METHODS OF WORK--(_continued_)
Drawn Thread Work--Hem Stitching--Simple Border Patterns--Darned
Thread Patterns--Corners--Cut or Open Work--Various Methods of
Refilling the Open Spaces.
This method of work is the acknowledged link between embroidery and
lace, and was possibly the origin of the latter. Drawn work is that in
which the threads of either the warp or the weft of the material are
withdrawn and those remaining worked into a pattern, by either
clustering together or working over them in some fashion. The cut or
open work, as it is sometimes called, is that in which both warp and
weft are in places cut away, and the open spaces thus formed are partly
refilled with a device of one kind or another.
The work is most often carried out in white thread on white linen, but
coloured threads may occasionally be introduced with advantage. It is a
durable method of work, and particularly suitable for the decoration of
various house-linens, things that must undergo daily wear and wash; its
rather unobtrusive character too makes it the more suitable for this
purpose. The work is used in conjunction with other kinds of embroidery,
perhaps making a neat finish to an edge, or lightening what would
otherwise be too heavy in appearance.
Drawn thread and cut work can be carried out with such detail and
fineness as to really become most delicate lace. In this chapter,
however, it is intended to be treated rather as an adjunct to other
embroidery, therefore only elementary work will be discussed. More
attention might with advantage be paid to the design of this kind of
work, for more might be done with it than sometimes is. For one thing,
there is very little variety in the patterns, and the result often seems
a spidery mass of incomprehensible threads with no very perceivable
plan; perhaps if more attention were paid to the proportion and massing
of the solid and open parts, a better result might be attained. Neatness
and simplicity are good qualities in the pattern, the method of work not
being suited to the expression of the various larger and bolder types of
design.
DRAWN THREAD WORK
In drawn work the question is how to treat the remaining warp threads
after the weft has been withdrawn. They can be clustered in bunches in
different ways with ornamental stitches added, or be entirely covered
over with darning or overcast stitches in such a way as to form a
pattern.
The beginning of most drawn thread work is hem stitching, the two edges
marking the limit of the withdrawn threads have usually to be hem
stitched before any pattern can be carried out. One method of doing this
is in progress in fig. 115. In order to work it, draw out three or four
threads of the warp and tack the hem down to the top edge of the line
thus made. The diagram explains the remainder of the working.
[Illustration: Fig. 115.]
Fig. 116 shows in the first example clusters of four threads drawn
together at each edge by hem stitching in such a way as to form a
ladder-like pattern. This and the one below are the ornamentations of a
plain hem that are most commonly seen. The variation in pattern in the
lower one is obtained by drawing together on the lower edge two threads
from two consecutive bunches in the upper row instead of just repeating
over again the same divisioning as before. These two examples are drawn
to show the reverse, not the working side.
[Illustration: Fig. 116.]
Another way of disposing of the undrawn threads is to cover them with a
kind of darning stitch, as illustrated in fig. 117. This kind of work is
more solid than the other, and is for that reason very durable. This
example is commenced at the right-hand corner, where the threads are
drawn loosely in order to explain the working. The needle, which should
have a blunt point, takes the thread to and fro alternately over and
under two clusters of warp thread, drawing them together a little
during the process; half-way down, the needle leaves the first set of
threads and continues working with the second and a new set (see needle
in diagram). When this is worked down to the base the needle takes the
thread invisibly up the centre of the worked part to the point where it
is required for the continuation of the pattern. The working of this
simple pattern explains the principle upon which all kinds of pretty and
more complicated designs can be carried out. The darning thread may be
coloured; in a more intricate design two or three different colours
might be introduced.
[Illustration: Fig. 117.]
[Illustration: Fig. 118.]
Fig. 118 shows another pattern in the same kind of work. The darning
stitch begins by working to and fro over and under four clusters of warp
threads, part way down it continues over the two central ones only,
leaving the outside clusters alone for the present. It finishes up, as
at the beginning, to and fro over the four. The threads that were left
are next covered with an overcast stitch, the adjoining ones in each
case are caught together in the centre in order to form the X shape that
recurs along the pattern. This darning kind of work is very closely
allied to weaving, and especially the kind often seen in Coptic work, in
which bands of the woof threads are purposely omitted in places, whilst
the fabric is being made, in order that a pattern may be hand-woven in
afterwards to take their place. Many beautiful examples of this work are
on view in the Victoria and Albert Museum.
[Illustration: Fig. 119.]
