The art of embroidering with cotton on linen, muslin, cambric, piqué,
&c., is very easy to learn by strictly attending to the following
instructions.
The size of the thread and needle must correspond to that of the
material on which you embroider; the needle must not be too long, and
the cotton must be soft. Messrs. Walter Evans and Co.'s embroidery
cotton is the best. Skilful embroiderers never work over anything,
because when you tack the material on paper or cloth each stitch shows,
and if the material is very fine, leaves small holes; but for those that
are learning we should advise them to tack the material to be
embroidered upon a piece of _toile cirée_. If you work without this,
place the material straight over the forefinger of the left hand; the
material must never be held slantways. The three other fingers of the
left hand hold the work; the thumb remains free to give the right
position to each stitch. The work must always, if possible, lie so that
the outline of the pattern is turned towards the person who works. For
the sake of greater clearness one part of the following illustrations is
given in larger size than nature. Preparing the patterns is one of the
most important things in embroidery, for the shape of the patterns is
often spoiled merely because they have not been prepared with sufficient
care.
[Illustration: 66.--Scallop.]
ILLUSTRATION 66 shows how to prepare a scallop. Take thicker cotton than
that with which you work; never commence with a knot, and do not take a
thread longer than sixteen or eighteen inches. The outlines of the
scallops are first traced with short straight stitches. In the corners
particularly the stitches must be short. The space between the outlines
is filled with chain stitches, as can be seen from illustration; they
must not be too long, otherwise the embroidery will look coarse. It is
in this way that every pattern to be worked in button-hole or satin
stitch is to be prepared.
[Illustration: 67.--Double Overcast Stitch.]
ILLUSTRATION 67 shows the double overcast stitch or button-hole stitch
in a straight line. After having traced the outline begin to work from
left to right; fasten the cotton with a few stitches, hold it with the
thumb of the left hand under the outline, insert the needle downwards
above the outline, draw it out under the same above the cotton which you
hold in the left hand, and draw it up. Repeat for all the stitches in
the same manner; they must be regular and lie close to one another.
Great care should be taken that the material on which you embroider is
not puckered.
[Illustration: 68.--Overcast Stitch.]
ILLUSTRATION 68 (_Overcast Stitch_).--The double overcast and the
button-hole stitches are worked from left to right, whilst back
stitches, knotted and satin stitches are worked from right to left. The
stitch is worked in the same way as the double overcast, only the needle
must never be drawn out _above_, but _below_, the cotton with which you
work, and which you keep down with the thumb of the left hand.
[Illustration: 69.--Slanting Overcast Stitch.]
ILLUSTRATION 69.--The slanting overcast stitch is worked without tracing
the outline, always inserting the needle downwards--that is, from top to
bottom. The needle must be inserted in the manner shown in
illustration--that is, not straight, but slanting; insert it a little
farther than the last stitch, and draw it out close to it. The wrong
side of the work must show back stitches. This sort of stitch is used
for the fine outlines in patterns or letter.
[Illustration: 70.--Back Stitch.]
ILLUSTRATION 70.--This shows the back stitch, the working of which is
well known; it is worked in several rows close to each other.
[Illustration: 71.--Point Croisé.]
[Illustration: 72.--Point Croisé.]
ILLUSTRATIONS 71 & 72 show another kind of back stitch, called _point
croisé_, which is only used on very thin and transparent materials. This
stitch forms on the wrong side a sort of darned pattern, which is seen
by transparence on the right side, and gives the embroidered pattern a
thicker appearance, contrasting with the rest of the work (see the lower
leaves of the flower on illustration 110). For this stitch insert the
needle into the material as for the common back stitch, draw it out
underneath the needle on the opposite outline of the pattern, so as to
form on the wrong side a slanting line. Insert the needle again as for
common back stitch; draw it out slanting at the place marked for the
next stitch on the opposite outline, as shown in illustration 71.
[Illustration: 73--- Knotted Stitch.]
ILLUSTRATION 73 shows the knotted stitch; the simplest way of working it
is to work two back stitches at a short distance from each other over
the same thread.
The knotted stitch seen in ILLUSTRATION 74 is worked thus:--Take about
four threads of the material on the needle, draw the needle half out,
wind the cotton twice round the point of the needle, hold it tight with
the thumb, draw the needle out carefully and insert it at the place
where the stitch was begun, and draw it out at the place where the next
stitch is to be worked.
[Illustration: 74.--Knotted Stitch.]
