Chapter III: Part 3

Be careful, in the grounding, not to make the red stitches near the edge, longer than they are represented in the illustration and to set the black stem stitches as close as possible to the grounding.

The pattern, which could only be reproduced in the original size, had to be divided in two, to fit the page. In copying it, join the A and B of the first part to the A and B of the second; the same in fig. 217, each time the pattern is repeated, the flowers are to droop from the + as seen from the position of the buds in the first part, at the beginning of the drawing.

FLOWER GARLAND IN DIFFERENT KINDS OF STITCHES (figs. 217 and 218).—Most of the stitches, described at the beginning of this chapter, will be found in this graceful garland, in the execution of which a considerable variety of colours can be introduced. The rose-buds may be worked in two shades of Vert-Pistache and of Rouge-Grenat, in the stitches described in figs. 173, 177, 189 A; the forget-me-nots, in two or even three shades of Bleu-Indigo, in raised satin stitch and knotted stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.

The border that completes this charming pattern, consists of four rows of button holing, worked in four colours. The first row in our illustration is worked in pale pink, followed by three shades of green, the palest of which is used for the second row of stitches.

When these rows are worked upon a satine or cambric foundation, it is advisable to begin by making a small drawing, in which the height of the stitches and the distance between them is accurately marked out, then prick the pattern through and pounce it upon the material beneath.

When they are worked on a material, the threads of which can be counted no such precaution is necessary.

INSERTION IN GOBELIN AND STEM STITCH (fig. 219).—Owing to the shortness of the stitches, this pattern is easier to work than the foregoing ones. The little flowers are embroidered alternately in dark and light red; the setting varies to correspond, the light red flower being set in dark red, and vice versa. The interior of the leaves is in light green and the setting, as well as the connecting bars, in dark green.

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STRIPES OF EMBROIDERY WITH LACE INSERTION BETWEEN (fig. 220).—We conclude this chapter, by showing how stripes of embroidery can be used alone, or in conjunction, either with bands of open-work, or lace, crochet, or net insertion. Such combinations are useful for ornamenting aprons, table-cloths, curtains etc., every description in short of household linen and of children’s garments. One great advantage, moreover, which stripes of this kind, have over larger pieces of embroidery is that they require neither frame nor pillow, nor wearisome counting of stitches, but can be worked in the hand, at all times and places.

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.

Flat stitch and Gold embroidery.

The terms, flat stitch and gold embroidery, suggest as a rule, needle-work upon rich materials, such as velvet, brocade, plush and the like.

Nevertheless, a great deal of beautiful embroidery is to be met with, in silk and gold thread upon quite common stuffs; Persian and Moorish embroidery for instance, both remarkable for their delicacy and minuteness, and executed upon ordinary linen, or cotton fabrics.

As a fact, the material is quite a secondary matter; almost any will do equally well as a foundation, for the stitches described in these pages. Flat stitch, and some of the other stitches used in gold embroidery, can be worked with any kind of thread, but best of all with the D.M.C cottons.

FLAT STITCH EMBROIDERY.—Decorative designs, and conventional flowers, are the most suitable for flat stitch embroidery; a faithful representation of natural flowers should not be attempted, unless it be so well executed, as to produce the effect of a painting and thus possess real artistic merit.

ENCROACHING FLAT STITCH (fig. 221).—Small delicate flowers, leaves, and arabesques, should in preference, be worked either in straight flat stitch (figs. 189 and 190) or in encroaching flat stitch. The stitches should all be of equal length, the length to be determined by the quality of the thread; a fine thread necessitating short, and a coarse one, long stitches. The stitches should run, one into the other, as shown in the illustration. They are worked in rows, those of the second row encroaching on those of the first, and fitting into one another.

Work your flowers and leaves from the point, never from the calyx or stalk. If they are to be shaded, begin by choosing the right shade for the outside edge, varying the depth according to the light in which the object is supposed to be placed. The stitches should always follow the direction of the drawing.

ORIENTAL STITCH (figs. 222, 223, 224).—The three following stitches, which we have grouped under one heading, are known also, under the name of Renaissance or Arabic stitches. We have used the term Oriental, because they are to be met with in almost all Oriental needlework and probably derive their origin from Asia, whose inhabitants have, at all times, been renowned for the beauty of their embroideries.

These kind of stitches are only suitable for large, bold designs. Draw in the vertical threads first; in working with a soft, silky material, to economise thread, and prevent the embroidery from becoming too heavy, you can begin your second stitch close to where the first ended.

But if the thread be one that is liable to twist, take it back underneath the stuff and begin your next stitch in a line with the first, so that all the stitches of the first layer, which form the grounding, are carried from the top to the bottom. The same directions apply to figs. 223, 224 and 226.

When you have laid your vertical threads, stretch threads horizontally across, and fasten them down with isolated stitches, set six vertical threads apart. The position of these fastening stitches on the transverse threads must alternate in each row, as indicated in fig. 222.

For fig. 223, make a similar grounding to the one above described, laying the horizontal threads a little closer together, and making the fastening stitches over two threads.

In fig. 224, the second threads are carried diagonally across the foundation-threads, and the fastening stitches are given a similar direction.

