ON SILK-WORK
[Illustration: Sampler]
Although the foregoing chapter was devoted exclusively to the description
and illustration of the stitches most generally used in gold-work, most
of them can with equal propriety be worked in silk. But the reverse does
not hold good: there are many stitches useful for silk and thread, &c.,
which cannot well be worked with gold, because the needle and thread are
taken right _through_ the material, from the upper to the under side
and up again, in and out, all the time; whereas nearly all gold-work is
done on the surface, the beginning and end only of the gold being taken
through the material. It is true that in some of the old embroidery, flat
strips of metal were sometimes worked through the stuff, also thin solid
wire, and the fine tambour is still used in the same way; but it is not
practicable to any extent with Japanese gold, or passing; while purl and
bullion, being in the form of a hollow coil, are obviously unsuitable
for being drawn through the surface as thread. It would also involve
an unnecessary waste of gold to take it through the stuff and leave it
behind each stitch.
The accompanying sampler does not include any of the stitches shown in
the former one, except couching. Although, in principle and in method of
working, couching is the same, whether it be carried out in silk or in
gold, yet, the effect being very different, it seems desirable to repeat
it here. It is introduced also for the purpose of pointing out clearly
the difference between it and another stitch which in some circumstances
looks very similar, but is worked in quite another way and is called
‘Laid-work.’
In both couching and laid-work the principal threads lie on the surface
and are sewn down with auxiliary stitches by means of a separate needle
and thread. In couching, these stitches are planted at short intervals,
all along the line, on each row of threads, while they are being placed;
but in laid-work the whole surface is covered first, and the few stitches
required to keep the mass of silk in place are added afterwards.
Couching is generally worked in solid heavy threads, such as gold and
silver, purse-silk, cord and filoselle, while laid-work is only suitable
for floss, its chief merit being the perfection with which it shows the
bright sheen of that beautiful silk. It is light and soft in effect and
a very expeditious means of covering a large surface. It does not wear
very well unless caught down at frequent intervals with the couching or
other over-stitching, as in the example (p. 63) of a chalice-veil at
South Kensington, where all the foliage is done in laid-work, the ‘laid’
stitches going _across_ the leaves and the couching following the curves,
indicating simple veining.
Both laid and couched work, when used as a filling, are best adapted to
decidedly conventional designs, laid-work especially to broad and flat
effects, and couching to outlines.
Although shading and even an appearance of modelling to a slight degree
may be legitimately obtained by the placing of different shades of silk
side by side and by the direction of the underlying and over-stitching
silks, still it is not well to attempt too much in this direction, as
there are many other stitches more suitable; and stitches, like other
things, are much more beautiful when in their natural and proper place
than when forced into a position for which they are unfit.
This sampler is intended to be worked in coloured silks. I will mention
them by their numbers on Pearsall’s colour-card No. II., as it can be
bought or referred to at any ordinary needlework shop, and therefore
seems the most practicable means of explaining about shades, &c., to
those who have never used floss silk before. While to others I would
say it is certainly not necessary to use these particular colours, or
this particular make of floss, so long as the silk is good, the colours
harmonising with each other, and being sufficiently distinct in shade to
avoid confusion.
Three shades of blue, Nos. 41, 42, and 43; four shades of a
bronze-green, Nos. 112, 113, 113A, 113B; three shades of a greyer
green, Nos. 113A, 134, 135; a soft reddish-brown, No. 105, and one of
gold-colour, No. 92, are suggested for this sampler.
Linen thread may be used instead of silk, on a coloured or a white linen
ground, for practice, but it is necessary for the embroidress to get
used to working in floss[1] from the first, because it is always needed
for the best and richest work, and it requires a great deal of practice
before it can be dexterously handled. Ornamental rings, bracelets, &c.,
should not be worn when working with floss silk, particular attention
must be given to keep the hands in good condition, clean and smooth; it
is a good plan, if they are apt to get rough, to rub in one or two drops
of pure glycerine after washing in hot water _before_ drying them. The
hands should then be rubbed perfectly dry with a linen towel. If, on
the other hand, they are at all inclined to be moist, they should be
frequently washed in water as hot as it can be borne, then dipped into
cold water, rubbed dry, and lastly dusted over with boracic powder.
