making a bar of the width the stitch is to be. Then, holding the thread
under your thumb to the right, you put the needle in at the top of the
bar and, slanting it towards the right, bring it out on a level with the
other end of the bar somewhat to the right. This makes a triangle. With
the point of your needle, pull the slanting thread out at the top, to
form a square; insert the needle; slant it again to the right; draw it
out as before, and you have your second triangle.
[Sidenote: TO WORK H.]
The difference between the working of the lattice-like band at H, and
ladder-stitch G, is that, having completed your first triangle, you
make, by buttonholing a stitch, a second triangle pointing the other
way, which completes a rectangular shape.
[Illustration: 24. BUTTONHOLE, CHAIN, AND KNOT STITCHES.]
In the solid work shown at J, you make five buttonhole-stitches,
gathering them to a point at the base, then another five, and so on.
Repeat the process, this time point upwards, and you have the first band
of the pot shape.
Characteristic and most beautiful use is made of buttonhole stitch in
the piece of Indian work in Illustration 24, where it is outlined with
chain stitch, which goes most perfectly with it.
Cut work, such as that on Illustration 65, is strengthened by outlining
it in buttonhole-stitch.
Ladder-stitch occurs in the cusped shapes framing certain flowers in
Illustration 72, embroidered all in blue silk on linen. It is not
infrequent in Oriental work, and, in fact, goes sometimes by the name of
Cretan-stitch on that account.
FEATHER AND ORIENTAL STITCHES.
FEATHER-STITCH is simply buttonholing in a slanting direction, first to
the right side and then to the left, keeping the needle strokes in the
centre closer together or farther apart according to the effect to be
produced.
It owes its name, of course, to the more or less feathery effect
resulting from its rather open character. Like buttonhole, it may be
worked solid, as in the leaf and petal forms on the sampler,
Illustration 25, but it is better suited to cover narrow than broad
surfaces. The jagged outline which it gives makes it useful in
embroidering plumage, but it is not to be confounded with what is called
"plumage-stitch," which is not feather-stitch at all, but a version of
satin-stitch.
The feathery stem (A) on the sampler is simply a buttonholing worked
alternately from right to left and left to right.
[Sidenote: TO WORK B.]
The border line at B requires rather more explanation. Presume it to be
worked vertically. Bring your needle out at the left edge of the band;
put it in at the right edge immediately opposite, keeping your thread
under the needle to the right; bring it out again still on the right
edge a little lower down, and then, keeping your thread to the left, put
the needle in on the left edge, opposite to where you last brought it
out, and bring it out again on the same edge a little lower down.
[Illustration: 25. FEATHER-STITCH SAMPLER.]
[Illustration: 26. FEATHER-STITCH SAMPLER (BACK).]
The border at C is merely an elaboration of the above, with three
slanting stitches on each edge instead of a single one in the direction
of the band.
[Illustration: THE WORKING OF G G ON FEATHER-STITCH SAMPLER.]
Bands D, E, F, G, are variations of ordinary feather-stitch, requiring
no further explanation than the back view of the work (26) affords. On
the face of the sampler it will be noticed that lines have been drawn
for the guidance of the worker. These are always four in number,
indicating at once, that the stitch is made with four strokes of the
needle, and the points at which it is put in and out of the stuff.
[Sidenote: TO WORK G G.]
In working G G, suppose four guiding lines to have been drawn as
above--numbered, 1, 2, 3, 4, from left to right. Bring your needle out
at the top of line 1. Make a chain-stitch slanting downwards from line 1
to line 2. Put your needle into line 3 about 1/8th of an inch lower
down, and, slanting it upwards, bring it out on line 4 level with the
point where you last brought it out. Make a chain-stitch slanting
downwards this time from right to left, and bring your needle out on
line 3. Lastly, put your needle into line 2, 1/8th of an inch below the
last stitch, and, slanting it upwards, bring it out on line 1.
Feather-stitch is not adapted to covering broad surfaces solidly, but
may be used for narrow ones.
ORIENTAL-STITCH is the name given to a close kind of feather-stitch much
used in Eastern work. The difference at once apparent to the eye between
the two is that, whereas for the mid-rib of a band or leaf of
feather-stitching (25) you have cross lines, in Oriental-stitch (27) you
have a straight line--longer or shorter as the case may be.
