[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.
[Illustration: INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE
PATTERN LEFT BLANK.]
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.
[Illustration: FIG. 252. MARKING OUT THE EMBROIDERY GROUND.]
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.
[Illustration: FIG. 253. CROSS STITCH.]
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.
[Illustration: FIG. 254. HALF CROSS STITCH.]
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.
[Illustration: FIG. 255. GOBELIN 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.
[Illustration: FIG. 256. GOBELIN STITCH ON PENELOPE 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.
[Illustration: FIG. 257. REPS STITCH.]
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.
[Illustration: FIG. 258. TENT STITCH.]
WIDE GOBELIN STITCH (fig. 259).—This stitch covers two vertical and
two horizontal threads, and advances one thread at a time.
[Illustration: FIG. 259. WIDE GOBELIN STITCH.]
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.
[Illustration: FIG. 260. BROAD CROSS STITCH.]
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.
[Illustration: FIG. 261. DOUBLE STITCH.]
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.
[Illustration: FIG. 262. RICE STITCH.]
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]
[Illustration: FIG. 263. DOUBLE STITCH SET TWO WAYS.]
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.
[Illustration: FIG. 264. PLAIT STITCH.]
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.
[Illustration: FIG. 265. STEM STITCH.]
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.
[Illustration: FIG. 266. LEAF STITCH.]
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.
[Illustration: FIG. 267. FISH-BONE STITCH.]
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.
[Illustration: FIG. 268. DIAGONAL WEB STITCH.]
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.
[Illustration: FIG. 269. CASHMERE STITCH.]
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.
[Illustration: FIG. 270. FLORENTINE STITCH.]
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.
[Illustration: FIG. 271. MOSAIC STITCH.]
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.
[Illustration: FIG. 272. KNOTTED STITCH.]
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.
[Illustration: FIG. 273. STAR, OR SMYRNA STITCH.]
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.
[Illustration: FIG. 274. ROCOCO STITCH. FIRST STITCHES ON THE WRONG
SIDE.]
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.
[Illustration: FIG. 275. ROCOCO STITCH. STITCHES ON THE RIGHT SIDE.]
[Illustration: FIG. 276. ROCOCO STITCH. COMPLETED.]
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.
[Illustration: FIG. 277. PARISIAN STITCH.]
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.
[Illustration: FIG. 278. GREEK 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.
[Illustration: FIG. 279. 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.
[Illustration: FIG. 280. MOORISH 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.
[Illustration: FIG. 281. ORIENTAL STITCH.]
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.
[Illustration: FIG. 282. SHELL STITCH.]
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.
[Illustration: FIG. 283. JACQUARD STITCH.]
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.
[Illustration: FIG. 284. BYZANTINE STITCH.]
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.
[Illustration: FIG. 285. MILANESE STITCH.]
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.
[Illustration: FIG. 286. PLUSH STITCH.]
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.
[Illustration: FIG. 287. CHAIN STITCH.]
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.
[Illustration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS:
Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15,
Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25.
EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol])
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.
[Illustration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton à
tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or
Coton à broder D.M.C No. 16.[A] 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.
[Illustration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.
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.
[Illustration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS 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 15, or Coton à
repriser D.M.C No. 12.[A] 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.
[Illustration: FIG. 292. PLAIN CROSS STITCH ON AUXILIARY CANVAS.]
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.
[Illustration: FIG. 293. FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY
STITCH FOR RETURNING.]
[Illustration: FIG. 294. ONE JOURNEY AND FIRST HALF OF THE SECOND
FINISHED, AND AUXILIARY STITCH LEADING TO THE SECOND RETURN.]
[Illustration: FIG. 295. THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
OF CROSS STITCH, BOTH SIDES ALIKE.]
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.
[Illustration: FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT
POSITIONS OF THE NEEDLE.]
[Illustration: FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT
POSITIONS OF THE NEEDLE.]