Carbolic, sulphur, arsenical or other ‘complexion’ soaps should never be
used before working with either gold or silver or very delicate silks;
indeed, it is safest to use none but pure vegetable soaps as free from
chemicals as possible. A fine white-linen apron with a bib and sleeves,
or an ‘overall,’ should always be worn, and the work kept covered with
a soft silk or linen handkerchief. Too much care cannot be taken with
floss silk, as it is apt to catch in everything it comes near and is very
easily damaged. For the same reason the needlefuls should not be long,
and if the silk be bought in skeins it should be carefully wound at once,
on smooth reels or cards, keeping a separate one for each shade, which
should be duly named and numbered.
Of all the stitches which are worked with silk, I think SATIN-STITCH,
with its many offshoots and variations, is the foremost both for
usefulness and beauty. The smooth brightness of the surface; the
clean-cut outline it makes of itself, when nicely done, requiring nothing
further to finish it off; the ease with which shades and colours melt
and blend in soft gradations or bold effects, make it _the_ stitch _par
excellence_ for floss-silk work, whether coarse or fine.
[Illustration]
The Flower marked _A_ on the sampler is worked thus:—
Take a needleful of the palest of the three shades of blue floss and
run round the traced outline of the upper portion of one of the petals.
Never begin with a knot, but run a few stitches into a part that will
be covered afterwards; to fasten it firmly just take a back-stitch and
do not cut off the end till you have worked a few more stitches; always
begin and end a needleful on the ‘right side’ of the work so as to have
no loose ends at the back. Then bring the needle up from behind to the
surface near the centre of the petal; set it in just over the outline
at the top; draw it down with one hand and set it in with the other.
(It ought to become, by practice, a matter of indifference which hand
is at any time above and which below.) The next stitch must be shorter,
the next longer, and so on till the edge of the petal is reached. The
other half of the petal is filled in the same way, beginning from the
middle, and keeping the ends of the stitches even along the top and quite
irregular along the bottom of the row. The stitches should be just so
close together as to make a firm clear edge without either overcrowding
or thin weak places.
The next row is done with the middle shade of blue; after fastening the
end of the thread, take the needle through to the back, then bring it up
between the two long middle stitches and about halfway from the top, set
it in again to make a stitch about the same length as the others were,
and continue working in the same way; the only difference between the
first row and the second being that the second is worked from the upper
part downwards and that both ends of the stitches are irregular in length
instead of only the lower ends. Also there will be fewer stitches in each
row as they get nearer the bottom.
The number of rows required will depend on the size of the petal, so will
the actual length of the stitches. To give some idea of the proportion,
I will suppose this petal to be an inch and a half in length and an inch
and a half in width at the widest part; the stitches would then be from
a half to three-quarters of an inch long at the longest; it would take
four rows of stitches, and there would be about thirty of them in the
top row of the petal when using the full thickness of Pearsall’s ‘Stout
Floss.’ The central stitches should all be vertical, and all the others
radiating—that is, slanting outwards, towards the edge of the petal; this
direction of the stitches must be very carefully managed, not to be too
sudden in change, and the rows of stitches should ‘dovetail,’ as it were,
into each other. In this example two rows of the middle shade are used,
and only one each of the lightest and darkest.
This application of satin-stitch is known by a number of other names,
such as ‘Long-and-short’ stitch, ‘Plumage’ or ‘Feather’ stitch; the
latter name is rather misleading, as there is a well-known stitch of that
name, quite different in appearance and method of working, in common
use in linen embroidery. In reading descriptions of silk embroidery one
should bear in mind that when Feather-stitch is mentioned it _may_ mean
the one described above.
[Illustration]
_B_ is worked in the three lightest shades of the bronze-green—Nos. 112,
113, and 113A. The method is precisely the same as in _A_ above, only
the radiation is different and requires even more care in the arrangement
of the stitches. Radiation of lines from a centre follows a principle of
natural growth, as anyone may observe by taking the separate petals of
any similar flower; all the lines and veinings, however much branched
or netted, will be seen to converge towards the point where it is
inserted into the calyx. In the leaf the place where they converge is the
midrib—an extended centre, so to speak—and in ‘B’ the stitches are aimed
in the same direction. Imagination has to be called upon to suggest where
the lines should run in the part of the leaf which turns over, but it
should always be done intelligently.
