well to point out that the shortest stitch should cover 4 threads and the longest 12, the rest is easily learnt from the illustration. This is a very suitable design for the decoration of large surfaces and combines well with any running diagonal pattern, when it can be made to form a large star which can be worked as a separate figure.

TWELFTH PATTERN (fig. 155).—In cases where this and the following stitches are to be executed on a light, transparent stuff, it is best to use a very strongly twisted thread, such as Fil d’Alsace D.M.C [A] or, Fil à dentelle D.M.C [A] instead of a softer and looser material. A stiff thread compresses the threads of the stuff better and the open spaces, thus made in it, are rendered more visible.

Count 6 threads vertically, put in the needle and draw it through from right to left, underneath 3 diagonal threads. For the next stitch, carry it upwards over 6 threads, and back under 3. The second row is worked back over the first in the same way. Leave 6 threads between each row.

THIRTEENTH PATTERN (fig. 156).—Carry the thread, from right to left over four vertical threads, and under the same number of horizontal ones. The second row of stitches touches the first, so that the thread it is worked with seems to be drawn through under the same threads of the stuff, as the one the first row was worked with.

FOURTEENTH PATTERN (fig. 157).—Here, the stitches, contrary to those in fig. 147, are set vertically. The first stitch covers 2 threads, the second 6, the third 10, the fourth 14, the fifth 18. The longest stitches of two checks always meet in the same hole.

FIFTEENTH PATTERN (fig. 158).—Cover the whole expanse with rows of stitches, such as are described in fig. 155, with intervals of 12 threads between them.

These rows are intersected by others, to which the thread is passed, from between the sixth and seventh of the 12 threads between the first rows. Where the stitches of the two rows meet, the working thread of the second row must be drawn through, under that of the first.

SIXTEENTH PATTERN (fig. 159).—Between every two rows of cross-stitch, leave an interval of 6 threads, counting those on each side of the rows. Over these 6 threads work 2 rows, as shown in fig. 148, but so, that in the second, the lower stitch of the first row and the upper one of the second, cover the same threads.

SEVENTEENTH PATTERN (fig. 160).—This consists of stripes, 4 stitches wide, like those of fig. 155, with 3 threads between, which are overcast in the ordinary manner.

EIGHTEENTH PATTERN (fig. 161).—Small squares of 7 stitches, inclined alternately, to the right and left, and so formed, that the longest stitch of one square is crossed by the first short stitch of the next, so that a space only 6 threads wide and 4 long, remains uncovered. The intervening stripes are filled with 3 rows of overcasting stitches, covering 2 threads each way.

NINETEENTH PATTERN (fig. 162).—The steps formed by this pattern are 11 stitches high, and 11 wide, and each stitch covers 4 threads.

Eight threads intervene between each row of steps, which are covered at the bend, by a square of stitches, from the last of which, the thread is carried on at once, to the four single stitches.

TWENTIETH PATTERN (fig. 163).—The 4 squares set opposite to each other, with 2 threads between, are edged all round by 3 rows of overcasting.

TWENTY-FIRST PATTERN (fig. 164).—Begin by rows of stitches, like those described in fig. 155, over 4 and 2 threads, with 4 threads between, not counting those covered with cross-stitch. Between the two rows of cross-stitch, join 6 threads together by a back-stitch, and carry your thread over the two last of the 6, to the 2 first of the next cluster. The narrow diagonal stripes are separated by 24 threads, exclusive of those covered by the cross-stitches. These spaces are filled in with squares, 10 threads wide and 10 long, formed by back-stitches crossed on the wrong side.

TWENTY-SECOND PATTERN (fig. 165).—In the closer stuffs, of a coarse texture, the threads of which do not admit of being drawn together, as you can those, of a loose thin stuff, where, by simply pulling your thread a little tighter you get open spaces, you must begin by cutting out every fourth or fifth thread. After which, you overcast all the rows, first one way, and then the other, with stitches covering 4 threads, each way. On this foundation with strong, loosely-twisted cotton, Coton à broder D.M.C or Coton à tricoter D.M.C No. 25, 30, 35, or 40, make long stitches, as indicated in the illustration.