Oriental-stitch, sometimes called "Antique-stitch," is a stitch in three
strokes, just as feather-stitch is a stitch in four. It is usually
worked horizontally, though shown upright on the sampler, Illustration
27. Like feather-stitch (see diagram), it is worked on four guiding
lines, faintly visible on the sampler.
[Sidenote: TO WORK A, B, C.]
Stitches A, B, and C are worked in precisely the same way. Bring your
needle out at the top of line 1. Keep the thread under your thumb to the
right and put your needle in at the top of line 4, bringing it out into
line 3 on the same level. Then put it in again at line 2, just on the
other side of the thread, and bring it out on line 1 ready to begin the
next stitch.
[Illustration: 27. ORIENTAL-STITCH SAMPLER.]
[Illustration: 28. ORIENTAL-STITCH SAMPLER (BACK).]
It will be seen that the length of the central part (or mid-rib, as it
was called above) makes the whole difference between the three varieties
of stitch. In A the three parts are equal: in B the mid-rib is narrow:
in C it is broad, as is most plainly seen on the back of the sampler
(28). The difference is only a difference of proportion.
[Illustration: THE WORKING OF A, B, C ON ORIENTAL-STITCH SAMPLER.]
[Sidenote: TO WORK D.]
The sloping stitch at D is worked in the same way as A, B, C, except
that instead of straight strokes with the needle you make slanting ones.
[Sidenote: TO WORK E.]
Stitch E differs from D in that the side strokes slant both in the same
direction. It is worked from right to left instead of from left to
right.
[Sidenote: TO WORK F.]
Stitch F is a combination of buttonhole and Oriental stitches. Between
two rows of buttonholing (dark on sampler) a single row of
Oriental-stitch is worked.
The stitch employed for the central stalk, G, has really no business on
this sampler, except that it has something of the appearance of a
continuous Oriental-stitch.
Oriental-stitch is one of the stitches used in Illustration 72.
ROPE AND KNOT STITCHES.
A single sampler is devoted to ROPE and KNOTTED STITCHES, more nearly
akin than they look, for rope-stitch is all but knotted as it is worked.
ROPE-STITCH is so called because of its appearance. It takes a large
amount of silk or wool to work it, but the effect is correspondingly
rich. It is worked from right to left, and is easier to work in curved
lines than in straight.
[Sidenote: TO WORK A, B.]
Lines A on the sampler, Illustration 29, represent the ordinary
appearance of the stitch; its construction is more apparent in the
central stalk B, which is a less usual form of the same stitch, worked
wider apart.
[Illustration: THE WORKING OF A, B, ON ROPE-STITCH SAMPLER.]
Having brought out your needle at the right end of the work, hold part
of the thread towards the left, under the thumb, the rest of it falling
to the right; put your needle in above where it came out, slant it
towards you, and bring it out again a little in advance of where it came
out before, and just below the thread held under your thumb. Draw the
thread through, and there results a stitch which looks rather like a
distorted chain stitch (B). The next step is to make another similar
stitch so close to the foregoing one that it overlaps it partly. It is
this overlapping which gives the stitch the raised and rope-like
appearance seen at A.
[Illustration: THE WORKING OF C ON ROPE-STITCH SAMPLER.]
[Sidenote: TO WORK C.]
A knotted line (C in the sampler, Illustration 29) is produced by what
is known as "GERMAN KNOT-STITCH," effective only in thick soft silk or
wool. Begin as in rope stitch, keeping your thread in the same position.
Then put your needle into the stuff just above the thread stretched
under your thumb, and bring it out just below and in a line with where
it went in; lastly, keep the needle above the loose end of the thread,
draw it through, tightening the thread upwards, and you have the first
of your knots: the rest follow at intervals determined by your wants.
[Sidenote: TO WORK D.]
The more open stitch at D is practically the same thing, except that
in crossing the running thread you take up more of the stuff on each
side of it.
[Illustration: 29. ROPE-STITCH AND KNOT-STITCH SAMPLER.]
[Illustration: 30. ROPE-STITCH AND KNOT-STITCH SAMPLER (BACK).]
[Sidenote: TO WORK E.]
What is known by the name of "OLD ENGLISH KNOT-STITCH" (E) is a much
more complicated stitch. Keeping your thread well out of the way to the
right, put your needle in to the left, and take up vertically a piece of
the stuff the width of the line to be worked at its widest, and draw the
thread through. Then, keeping it under the thumb to the left, put your
needle, eye first, downwards, through the slanting stitch just made;
draw the thread not too tight, and, keeping it as before under the
thumb, put your needle, eye first, this time through the upper half only
of the slanting stitch, making a kind of buttonhole-stitch round the
last, and draw out your thread.