CROSS STITCH FORMING A SQUARE AT THE BACK (figs. 298 and 299).—Many
of the alphabets we so admire in old samplers are worked in cross
stitch, that forms a square at the back. Each stitch has to be finished
off before another is begun; if you carefully examine figs. 298 and 299,
which show severally the right and the wrong sides of the stitch, you
will find no difficulty in mastering it. Letter A, fig. 296, shows the
entrance of the thread, the position of the needle for half the cross
stitch on the right side, and the second side of the square at the back,
as shown in fig. 299, A. Letter B, fig. 298, shows the cross stitch
finished, and the position of the needle for the third side of the
square on the wrong side, indicated by the same letter in fig. 299. C,
in both figures, indicates a stitch which is double on the right side,
and on the wrong side forms the fourth side of the square, whilst letter
D, explains how to continue the stitches.
[Illustration: FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING
A SQUARE AT THE BACK.]
[Illustration: FIG. 299. SQUARE STITCH FORMING THE BACK OF THE
CROSS STITCH.]
TWO-SIDED ITALIAN STITCH (figs. 300, 301, 302, 303).—Two-sided
Italian stitch consists of cross stitches, alike on both sides, divided
from each other by horizontal and vertical stitches. The upper and lower
stitches should all slope one way, as in plain cross stitch.
Italian stitch is worked in one journey, to and fro. Fig. 300 shows how
to fasten in the thread, and place the needle for the first stitch, from
right to left; fig. 301, the position of the needle from left to right,
to form the cross at the back, and the vertical stitch to the left, on
the right side; fig. 302, the position of the needle, for a two-sided
horizontal stitch at the bottom of the cross, where upon you proceed as
in fig. 300. Fig. 303 explains the return of the thread, which completes
the double crosses and the lines between.
The horizontal lines, not made on the first journey, are added on the
way back. In conclusion, pass the needle back, horizontally, from left
to right, to make the final stitch over the cross, and then make the
stitch between, as shown in fig. 303. On a thin stuff, this stitch
produces an extremely pretty effect, resembling lattice-work, provided
the thread be tightly drawn in the working.
[Illustration: FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH.]
[Illustration: FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE
NEEDLE FOR THE 2ND AND 3RD STITCHES.]
[Illustration: FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE
NEEDLE FOR THE 4TH AND 5TH STITCHES.]
[Illustration: FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
COMPLETES THE CROSS STITCH.]
MONTENEGRIN CROSS STITCH (figs. 304, 305, 306).—The Slavonic tribes
of the southern districts of E. Europe, especially the Montenegrins,
have a great partiality for this stitch, which has been rarely noticed,
hitherto, in books on needlework. The right side shows cross stitches
with a double thread underneath, and divided by vertical stitches; the
wrong side, regular cross stitches, also divided by vertical stitches.
Coarse cotton should be used for this stitch; it produces a richer
effect and not only covers the stuff better, but also the underneath
stitch which in the Slavonic work, is entirely hidden by the cross
stitches.
Begin, as letter A indicates, with a long, slanting stitch, across 4 and
8 threads, then, bringing your needle back from right to left, under
four threads, draw it out, carry it over the first long stitch, and
insert it again from left to right, under the first four threads of the
canvas. These four stitches finished, proceed to the fifth and sixth,
which as B shows, cross the first four, then repeat the first stitch.
The threads that form the stitches on the wrong side, should always be
opposed to each other, that is, one cross should lean to the right, the
other to the left, as shown in fig. 305. This variation in the
inclination of the stitches, which is regarded as a fault in plain cross
stitch, is indispensable here, and produces a charming effect on the
wrong side.
[Illustration: A B FIG. 304. MONTENEGRIN CROSS STITCH. 1ST, 2ND, 3RD,
4TH AND 5TH STITCH AND TRANSVERSAL STITCH]
[Illustration: A B FIG. 305. MONTENEGRIN CROSS STITCH. POSITION OF THE
STITCHES ON THE WRONG SIDE.]
[Illustration: FIG. 306. MONTENEGRIN CROSS STITCH. A ROW OF STITCHES
FINISHED.]