[Illustration: 75.--Knotted Stitch]
The knotted stitch seen on ILLUSTRATION 75 is worked in nearly the same
manner as the preceding one. Before drawing the cotton out of the
material hold it tight with the left-hand thumb; leave the needle in the
same position, wind the cotton twice round it, turn the needle from left
to right, so (follow the direction of the arrow) that its point arrives
where the cotton was drawn out (marked by a cross in illustration),
insert the needle there, and draw it out at the place of the next
stitch.
ILLUSTRATIONS 76 & 77.--Raised satin stitch is principally used for
blossoms, flowers, leaves, letters, &c. After having traced the outlines
of the pattern, fill the space left between them with chain stitches in
a direction different from that in which the pattern is to be
embroidered; begin at the point of the leaf, working from right to left,
make short straight stitches, always
[Illustration: 76.--Raised Satin Stitch.]
inserting the needle close above the outline and drawing it out below.
The leaves on the flowers, as well as on the branches, must be begun
from the point, because they thus acquire a better shape. If you wish to
work a leaf divided in the middle, as seen in illustration 77, you must
trace the veining before you fill it with chain stitches, then begin at
one point of the leaf and work first one half and then the other.
[Illustration: 77.--Raised Satin Stitch.]
[Illustration: 78.--Point de Plume.]
ILLUSTRATION 78 shows the so-called _point de plume_ on a scalloped
leaf. It is worked like the satin stitch, only the needle is drawn
through the material in a slanting direction.
[Illustration: 79.--Point de Minute.]
ILLUSTRATION 79 (_Point de Minute_).--This stitch is often used instead
of satin stitch when the patterns must appear raised. Wind the cotton
several times round the point of the needle, which is inserted into the
material half its length (the number of times the cotton is to be wound
round the needle depends on the length of the pattern), hold fast the
windings with the thumb of the left hand, draw the needle and the cotton
through the windings, insert the needle into the material at the same
place, and draw it out at the place where the next stitch is to begin.
[Illustration: 80.--Ladder Stitch.]
[Illustration: 81.--Ladder Stitch.]
ILLUSTRATIONS 80 & 81 show the _ladder stitch_, often used in ornamental
embroidery. Trace first the outlines as seen in illustrations; mark also
the cross stitches between the outlines, so that the first touch the
outlines only at both ends. The outlines are embroidered in overcast
stitch or double overcast; the material is cut away underneath the
ladder stitch between the outlines.
We have now shown the different kinds of stitches used in embroidery;
the following illustrations show them used for different patterns.
[Illustration: 82.--Button-hole Stitch Scallop.]
[Illustration: 83.--Button-hole Stitch Scallop.]
[Illustration: 84.--Button-hole Stitch Scallop.]
[Illustration: 85.--Button-hole Stitch Scallop.]
ILLUSTRATIONS 82 TO 85 (_Different Button-hole Stitch Scallops_).--These
scallops are prepared as above described. Take care to have the stitches
even and regular; the scallops must be wide in the centre and very fine
at both ends.
ILLUSTRATIONS 86 & 87 (_Button-holes and Eyelets_).--This kind of
embroidery is used only in round or long patterns. Trace first the
outline of the hole, cut away a small round piece of material, not too
close to the outlines (when the button-hole is very small merely insert
the point of the scissors or a stiletto into the material), fold the
edge of the material back with the needle, and work the hole in overcast
stitch, inserting the needle into the empty place in the centre and
drawing it out under the outline. Some button-holes are worked
separately; sometimes they are in a row; if so, take care to begin to
work each button-hole at the place where it touches the next. In the
following button-holes the outside must be traced double, so as to reach
as far as the next one, but each button-hole is finished at once.
Illustration 86 shows a button-hole worked round in button-hole stitch,
87 an eyelet-hole worked in overcast.
[Illustration: 86.--Button and Eyelet Holes.]
[Illustration: 87.--Button and Eyelet Holes.]
[Illustration: 88.--Shaded Button-hole.]
[Illustration: 89.--Shaded Button-hole.]
ILLUSTRATIONS 88 & 89.--Shaded button-holes are worked like the others,
only they are prepared, as can be seen in illustration 89, so as to mark
the thickness. The stitches must gradually get narrower or wider, and be
worked very close to each other.
[Illustration: 90.--Leaf in Raised Satin Stitch.]
ILLUSTRATIONS 90 & 91 (_Two Leaves in Raised Satin Stitch_).--In a leaf
like the one seen in 90 work first the outline and veining in overcast
stitch; work one half of the leaf in satin stitch, and the other half
between the overcast outline and veining in back stitch. The stem of a
leaf is always worked last.