These knotted rope stitches, call them what you will, are rather ragged
and fussy--not much more than fancy stitches--of no great importance.
KNOTS used separately are of much more artistic account.
[Sidenote: TO WORK F.]
BULLION or ROLL-STITCH is shown in its simplest form in the petals of
the flowers F on the sampler, Illustration 29. To work one such petal,
begin by attaching the thread very firmly; bring your needle out at the
base of the petal, put it in at the tip, and bring it out once more at
the base, only drawing it partly through. With your right hand wind the
thread, say seven times, round the projecting point of the needle from
left to right. Then, holding the coils under your left thumb, your
thread to the right, draw your needle and thread through; and, dropping
the needle, and catching the thread round your little finger, take hold
of the thread with your thumb and first finger and draw the coiled
stitch to the right, tightening it gently until quite firm. Lastly, put
the needle through at the tip of the petal, and the stitch is complete
and ready to be fastened off.
[Illustration: THE WORKING OF F ON KNOT-STITCH SAMPLER.]
The leaves of these flowers consist simply of two bullion stitches. The
bullion knots at the side of the central stalk are curled by taking up
in the first instance only the smallest piece of the stuff.
[Sidenote: TO WORK G.]
To work FRENCH KNOTS (G), having brought out your needle at the point
where the knot is to be, hold the thread under your thumb, and, letting
it lie to the right, put your needle under the stretched part of it.
Turn the needle so as to twist the thread once round it. That done, put
the needle in again about where it came out, draw it through from the
back, and bring it out where the next knot is to be.
For large knots use two or more threads of silk, and do not twist them
more than once. With a single thread you may twist twice, but the result
of twisting three or four times is never happy.
[Illustration: THE WORKING OF G ON KNOT-STITCH SAMPLER.]
The use of knots is shown to perfection in Illustration 24. Worked there
in white silk floss upon a dark purple ground, they are quite pearly in
appearance, whether in rows between the border lines, or scattered over
the ground. They are most useful in holding the design together, giving
it mass, and go admirably with chain-stitching, to which, when close
together, they have at first sight some likeness. A single line of knots
may almost be mistaken for chain-stitch; but of themselves they do not
make a good outline, lacking firmness. A happier use of them is to
fringe an outline, as for example in the peacock's tail on page 38; but
this kind of thing must be used with reticence, or it results in a
rather rococo effect. Good use is sometimes made of knots to pearl the
inner edge of a pattern worked in outline, or to pattern the ornament
(instead of the ground) all over. Differencing of this kind may be an
afterthought--and a happy one--affording as it does a ready means of
qualifying the colour or texture of ground, or pattern, or part of
either, which may not have worked out quite to the embroiderer's liking.
The obvious fitness of knots to represent the stamens of flowers is
exemplified in Illustration 93. Worked close together, they represent
admirably the eyes of composite flowers, as on the sampler; they give,
again, valuable variety of texture to the crest of the stork in
Illustration 85.
The effect of knotting in the mass is shown in Illustration 31,
embroidered entirely in knots, contradicting, it might seem, what was
said above about its unfitness for outline work. The lines, even the
voided ones, are here as sharp as could be; but then, it is not many of
us who work, knot by knot, with the marvellous precision of a Chinaman.
His knotted texture is not, however, always what it seems. He has a way
of producing a knotted line by first knotting his thread (it may be done
with a netting needle), and then stitching it down on to the surface of
the material, which gives a pearled or beaded line not readily
distinguishable from knot stitch.
[Illustration: 31. A TOUR DE FORCE IN KNOTS.]
The Japanese embroiderer, instead of knotting his own thread, employed
very often a crinkled braid. This is shown in the cloud work in
Illustration 85. The only true knotting there is in the top-knot of the
bird.
[Illustration: 32. INTERLACING-STITCH SAMPLER.]
[Illustration: 33. INTERLACING-STITCH SAMPLER (BACK).]
INTERLACINGS, SURFACE STITCHES, AND DIAPERS.
The samplers so far discussed bring us, with the exception of Darning,
Satin-stitch, and some stitches presently to be mentioned, practically
to the end of the stitches, deserving to be so called, generally in use.
