is begun at a corner, on one stitch, and increased (by doing two in
one) in the last stitch of every row, until the greatest width
required is attained. Then, by netting two stitches together at the
end of every row, the piece is decreased to a point again. When
stretched out, all the holes in this netting are squares.
[ONE KIND WORD MAY TURN ASIDE A TORRENT OF ANGER.]
1830. Darning on Netting.
Square and diamond netting are the most frequently used, and are
ornamented with patterns darned on them, in simple darning or in
various point stitches. In the latter case it forms a variety of the
sort of work termed _guipure d'Art_.
1831. Grecian Netting.
i. Do one plain row. First pattern row. Insert the needle in the
first stitch, and, without working it, draw through it the second
stitch, through the loop of which draw the first, and work it in the
ordinary way. This forms a twisted stitch, and the next is a very
small loop formed of a part of the second stitch. Repeat this
throughout the row.
ii. The second row is done plain.
iii. The third like the first; but the first and last stitches are
to be done in the usual manner, but begin the twisting with the
second and third loops.
iv. The fourth is plain. Repeat these four rows as often as
required.
v. Use No. 20 mesh for the fancy rows, and No. 14 for the plain.
1832. Counting Stitches.
Stitches in Netting are always counted by knots.
1833. Instructions in Tatting, or Frivolite.
1834. Implements for Tatting.
The only necessary implements for tatting are a thin shuttle or short
netting-needle, and a gilt pin and ring, united by a chain. The cotton
used should be strong and soft. There are three available sizes, Nos.
1, 2, and 3. Attention should be paid to the manner of holding the
hands, as on this depends the grace or awkwardness of the movement.
Fill the shuttle with the cotton (or silk) required, in the same
manner as a netting needle. Hold the shuttle between the thumb and
first and second fingers of the right hand, leaving about half a yard
of cotton unwound. Take up the cotton, about three inches from the
end, between the thumb and first finger of the left hand, and let the
end fall in the palm of the hand; pass the cotton round the other
fingers of the left hand (keeping them parted a little), and bring it
again between the thumb and forefinger, thus making a circle round the
extended fingers. There are only two stitches in tatting, and they are
usually done alternately; this is therefore termed a _double stitch_.
1835. English Stitch.
The first stitch is called the _English stitch_, and made thus:--Let
the thread between the right and left hands fall towards you; slip the
shuttle under the thread between the first and second fingers; draw it
out rather quickly, keeping it in a horizontal line with the left
hand. You will find a slipping loop is formed on this cotton with that
which went round the fingers. Hold the shuttle steadily, with the
cotton stretched tightly out, and with the second finger of the left
hand slip the loop thus made under the thumb.
1836. French Stitch.
The other stitch is termed _French stitch_; the only difference being,
that instead of allowing the cotton to fall _towards_ you, and passing
the shuttle _downwards_, the cotton is thrown in a loop over the left
hand, and the shuttle passed under the thread between the first and
second fingers _upwards_. The knot must be invariably formed by the
thread which passes round the fingers of the _left_ hand. If the
operation is reversed, and the knot formed by the cotton connected
with the shuttle, the loop will not draw up. This is occasioned by
letting the cotton from the shuttle hang loosely instead of drawing it
out and holding it tightly stretched. When any given number of these
double stitches are done, and drawn closely together, the stitches are
held between the first finger and thumb, and the other fingers are
withdrawn from the circle of cotton, which is gradually diminished by
drawing out the shuttle until the loop of tatting is nearly or
entirely closed. The tatted loops should be quite close to each other,
unless directions to the contrary are given.
1837. Ornamental Edging.
The pin is used in making an ornamental edge, something like purl
edging, thus:--Slip the ring on the left-hand thumb, that the pin
attached may be ready for use. After making the required number of
double stitches, twist the pin in the circle of cotton, and hold it
between the forefinger and thumb, whilst making more double stitches;
repeat. The little loops thus formed are termed _picots._
1838. Trefoil Tatting.
This is done by drawing three loops up tightly, made close together,
and then leaving a short space before making more. The trefoil is
sewed into shape afterwards with a needle.