TWENTY-THIRD PATTERN (fig. 166.)—From the point where the thread comes out of the stuff, make 16 stitches, four times over, all coming out of the same hole, over 8, 6, 4 and 6 threads, thus forming a star. Leave an interval of four threads between the stars, and unite the intervening threads by cross-stitches one way, and whip-stitches, the other.

TWENTY-FOURTH PATTERN (fig. 167).—Make a succession of diagonal stitches, increasing in length, and advancing one thread at a time, until the seventh stitch covers seven threads, and completes the triangle. Then begin a second triangle on the nearest, adjacent thread.

TWENTY-FIFTH PATTERN (fig. 168).—Cover your whole surface with squares of 16 stitches, as in fig. 147, and fill in the intervening squares with 23 stitches, all radiating from one centre.

TWENTY-SIXTH PATTERN (fig. 169).—Diagonal trellised stripes, made as indicated in fig. 165, and overcast, form the ground. Twelve threads are to be left between the stripes, upon which, work six-cornered, lozenge-shaped groups of stitches, set at right angles to each other, in diagonal rows.

TWENTY-SEVENTH PATTERN (fig. 170).—We conclude our chapter with a circular design, which combines a variety of stitches, and introduces our workers to two new patterns, as well as to an advantageous way of hiding the junction of several kinds of stitches by semicircles of button-hole stitching.

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.

White Embroidery.

We have retained the familiar term, white embroidery, for this kind of needlework, for convenience sake, in spite of its inaccuracy, now that coloured materials are quite as much used for it as white.

It is executed, either on a backing of oil-cloth, or in an embroidery frame, called «tambour-frame». Only skilful workers can dispense with these, for an untrained hand can hardly avoid puckering. If you work without a foundation, the material must be held, quite smoothly over the forefinger, so that the threads lie perfectly straight, otherwise, the pattern is very apt to get pulled out of shape in the working. With your three other fingers you hold the material fast, the thumb resting on the work itself, beyond the outline of the pattern, which must be turned towards the worker. It is always the outside line of a pattern that is drawn in double lines, that should be turned towards the palm of the hand.

TRACING PATTERNS.—Patterns are generally to be had ready traced, but as it is often necessary to repeat, enlarge, or reduce them, descriptions of several modes of doing so, will be found at the end of the concluding chapter.

MATERIALS.—A loose, soft make of cotton, the looser the better, and very little twisted, is the best material for embroidery. We recommend for white embroidery in general, Coton à broder D.M.C Nos. 16 to 150; for monograms on cambric, Coton à broder surfin D.M.C Nos. 100, 120, 150;[A] and for English or Madeira embroidery, Coton Madeira D.M.C Nos. 40, 50, 60;[A] for padding, or raising the embroidery, all the different kinds of Coton à repriser D.M.C[A] can be used.

OUTLINING AND PADDING.—The outlining of a pattern is a very important preliminary. A want of precision in the ultimate effect is often due, merely to careless outlining. This part of the work should be done with rather a coarser cotton than the embroidery itself. Fasten in the thread by a few running stitches, never with a knot, a rule to be observed also in embroidering, except in very rare cases. Finish off your thread by drawing it through the tracing stitches, or through some part of the pattern that is already finished. Fill in the spaces between the lines with a padding of run threads, run loosely, and so that they lie thickly and solidly in the centre, and shade off on both sides. The fullness, and roundness of embroidery, depends on the firmness of this sub-stratum of threads. The outlining and the padding of the different rounded and pointed scallops, as well as of other figures that occur in white embroidery, are illustrated in figs. 181, 182, 183, 184, 185, 187, 189, 190 and 191.

BLANKET, OR BUTTON-HOLE STITCH (fig. 171).—Work from left to right; run in a foundation line, hold down the working thread below the run line with the right thumb; insert the needle above and bring it out below the run line but above the working thread; tighten the loop thus formed, without drawing up the stuff, and continue in this manner, setting your stitches closely and regularly, side by side.

STRAIGHT STEM STITCH (fig. 172).—Work from left to right. The needle must always be inserted above the run thread, and brought out underneath it. In the case of a very delicate pattern, take up only just as much stuff as the run thread covers.