By combining two or more stitches endless complications may be made; and
there may be occasions when, for one purpose or another, it may be
necessary, as well as amusing, to invent them. In this way stitches are
also sometimes worked upon stitches, as shown on the sampler,
Illustration 32. You will see, on referring to the back of it (33), that
only the white silk is worked into the stuff: the dark is surface work
only. There is no end to such possible INTERLACINGS. Those on the
sampler do not need much explanation; but it may be as well to say that
A starts with crewel-stitching; B and C with back-stitching; D with
chain-stitching; E with darning or running; F, G, and H with varieties
of herring-bone-stitch; J with Oriental-stitch; and K with
feather-stitch. The interlacing on the surface of these is shown in
darker silk. C and G undergo a second course of interlacing.
The danger of splitting the first stitches in working the interlacing
ones, is avoided by passing the needle eye-first through them.
Other surface work, sometimes called LACE-STITCH, is illustrated in the
sampler, Illustration 34. There is really no limit to patterns of this
kind. Some are better worked in a frame, but that is very much a matter
of personal practice.
[Illustration: THE WORKING OF F ON INTERLACING-STITCH SAMPLER.]
[Sidenote: TO WORK H, 34.]
In the Surface Darning at H (34) long threads are first carried from
edge to edge of the square, there only piercing the stuff, and then
darned across by other stitches, again only piercing it at the edges.
An oblique version of this is given at C (34).
[Sidenote: TO WORK B, 34.]
The Lace Buttonholing at B (34) is worked as follows:--Buttonhole three
stitches into the stuff from left to right, not quite close together,
and further on three more; then, working from right to left, make three
buttonhole stitches into the thread connecting the stitch groups; but do
not stitch into the stuff except at the ends of the rows. The last row
must, of course, be worked into the stuff again.
[Illustration: 34. SURFACE-STITCH SAMPLER.]
[Sidenote: TO WORK F, 34.]
Net Passing, as at F (34), is not very differently worked from A or B.
It is much more open, and the first row of horizontal stitches is
crossed by two opposite rows of oblique stitches, which are made to
interlace.
[Sidenote: TO WORK G, 34.]
The square at G is worked by first making rows of short upright stitches
worked into the stuff, and then threading loose stitches through them.
[Sidenote: TO WORK D, 34.]
The square at D is worked on the open lattice shown; the solid parts are
produced by interlacing stitches from side to side, starting at the
angle.
In the square at E (Japanese Darning) horizontal lines are first darned,
and then zigzag lines are worked between them, much as in G; but, as
they penetrate the material, this is scarcely a surface stitch.
[Sidenote: TO WORK A, 34.]
The horizontal lines at top and bottom of the square at A are
back-stitching, the intermediate ones simply long threads carried from
one side to the other; they are laced together by lines looped round
them.
[Sidenote: TO WORK L, 34.]
The band at L is begun by making horizontal bar stitches. A row of
crewel-stitch and one of outline-stitch, worked on to the bars, and not
into the stuff, makes the central chain.
[Sidenote: TO WORK K, 34.]
The band at K is merely surface buttonholing over a series of slanting
stitches.
[Sidenote: TO WORK J, 34.]
The band at J is buttonhole stitching wide apart, the bars filled in
with surface crewel-stitch.
[Illustration: 35. LACE OR SURFACE STITCH.]
Most delicate surface stitching occurs in Illustration 35, the fine
net being worked only from edge to edge of the spaces it fills, and not
elsewhere entering the stuff; which accounts for most of it being worn
away. The flower or scroll-work is _bona fide_ embroidery, worked
through the stuff. The delicate network of fine stitching, which once
covered the whole of the background, is for the most part neither more
nor less than a floating gossamer of lacework. One cannot deny that that
is embroidery, though it has to be said that _lace-stitches_ are
employed in it.
Stern embroiderers would like to deny it. Of course it is frivolous, and
in a sense flimsy, but it is also delicate and dainty to a degree. It is
suited only to dress, and that of the most exquisite kind. A French
marquise of the Regency might have worn it, and possibly did wear it,
with entire propriety--if the word is not out of keeping with the
period.
The frailty of this kind of thing is too obvious to need mention, and
that, of course, is a strong argument against it.