For these stitches, use either one material only, a fleecy thread like Coton à repriser D.M.C for instance, or else two, such as Coton à repriser D.M.C for the grounding, and a material with a strong twist like Cordonnet 6 fils D.M.C or Fil à pointer D.M.C for the stem stitch.

PLAITED STITCH (fig. 225).—When the vertical stitches are laid, a kind of plait is formed in the following way. Pass the thread three times, alternately under and over three foundation threads. To do this very accurately, you must take the thread back, underneath, to its starting-point; and consequently, always make your stitch from right to left.

If you have chosen a washing material, and D.M.C cottons to work with, use one colour of cotton for the foundation, and Chiné d’or D.M.C No. 30, for the plaited stitch.

MOSAIC STITCH (fig. 226).—In old embroideries we often find this stitch, employed as a substitute for plush or other costly stuffs, appliquéd on to the foundation. It is executed in the same manner as the four preceding stitches, but can only be done in thick twist, such as Cordonnet 6 fils D.M.C or Ganse turque D.M.C.

Each stitch should be made separately, and must pass underneath the foundation, so that the threads which form the pattern are not flat, as they are in the preceding examples, but slightly rounded.

BORDER IN PERSIAN STITCH (fig. 227).—This stitch, of Persian origin, resembles the one represented in fig. 175. Instead of bringing the needle out, however, as indicated in fig. 176, take it back as you see in the illustration, to the space between the outlines of the drawing, and behind the thread that forms the next stitch. Before filling in the pattern, outline it with short stem stitches, or a fine cord, laid on, and secured with invisible stitches.

This graceful design which can be utilised in various ways is formed of leaves of 7 lobes, worked alternately in dark and light green; of flowers of 3 petals, worked in red and the centres in yellow, and of small leaves in violet. The setting, throughout, is worked either in black or in dark brown.

STRIPE WORKED IN FLAT STITCH (fig. 228).—This pattern, simple as it is, will be found both useful and effective for the trimming of all kinds of articles of dress. The bottom edge should be finished off with rounded scallops or toothed vandykes worked in button-hole stitch. The flowers in flat stitch, are worked alternately, in Rouge-Géranium 351 and 352, and the leaves alternately, in Vert-de-gris 474 and 475; the centres of the flowers are worked in knot stitch, in Jaune-Rouille 308.

COLOURS—For the flowers: Rouge-Géranium 351 and 352.—For the knot stitch: Jaune-Rouille 308.—For the foliage: Vert-de-gris 474 and 475.[A]]

BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH (fig. 229). As we have already observed, it is by no means easy to arrange the colours in an embroidery of this kind, so as to obtain a really artistic effect. Whether the design be a conventional one or not, the great point is to put in the lights and shadows at the right place. If you want to make a faithful copy of a natural flower, take the flower itself, or a coloured botanical drawing of it, and if possible, a good black and white drawing of the same, match the colours in 6 or 7 shades, by the flower itself, keeping them all rather paler in tone, and take the black and white drawing as a guide for the lights and shadows. The colours for the leaves and petals, which should always be worked from the outside, should be chosen with a view to their blending well together. The stamens and the centres of the flowers should be left to the last, but the veins and ribs of the leaves, should always be put in before the grounding.

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For embroideries of this kind, suitable materials must be selected; the more delicate and minute the design, and the more varied the colouring, the softer and finer should be the quality of the material employed. Specially to be recommended, as adapted to every form of stitch and as being each of them capable of being subdivided, are Filoselle, Marseille, open Chinese silk and Coton à repriser D.M.C[A].

FLOWERS EMBROIDERED IN THE CHINESE MANNER (fig. 230).—All Chinese embroidery displays undoubted originality and wonderful skill and judgment in the choice of material and colour. It excels particularly, in the representation of figures, flowers, and animals, but differs from European work in this, that instead of using flat stitch and making the colours blend together as we do, the Chinese put them, side by side, without intermediate tones, or they sometimes work the whole pattern in knot stitch. The little knots, formed by this stitch are generally set in gold thread.

Often too, instead of combining a number of colours, as we do, the Chinese fill in the whole leaf with long stitches and upon this foundation, draw the veins in a different stitch and colour. Even the flowers, they embroider in the same way, in very fine thread, filling in the whole ground first, with stitches set very closely together and marking in the seed vessels afterwards, by very diminutive knots, wide apart.

CHINESE ENCROACHING FLAT STITCH (fig. 231).—Another easy kind of embroidery, common in China, is done in encroaching flat stitch. The branch represented in our drawing, taken from a large design, is executed in three shades of yellow, resembling those of the Jaune-Rouille series on the D.M.C colour card.[A]

MATERIALS: Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chiné d’or D.M.C.

COLOURS—For the cotton: Jaune-Rouille 363, 308, 366.—For Chiné d’or: Red and gold, blue and gold, green and gold.[A]]

The stitches of the different rows encroach upon one another, as the working detail shows, and the three shades alternate in regular succession. Flowers, butterflies and birds are represented in Chinese embroidery, executed in this manner. It is a style, that is adapted to stuffs of all kinds, washing materials as well as others, and can be worked in the hand and with any of the D.M.C threads and cottons.[A]

RAISED EMBROIDERY (figs. 232 and 233).—Raised embroidery worked in colours, must be stuffed or padded first, like the white embroidery in fig. 191. If you outline your design with a cord, secure it on the right side with invisible stitches, untwisting the cord slightly as you insert your needle and thread, that the stitch may be hidden between the strands. Use Coton à repriser D.M.C No. 25, for the padding. These cottons are to be had in all the colours, indicated in the D.M.C colour card, and are the most suitable for the kind of work.