In working a drawn thread border round a square shape, at each corner
there comes an open space that requires a filling. Fig. 119 shows two
wheels that are commonly used to ornament such places. The square in the
first one has a preliminary groundwork of threads thrown across from
corner to corner and from side to side, all meeting and crossing in the
centre. The working thread is brought through at this point and the
wheel commenced by taking a kind of back stitch over a bar and bringing
the needle up beyond the next bar. It then takes the thread a step back
and over the same bar and brings it up beyond the next; this goes on
until the circle is of sufficient size, the stitches growing a little
longer in each succeeding row. In the diagram the thread is loosened at
the end to explain the working. The lower example is a commonly used
wheel, which is made by the thread running round alternately over and
under a bar until the wheel is completed. It should be as solid as the
upper one, but is purposely left loose in the diagram. Either of the
wheels could have a line of buttonhole stitching worked round the edge
as a finish. This figure shows also the two usual ways of making firm
the raw edges in cut work--the square shape is bound by an overcast
stitch, and the round one by buttonholing.
CUT OR OPEN WORK
Cut work can be most interesting both to look at and to carry out. In
the XVIIth century Italy was famous for its _punto tagliato_ or cut
work. John Taylor mentions "rare Italian cutworke" in "The Praise of
the Needle." This poem may perhaps be of interest to some; it was
prefixed to a book of embroidery patterns of cut work named "The
Needle's Excellency." It ran through twelve editions, the first of which
was printed in 1621, and sold at "the signe of the Marigold in Paules
Churchyard." Copies may be seen in the British Museum Library; in the
Bodleian, Oxford, in the Ryland's Library, Manchester, and occasionally
elsewhere. Fig. 120 shows a pattern taken from this book.
There are several distinct varieties of cut work, for instance, that
known as renaissance embroidery, which is usually composed of an
arabesque design from which the background is cut away, leaving the
pattern in the linen; the cut edges are outlined and protected by an
overcast stitch. The pattern has to be specially planned with the idea
of holding strongly together, but, if necessary, buttonholed bars can be
added to form strengthening ties in any weak part.
Another kind of cut work is that known as _broderie anglaise_, and
sometimes as Madeira work, over which our grandmothers spent much time,
perhaps without adequate result. The pattern is followed out by round
holes pierced in the linen with a stiletto and then overcast round the
edges. At the present day the work is done mostly by machinery, though
hand work also is procurable.
[Illustration: Fig. 120.]
Perhaps the prettiest kind of cut work is that in which various-shaped
spaces are cut out of the linen, and these filled in, in part, with
some design built up with stitches. There are various methods of
refilling the spaces cut out, one of the simplest is a diapering formed
by some lace stitch, such as an open buttonhole. As a rule, the
decoration of the open spaces is based upon bars of thread that are
either composed of warp or woof threads left, instead of being cut away,
or else upon fresh threads thrown across in various directions. The
pattern is planned on and about these strengthening ties, and where
necessary receiving support from them. An ingenious worker will soon
devise ways of refilling the spaces by all kinds of interesting
patterns, which can be geometrical or floral, or any kinds of objects
that can be attractively represented in conventional fashion, such as
figures, birds, insects, ships in full sail, or anything else. It must,
however, be remembered that the various forms filling the spaces are for
use in the way of strength as well as for ornament, and that the work is
often put upon objects that have to endure daily wear.
Open work is frequently mixed with other, and especially with white
embroidery, and such things as counterpanes may be seen arranged with a
chequering of alternate squares of embroidered linen and open work.
Fig. 121 shows in progress a simple method of filling a space, mainly
making use of the strengthening threads that have been left at regular
intervals over the cut part. The threads are covered with an overcast
stitch, and alternate squares of those that recur over the space are
decorated with a cross. This is made by the working thread, after
reaching the right point at the centre of an overcast line, being thrown
across the space and then twisted back over itself to the
starting-point, where it is in the right position for continuing the
overcast line. The crosses being put in at the same time as the
overcasting of the bars renders some forethought necessary to get each
in at just the right time and place.
[Illustration: Fig. 121.]
[Illustration: Fig. 122.]
Another kind of filling can be seen in progress in fig. 122. The
stitches used in it are overcast and buttonhole. With the help of this
last-mentioned stitch patterns of all kinds can be carried out, for each
succeeding row of the stitch can be worked into the heading of the last
row, and in this way it is possible to build up any required shape. This
figure is a working diagram of a piece of cut work of which the
completed square with its surrounding decoration can be seen in fig. 34.
After overcasting the raw edges a diagonal thread is thrown across (E D
on plan), upon which the pattern shall be built up; the thread is taken
once to and fro and then twisted back again for a third crossing.
Commence by overcasting the threads from point D, and upon reaching the
part where the pattern is widened out, change the stitch to an open
buttonholing (as shown on line B). It is worked openly in this way in
order to leave space for another row of the same kind of stitching to be
fitted in from the opposite side, which is the next thing to be done.
Then an outer row of buttonhole stitch is worked on each side of the
central bar and into the heading of the first row of stitching; this is
shown in progress where the needle is at work. The entire pattern is
carried out in this way, first laying down foundation threads in the
necessary places and then covering them up with either overcasting or
buttonhole stitch as required. It is easily possible to carry out
flowers and all kinds of other things sufficiently well to make them
pleasantly recognisable.