1839. To Join Loops.
When two loops are to be connected, a _picot_ is made in the _first_,
wherever the join is required. When you come to the corresponding
part of the _second_ loop, draw the thread which goes round the
fingers of the left hand through the _picot_ with a needle, pulling
through a loop large enough to admit the shuttle. Slip this through,
then draw the thread tight again over the fingers, and continue the
work. In many patterns a needle is used to work over, in buttonhole
stitch, the thread which passes from one loop to another. A long
needleful of the same cotton or silk used for the tatting is left at
the beginning of the work, and a common needle used to buttonhole over
bars wherever they occur.
1840. Alternative Picots.
Picots are also sometimes made with the needle and cotton in working
over these bars.
1841. Instructions in Knitting.
1842. Improvements in Process.
Although the art of knitting is known perhaps more generally than
almost any other kind of fancy work, still as the knowledge is not
universal, and there have been of late years great improvements in
many of the processes, we hope that a short account of all the
stitches, and the elementary parts of the craft, will be welcomed by
many of our friends--and most seriously would we recommend them to
attain _perfection_ in this branch of work, because, above all others,
it is a resource to those who, from weak eyes, are precluded from many
kinds of industrial amusement, or who, as invalids, cannot bear the
fatigue of more elaborate work. The fact is that knitting does not
require eyesight at all; and a very little practice ought to enable
any one to knit whilst reading, talking, or studying, quite as well as
if the fingers were unemployed. It only requires that the fingers
should be properly used, and that one should not be made to do the
duty of another.
1843. Implements for Knitting.
These are rods or pins of ivory, bone, or steel. The latter are most
commonly used, and should have tapered points, without the least
_sharpness_ at the extremity.
1844. Casting On.
The first process in knitting is casting on. To effect this, hold the
end of cotton between the first and second fingers of the left hand;
bring it over the thumb and forefinger, and bend the latter to twist
the cotton into a loop; bend the needle in the loop; hold the cotton
attached to the reel between the third and little fingers of the right
hand, and over the point of the forefinger; bring the thread round the
needle by the slightest possible motion; bend the needle towards you,
and tighten the loop on the left-hand finger, in letting it slip off
to form the _first_ stitch.
1845. Formation of Stitches.
Now take that needle with the loop on it in the left hand, and another
in the right. Observe the position of the hands. The left hand needle
is held between the thumb and the second finger, leaving the
forefinger free, to aid in moving the points of the needles. This mode
of using the forefinger, instead of employing it merely to hold the
needle, is the great secret of being able to knit without looking at
the work, for so extremely delicate is the sense of touch in this
finger, that it will, after a little practice, enable you to tell the
sort of stitch coming next, in the finest material, so that knitting
becomes merely mechanical. Insert the point in the loop, bringing it
behind the other needle, slip the thread round it, bring the point in
front, and transfer the loop to the left-hand needle without
withdrawing it from the right hand. Repeat the process for any number
of stitches required.
1846. Plain Knitting.
Slip the point of the right-hand needle in a loop, bring the thread
round it, and with the forefinger push the point of the needle off the
loop so that the thread just twisted round forms a new one on the
right hand.
1847. Purling.
The right-hand needle is slipped in the loop _in front of_ the
left-hand one, and the thread, after passing between the two, is
brought round it; it is then worked as before. The thread is always
brought forward before beginning a purled stitch, unless particular
directions to the contrary are given.
1848. Mode of making Stitches.
To make one, merely bring the thread in front before knitting, when,
as it passes over the needle, it makes a loop; to make two, three, or
more, pass the thread _round the needle in addition_, once for 2,
twice for 3, and so on.
1849. To Decrease.
Take one stitch off without knitting; knit one, then slip the point of
the left-hand needle in the unknitted stitch and draw it over the
other. It is marked in receipts d. To decrease 2 or more, slip 1, knit
2, 3, or more together, _as one_, and pass the slip stitch over.
1850. How to Join a Round.
Four or five needles are used in round work, such as socks, stockings,
&c. Cast on any given number of stitches on one needle, then slip
another needle in the last stitch, before casting any on it; repeat
for any number. When all are cast on, knit the first 2 stitches off
on to the end of the last needle. One needle is always left unused in
casting on for a round.