PLAITED ALGERIAN STITCH (fig. 307).—The distinguishing feature of
this stitch is, that it only advances one thread at a time. It should be
begun on an uneven number of threads, and like the Montenegrin stitch,
should be worked with coarse cotton. The rows may touch, either at the
top or at the bottom of the stitch, so long as you keep to one plan
throughout.
[Illustration: FIG. 307. PLAITED ALGERIAN STITCH.]
TWO-SIDED SPANISH PLAITED STITCH (figs. 308 and 309).—This stitch has
the advantage of being, not only very effective, but also very quickly
executed. It is worked in two rows, forwards and backwards. All cross
stitch patterns can be worked in Spanish stitch. The gaps, which are
occasioned by the long stitches, have to be filled in with short ones.
In itself, the stitch consists of slanting stitches, three threads a
part, alike on both sides, and advances three threads at a time, as
shown in figs. 308 and 309.
[Illustration: FIG. 308. TWO-SIDED PLAITED SPANISH STITCH.]
[Illustration: FIG. 309. TWO-SIDED PLAITED SPANISH STITCH.]
TWO-SIDED LINE STITCH (figs. 310 and 311).—Square stitch, Holbein
stitch, line, or stroke stitch, as it is sometimes called, and setting
stitch, are all worked on one principle. Though all these two-sided
stitches are related to each other, and by no means difficult of
execution, those new to the work will find a little practice necessary,
to make the stitches follow in their proper order. Fig. 310 explains how
the needle has to pass, alternately, step by step, over and under the
threads of the stuff, and fig. 311, how the threads, left blank the
first time, are covered on the way back. The great difficulty is how to
place your first row of stitches so as to ensure an unbroken course
back. It is as well before setting out, to ascertain clearly the most
direct course back, so that you may not come to a stand-still, or be
obliged to make unnecessary stitches on the wrong side. If you have to
pass obliquely across the stuff, as in patterns figs. 326, 327, 328,
329, 331 and 333, proceed in the same way as though you were covering
the straight threads of a fabric.
[Illustration: FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW.]
[Illustration: FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW.]
TWO-SIDED INSERTION (figs. 312, 313, 314, 315, 316, 317, 318).—We
conclude this series of stitches with a description of a pretty,
two-sided insertion, suitable for joining stripes of work of different
widths together. In pieces of old needlework, we often find handsome,
coloured patterns, joined together by a piece of lace or some quite
different kind of work. The insertion represented in fig. 317, is a very
good substitute for either. Fig. 312 explains the first stitch and the
course of the second, from left to right, under 3 vertical and 3
horizontal threads; the 3rd stitch to the left, over 6 vertical threads,
and the beginning of the 4th stitch. Fig. 313 shows the 4th stitch
completed, and the direction the 5th and 6th stitches have to take;
fig. 314, the 6th completed, and the position of the needle for the 7th
and 8th; fig. 315, the 9th lower, horizontal stitch, over 6 vertical
threads, the 10th backward stitch, and the position of the needle for
the 11th and last stitch. Fig. 317 represents a whole series of
stitches, and fig. 318, the back of the work, which though quite a
different pattern, will combine very well with any two-sided embroidery.
[Illustration: FIG. 312. TWO-SIDED INSERTION. FIRST DETAIL.]
[Illustration: FIG. 313. TWO-SIDED INSERTION. SECOND DETAIL.]
[Illustration: FIG. 314. TWO-SIDED INSERTION. THIRD DETAIL.]
[Illustration: FIG. 315. TWO-SIDED INSERTION. FOURTH DETAIL.]
[Illustration: FIG. 316. TWO-SIDED INSERTION. FIFTH DETAIL.]
These insertions can be worked on any stuff, but the stitches, must be
done, both ways, on a number of threads, divisible by 3. Thus, the first
stitch may cover 6, 9, or 12 threads, but never 8, 10, 12 or 14.
[Transcriber’s note: 12, here, appears to be an error in the original.]