Use Coton à broder D.M.C for the transverse stitches and over the smooth surface which is thus formed, work close lines of satin stitch in silk or cotton; the effect produced, will bear more resemblance to appliqué work than to embroidery. The centres of the flowers are filled in with knot stitches, which are either set directly on the stuff or on an embroidered ground.

EMBROIDERY IN THE TURKISH STYLE (figs. 234 and 235).—This again is a style of embroidery different from any we are accustomed to. The solid raised parts are first padded with common coarse cotton and then worked over with gold, silver, or silk thread.

Contrary to what is noticeable in the real Turkish embroidery, the preparatory work here is very carefully done, with several threads of Coton à repriser D.M.C used as one. A rope of five threads is laid down, and carried from right to left and from left to right, across the width of the pattern. After laying it across to the right, as explained in fig. 234, bring the needle out a little beyond the space occupied by the threads, insert it behind them and passing it under the stuff, draw it out at the spot indicated by the arrow. The stitch that secures the threads, should be sufficiently long to give them a little play, so that they may lie perfectly parallel, side by side, over the whole width of the pattern.

This kind of work can be done on woolen or cotton materials, and generally speaking, with D.M.C cottons, and gold thread shot with colour (Chiné d’or D.M.C.)

Very pretty effects can be obtained, by a combination of three shades of Rouge-Cardinal 347, 346 and 304, with Chiné d’or gold and dark blue or with Chiné d’or, gold and light blue.[A]

This kind of embroidery may be regarded as the transition from satin stitch to gold embroidery.

GOLD EMBROIDERY.—Up to the present time, dating from the end of the eighteenth century, gold embroidery has been almost exclusively confined to those who made it a profession; amateurs have seldom attempted what, it was commonly supposed, required an apprenticeship of nine years to attain any proficiency in.

But now, when it is the fashion to decorate every kind of fancy article, whether of leather, plush, or velvet, with monograms and ingenious devices of all descriptions, the art of gold embroidery has revived and is being taken up and practised with success, even by those to whom needlework is nothing more than an agreeable recreation.

We trust that the following directions and illustrations will enable our readers to dispense with the five years training, which even now, experts in the art consider necessary.

IMPLEMENTS AND MATERIALS.—The first and needful requisites for gold embroidery, are a strong frame, a spindle, two pressers, one flat and the other convex, a curved knife, a pricker or stiletto, and a tray, to contain the materials.

EMBROIDERY FRAME (fig. 236).—The frame, represented here, is only suitable for small pieces of embroidery, for larger ones, which have to be done piece by piece, round bars on which to roll up the stuff, are desirable, as sharp wooden edges are so apt to mark the stuff.

Every gold embroidery, on whatever material it may be executed, requires a stout foundation, which has to be sewn into the frame, in doing which, hold the webbing loosely, almost in folds, and stretch the stuff very tightly. Sew on a stout cord to the edges of the foundation, which are nearest the stretchers, setting the stitches, 3 or 4 c/m. apart. Then put the frame together and stretch the material laterally to its fullest extent, by passing a piece of twine, in and out through the cord at the edge and over the stretchers. Draw up the bracing until the foundation is strained evenly and tightly. Upon this firm foundation lay the stuff which you are going to embroider, and hem or herring-bone it down, taking care to keep it perfectly even with the thread of the foundation and, if possible, more tightly stretched to prevent it from being wrinkled or puckered when you come to take it off the backing. For directions how to transfer the pattern to your stuff, and prepare the paste with which the embroidery has to be stiffened before it is taken out of the frame, see the concluding chapter in the book.

THE SPINDLE (fig. 237).—The spindle to wind the gold thread upon, should be 20 c/m. long and made of hard wood. Cover the round stalk and part of the prongs with a double thread of Coton à broder D.M.C No. 16, or pale yellow Cordonnet D.M.C No. 25, and terminate this covering with a loop, to which you fasten the gold thread that you wind round the stalk.

THE PRESSERS (figs. 238 and 239).—These, so called ‘pressers’, are small rectangular boards with a handle in the middle. The convex one, fig. 238, should be 15 c/m. long by 9 broad; the other, fig. 239, which is quite flat, should be 32 c/m. by 20.

Having cut out your pattern in cartridge paper, lay it down, on the wrong side, upon a board thinly spread with embroidery paste. Let it get thoroughly impregnated with the paste and then transfer it carefully to its proper place on the stuff; press it closely down with the large presser, and with the little convex one rub the stuff firmly, from beneath, to make it adhere closely to the pasted pattern; small, pointed leaves and flowers will be found to need sewing down besides, as you will observe in fig. 242, where each point is secured by stitches. The embroidery should not be begun until the paste is perfectly dry, and the pattern adheres firmly to the stuff.

THE KNIFE (fig. 240).—Most gold embroideries require a foundation of stout cartridge paper, and, in the case of very delicate designs, the paper should further be covered with kid, pasted upon it.

Transfer the design on to the paper or kid, in the manner described in the concluding chapter, and cut it out with the knife. You can only make very short incisions with this tool, which should be kept extremely sharp and held, in cutting, with the point outwards, and the rounded part towards you, as shown in the drawing.

