_HOLBEIN WORK._
This is a simple and truly artistic kind of needlework, chaste and
elegant in design and correct in style; its beauty depending not upon
strong contrasts or striking patterns, but on its exquisite finish and
neatness.
Holbein work is a kind of linen decoration with colored threads; and
was highly popular several centuries ago. Lingerie table-linen, towels,
and bed-linen, were thus adorned in a charming and tasteful manner; and
as instruction in this branch of needlework, of which so few remnants
remain, is chiefly given through the master works of the younger
Holbein, it has been named from him.
This great painter has reproduced the embroidery with wonderful
fidelity, showing plainly its charming peculiarity of being alike on
both sides. It differs in this respect from all other embroidery,
except that of some Oriental nations, and has literally no wrong side
to show, and requires, therefore, no lining to conceal defects. “Divers
colors of needlework _on both sides_,” is the oldest kind of ornamental
needlework of which there is any mention.
To accomplish this work on both sides is by no means difficult, as
might at first be supposed; and many articles for which no other kind
of embroidery would be appropriate may be very tastefully ornamented
with Holbein work. The effect is that of colored lines on a white
ground after the fashion of a pen-drawing--the design being equally
distinct on both sides.
The foundation for this embroidery is usually white linen Java canvas,
which washes better, and is of smoother and firmer texture than cotton
canvas. If linen canvas cannot be obtained, the ordinary cotton canvas,
or colored Java canvas, may be used instead.
A piece of canvas, a canvas needle with a dull point, red Turkish
cotton No. 30, or else several threads of colored or black silk
(somewhat coarser than ordinary sewing-silk), are all that is required
for Holbein work.
No knot should be made, to look ugly on the under side, in the
beginning; and to avoid this, insert the needle between the double
layer of the threads of the canvas, so that the working thread is
concealed on both sides; let the end of the thread project a little,
so that it may be held in the hand, pass the needle around one of the
four threads forming a square (with the ordinary cotton canvas, only
_half_ of a thread should be caught), carry it back the same way
it was inserted (see Figure 63), and draw the stitch tight--at the same
time holding fast the projecting thread.
[Illustration: Fig. 63.]
The single thread on which the working thread is fastened is drawn in
between the double threads of the canvas in tightening the stitch, so
that the latter is not visible on either side. The manner of doing this
is shown in Figure 64.
Then work the second stitch (see Figure 64) similarly to the first; but
underneath the nearest threads running in an opposite direction, draw
the stitch tight, so that it is concealed; and then repeat the first
stitch once more completely, in order to fasten the thread securely.
After working these three stitches, the thread should be quite firm;
and the fastening should scarcely be visible.
Cut off the projecting end of thread close to the canvas, and begin the
embroidery. To work a straight line, as in Figure 65, make a horizontal
stitch of two squares of the canvas, pass over two squares, work
another horizontal stitch on the following two squares--and continue
the first row in this way, always taking up two squares for one stitch,
as shown by Figure 66. This is called running stitch.
[Illustration: Fig. 64.]
When the line has been worked of the length desired, for instance,
ten stitches, there will be five running stitches and five intervals
on each side; and the stitches on one side will always come on the
intervals of the other side. In order to close the line, and fill all
intervals, work, going back, just as in the first row (see Figure 67),
which completes the line, and brings the working thread back to the
point where the work was begun. This point is always indicated by * in
the illustrations.
[Illustration: Fig. 65.]
[Illustration: Fig. 66.]
Work this straight line, consisting of _ten_ stitches, from right
to left in the order of the figures given in Figure 67. Only the upper
stitches are counted and numbered; but, as a matter of course, the
other side of the work is to present the same appearance as the side
on which it is done. The regularity of the work will be increased
if, in working straight lines, the needle is always, in the second
row, inserted underneath, and drawn out above the threads in the first
row; in this way the threads of both rows are regularly intertwined,
and the stitches are slightly slanting, as plainly shown in the last
illustration.
[Illustration: Fig. 67.]
[Illustration: Fig. 68.]
A diagonal line, as in Figure 68, is worked similarly to the straight
line, except that instead of crossing two squares in a straight
direction, they are taken up diagonally, as in ordinary cross-stitch.