[Illustration: FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED.]
[Illustration: FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG.
317.]
GOTHIC BORDERS IN GOBELIN AND CROSS STITCH (figs. 319 and 320).—We
are indebted for both these pretty patterns, which are quite Gothic in
their character, to a visit we paid to the national museum at Munich,
where we discovered them amongst a heap of other old valuables, lying
un-heeded in a remote corner. Their simple graceful outlines render them
peculiarly suitable for the decoration of table-cloths, counterpanes,
curtains, etc. All embroideries of this kind should be finished off with
a deep fringe, made in the stuff itself, or knotted on to it or may be
trimmed with a heavy thread lace, of a wide width, corresponding with
the work in character.
The design may be worked either in one shade, as in fig. 319, or in two,
as in fig. 320, where all the outside stitches are worked in the darker
shade of the given colours.
[Illustration: FIG. 319. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35, or
Cordonnet 6 fils D.M.C Nos. 3 to 15.[A] COLOURS: Rouge-Turc 321, or two
shades of Bleu-Indigo, 311 and 334, or two shades of Rouge-Grenat, 358
and 359 or two shades of Brun-Acajou, 300 and 402.[A]]
[Illustration: FIG. 320. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
à tricoter D.M.C Nos. 16 to 35. COLOURS: Bleu-Indigo 311 and 344, or
Rouge-Cardinal 346 and Rouge-Géranium 335, or Gris-Tilleul 391 and
331.[A]]
POWDERING AND BORDER. ALBANIAN SUBJECTS (figs. 321 and 322).—The
arrangement of colours for these charming patterns, of Albanian origin,
should be as follows; the dark-coloured crosses, red, the lighter ones,
alternately blue and green, the lightest, yellow.
[Illustration: FIG. 321. POWDERING. ALBANIAN SUBJECT. MATERIALS: Coton à
tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or
Coton à repriser D.M.C No. 12, 25 or 50.[A]
COLOURS: Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465,
Jaune-Orange 444, Gris-Brun 409.[A]]
In fig. 321, most of the stitches in every other diagonal row, are
worked in red, the others in green or blue; in the intermediate rows the
flowers are worked alternately, in green and red, or blue and red, and
throughout, the centre of each figure should consist of 4 stitches in
yellow.
[Illustration: FIG. 322. ALBANIAN SUBJECT. MATERIALS: Coton à tricoter
D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6
fils D.M.C Nos. 3 to 25.[A] COLOURS: Rouge-Cardinal 347, Bleu-Indigo
312, Jaune-Orange 444, Vert métallique 465, Gris-Brun 409.[A]]
In fig. 321, which serves as a border to the above, only the stalks of
the 4 conventional pinks, which, with the cross in their middle, form a
square, are in brown.
These squares are separated from the bottom border by an insertion, in
Gobelin stitch, worked over 6 threads, in red, blue, green and yellow,
from 20 to 25 stitches of each. This band is edged on both sides with a
row of stem stitches, worked in yellow over 4 threads. The Holbein
stitches that border the band, can be made in whichever colour the
worker prefers, or else in red and gold thread.
BORDERS IN STROKE STITCH (figs. 323, 324, 325).—These three patterns
will give our readers an opportunity of perfecting themselves in
two-sided, square stitch (see figs. 310 and 311), also called stroke, or
line stitch, according as it is worked, in oblique, or straight rows.
[Illustration: FIG. 323. BORDER IN STROKE STITCH. MATERIALS: Coton à
marquer D.M.C Nos. 5 to 200.[A] COLOURS: Rouge-Turc 321 or Bleu-Indigo
312.[A]]
[Illustration: FIG. 324. BORDER IN STROKE STITCH. MATERIALS: Coton à
repriser D.M.C No. 50.[A] COLOURS: Vert-Pistache 319, or Vert-Mousse
470.[A]]
[Illustration: FIG. 325. INSERTION IN STROKE STITCH. MATERIALS: Coton à
broder D.M.C Nos. 16 to 60.[A] COLOURS: Rouge-Turc 321, or Rouge-Grenat
309, or Bleu-Indigo 311.[A]]
We again recommend our readers, to begin by ascertaining the course the
stitches should take, in order to avoid all unnecessary stitches and be
sure of finding their way back according to the prescribed rule.