TRAY TO CONTAIN THE MATERIALS (fig. 241).—Cut out as many divisions in a thin board, or sheet of stout cardboard, as you will require materials for your embroidery; these include not only gold thread of all kinds, but likewise beads and spangles of all sorts and sizes as well as bright and dead gold and silver purl, or bullion, as it is also called. For the pieces of purl alone, which should be cut ready to hand, you should have several divisions, in order that the different lengths may be kept separate.

USE OF THE SPINDLE (fig. 242).—Gold embroidery thread should be wound double upon the spindle. It is laid backwards and forwards and secured with two stitches at each turn, as described in fig. 234. Small holes where the stitches are to come, have first to be pierced in the material with the pricker, from the right side, for the needle to pass through. In soft stuffs, this is unnecessary, but in brocaded materials, and in plush and leather, where every prick shows and would often spoil the whole effect, it is indispensable.

Gold thread which is stiff and difficult to work with, can be rendered soft and pliable by putting it into the oven, or any other warm place, for a short time.

EMBROIDERY WITH GOLD PURL (fig. 243).—Embroidery is the easiest kind of gold embroidery; you have only to thread the little pieces of purl, cut into the required lengths beforehand, like beads on your needle, and fasten them down upon the foundation like the beads in bead-work. Smooth and crimped gold purl, or silver and gold purl used together, look exceedingly well, particularly where the pattern requires effects of light and shade to be reproduced.

EMBROIDERY IN DIAMOND STITCH (fig. 244).—The diamond stitch is a charming novelty in gold embroidery. Short lengths of purl, not more than 1½ m/m. long, are threaded on the needle, and the needle is put in and drawn out at the same hole. These stitches which resemble knot stitches, form so many little glittering knots, turned alternately to the right and left, and look like seed-diamonds in appearance, more especially, when they are made in silver purl. The shorter the pieces are, and the more closely you set the knots together, the handsomer and richer the effect will be.

CHINESE GOLD EMBROIDERY (figs. 245 and 246).—We recommend the imitation of Chinese gold embroidery to our readers as an easy and grateful recreation. It consists simply in laying down a gold thread, on a delicately outlined pattern and securing it by stitches. It can be done on any material, washing or other, the costliest as well as the most ordinary.

For a washing material use, Or fin D.M.C pour la broderie, No. 20, 30 or 40,[A] which, as it washes perfectly, is well adapted for the embroidery of wearing apparel, and household linen. Plain gold thread and gold thread with a thread of coloured silk twisted round it, are very effective used together.

Thus in fig. 245, the trees, foliage and flowers, are worked in plain gold, the grasses, in gold shot with green, the butterflies in gold with red, the two birds in gold with dark blue, and gold with light blue.

Two threads of gold should be laid down side by side and secured by small catching stitches, set at regular intervals from one another, and worked in Fil d’Alsace D.M.C No. 200,[A] of the same colour. Where the design requires it, you may separate the gold threads, and work with one alone.

The second specimen of Chinese embroidery, fig. 246, resembles the first, as far as materials and execution are concerned, but the design is different. The grotesque animals, flowers and shells it represents, can be worked separately, or connected together so as to form a running pattern.

STRIPE WORKED IN VARIOUS STITCHES (fig. 247).—All the designs described thus far, are worked in the same way, but the stripe now presented to our readers introduces them to several kinds of gold thread, and a variety of stitches. The small, turned-back petals of the flowers are worked in plain gold thread, and outlined with crimped; the rest of the petals are worked in darning stitch, with plain gold thread. The latticed leaves are edged with picots, worked with bright purl. The other parts of the design are all worked with a double gold thread, the stalks in dead gold, the leaves in crimped. The gold thread is secured by overcasting stitches in gold-coloured thread, Jaune d’or 667, but it looks very well if you use black or red thread for fastening the crimped gold and dark or light green for the leaves and tendrils.

GOLD EMBROIDERY ON A FOUNDATION OF CORDS (fig. 248).—In the old ecclesiastical embroideries, especially those representing the figures of saints, we often find thick whip cords used as a foundation, instead of cardboard, for the good reason that the stiff cardboard does not give such soft and rounded contours as a cord foundation, which will readily take every bend and turn that you give to it. In the following illustrations, we have adhered strictly to the originals, as far as the manner of working the surface is concerned, but have substituted for the cord, which in their case has been used for the foundation, Cordonnet 6 fils D.M.C No. 1, which is better for padding than the grey whip cord, as it can be had in white or yellow, according to whether it is intended to serve as a foundation to silver or gold work.

Lay down as many cords as are necessary to give the design the requisite thickness, in many cases up to 8 or 10 m/m. in height, taking care to lay them closely and solidly in the centre, and graduate them down at the sides and ends. When you have finished the foundation, edge it with a thick gold cord, such as Cordonnet d’or D.M.C No. 6 and then only begin the actual embroidery, all the directions just given, applying merely to the preparatory work.

Only four of the many stitches that are already in use and might be devised are described here. For the pattern, represented in fig. 248, flattened gold or silver wire is necessary, which should be cut into pieces, long enough to be turned in at the ends so as to form a little loop through which the thread that fastens them down is passed. Over each length of gold or silver wire small lengths of purl are laid at regular intervals, close enough just to leave room for the next stitch, the pieces of one row, alternating in position with those of the preceding one.