1851. How to Join Toe of Sock, &c.
Divide all the stitches on to two needles, hold both in the left hand,
as if they were one, and in knitting take a loop off each one, which
knit together.
1852. To Cast off.
Knit 2 stitches; with the left-hand needle draw the first over the
second; knit another; repeat. Observe that the row before the casting
off should never be very tightly knitted.
1853. To Knit Three Stitches Together.
To knit three stitches together, so that the centre one shall be in
front.--Slip 2 off the needle together knit the third, and draw the
others over together.
1854. To Raise a Stitch.
To raise a stitch is to knit the bar of thread between the two
stitches as one.
1855. Abbreviations.
The abbreviations used are:
K, knit;
P, purl;
D. decrease;
K 2 t, knit two together;
P 2 t, purl 2 together;
M 1, make one.
1856. Size of Needles.
Take care to have needles and cotton or wool that are suitable to each
other in size. The work of the best knitter in the world would appear
ill done if the needles were too fine or too coarse. In the former
case, the work would be close and thick; in the latter it would be too
much like a cobweb.
1857. Instructions in Embroidery and Canvas Work.
1858. Embroidery.
Embroidery, properly speaking, includes every sort of ornamental work
done with a sewing needle of any kind; but in its popular acceptation,
it applies only to the ornamentation of any article by the eye, or
from drawn or marked patterns--whatever may be the material, or
combination of materials employed; Berlin or canvas work, on the
contrary, is the usual designation of all kinds of embroidery on
canvas, _done by counting threads_, and frequently by the aid of a
painting on checked paper.
1859. Distinction in Embroidered Work.
Although these two different sorts of work are really equally entitled
to the designation of _embroidery_, yet for the sake of making our
hints as intelligible as possible, we will adopt the popular terms,
and confine our present remarks to that sort of embroidery which is
not executed by the stitch.
[BE A FRIEND TO VIRTUE--A STRANGER TO VICE.]
1860. Materials.
Every sort of embroidery material may be used for embroidering upon.
The most common are muslin, cambric, velvet, satin, cloth, and leather.
1861. Application.
The simplest style of embroidery is that termed _Application,_--that
is, where the pattern is in one material, laid on another which forms
the ground. In this way muslin is worked on net, velvet is laid on
cloth, or on another velvet, and cretonne designs cut out and laid on
another material, the edges being either sewed over, or ornamented
with fancy cord, braid, gold thread, or any other appropriate material.
1862. Braiding.
Another very easy style of ornamentation is that known as braiding.
Children's dresses are worked with narrow silk or worsted braid, the
latter being also used for ladies' aprons, flounces, &c. Gold and
silver braid enter largely into various sorts of decorated needlework,
and the Victoria braid, of cotton, which has something of the
appearance of satin stitch, is generally known.
1863. Stitches in Braiding.
There is considerable art required to achieve putting on the Victoria
braid evenly and firmly. The stitches should be taken across the
braid. This makes it lie flat.
1864. Elaborate Embroidery.
But the most elaborate kinds of embroidery are those which represent
flowers, fruit, and other devices on any material; and these may be
divided into white and coloured embroidery.
1865. Broderie Anglaise.
White embroidery, or embroidery on muslin, is used for a great variety
of articles of ladies' dress. The simplest is termed Broderie
Anglaise. In this style, the pattern is either in satin stitch, or
from left to right, formed of holes cut out of the muslin, and sewed
over with embroidery cotton. The great art in working broderie is to
make the holes all of the same size, and to take the stitches closely
and regular.
1866. Satin Stitch.
Satin stitch is a smooth raised work, used for leaves, flowers, &c. It
is done by first tracing the outlines accurately with soft cotton,
then taking stitches from point to point of the part to be raised, so
as to have the greatest thickness of cotton in the centre, and sewing
it over, in stitches taken close together, but slightly slanting, and
completely across the part outlined. The veining of leaves is
generally formed by taking the stitches from the vein to the edge,
first on one side and then on the other. The borders of embroidered
muslin collars, &c., are usually finished with buttonhole stitch,
worked either the width of an ordinary buttonhole, or in long
stitches, and raised like satin stitch. Eyelet holes are made by
piercing round holes with a stiletto, and sewing them round.