[Illustration]
_C_ is more conventional, by which I mean less regard is paid to natural
growth. It is a favourite method with the Chinese and Japanese, who work
this form of satin-stitch to such perfection, that the ‘right side’ and
‘wrong side’ are almost exactly alike. This may be considered a test of
good workmanship. It is best to begin with the part nearest the centre,
with the darkest shade of blue. Each stitch of one petal is parallel
with the others and in a vertical direction; there is no radiation in
the working of individual petals, only in the arrangement of the petals
themselves in the whole flower; and the edge of each shade is sharply
defined by a voided line instead of melting or ‘shading’ into the next. A
voided line is a narrow space of the ground left bare between the rows of
stitches; it should be so narrow and so even as to look like a fine line
or indentation in the silk. This kind of satin-stitch is equally suited
to work done all in one shade or in white on white ground.
_D_ is also worked in parallel lines, but the direction is horizontal,
the shades lying side by side close together. In quite small flowers the
stitches would go straight across each petal, but in larger ones, like
these, half is worked at a time, a voided line being left down the middle
of each. In the sampler it is also left to define each shade, but _D_ is
a simpler form for practice.
_E_ is worked somewhat like _A_, only the stitches follow all along the
curve equally as the veins do in lily-leaves, &c., instead of radiating.
This should be begun with the darkest of the bronze-greens, No. 113B.
Two rows may be worked with this, then one of the next shade, 113A, then
three of the next, 113, then one of 113A to finish with.
[Illustration]
The three berries marked _F_ on the sampler are slightly raised.
The preparation may be the same as that described in the chapter on
gold-work; padding thread sewn across and across in several directions,
or by layers of parchment cut to the shape. In any case the padding must
be covered with stitches of silk, worked straight across, in the opposite
direction to that with which it is covered eventually. The same shade,
No. 105, may be used for all berries, but each should be worked in a
different direction, to show the effect that such a change has on the
tone of the colour.
The centres of the flowers, marked _G_, are begun with the brown silk,
with surface satin-stitch, in which, as its name implies, nearly all the
silk is on the surface of the material. It is just taken through and
brought up again close to, but not exactly in, the point where it went
down, leaving a very small stitch at the back, then taken across the
space to be covered, and through again on the opposite side in the same
manner. The stitches may lie either horizontally or vertically. Over this
work a single thread of No. 92 is drawn diagonally, at regular intervals,
to form a lattice. These overlying stitches, again, are sewn down by a
small cross-stitch at each intersection.
This lattice-work may be used independently, without any under-stitching,
showing the ground instead; it has a very pretty light effect among more
solid work. Another pattern is shown at _G2_.
SPLIT-STITCH.—This is a stitch found much in use in the earliest
specimens of ecclesiastical needlework. I believe that the faces and
heads of nearly all the figure work done before the fifteenth century
were in split-stitch. The effect is something like several others. When
very fine and rather tightly worked it looks like satin-stitch; when
looser, like fine chain-stitch; when coarse and rather loose, like
crewel-stitch worked backwards and forwards. Each stitch is worked by
making a small satin-stitch and bringing the needle up from the back
_through_ the middle of it, or by threading the needle with _two_ strands
of silk and bringing the point up _between_ them. See illustrations of
ancient Coptic work, where the frayed ends of silk show plainly that it
was done in this way.
The silk is thus pierced through or ‘split’—hence its name.
[Illustration]
_H_ on the sampler is worked thus:—
With a needleful of No. 135 begin at the lower end of the inside half
of the leaf and follow the inner curve as far as the point of the first
lobe. Almost every alternate row of stitches is carried only halfway
down, or less, to keep the radiation right. When the first lobe is
filled, take the next shade (134) and work in the same manner up to the
top point of the leaf. The other half of the top point and the upper part
of the next lobe is worked with the lightest shade, 133A, and the last
with 134; _h_ shows the upper part of the leaf in course of being worked.
We now come to laid-work, the general character of which I have already
described above.