PLAITED STITCH IN GOLD PURL ON A CORD FOUNDATION (fig. 249).—Distribute the stitches as in the previous figure, substituting purl, for the flattened gold wire, and covering the purl with short lengths of gold thread of the same kind. All these stitches may be worked in gold and silver thread, mixed or in the one, or the other alone.

SCALE STITCH WORKED IN GOLD THREAD AND PURL ON A CORD FOUNDATION (fig. 250).—Begin by covering the whole padded surface with gold or silver thread, then sew on short lengths of purl, long enough to cover six or eight threads, 2 or 3 m/m. apart, as shown in the engraving. These stitches in dead gold purl are then surrounded by shining or crimped purl.

You bring out the working thread to the left of the purl stitch, which you take on your needle, put the needle in on the other side, draw it out above the little stroke, and secure the crimped purl with an invisible stitch.

CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION (fig. 251).—The half finished flower, represented here, was copied from a handsome piece of ecclesiastical embroidery enriched with ornament of this kind. The three foregoing stitches and a fourth, are employed in its composition. The finished portions on the left hand side, are executed in silver and gold purl, whilst the egg-shaped heart of the flower is formed of transverse threads, carried over the first padding, and secured by a stitch between the two cords. In the subsequent row, the catching stitch is set between the cords, over which the first gold threads were carried.

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The heavier the design is, the thicker your padding should be, and cords a good deal thicker than those which are represented in the drawing should be used, as the more light and shade you can introduce into embroidery of this kind, the greater will be its beauty and value.

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.

Tapestry and Linen Embroidery.

Tapestry is one of the oldest kinds of needlework and one which has always been popular every where.

There are two distinct sorts of canvas in use for tapestry, called respectively, ‘plain (single thread) canvas’, and ‘Penelope (double thread) canvas’. The latter is generally preferred, because it is easier to count the stitches upon it, but both make an equally good foundation for the embroidery, as the following examples will show.

Besides canvas, other fabrics bearing a close resemblance to it, are often used, especially Java linen, the close texture of which renders grounding unnecessary.

Cloth, velvet or plush can also be overlaid with canvas, the threads of which are pulled away after the pattern is finished. For work of this kind, we however prefer a material with less dressing, such as a twisted tammy, or Colbert linen, because the pulling out of the harsh rough threads of the canvas is very apt to injure the material beneath.

Stitches, worked upon two stuffs, must be drawn very tight, or they will look loose and untidy when the auxiliary fabric is taken away.

Tapestry can be done either in a frame, or in the hand; in the latter case, the ends of the piece of canvas should be weighted with stones or lead, to prevent its puckering.

The stitches, which ought completely to hide the canvas, should all lean one way and the underneath ones always from left to right, as the letters in writing.

MARKING OUT THE EMBROIDERY GROUND (fig. 252).—Before beginning a piece of canvas work and tacking on the auxiliary fabric, count how many stitches it will contain, and mark them out in tens, with a coloured thread, as shown in fig. 252, along two sides at least, in the length and breadth. Having ascertained the number of stitches both ways, divide them in two, and starting each time from the middle stitch, trace two lines, one horizontal, the other vertical, right across the canvas. The point of intersection will be the centre. This sort of ground-plan will be found most useful, and should not be pulled out until, at least, half the work be finished. If moreover, you have corners to work, or a pattern to reverse, in the angle of a piece of embroidery, trace a diagonal line besides, from the corner to the centre.

MATERIALS SUITABLE FOR TAPESTRY.—Hitherto, wool and silk, were the materials chiefly used for canvas work; a very thick wool for carpets, as being warmer and more durable. Silk is too delicate a fibre to resist much wear and tear, and cannot therefore be recommended for articles that are intended for constant use, and wool, though stronger, is subject to the destructive agency of moths; whereas cotton, which is cheaper than both, and quite as brilliant, is free from all these disadvantages and is extremely easy to clean.

For most kinds of tapestry we can therefore with perfect confidence, recommend the use of Coton à tricoter D.M.C Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to 15, and even Coton à repriser D.M.C No. 25.[A]

CROSS STITCH (fig. 253).—Cross stitch is the foundation of every other stitch, and the one in most common use. It is also called marking-stitch, being used for marking linen. It is worked in two lines. In the first, the thread is carried diagonally from left to right across a square of threads, and then, downwards, underneath the two horizontal threads; in the second, the stitches are carried from the right-hand lower corner of the square to the upper left-hand corner, so that the four points of the two stitches form a perfect square.

HALF CROSS STITCH (fig. 254).—If the cotton is too coarse, or the canvas too fine, to make the double stitch, carry the thread back along the whole line and make the half-stitches across it, from left to right; the same in the case of a piece of work, which you buy with a part of the pattern ready-worked.

GOBELIN STITCH ON PLAIN CANVAS (fig. 255).—This is worked over two horizontal threads and one perpendicular. In a frame, you can work the second row, from right to left, otherwise, you must turn the work round, and bring out your needle behind the last-made stitch.

GOBELIN STITCH ON PENELOPE CANVAS (fig. 256).—For the same stitch on Penelope canvas, you need rather a coarse needle, which will make its way easily between the threads of the canvas.