CORNERS IN STROKE STITCH (figs. 326 and 327).—These pretty little
patterns are suitable for the decoration of ladies’ and children’s
collars, fine pocket-handkerchiefs and finger napkins, and can be worked
in one or two colours, as preferred. If two colours be used, the darker
should be taken for the interior, the lighter for the narrow outside
edge.
[Illustration: FIG. 326. & FIG. 327. CORNERS IN LINE STITCH. MATERIALS:
Coton à broder D.M.C Nos 35 to 200 or Fil à dentelle D.M.C Nos. 25 to
70.[A] COLOURS: Bleu-Indigo, or Rouge-Cardinal, or Brun-Caroubier, or
Violet-Lie-de-vin.[A]]
STRIPE IN STROKE STITCH (fig. 328).—This is copied from a piece of
Italian work, though from a resemblance in the different subjects to the
rose, thistle and shamrock, if might have been supposed to be of English
origin. The original work was executed in a most brilliant purple red
which time has toned down to the colour of Jaune-Rouille 308, or
Brun-Cuir 432, one or other of which we recommend, as being the only
colours with which any thing approaching the refined distinguished look
of the old embroidery, can be given to the new.
[Illustration: FIG. 328. STRIPE IN STROKE STITCH. MATERIALS: Cordonnet 6
fils D.M.C Nos. 15 to 50, Coton à broder D.M.C Nos. 16 to 35, or Coton à
repriser D.M.C No. 12, 25 or 50.[A] COLOURS: Jaune-Rouille 308, or
Jaune-vieil-Or 680.[A]]
GROUNDING IN DIAGONAL LINES (fig. 329).—This pattern can be worked,
in any of the previous stitches, or in back-stitch. It is only suitable
for large surfaces, on account of the diagonal lines, and should be
worked, all in one colour. It can be varied by adding sprays to the
upper sides of the slanting stalks, like those on the lower sides,
turned either the same way, or upwards. Skilled workers will readily
contrive the middles for themselves, by combining the different subjects
and putting them together in various positions, either diagonally or at
right angles to each other, with the help of the Penelope mirror.[2]
[Illustration: FIG. 329. GROUNDING IN DIAGONAL LINES. MATERIALS: Coton à
tricoter D.M.C Nos. 6 to 16, or Coton à broder D.M.C Nos. 16 to 100.
COLOURS: Bleu-Indigo 322, or Rouge-Cardinal 347.]
POWDERING IN CROSS, STROKE AND STAR STITCH (fig. 330).—This charming
combination of cross, stroke and star stitches, can be made use of
wherever embroidery is available as a means of decoration.
The cross stitches, in which the solid parts of the pattern are worked,
should be in one colour only, the stroke and star stitches, in Chiné
d’or D.M.C.[A]
[Illustration: FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH.
MATERIALS: Coton à repriser D.M.C No. 50 and Chiné d’or D.M.C.[A]
COLOURS—For the Cotton: Rouge-Grenat 326.—For the Chiné: Bleu-Indigo
and gold.[A]]
BORDER IN GREEK STITCH (fig. 331).—All the darker lines here, should
be worked in black, colour 473, the leaves in the form of steps,
alternately in light and dark red up to the stalks, the line of
demarcation being indicated by the different direction of the stitches,
so that two light leaves, and two dark leaves, should always face each
other.
[Illustration: FIG. 331. BORDER IN GREEK STITCH. MATERIALS: Coton à
broder D.M.C Nos. 16 to 25, or Coton à repriser D.M.C Nos. 12 to 50.
COLOURS: Rouge-Géranium 349 and 351, Jaune-Rouille 364, Bleu de France
341, Bleu pâle 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30
and Chiné d’or D.M.C No. 30.]