The first stitch, therefore, exactly resembles half of a cross-stitch;
and between the first and second stitches, an interval of the same
number of threads remains, which forms half of a cross-stitch on the
other side. The line _a_, Figure 69, shows the first row of a
diagonal line of five stitches; and the line _b_ shows this line
finished by the second row.
[Illustration: Fig. 69.]
For the zigzag line in Figure 70, take a diagonal stitch upward over
two squares of the canvas, pass over two squares, and insert the needle
downward diagonally in the opposite direction; take another diagonal
stitch upward; and continue in this manner, as shown by _a_ in
Figure 71. In the first row, all the stitches on both sides appear
slanting to the left. In working the second row, going back, fill all
the intervals, as indicated by the figures on the line _b_ in
Figure 71.
[Illustration: Fig. 70.]
[Illustration: Fig. 71.]
[Illustration: Fig. 72.]
[Illustration: Fig. 73.]
For the Greek line in Figure 72, take a vertical stitch downward over
two squares, pass over two squares in a horizontal direction, take a
second vertical stitch upward over two squares, so that the stitches
always inclose four squares. In this design, all vertical stitches come
on the upper side (and all horizontal stitches, consequently, on the
under side) in the first row, as shown by _a_ in Figure 73; while
in filling the intervals in the second row the order is reversed, and
all horizontal lines come on the upper side, and the vertical lines on
the under side. The line _b_, in Figure 73, shows the Greek line
in course of work, and indicates by figures the order in which the
stitches should be taken.
[Illustration: Fig. 74.]
For the stair line in Figure 74, work a horizontal stitch from right to
left on two squares, pass the needle straight down under two squares,
and draw it out; repeat this three times, and then work three stitches
upward again. In this design all the horizontal stitches come on the
upper side, and all vertical stitches on the under side in the first
row, which is shown by _a_ in Figure 75; while _b_ shows the
lines finished by the second row, and indicates the order of stitches
by figures.
The thread, which is always carried back to the point where the work
is begun, should be sewn in firmly, as described for the beginning, so
that the fastening cannot be detected, and then cut off close to the
canvas.
[Illustration: Fig. 75.]
These simple designs being mastered, the learner is now prepared for
more ambitious efforts; and the lines are frequently divided into
branches richly ornamented, that form complicated patterns, and require
some study to make both sides of the work alike.
The patterns now consist no longer of simple lines, but of long lines
with short ones branching off from them, which may be called main lines
and branches.
The design in Figure 76 consists of a main line with upright branches,
which is worked in rounds going back and forth, and is thus completed
in two rows; no stitch should be omitted on either side, nor should any
stitch appear double; and the working thread should always return to
the point where the work was begun.
Figure 77 shows the manner of working the first row of this design, the
needle indicating how to take the last upright stitch. Begin the line
from *, so that an interval always remains between every two stitches,
and work to the point where the line branches off. These branches are
worked separately, and are completed in two rows; so that in working
the second row of the main line no attention need be paid to them.
[Illustration: Fig. 76.]
[Illustration: Fig. 77.]
Figure 78 shows the same design finished by the second round; the order
of stitches is indicated by figures.
The same rules apply to design 79--which shows a main line with
stair-line branches meeting the main line always at two points. In this
case, too, the branches are always finished separately before working
the main line beyond the point from which the stair-branches proceed.
[Illustration: Fig. 78.]
[Illustration: Fig. 79.]
Figure 80 shows the first row of this design; the first branch being
finished, and the second in course of execution.
[Illustration: Fig. 80.]
Figure 81 shows the design finished by the second round, the figures
indicating how to take the stitches. The fact that the branches
intersect the main line at two points does not affect the work in the
least.
[Illustration: Fig. 81.]
Sometimes the branches of the main lines are again furnished with
smaller branches, as shown by the forked design in Figure 82.
[Illustration: Fig. 82.]
In this case, the smaller branches are also worked separately from the
point from which they proceed; but the middle line is worked similarly
to a main line; working first one row with intervals, next forming the
smaller branches or prongs, and then, going back, filling the intervals
of the middle line, and returning to the main line.
Figure 83 shows the first row of this design and one of the branches
just begun; Figure 84 shows the design finished, and the order of
stitches indicated by figures. From time to time, it will be well to
glance on the under side and see that the design appears precisely
the same as on the right side, which will always be the case when the
stitches are worked exactly in the order given in the illustrations.