The first process is to cover the surface with the silken threads, lying
all in one direction—vertical at _I_, horizontal at _J_, on the sampler.
[Illustration]
They can be laid at any angle, provided that the stitches are kept
parallel with each other, and that due consideration is given to the
direction the over-stitching will take. It ought to cross the laid
stitches as nearly as possible at right angles to keep it nicely in
place. Of course, it is impossible to keep strictly to this, but if the
principal veinings are placed thus the others will naturally approximate
sufficiently.
The silk may either be carried through the material and the needle
brought up a very little way further on along the outline, as in
surface-satin; or the silk may be turned back on the surface, as in
couching, with a stitch at each end. The middle and darkest shades of
grey-green (134, 135) are used for the leaf, and the middle and darkest
blues for the vase. The over-stitching of the leaf is in the lightest
grey-green, done with split-stitch; the vase with the darkest blue in
couching.
The band _K_ at the bottom of the sampler may be worked in the same way,
using back-stitching to keep it down. With back-stitching a pattern
can be formed which is something like that made by couching, only
it is softer-looking and more quickly done. If it is a border of any
considerable length a number of skeins may be all begun together; then,
pinning them all down with a long fine pin, the stitches are set in
at regular intervals to make the pattern. The floss-silk in this case
requires no needle, but, when once begun, is ‘paid off’ the reel or card
by degrees as required.
Laid-work makes a beautiful background; the over-stitching may be either
of split-stitch, couching, or back-stitch, and may be done either in
a pattern or by simple lines, diagonal, vandyked, or at right angles
with the silk laid down. Compare _k_, which is laid, with _q_, which is
couched. Both may be worked with the middle shade of blue sewn down with
gold-colour, No. 92.
[Illustration]
_M_ is worked in the same manner as _B_, but with the two shades of
bronze-green, Nos. 113 and 113A.
_N_ is filled with darning-stitch, the lines following the direction
of the curve. Darning cannot be done in a frame in the same manner as
when held loose in the hand. The needle must go in with one hand and be
drawn down with the other, the same as with all work done in a frame.
The stitches are about a quarter of an inch long and a very little of
the ground is left between each. The rows of stitches also lie close
together. The shading and proportion should be done to match _E_, and the
different shades should ‘dovetail’ into each other as in the satin-stitch.
The parts of the leaves marked _O_ are worked with the grey-green, No.
135, in radiating lines, not quite close together, showing about an equal
quantity of the ground between. This partial filling, both in couching
and in darning, is very effective for light work, but an outline is
absolutely necessary, and is really the principal part of the work. The
outline may be either couched or worked in crewel-stitch, like _p_.
Crewel-stitch, like darning, is not worked in the frame in the same way
as in the hand. After fastening on the thread, bring it out at the bottom
of the work and set the needle in about an eighth of an inch higher up on
the traced line. Draw it down and bring it up again close to the place
where it was brought out at first. Set it in again an eighth of an inch
higher than the first stitch, that will make a stitch a quarter of an
inch long: keep them about this length all the time. (In turning a sharp
curve they should be shorter, and in a long straight line they may be a
very little longer, worked in coarse silk.) Care must be taken not to
pierce the stitch when bringing the needle through from the back; the
method of working is the same as in split-stitch, with this exception,
which makes all the difference! It may be necessary to hold back the
stitch to avoid piercing it, especially on the inner side of a curved
line, for the needle must always be kept on the same side of the stitch
as it is begun, otherwise it will make a break in the curve. It has,
moreover, a different name when worked on one side from that which it
has when worked on the other—_crewel_ when the needle comes out on the
Left, _outline_ when it comes out on the Right. There are other names
given to this stitch, according to the many slight variations in the way
of working it. When, for instance, instead of bringing the needle out on
the line, it is taken a little way off it, so as to make a more slanting
stitch, it is called stem-stitch (see stems marked _R_ on sampler), but
as this is in reality a narrow strip of satin-stitch, worked diagonally,
it does not seem to require a name of its own.
_U_ is couched with the dark grey-green silks, the shades being placed
side by side.
_S_ and _T_ are narrow strips of slanting satin-stitch. All
straight-lined Lettering looks well worked thus, outlined with an edge of
couched gold or silver.