SLOPING STEM STITCH (fig. 173).—Work without a run thread; insert the needle from right to left in a slanting direction, under 1 or 2 horizontal threads, and 5 or 6 perpendicular ones; so that each stitch reaches halfway back to the last.

This kind of stem stitch is chiefly used for the fine upstrokes of letters and numbers, and for linen embroidery.

BACK-STITCHING (fig. 174).—Back-stitching, that is small, even stitches set closely together, is done from right to left, along a straight line, and is chiefly used for filling in the centres of letters, leaves and flowers.

CROSSED BACK-STITCH (figs. 175 and 176).—Used, generally speaking, only for very transparent materials; it forms a close seam of cross-stitch, on the wrong side, and two straight rows of back-stitching on the right. To work, insert the needle as if for an ordinary back-stitch, pass it under the stuff, sloping it a little towards the second outline of the pattern, and draw it out almost in front of the first stitch. After making a back-stitch, pass the needle up again under the stuff and bring it out at the spot where the next stitch is to be.

Fig. 176 shows the interlacing of the stitches on the wrong side, and the way in which this stitch, when it is used for filling in centres, can be worked on the right side.

SIMPLE KNOT STITCH (fig. 177). This consists of two back-stitches, side by side, covering the same threads; it is chiefly used for filling in leaves, embroidered on very thin materials, or in conjunction with flat stitch.

TWISTED KNOT STITCH (fig. 178). To work hold the working thread down with the thumb close to the spot where you first brought it out, twist it twice round the needle, turn the needle round from left to right, following the direction indicated by the arrow, pass it through the fabric at the place which is marked by a dot, and draw it out at the place where the next stitch is to be.

POST STITCH (fig. 179).—Something like knot stitch and much used for patterns, composed of small flowers and leaves, where it often takes the place of raised satin stitch. The illustration represents five leaves finished, and the sixth in process of being worked.

To work, bring the needle up from the back and twist the thread round it as many times as the length of the stitch requires, hold the left thumb on the species of curl thus formed, and passing the needle and thread through it, insert it at the end of the leaf where it first came out, and draw it out at the right place for the next stitch.

BUTTON-HOLE BARS (fig. 180).—When a pattern is ornamented with open-work bars, begin by tracing the outside parallel lines. Then button-hole the whole lower line and the upper one, till you come to the place where the first bar is to be; then you carry your thread across and bring up the needle from below through one of the loops, as, shown in the figure; lay three threads in this manner, inserting your needle the third time one loop further on. Then cover the three threads thickly with button-holing.

DIFFERENT KINDS OF SCALLOPS (figs. 181, 182, 183).—The outlining, padding and button-holing of these scallops is executed in the manner already described. Be careful to adapt the length of the stitches to the shape and size of the scallops. If they are pointed (figs. 182, 183), the stitches will have to be set very closely together on the inner line, and a little play allowed them on the outer, to come exactly to the point, which should be very sharply defined.

ROSE SCALLOPS (figs. 184 and 185).—These are, large button-holed scallops with indented edges, in the one case, rounded at the top and sharply pointed at the join; in the other, pointed at the top, and joined at the bottom by a straight bar of button-holing.

EYELET HOLES (figs. 186, 187, 188).—Outline the eyelet holes very carefully first by running a thread round them, then cut out the enclosed stuff with a sharp pair of finely pointed scissors, and edge the hole with plain overcasting stitches, worked from left to right.

When you have a long row of eyelet holes to make, outline the upper and lower halves alternately, first on one side and then on the other, using two threads, and then overcast them in the same way. The double crossing of the working threads between the eyelet holes makes them much stronger, than if each hole were finished off separately, and the thread passed underneath from one to the other.

The lower halves of shaded eyelet holes, (see figs. 187 and 188), are worked with very short stitches, and the upper halves with long ones; they may be edged entirely, either with button-holing or overcasting, or half with one and half with the other.