In the original, the cross bars that unite the leaves, are in yellow,
whilst the detached figures that separate them, are worked, those that
come between the light red leaves, in pale blue, and those between the
dark red ones, in gold thread. The exterior part of the figure is filled
in with the different colours, indicated above; with the exception of
the small squares in Gobelin stitch, which should all be worked in plain
gold, or Chiné d’or D.M.C, green and gold. The SS in the narrow outside
border, should be worked in two shades of blue; the outside stitches in
colour 341 and the solid parts in colour 668. The little figures with
the transverse bars that unite the SS, should be set in black, and
filled in, alternately, in light and dark red, and in yellow.
GROUNDING (fig. 332).—This grounding was copied from a beautiful old
cushion-cover and will be found particularly useful in the confection of
small embroidered articles, because the pattern will always form a
centre point in itself. A light, brilliant red, such as either of the
two colours indicated beneath the figure, will best reproduce the tone
of the original.
[Illustration: FIG. 332. GROUNDING. MATERIALS: Coton à tricoter D.M.C
Nos. 6 to 10, or Coton à broder D.M.C Nos. 16 to 100.[A] COLOURS:
Rouge-Cardinal 804, or Rouge-Cornouille 450.[A]]
In making the little stars that connect the different squares, the mode
we recommended for working stroke stitch should be adopted, that is,
beginning, by bringing the needle out in the middle, making 7 stitches,
and at the eighth, carrying the needle back under the first, to the spot
whence you started. The stitches will then be alike on both sides.
WALLACHIAN BORDER (fig. 333).—A piece of Wallachian needlework,
executed on rough linen, and uncommon, both in colour and design,
suggested the charming embroidery, here represented. In place of the
somewhat violent colours, which indicate an undeveloped taste, we have
substituted softer and more refined ones. All the stroke stitches of the
middle stripe and of the two border stripes, top and bottom, as well as
the darker portions of the small dice, subdivided into eight, in the
bottom border, and of the small diagonal squares in the top border,
worked in Gobelin stitch, are in red, colour 346. The setting of upright
stroke stitches round the large centre figures, as well as the straight
lines that divide these same figures into four, are worked in yellow,
colour 680.
[Illustration: FIG. 333. WALLACHIAN BORDER. GOBELIN STITCH, STROKE
STITCH AND SPANISH HALF-STITCH. MATERIALS.—For Rhodes linen No. 1:
Cordonnet 6 fils D.M.C No. 15, and Or fin D.M.C pour la broderie No.
30.—For other stuffs: Coton à tricoter D.M.C Nos. 6 to 16, or Coton à
repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C.[A]
COLOURS: Rouge-Cardinal 346, Rouge-Géranium 326, Vert-Pistache 319 and
Jaune-vieil-Or 680.[A]]
The squares and the half-squares are worked in colour 326, green 319,
and gold thread; colour 326 is indicated in the illustration by the
darkest shade, green 319, by the medium shade, and the gold thread by
the lightest shade.
The stitches in the right bottom quarter and top left one, incline
upwards from left to right, in the two other quarters they incline the
contrary way. The Spanish half-stitch as shown in fig. 309, can only be
done over 4 and 2 threads and worked one way, not to and fro.
The general effect is very much heightened by the introduction of one or
two rows of stitches, worked in gold thread, into the straight lines on
either side of the stripes; all the light parts of the design moreover,
should be worked in gold thread.
BORDERS IN SEVERAL SHADES OF ONE COLOUR (figs. 334 and 335). In some
beautifully embroidered Chinese hangings, that latterly came under our
notice, the principal subject was the figure of a mandarin, in a very
richly decorated dress. The pretty pattern, given in fig. 334, was
copied from the collar and cuffs of this dress. We should advise working
it in several shades of pink or red, or in a single one of the colours
indicated above.
[Illustration: FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR.