All attempt to give separate names to diapers of this kind, whether
worked upon the surface or into the stuff, is futile. They ought not
even to be called stitches, being, in fact, neither more nor less than
stitch patterns, to which there is no possible limit, unless it be the
limit of human invention. Every ingenious workwoman will find out
patterns of her own more or less. They are very useful for filling in
surfaces (pattern or background) which it may be inexpedient to work
more solidly.
The greater part of such patterns are geometric (Illustrations 35 and
73), following, that is to say, the mesh of the material, and making no
secret of it. On Illustration 3 you see very plainly how the rectangular
diaperings are built up geometrically on the square lines of the mesh,
as was practically inevitable working on such a ground. The relation of
stitch to stuff is here obvious.
The choice of stitch patterns of this kind is invariably left to the
needlewoman. The utmost a designer need do is to indicate on his drawing
that a "full," "open," or "intermediate" diaper is to be used. And the
alternation of lighter and heavier diapers should be planned, and not
left altogether to impulse, though the pattern may be. Moreover, there
is room for the exercise of considerable taste in the choice of simpler
or more elaborate patterns, freer or more geometric. Many a time the
shape of the space to be filled, as well as its extent, will suggest the
appropriate ornament. The diaper design is not, of course, drawn on the
stuff, but points of guidance may be indicated through a kind of fine
stencil plate.
The patterns used for background diapering need not, as a rule, be
intrinsically so interesting as those which diaper the design itself,
nor are they usually so full. They take more often the form of spot or
sprig patterns, not continuous, in which the geometric construction is
not so obvious, nor even necessary. In either case the prime object of
the stitching is not so much to make ornamental patterns as to give a
tint to the stuff without entirely hiding it with work; and the worker
chooses a lighter or heavier diaper according to the tint required. If
the work is all in white it is texture, instead of tint, that is aimed
at.
For a background, simple darning more or less open, in stitches not too
regular, is often the best solution of the difficulty. The effect of the
ground grinning through is delightful.
SATIN-STITCH AND ITS OFFSHOOTS.
SATIN-STITCH is _par excellence_ the stitch for fine silkwork. I do not
know if the name of "satin-stitch" comes from its being so largely
employed upon satin, or from the effect of the work itself, which would
certainly justify the title, so smooth and satin-like is its surface.
Given a material of which the texture is quite smooth and even, showing
no mesh, satin-stitch seems the most natural and obvious way of working
upon it. In it the embroidress works with short, straight strokes of the
needle, just as a pen draughtsman lays side by side the strokes of his
pen; but, as she cannot, of course, leave off her stroke as the penman
does, she has perforce to bring back the thread on the under side of the
stuff, so that, if very carefully done, the work is the same on both
sides.
Satin-stitch, however, need not be, and never was, confined to work upon
silk or satin. In fact, it was not only worked upon fine linen, but
often followed the lines of its mesh, stepping, as in Illustration 9, to
the tune of the stuff. This may be described as satin-stitch in the
making--at any rate, it is the elementary form of it, its relation to
canvas-stitch being apparent on the face of it. Still, beautiful and
most accomplished work has been done in it alike by Mediaeval,
Renaissance, and Oriental needleworkers.
[Sidenote: TO WORK A, 36.]
To cover a space with regular vertical satin stitches (A on the sampler,
Illustration 36), the best way of proceeding is to begin in the centre
of the space and work from left to right. That half done, begin again in
the centre and work from right to left.
In order to make sure of a crisp and even edge to your forms, always let
the needle enter the stuff there, as it is not easy to find the point
you want from the back.
In working a second row of stitches, proceed as before, only planting
your needle between the stitches already done. Fasten off with a few
tiny surface stitches and cut off the silk on the right side of the
stuff: it will be worked over.
[Sidenote: TO WORK B, 36.]
To cover a space with horizontal satin stitches (B on sampler), begin at
the top, and work from left to right. The longer stretches there are
not, of course, crossed at one stitch; they take several stitches,
dovetailed, as it were, so as not to give lines.
The easiest, most satisfactory, and generally most effective way of
working flat satin stitch is in oblique or radiating lines (C, D, E),
working in those instances, as in the case of A, from the centre,
first from left to right and then from right to left.
[Illustration: 36. SATIN-STITCH SAMPLER.]
[Illustration: 37. SATIN-STITCH SAMPLER (BACK).]
Stems, narrow leaflets, and the like, are best worked always in stitches
which run diagonally and not straight across the form.