SIX LEAVES IN RAISED SATIN STITCH (fig. 189).—Raised satin stitch is chiefly used for working flowers, leaves, petals, dots, initials and monograms. After tracing the outline of the design, fill in the centres with a padding of long, close stitches for which you can again take Coton à repriser D.M.C[A] and then, beginning always at the point of the leaf, see letter A, cover it with flat, perfectly even stitches, worked from right-to-left. B illustrates a leaf, divided through the middle by a line of overcasting; C, one with a corded vein; D, a divided leaf worked in sloping satin stitch; E, a leaf, with a corded vein and framed in sloping satin stitch; F, a leaf worked half in satin stitch, half in back-stitch and straight stem stitch.

Leaves and flowers of all descriptions, can be executed in any of these stitches, and in different combinations of the same.

SIX WAYS OF MAKING DOTS (fig. 190).—Dots, when they are well made, are exceedingly effective in white embroidery, particularly if they are worked in a variety of stitches. Dot A is worked in raised satin stitch; B, in raised satin stitch, framed in back stitch; C, in raised satin stitch, framed in twisted knot stitch; D is composed of several post stitches of different lengths, set in a frame of stem stitches; E is worked in back-stitch, and F consists of a small eyelet hole, with a corded setting, which forms the centre.

VENETIAN EMBROIDERY (fig. 191).—Scallops, worked in very high relief, called Venetian embroidery, are an imitation on stuff of Venetian lace.

Real Venetian point is entirely needle-made; in the embroidered imitations of it, the stuff takes the place of the needle-made lace foundation. To make it more like the original however, the ground is seldom left plain, but is covered with fancy stitches, such as are represented in the illustration, or with one or other of the damask stitches in figs. 146 to 170. The button-hole bars may be made with or without picots. A full description of the latter will be found in the chapters on net embroidery, and Irish lace. The space to be button-holed, must be well padded, for thereon depends the roundness of the embroidery. For this purpose take 6 or 8 threads of Coton à repriser D.M.C No. 25,[A] and fasten them down on to the pattern with loose stitches, laying on extra threads, and cutting them gradually away, according to the width the line is to be. The stuff underneath the bars should only be cut away when the embroidery is quite finished.

RENAISSANCE EMBROIDERY (figs. 192 and 193).—This is the term applied, more especially in France, to embroidery patterns, which are worked entirely in button-holing, and connected by button-hole bars without picots, as shewn in the two accompanying figures. The outside edge in fig. 193, is embellished with picots, described in the chapters just referred to.

RICHELIEU EMBROIDERY (fig. 194).—The name given to embroidery of a similar kind to the former, but in which the connecting bars, instead of being left plain as they are in the Renaissance embroidery, are ornamented with picots.

MADEIRA WORK (figs. 195, 196, 197).—This kind of embroidery, which consists chiefly of eyelet holes, and is distinguished for the excellence of its workmanship used to be known as English, but is now generally called Madeira work, from the island where it originated. The scallops in figs. 195 and 197, are bordered with shaded eyelet holes, worked half in button-hole stitch, half in overcasting; the finely scalloped edge, in fig. 196, is entirely button-holed. In working eyelet holes, the material must always be turned in, up to the inside line, and completely worked in, underneath the in order that no loose threads may be visible on the wrong side.

]

SWISS EMBROIDERY FRAME (fig. 198).—Letters, monograms, coronets and the like, require extreme care in the working, and can only be really well done in a frame. The round Swiss frame, or tambour frame, is the one most commonly used. It consists of two wooden hoops, fitting loosely into each other; the inner one, fastened to a support with a wooden screw let into the lower part of it, with which to fasten the frame to the table. The outside hoop is loose.

Place the fabric to be embroidered over the smaller hoop, the pattern in the middle, and press the other down over it so that it is tightly stretched and fixed between the two hoops.

A leathern strap with holes and a buckle, sometimes takes the place of the second hoop.

ORDINARY EMBROIDERY FRAME (fig. 199).—Tambour frames can only be used for embroidering pocket-handkerchiefs and other small articles; all larger work has to be done in an ordinary frame. Sew a piece of strong stuff into the frame, stretch it as tightly and evenly as possible, and cut out a square in the middle to the size of the pattern. Then tack your work in underneath, straight to the thread, dividing it out carefully with pins first, to ensure its being set in perfectly evenly. Roll or fold up the rest of the stuff over the edges of the frame, and secure it with a few stitches or pins, to keep it out of the way of your hand as you work.