MATERIALS: Coton à tricoter D.M.C Nos. 12 to 20, Coton à broder D.M.C
Nos.. 16 to 35 or Coton à repriser No. 12, 25 or 50. COLOURS: Three
shades of either Bleu-Indigo, Rouge-Grenat, or Violet-Mauve etc. etc.]
[Illustration: FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR.]
The border of these hangings furnished us with pattern 335, which will
be found to look best, worked in three very distinct shades of blue.
The grotesque heads of animals, and the flowers and branches which break
the running pattern, and are a Chinese speciality, distinguish this
design from the more conventional patterns of the present day.
We recommend these two pretty patterns, to our readers notice, as
likewise adaptable by transposition, to centres, or by repetition, to
broad stripes. With very little trouble they can be converted, into a
variety of subjects, such as it is often difficult to find ready made,
and exactly suited to the purpose in hand.
BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED OF BRANCHES (fig.
336).—This design can be worked in Greek, Slavonic, Montenegrin, or
plaited Algerian stitch. Our illustration worked in Greek stitch, shows
how one stitch encroaches upon another, and how the thread is carried
from one isolated stitch, to another.
[Illustration: FIG. 336. BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED
OF BRANCHES.]
It will be found to be an improvement if the stitches are so made as to
follow the direction of the lines. The central subject may be repeated
two or three times, according to the width of border required. The
edging is the same throughout. The use of the ‘Penelope mirror’ for
repeating patterns is described in the concluding chapter of the book.
TABLE-COVER IN GOBELIN AND STROKE STITCH (figs. 337, 338, 339,
340).—This tasteful little table-cover provides excellent practice in
working two sided, square stitch. The square represented in fig. 339,
forms the middle of the cloth. The Gobelin stitches, set very closely,
unite and form a star in the centre of the principal subject. They begin
in the corners, in red and continue in green, violet and blue,
successively; the little branches in stroke stitch, on each side of the
Gobelin stitches, correspond with them in colour, and the small figures,
that form the border of the square, may be worked, indiscriminately, in
any of the colours used for the Gobelin stitches of the centre. Four
branches run inwards from the corners of the square, and four more
advance to meet, and pass them, from the inner angles of the wide
border. Four figures, copied from the outside border, fig. 339, and
worked in yellow, and the little star, fig. 337, besides the little
subjects, borrowed from the outside border, fig. 338, are strewn lightly
over the foundation, interspersed between the branches. In fig. 340,
nevertheless, which represents the whole table-cover, the edge is formed
of the small subjects contained in the wide border and not of the
little stars. The Gobelin stitches in the centre of fig. 337, are in
dark green, the star stitches and the stroke stitches on the outside in
red. The wide border consists of stars, every other row of which, is
worked in red; the intermediate rows, successively, in blue, green, and
yellow. The corners are composed of four detached stars, framed by a row
of stroke stitches, one red and one blue, alternately. This line skirts
both sides of the border, and forms the base to the quaint figures, that
terminate the design and which can be worked in all the colours used for
the inside.
[Illustration: FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340.]
[Illustration: FIG. 338. OUTER BORDER OF FIG. 340.]
[Illustration: FIG. 339. MIDDLE OF FIG. 340.]
The original of our illustration, which is on fine Rhodes linen, in
Coton à broder D.M.C No. 25, is only a small table-cover; for a larger
one, if you wish strictly to adhere to the pattern, Java or Ceylon linen
will be the best material to select, with Coton à tricoter D.M.C No. 12,
for the stroke stitches and Coton à repriser No. 25 for the Gobelin
stitches.
[Illustration: FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH.
MATERIALS.—According to the stuff: Coton à tricoter D.M.C Nos. 6 to 16,
Coton à broder D.M.C Nos. 16 to 35, Coton à repriser D.M.C Nos. 12, 25,
50, Fil à pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3
to 20.[A] COLOURS: Rouge-Cornouille 450, Vert-Pistache 319,
Violet-Lie-de-vin 372, Jaune-Rouille 364, Bleu-Indigo 322.[A]]