[Illustration: Fig. 83.]
[Illustration: Fig. 84.]
Frequently the smaller lines branch off from the main line in opposite
directions, as shown by Figure 85. In this design the forked figure
appears on one side, and the stair-line on the other side--both meeting
at one point of the main line.
With such patterns, begin with the main line and work to the point
where the branches begin--always working these separately. It is
immaterial which of the two branches is worked first; but they should
both be finished in the first row, so that, in the second row, only the
intervals in the main line need be filled. As a general rule, it is
well to complete as much of the pattern as possible in the first row.
[Illustration: Fig. 85.]
As Figure 85 is formed by a combination of figures similar to those
shown in Figures 65 and 66, it will only be necessary to refer to the
description of those figures to enable the worker to execute this
design with ease.
[Illustration: Fig. 86.]
Tree figures, shown in illustration 86, are worked so that the trunk
forms the main line, and all the small lines the branches; but the main
line should be worked to the point without the branches, the latter
being formed in the second row going back. Thus the trunk, forming the
middle line, will serve as a guide for placing the branches. Figure 87
shows the manner of working such a figure, the stitches being indicated
as usual by numbers.
[Illustration: Fig. 87.]
Each individual design requires separate sewing in of the thread; all
connected lines, on the contrary, are worked without interruption. The
working thread should always be taken as long as possible; and when it
is used up, it should either be carefully sewed in, as described in
the beginning, or it should be fastened to the new thread by means of
a weaver’s knot. This knot has the advantage of being made small and
strong at the same time.
[Illustration: Fig. 88.]
Sufficient instructions have now been given to enable the beginner
to do a very creditable piece of Holbein work; and Figure 88 is a
particularly easy pattern for a towel-border that may be done in red or
blue cotton or silk.
[Illustration: Fig. 89.]
[Illustration: Fig. 90.]
The towel may be made of heavy linen sheeting; or a bordering of linen
embroidered in this way may be applied to either end of a damask towel
with a line of feather-stitch. Sufficient material should be allowed
for a deep, tied fringe.
This pattern will also be found pretty for a bureau or dressing-table
cover, as well as a variety of other articles.
[Illustration: Fig. 91.]
[Illustration: Fig. 92.]
Figures 89 and 90 are very effective both for towels and covers.
Holbein work is frequently mixed with cross-stitch and satin-stitch,
which give it a richer effect; and for elaborate designs, this is a
great improvement. Figures 91, 92, and 93, show very handsome towels
embroidered in this way.
These towels are made of a piece of linen sixty-eight inches long
and seventeen inches wide, embroidered in cross-stitch and Holbein
work with blue or red cotton. The towels are trimmed besides with an
open-work design and knotted fringe, and are hemmed narrow on the sides
with a cross seam of the colored cotton.
[Illustration: Fig. 93.]
To make a towel, work eight inches from the bottom a rich design in
Holbein embroidery, and edge it on both sides with a narrow border in
cross-stitch embroidery. Each cross-stitch is worked over two threads
in height, and the same in width. Above this border, at a distance of
an inch, ornament the towel in a design worked in cross-stitch over
canvas with colored cotton.
After finishing the embroidery, draw out the threads of the canvas,
and between the borders execute an open-work design. For this, draw
out always four threads of the linen lengthwise and crosswise, letting
the same number of threads stand, and overcast them diagonally, first
in one direction, and then, crossing the same square in the opposite
direction; and finish the edge of the borders adjoining the open-work
design with button-hole stitches.
Underneath the narrow border, draw out the crosswise threads of the
linen, and knot the lengthwise threads to form fringe, as shown in the
illustrations.
[Illustration: Fig. 94.--EMBROIDERED BURLAPS PORTIÈRE.]
Handsome portières and curtains may be made of burlaps ornamented with
Holbein and other embroidery.
For the design in Figure 94, draw out eight threads, each two inches
and a half and five inches and three-quarters from the outer edge;
cross every eight of the threads left standing, and run them with
gold soutache. Between these open-work patterns work the border (see
Figure 94) in satin-stitch with light and dark red filling silk; and in
Holbein work with light and dark olive-green filling silk.
The open-work pattern is edged with point-russe stitches of dark brown
and fawn-colored silk, and cross-stitches of dark red silk.