1867. Fancy Stitches.
There are many fancy stitches introduced into muslin work, but these
require to be practically taught.
1868. Frame for Embroidery.
The kind of frame on which muslin is most easily worked, consists of
two hoops of wood, about eight inches in diameter. One is rather
smaller than the other. On it the muslin is stretched, and the larger
one being slipped over it, and fitting tightly, keeps the muslin in
its place.
1869. Embroidery on Satin, &c.
Satin and velvet are embroidered in coloured silks, gold and silver
bullion, pearls, &c. A very fashionable style is the work with _ombre_
or shaded silks.
1870. Netting Silk in Embroidery.
The most delicate kinds of embroidery are worked with fine netting
silk, one strand of which is drawn out. This makes the silk appear
softer and richer.
1871. Shading in Silks.
It requires considerable care to work well with ombre silks, to avoid
incorrect shading. Nature should be followed as closely as possible.
Not only must the form be carefully preserved, but the lights and
shades must be disposed in an artistic manner. For instance: the point
of a leaf is never the darkest part, nor should the lower leaves and
flowers of a group of the same kind be light.
1872. Materials used in Embroidery and Canvas Work.
The materials for canvas work and embroidery may be classed under the
names of wool, silk, chenille, and braid; beads, straw, and a variety
of other fancy materials, are also brought into use. A knowledge of
the proper mode of using them, and the varieties of each which are
made, is one of the most useful things it is possible for the amateur
needle-woman to become acquainted with. We will, therefore, take them
in their order.
1873. Wool.
German wool (or Berlin wool, as it is commonly called) is the most
beautiful material manufactured for canvas-work. The vast variety of
shades, the exquisite tints produced, the softness and evenness of the
fabric, are beyond all praise. We speak of Berlin wool _as it ought to
be_; for no article is more frequently of inferior quality. From damp,
or bad packing, or many other causes, it is frequently crushed and
injured, and in that state is not fit to be used for good work. Berlin
wool is supposed to be all dyed, as well as made, abroad; at present a
large proportion is entirely produced in our own country, which is
little, if at all, inferior to the foreign. Berlin wool is made only
in two sizes, 4-thread and 8-thread; unless the latter is specified in
directions, the other is always implied.
Berlin wools are either dyed in one colour, or in shades of the same
colour, or (_very rarely_) in shades of several colours. Technically,
a silk or wool dyed in shades of the same colour, going gradually from
light to dark, and from dark to light again, is termed an _ombre_, or
_shaded_ wool or silk, whereas _chine_ is the term employed when there
are several _colours_ used. There are, also, what are called _short_
and _long_ shades; that is, in the former the entire shades, from the
lightest to the lightest again, will occur within a short space, a
yard or so; whereas, in _long_ shades the gradation is much more
gradually made.
We notice these apparently trifling differences that readers may
comprehend the importance of obtaining precisely the proper materials
for each design. If we prescribe a certain article, it is because _it_
and no other will give the effect. Transparent, white, or silver beads
are usually worked with white silk, but clear glass beads, threaded on
cerise silk, produce a peculiarly rich effect by the coloured silk
shining through transparent glass. The silk used must be extremely
fine, as the beads vary much in size. A change of material, which
might appear of no consequence whatever, would completely spoil the
effect of the design.
1874. Fleecy Wool.
Fleecy wool is the sort of wool used for jackets and other large
articles. Some of the tints are quite as brilliant as those of Berlin
wool. It is made in 3, 4, 6, 8, and 12 threads, and is much cheaper
than German wool. It does very well for grounding large pieces of
canvas work.
1875. Shetland Wool.
Shetland wool is very fine and soft, is much used, and prized for
shawls and neckties and for veils.
1876. Eis Wool.
A pure German wool of silky brightness, is used for the same purpose
as Shetland wool excepting for veils. It is also used instead of silk
for embroidering on velvet, as tea cosies, &c.
1877. Andalusian Wool.
Andalusian wool is a medium wool, less thick than Berlin wool, is used
for cuffs and shawls.
1878. Other kinds of Wool.
There are also other names given to wools by the vendors or
manufacturers of them: for instance, "The Peacock Wool" and "The Coral
Wool" are trade marks, and not particular wools.