[Illustration: 91.--Leaf in Raised Satin Stitch.]
[Illustration: 92.--Raised Leaf.]
ILLUSTRATIONS 92 & 93 (_Two Leaves in Satin Stitch and Point de
Plume_).--For leaves like the one seen in 93 begin with the veinings,
then work the inner points, then the outer ones, and lastly the raised
spots in the centre. The leaf seen in 92 is worked, one half in _point
de plume_, the other half in back stitch or _point d'or_.
[Illustration: 93.--Raised Leaf.]
[Illustration: 94.--Leaf.]
ILLUSTRATION 94.--- The outline of this leaf is embroidered in overcast
stitch; the open-work veining consists of eyelets; one half of the leaf
is worked in back stitch, the other half in a kind of satin stitch
worked without chain stitches underneath; the stitches are worked
across the leaf, leaving between two stitches an interval as wide as the
stitch itself. The next row is then worked in these intervals, and each
stitch begins half-way up the one before and after it.
[Illustration: 95.--Leaf Raised.]
[Illustration: 96.--Leaf Raised.]
[Illustration: 97.--Raised Leaf.]
ILLUSTRATIONS 95 to 97 (_Leaf in Raised Embroidery).--This kind of
embroidery is particularly beautiful, as it is worked separately and
sewn on the material with an outline in very fine cotton, this produces
the shade seen in 95 (see also illustrations 98 to 113). For such leaves
work first one half in overcast and satin stitch (illustration 96); the
other half is worked on a separate piece of material (see illustration
97); cut away the material along the overcast outline, and fasten it on
the foundation material along the outline which forms the veining on
illustration 96.
[Illustration: 98.--Raised Embroidered Leaf.]
[Illustration: 99.--Half of Leaf (98).]
[Illustration: 100.--Centre of Leaf (98).]
ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked
separately (see 99); the centre is worked in open lace stitch. The
latter (see No. 100) is traced, then make ladder stitches across, work
the outlines in overcast stitch, and cut away the material underneath
the ladder stitch. The cross stitches are then worked in darning stitch
with very fine cotton wherever two threads meet.
[Illustration: 101.--Blossom in Satin Stitch.]
ILLUSTRATION 101 (_Blossom in Satin Stitch_).--The eyelet is worked in
overcast stitch, then work the upper part of the blossom all in one
piece as far as the beginning of the veining, thence the blossom is
worked in two halves.
[Illustration: 102.--Blossom in Satin Stitch.]
[Illustration: 103.--Bead partly covered.]
ILLUSTRATIONS 102 & 103 (_Blossom in Satin Stitch_).--The raised centre
of this flower is formed by a bead, over which the embroidery is worked.
When the leaves have been worked one after the other, place a bead in
the centre, left free in such a manner that one hole lies on the
material, and work over the bead by inserting the needle into its upper
hole, then underneath the material, drawing it out above the material
close to the bead, and so on (see 103).
[Illustration: 104.--Star in Satin Stitch.]
ILLUSTRATION 104 (_Star Pattern in Satin Stitch_).--The centre, which
forms a wheel, is worked first. Draw the threads across the circle
marked by an outline; in the centre they are wound round, always taking
one thread _on the needle_ and leaving the next thread _under the
needle_, as can be seen in 122 on the half-finished pattern. The
material underneath the wheel is only cut away when the rest of the
pattern has been embroidered.
[Illustration: 105.--Star in Point de Reprise.]
ILLUSTRATIONS 105 & 106 (_Patterns in Back, Satin, and Ladder
Stitches_).--The small star in the centre of No. 105 is worked in _point
de reprise_.
[Illustration: 106.--Star.]
[Illustration: 107.--Flower in Satin Stitch.]
ILLUSTRATION 107 (_Flower in Satin Stitch_).--The fine veinings are
worked with fine black silk in _point russe_, which renders the effect
of the flower very beautiful.
[Illustration: 108--Rose in Satin Stitch.]
[Illustration: 109.--Petal for Rose.]
ILLUSTRATIONS 108 & 109 (_Rose in Satin Stitch_).--No. 109 shows one
petal larger than full size. The outer circle only is prepared with
chain stitches underneath, so as to appear raised; the inner circles are
worked flat. The centre of the rose is embroidered in open work.
[Illustration: 110.--Heartsease.]
ILLUSTRATION 110 (_Embroidered Heartsease_).--For the knotted stitch see
No. 75. for the _point croisé_ see 71 and 72.
[Illustration: 111.--Raised Flower]
ILLUSTRATION 111 (_Flower in Raised Satin Stitch_).