ALPHABETS FOR MONOGRAMS (figs. 200 to 205).—On account of the difficulty of devising a good monogram for marking under-linen, we subjoin two alphabets, by the aid of which our workers will be able to compose their own.

The letters are of a good medium size, which can be magnified or reduced according to the worker’s own taste.

For any such modifications, we would again draw our reader’s attention to the directions given in the concluding chapter. The three first plates represent large wide letters, intended to contain or encompass the more elongated ones, represented in the fourth and fifth plates, figs. 203 and 204.

The interlacing of the letters requires to be carefully done, and our workers should study the following specimens, so as to learn the stitches also, which are most suitable for this branch of embroidery.

MONOGRAM COMPOSED OF LETTERS A AND D (fig. 206).—Here, letter A is worked in flat satin stitch, in Bleu-Indigo 312, and set in stem stitch, worked in Rouge-Turc 321. D as a contrast to A, is embroidered in transverse bars, the left part in pale blue and white, the right in pale blue and dark blue. The little ornaments may be worked according to fancy, either in white, or in one of the given colours.

]

MONOGRAM COMPOSED OF LETTERS V AND S (fig. 207).—The flat satin stitch in both letters is worked in white; the setting, is in red, in short stem stitch, or if preferred, in knotted back stitch.

]

MONOGRAM COMPOSED OF LETTERS R AND C (fig. 208).—These are worked in black and grey, for mourning; the way C is divided, admits of a variety in the stitch; for instance, the back-stitches, in the illustration, may be replaced by very small eyelet holes.

MONOGRAM COMPOSED OF LETTERS G AND E (fig. 209).—The flat satin stitching and back-stitching in E, and the stem-stitched edges of G are worked in white Coton à broder D.M.C; the inside of G in ivory white Coton surfin D.M.C.

BORDER IN GOBELIN STITCH (fig. 210).—Gobelin embroidery is merely raised satin stitch, worked directly upon the pattern, without any foundation, or padding. The effectiveness of this kind of embroidery, which appears so complicated and is really so easy, and the many ways in which it can be utilised, soon brought it into favour. It can be worked on the article itself, or on stripes, laid on afterwards, with a hem-stitch bordering. The original of fig. 210 was in blue and red; Bleu Indigo 312 for the grounding, Rouge-Turc 321, for the setting in stem-stitch. The herring-boning along the edges of the pattern, top and bottom, is also in red.

]

Should a different selection of colours be made, it is important to remember that in all cases a sharp contrast is desirable.

ALPHABET AND NUMERALS, LEFT BLANK, AND OUTLINED BY THE GROUNDING, WORKED IN GOBELIN STITCH (figs. 211 to 215).

The border worked in Gobelin stitch, illustrated in fig. 210, suggested to us the idea of an alphabet and numerals, to be executed in a similar style, left blank, that is to say, and outlined by a grounding in Gobelin stitch, which are better suited to embroideries of the kind than those generally used. Our limited space prevents us from giving all the letters in the diagonal position they are intended to occupy on the article itself. O and W only, are represented in the right position. No difficulty will be found in copying the other letters, in giving them the proper direction.

In order to economize room, J and H are represented in one square, but they are easily distinguishable from each other.

Fig. 214 represents the numerals, executed in the same way. We should like to draw our readers attention to a few other ways in which letters and numerals may be outlined by the background; for example, the solid parts can be worked either in plain or twisted knot stitch (figs. 177 and 178); in very fine chain stitch; in old German knot or bead stitch (fig. 873), or even in piqué embroidery (fig. 877).

BORDER OUTLINED BY GROUNDING, WORKED IN GOBELIN AND STEM STITCH (fig. 216). The grounding of this pattern is worked on stiff white linen, and entirely in Rouge-Turc 321, and the outlining in Noir grand Teint 310. The same pattern can equally well be worked on gauzes and other transparent stuffs, but with Coton à repriser, instead of Coton à broder D.M.C, for the solid parts. Two shades of Rouge-Grenat, one dark and one very light, may be taken instead, or two of Jaune-Rouille, or of Violet-Mauve, employing always the lighter shade for the grounding and the darker for the setting.

]