REPS STITCH (fig. 257).—Contrary to Gobelin stitch, this stitch which is an imitation of reps, is worked in vertical lines, over two vertical threads and one horizontal one.

TENT STITCH (fig. 258).—This stitch is simply the first half of a cross or marking stitch, worked over a single thread each way. The illustration shows the working of a row, from right to left, the thread being carried forward, underneath the vertical threads. Tent stitch is used for the most part, in conjunction with cross stitch, for the more delicate lines and the shaded parts of flowers and figures.

WIDE GOBELIN STITCH (fig. 259).—This stitch covers two vertical and two horizontal threads, and advances one thread at a time.

BROAD CROSS STITCH (fig. 260).—Worked over two vertical and four horizontal threads, and very useful for filling in large surfaces as it can be done twice as quickly as the ordinary cross stitch. It may be varied by turning the crosses first one way and then the other.

DOUBLE STITCH (fig. 261).—Begin with a simple cross stitch over every alternate intersection of the threads then make a second row of stitches between those of the first, but in this case, over two and six threads, so that they extend beyond the first each way. In the subsequent rows, a square stitch should be opposed to a long one and a long stitch to a square one.

RICE STITCH (fig. 262).—Fill in the whole ground first, with large cross stitches, over four threads each way, then upon these, make the so-called rice stitches. These cross the four points of the large cross stitches, and meet in the space between, where they form another cross. The large cross stitches should be worked in rather coarse cotton, the rice stitches in one of a finer quality.

DOUBLE STITCH, SET TWO WAYS (fig. 263).—This consists of diagonal and upright cross stitches, alternately. Work from left to right, and carry the thread over four vertical threads and downwards, under two horizontal ones, then diagonally upwards, over four threads and downwards under two, then again over four vertical threads, and so on. Coming back, you cross the first threads, and pass the working thread each time in a straight line, underneath the two threads of the canvas. The stitches of the third and fourth rows are set, as the illustration shows, the opposite way to those of the two first, the thread being laid the contrary way. Gold thread is generally used for this second set of stitches; Or fin D.M.C pour la broderie, or Chiné d’or D.M.C will be found to be the most suitable for the purpose.[A]

PLAIT STITCH (fig. 264).—It requires great attention to work this stitch, to and fro; the easier way is to carry the thread back each time, to the starting point.

Carry the thread from left to right, over two horizontal threads, and downwards under four perpendicular ones, then under two threads, from right to left, as the figure indicates.

STEM STITCH (fig. 265).—Here, the stitches are worked in separate rows, over four threads each way. The working thread passes first under the two middle threads, from right to left, and then under the two upper ones.

LEAF STITCH (fig. 266).—Carry the thread diagonally over two double threads each way, and back under one double thread, to the row whence the stitch started. Make rows of back-stitches in a different colour between the rows of long ones.

FISH-BONE STITCH (fig. 267).—The difference between this and the preceding stitch is, that the working thread after passing over three perpendicular and three horizontal threads, is secured by a back-stitch over the last intersection of the canvas threads. These back-stitches lean to the right or left, according to the direction of the long stitches.

DIAGONAL WEB STITCH (fig. 268).—Stretch diagonal threads across the whole surface you are going to embroider, and secure them with rows of overcasting stitches, set, if you are working on Penelope canvas, between the double threads of the canvas. In the next rows the stitches must be set the opposite way, which produces the effect of diagonal or twilled cloth.

CASHMERE STITCH (fig. 269).—To imitate this texture in needlework first make one stitch over one crossing of the canvas threads, and then two stitches over two crossings.

FLORENTINE STITCH (fig. 270).—Florentine stitch is worked in slanting lines, the thread being carried, diagonally first over one and then over two double threads of the canvas.

MOSAIC STITCH (fig. 271).—The first row consists of one short and one long stitch, alternately; the second, of short stitches only, set between the long stitches of the first row; the third row is a repetition of the first, and so on.

KNOTTED STITCH (fig. 272).—Carry the working thread over two threads in width and six in height, bring the needle back, four threads lower down, in front of the double threads, and insert it behind the preceding stitch, and over the middle threads, and then carry it down to the line of the stitches. In the subsequent rows, the stitches extend over four threads and encroach on two of the previous row, so that the stitches of the second row lie between those of the first.

STAR, OR SMYRNA STITCH (fig. 273).—Make a plain cross stitch over four threads, each way, and then over that, another cross stitch, standing upright. The same stitch can be made over six or seven threads; if you work over more than four threads, it follows that you increase the number of stitches accordingly.

ROCOCO STITCH (figs. 274, 275, 276).—After fastening in your thread, lay it over four single or two double threads, as the case may be, and carry the needle through to the left, under one double thread; then, as fig. 274 shows, bring it back over the first stitch, put it in by the side of it, and bring it out below, under half the horizontal threads covered by the first stitch. Then make a stitch to the right, similar to the one just made to the left.

When you have finished one stitch, carry the needle under one thread, in an oblique line, to the next stitch, see fig. 273. The whole pattern is worked in diagonal lines.

PARISIAN STITCH (fig. 277).—This stitch, though it is generally worked on silk canvas, can also be worked on the different cotton and linen materials already referred to more than once in this Encyclopedia. It makes a very good grounding in cases where the material is not intended to be completely hidden. It consists of a long stitch over three threads, and a short stitch over one thread, alternately.