[Illustration: 112.--Ear of Corn.]
ILLUSTRATION 112 (_An Ear of Corn in Point de Minute_).
[Illustration: 113.--Bluebell.]
[Illustration: 114.--Inner part of Bluebell.]
ILLUSTRATIONS 113, 114, & 116 (_Bluebell in Raised Satin Stitch_).--This
flower is worked partly in separate pieces, as has been described.
Illustration 116 shows the raised part stretched out flat. When it is
finished it is fastened down along the dotted line on No. 114, which
shows the inner part of the flower.
[Illustration: 115.--Flower.]
ILLUSTRATION 115 (_Flower in Point de Minute_).--This stitch is here
worked over a thick foundation of chain stitches. For raised patterns it
looks very well.
[Illustration: 115.--Outer part of Bluebell.]
[Illustration: 117.--Flower appliquéd on Net.]
ILLUSTRATIONS 116 & 117 (_Flower worked in Appliqué_).--To work in
appliqué, two materials, either similar or different, are needed. You
can work either in appliqué of muslin on muslin, or of muslin on net, or
of net on net. Muslin on Brussels net is the prettiest way of working in
appliqué; we will therefore describe it: the other materials are worked
in the same manner. Trace the pattern on the muslin, fasten the latter
on the net, and trace the outlines of the pattern with very small
stitches work them in overcast stitch with very fine cotton, taking care
not to pucker the material. The veinings are worked in overcast. When
the pattern has been embroidered cut away the muslin round the outlines
with sharp scissors, so that the net forms the grounding (see No. 117).
The greatest care is required in cutting out the muslin to avoid
touching the threads of the net.
[Illustration: 118.--Border.]
ILLUSTRATIONS 118 & 119 (_Narrow Borders_).--It will be easy to work
these borders from the above instructions. Observe only that on border
118 the outer row of scallops is worked first, then the button-hole
stitch row, and the rest afterwards. The spots are edged all round in
knotted stitch. The wheels in the centre of the eyelets of No. 119 are
worked with very fine cotton in loose button-hole stitch; they are wound
round with the cotton in a second row.
[Illustration: 119.--Border.]
[Illustration: 120.--Insertion.]
ILLUSTRATIONS 120 TO 122.--Three strips of insertion, which are worked
nearly like the ladder stitch. For No. 120, in tracing the outlines,
make two small knots at short distances by winding the cotton four times
round the needle, as can be seen in illustration; the windings are held
down with the thumb of the left hand, draw the needle through, and a
knot is formed. The outlines are worked in button-hole stitch only when
all the knots have been made, and then the material is cut away
underneath.
Illustration 121 is a variety of the slanting ladder stitch.
Illustration 122.--The cross threads are worked in two rows in the
common herring-bone stitch, as can be seen by the black lines on the
illustration. The straight lines at the top and at the bottom are worked
in double overcast; lastly, the wheels are worked in a row as described
for the star pattern, No. 104.
[Illustration: 121.--Insertion.]
[Illustration: 122.--Insertion.]
[Illustration: 123. U]
[Illustration: 124. C]
[Illustration: 125. B]
[Illustration: 126. O]
ILLUSTRATIONS 123 To 129 (_Embroidered Initials_).--To learn to work
initials the Roman characters are the easiest to begin with. They must
be traced and prepared like other embroidery in satin stitch, only the
chain stitches underneath must not be too thick: it would take away the
shape of the letters. All depends on the fineness and regularity of the
stitches; they must be worked in overcast stitch. Work from left to
right, and the letter when completed must look rather like raised
printing than like embroidery. Gothic letters are much more difficult to
work on account of the many flourishes; it requires great practice in
needlework to embroider them well. Illustration 123.--The small black
dots are worked in black silk on the thick parts of the letter: the fine
strokes are covered with cross threads of black silk. Illustration
124.--The outlines of the letter and the fine strokes are worked in
black silk. Illustration 125.--This letter is embroidered in raised
satin stitch and _point de plume_. Illustration 126.--This letter is
worked in back stitches, over which are worked at regular distances
cross stitches of black silk. Illustration 127.--Letter in satin and
back stitch. Illustration 128 to be worked in overcast and double
overcast.
Illustration 129.--Letter G in _point russe_ with black silk.
[Illustration: 127.]
[Illustration: 128.]
[Illustration: 129.]
[Illustration: 130.]
ILLUSTRATION 130 (_Embroidered Figures_).--They are worked like the
letters in _point de plume_ and overcast; the dots are worked in knotted
stitch.
* * * * *