1879. Scotch Fingering Wool.
Scotch fingering wool is used for knitting stockings and socks, and
gentlemen's kilt hose.
1880. Thin Lambs' Wool and Wheeling Yarn.
Scotch yarns, used principally for children's socks and stockings.
1881. Merino Wool.
Merino wool is the produce of a Spanish breed of sheep. The wool was
introduced into this country about the close of the last century.
George III. was a great patron of this breed. French Merino is made
from this peculiarily soft wool; so also Berlin wool, used for canvas
embroidery.
1882. Angola Wool.
The produce of an African breed of sheep; is a soft hairy wool. Is
used for making Angola shawls and gloves, valued for their extreme
softness and warmth. These were popular till the cotton manufacturers
introduced a very poor imitation make entirely of cotton.
1883. Camel-hair Wool.
Camel-hair wool is the production of the llama, or al-lama, a native
of South America. This ruminant animal resembles in its nature, but
not in its form, a camel. The back and sides of the llama are clothed
with fine long woolly hairs, becoming smooth, silky, and shining
towards the tips, the general colours being of a uniform bright brown.
The native Indians use it in the manufacture of stuffs, ropes, bags,
and mats.
1884. Alpaca.
Al-Paco produces the alpaca wool. This creature is also a species of
camel, though different in shape. Cavier regarded the paco as a
variety of the llama; so also the vicugua. The llama is generally used
as a beast of burden, while the former are used chiefly for their
flesh and wool.
1885. Yak Lace and Fringe.
This is said to be made from the tail hair of an animal resembling an
ox, a horse, and sheep; the first for its shape, the next for its
tail, and the third for its wool. The tail, under the Indian name of
_Chowrie_, is often mounted in horns and silver, and used as a switch
to keep off flies. The yak inhabits the coldest parts of Tibet, India.
1886. Silk.
This well known production of the silk-worm in its natural state, as
reeled from the cocoon, is termed "raw silk;" and before this can be
used for weaving it requires to be twisted, or, as it is technically
termed, "thrown;" that is to say, it is not two threads twisted one
over the other, but the single filament itself is twisted so as to
render it firmer; this is termed "singles." The next process is termed
"tram." This is two threads loosely twisted together. This usually
constitutes the "weft" silk, which is thrown by the shuttle across the
long threads, or "warp," of the piece-silk.
1887. Organzine.
Organzine, or hard silk, generally constitutes the "warp," or length
of the silk. This is made by first twisting each individual thread of
silk, and then two or more of the threads are twisted together by the
"throwing" mill (throw one thread over the other). In this state it
must be boiled, to discharge the gum which renders the silk hard to
the touch, and unfit to receive the dye. It is now boiled in soap and
water for four hours, and then boiled in clear water to discharge the
soap; after which it is glossy, soft, and fit for wearing.
1888. Filoselle Silk.
Filoselle silk was formerly a "spun silk," and the product chiefly of
the silkworm, which naturally eats its way through its cocoon. It is
only comparatively of late years that this silk has been used. The
short filaments are spun in the same way that cotton and wool are
spun, and is afterwards woven. A great deal of this silk is used for
stockings and socks, and for weaving in with wool-fabrics, but there
is also another kind of Filoselle used in needlework. This is
two-thread silk, or "tram." Eight or ten of these slightly twisted
threads form a strand of silk, so that, according to the purpose
required, one, two, or more threads of it can be used for embroidery.
This is glossy as satin.
1889. Floss Silk.
Floss silk consists of several filaments of untwisted silk sufficient
to make a strand of silk. It is used for working on the surface of
wool stitches to heighten the effect and give brilliancy.
1890. Tusseh Silk.
Tusseh silk or, as some term it, "Tussore," is spun from the silk of
the perforated cocoon of the tusseh-moth. This silk is seldom dyed,
being the natural colour of the cocoon, which cannot be satisfactorily
extracted; nor will it absorb dye perfectly.
1891. Embroidery Silk.
Embroidery silk is bright and lustrous, and composed of two rather
loosely twisted large threads. _Sadler's Silk_ and _Purse-Silk_ have
three threads. _Sewing Silk_ has two. _Tailor's Twist_ three threads.
1892. Chenille.