GREEK STITCH (fig. 278).—This differs from the ordinary cross stitch, in the oblique inclination given to the threads, and the manner in which it is begun. Instead of taking up the two threads that follow the first stitch, you bring your needle back from right to left, under the vertical threads of the first stitch, carry it downwards, and then from right to left, to a distance of four threads beyond the first stitch. The next stitch is made like the first. The rows may be joined together, either by the short or the long stitches, but you must follow one rule throughout. This stitch is much used in Slavonic countries, for the adornment of linen garments, and there we have observed that the short stitches are generally made to encounter the long ones. A coarse material that covers the ground well, such as, Coton à tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch.

SCOTCH STITCH (fig. 279).—Squares, composed of slanting stitches, made over one, three, five, three threads respectively, and then again over one thread, and separated from each other by rows of Gobelin stitches, constitute what is ordinarily known by the name of Scotch stitch.

MOORISH STITCH (fig. 280).—For this stitch, instead of surrounding squares of stitches, made in the way we have just described, with Gobelin stitch, the squares are made to touch, rising like steps one above the other, and bordered only at the sides by Gobelin stitch.

ORIENTAL STITCH (fig. 281).—Here, you make four diagonal stitches over one, two, three and four double threads respectively; which four stitches form so many triangles, one above the other. The empty spaces between are filled up with Gobelin stitches covering two threads.

SHELL STITCH (fig. 282).—Carry your thread upwards over six horizontal threads, then from right to left, under one vertical thread and downwards over six horizontal ones. When you have made four vertical stitches in this way, bring the needle out behind the third double thread, counted lengthways, and between the third and fourth, counted across, and fasten the four long stitches together with a back-stitch, to the middle thread of the canvas. Draw a thread of a different colour twice through these back-stitches, so as to form small knots like shells, and then fill in the ground between the rows of long stitches, with back-stitches.

JACQUARD STITCH (fig. 283).—If you have a large plain surface to cover, you should choose a stitch that forms a pattern in itself. Jacquard stitch and others which we shall describe later on, will be found to produce the effect of brocaded stuff. To work Jacquard stitch, make six stitches underneath one another, over two double threads, and six by the side of one another, from left to right, over two double threads. The second row consists of the same number of stitches, similarly worked downwards and to the side, but over one double thread only.

BYZANTINE STITCH (fig. 284).—Here, you make the same number of stitches as in the preceding figure but with this difference, that the two rows of stitches are made either over two, or four threads.

MILANESE STITCH (fig. 285).—In the first row, the back-stitch is made alternately, first over four diagonal crosses and then over one; in the second row, over three and two; in the third, over two and three, in the fourth, over one and four. The last long stitches should come under the last short ones and the short ones, in the middle of the last long ones.

PLUSH STITCH (fig. 286).—This stitch, also called Astrachan stitch, by means of which a very good imitation of an Oriental rug can be produced, consists of loops, each secured by a cross stitch; the best way to ensure these loops being even and regular is to make them over a narrow wooden ruler, or a piece of whalebone.

The effect can be varied by cutting the loops, which gives the surface the appearance of velvet.

The illustration represents the middle loops only, as cut, for the cut and the uncut stitch can both be introduced into the same piece of embroidery. For example, the borders in figs. 290, and 291, are worked in open or cut plush stitch, whilst in the centres, the stitch is left uncut. Two stitches of a similar kind, called Smyrna and Malta stitch, suitable for making rugs or carpets, are described in the last chapter but one in the book.

CHAIN STITCH (fig. 287).—Generally speaking, this stitch is only used for the adornment of under-linen or small articles of fancy-work but it can also be employed in copying cross stitch patterns. In old collections we often meet with very interesting pieces of needlework, which were used for hangings or screens, where the figure-subjects, are executed in chain stitch. Patterns in many colours, gain immensely by being worked in this stitch, the colours blend together better than in any other, and even the shape of the stitch contributes to soften the contrasts of colour.

Chain stitch cannot, like other stitches, be worked to and fro, nor can all the stitches of one row be finished first, as is generally possible in cross stitch work, each row must be begun separately, and always from the same side, and a different needle should be used for each colour, as the material has often to be changed.

The stitch is worked as follows; after fastening in your thread, insert the needle at the same hole it came out of, and bring it out two threads lower down. Keep the loop, formed by the working thread, under the point of the needle. The thread should not be drawn up tightly but left to form a rather loose, round loop. For the next stitches, insert the needle close to the thread that issues from the last loop.

PATTERN FOR BORDERS OR GROUNDING (fig. 288).—This simple but most effective design, copied from one of the most beautiful of Oriental carpets, can be executed in, either cross stitch, plush stitch, or chain stitch. To make a wider border still, the diagonal lines that divide the figures shaped like an S, have only to be prolonged, and the figures repeated.

The colours have been chosen with the view of reproducing as nearly as possible the subdued and faded tones, which time has imparted to the original.

) Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol]) Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre 414, ([symbol]) Bronze doré 585 and ([symbol]) Vert-Mousse 470.[A]]

PATTERN FOR GROUNDING (fig. 289).—Diagonal lines, intersected by balls, serve here as a setting for quaintly shaped flowers and leaves. The outlines are all worked in cross stitch, and the solid parts, in either tent stitch or Gobelin stitch.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d’Ocre 676, ([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Géranium 349, ([symbol]) Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pâle 668, ([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol]) Vert-de-gris 475, ([symbol]) Grounding.[A]]

PART OF A DESIGN, SUITABLE FOR CARPETS (figs. 290 and 291). Our space will not admit of our reproducing more than a quarter of this design. Colours of the softest shades should be selected for it. A black line divides the pattern into four quarters. The upper quarter on the right, and the lower one, on the left, should be worked in blue, and the upper one on the left, copied from fig. 290.

MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser D.M.C No. 12.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol]) Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert métallique 465, ([symbol]) Gris-Noisette 424.[A]]

The narrow border, in red, blue and green, is to be repeated after the broad band, which is represented in fig. 291, has been added to the grounding. A very good effect is obtained, if in the broad border, fig. 291, you vary the background of the different subjects.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358, ([symbol]) Bleu-Indigo 311, ([symbol]) Vert métallique 465, ([symbol]) Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol]) Rouge-Cornouille 450.[A]]

LINEN EMBROIDERY.—The stitches used in linen embroidery are very similar to those used in canvas work. The ordinary cross stitch, as represented in fig. 253, is the one most commonly used, but it is not so effective as the two-sided stitches, which in the beautiful old needlework of the 15th, 16th and 17th centuries, have always excited our wonder and admiration.

STUFFS SUITABLE FOR LINEN EMBROIDERY.—Most embroidery of this kind, and more especially the Italian, is done on very fine linen. Such fine work however, requires more time and patience than people, in these days, are as a rule disposed to bestow on work intended merely for pleasure and recreation. To meet the requirements of the day, therefore, in addition to the finer kinds of linen, a great variety of textures, are now manufactured, the threads of which, being thick and round, can be easily counted. The cross stitches that are worked on Cuba, Ceylon or Batavia linen, are large and coarse, those on linen-canvas, Russian linen, twisted tammy, and Rhodes linen, small and fine.

Linen fabrics are either white, unbleached or cream-coloured. All three are used for embroidery, but the coloured cottons show up best on the cream ground; on the white, they look hard and crude, and on the unbleached, dull and faded.

MATERIALS SUITABLE FOR LINEN EMBROIDERY—As most linen embroidery is executed on articles that are subjected to frequent washing, the D.M.C cottons, which are to be had in every shade and colour, are the best for the purpose. For coarse stuffs, coarse cotton should be used, such as knitting cotton, Coton à tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A] which will be found a very good substitute for wool; or six-cord crochet cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 and 15,[A] which gives quite as full and brilliant a stitch, as silk-twist. Finer cottons should be used for the finer stuffs, such as embroidery cotton (Coton à broder D.M.C) Nos. 6 to 200,[A] and lace thread (Fil à dentelle D.M.C) Nos. 30 to 150.[A] In many cases, even darning cotton (Coton à repriser D.M.C) can be used, as like Algerian silk, it can be split or taken double, to suit the stuff.

PLAIN CROSS STITCH ON AUXILIARY CANVAS (fig. 292).—Plain cross stitch, commonly called marking stitch, has already been described in fig. 253. But it may be well to observe, that when an auxiliary material is used, it should be most carefully tacked upon the stuff following the thread of the same, and a sufficient margin left to allow of the drawing out of the canvas threads, when the work is finished.

TWO-SIDED CROSS STITCH, WORKED IN FOUR ROWS OF STITCHES (figs. 293, 294, 295).—Straight lines of cross stitch, alike on both sides, can be worked in two journeys to and fro. Working from left to right, begin by fastening in your thread, never with a knot, but by two or three little running stitches, which are hidden afterwards by your first cross stitch. Directing your needle to the right, pass it diagonally over a double cross of the warp and woof of the canvas, and so on to the end of the line.

Having reached the last stitch, draw out your thread in the middle of it, make an auxiliary diagonal stitch downwards to the right, bring the needle up in the middle of the last stitch, take it thence, upwards to the left, across two threads, and begin the return journey, from right to left, crossing and thus completing the first row of stitches. In the auxiliary stitch with which you begin the backward journey, the thread lies double on both sides. Fig. 295 shows how to pass down to the next row.

TWO-SIDED MARKING STITCH (figs. 296 and 297). The above mode of working two-sided cross stitch cannot be applied to letters, or patterns in broken lines, which both consist chiefly of isolated stitches. Figs. 296 and 297 explain the course of the stitches in embroidery of this kind.

The working detail A, Fig. 296, indicates the spot for the thread to enter the stuff, and the position of the needle for the first and second stitches; B, the first two stitches completed, with an auxiliary stitch to the right, the thread drawn out on the right, and the position of the needle for the fifth stitch that completes the cross; G shows the completion of the stitch begun at B and the position of the needle for a second stitch to the right; D, one cross stitch completed and another begun, immediately beneath A. In fig. 297, E shows how to work stitches to the left; F, an auxiliary stitch to reach an isolated cross stitch on the right, G, auxiliary stitches between two isolated cross stitches, and H, a second and last auxiliary stitch to complete the cross.

It requires both practice and care to do this two-sided marking stitch, so as not to disfigure the stuff by superfluous stitches.