cotton. Make three little running stitches and one back-stitch to
insure firmness in the starting. Let your thread come up slightly
under the lower line of the buttonholing. With your left thumb holding
the thread down to the material draw your thread to the right, take a
stitch over the padding, bringing the needle out slightly below the
lower line. The thread should fall under the point of the needle in
each stitch.
The next thing we learn in buttonholing is a scallop. The deeper the
scallop the more difficult it is to make a good corner and to keep
the slant of the stitches right. When you buy a stamped piece of
embroidery, select a pattern that has a shallow scallop and one where
the points are not too sharp. In working a scallop the stitches should
slant vertically in the direct centre, slanting the other stitches
toward this point (Figure 117).
[Illustration: Fig. 117. A simple scallop]
The object in carrying the needle slightly beyond the stamped line is
that all the stamping may be well covered. A stitch that is taken
directly through the line shows the stamping.
The diagrams (Figures 117 and 118) show how to work a simple scallop
and one with a sharp scallop. A good deal has been written about the
cutting of scallops, but the safest and wisest is to wash the piece
before cutting out the scallops. A pair of small embroidery scissors
should be used to cut the material away close to the twill of the
buttonholing. If a scallop is cut before it is washed it frays so much
that the edge has an untidy look.
[Illustration: Fig. 118. A sharp scallop]
Some women work a row of machine stitching close to the lower edge
before padding it, as a preventive from fraying, while others insist
on cutting the material to allow a hem on the wrong side only. Try the
first way and see if you are not successful. Another point to bear in
mind in buttonholing is that the stitches should be taken very close
to each other. If a piece of buttonholing is well done it is hard to
distinguish one stitch from the other, and yet they must not be made
one on top of the other or the buttonholing will be rough.
Wallachian work gets its name from a little community in Pennsylvania.
It is a German word and is nothing more than coarse buttonholing. It
is especially appropriate on heavy waists, centre pieces, pillow tops
or work bags. A finer form of it looks well on sheer waists. The rings
or circles are worked from a centre like the spokes in a cart wheel
(Figure 119).
[Illustration: Fig. 119. A Wallachian ring]
[Illustration: Fig. 120. Wallachian stitch]
The leaves or petals of a Wallachian figure are worked on the slant,
and here is the difference from ordinary buttonholing and the
distinctive feature of Wallachian embroidery. Usually the petals have
an indented top and a line running through the centre. Begin at the
lower right-hand section and take a short stitch on the line as for
outlining. The next stitch is taken close to this from the midrib to
the outer right-hand edge. The stitches need not be quite as close as
in buttonholing and no padding is required. Continue in the same slant
to where the centre line stops. The stitches from this point radiate
till they are in a good slant to continue down the left side. Note the
stitches in the diagram (Figure 120).
Some people do not slant their stitches and the result is that the work
is not as pretty and loses its chief charm.
Placing your thimble on a piece of material, make a little circle
around it and in the centre make a little dot to practise the
Wallachian ring on.
[Illustration: Fig. 121. A whisk broom holder in Wallachian stitch]
You will find that your thimble or spool is a great help to you also in
making scallops. Draw a line with the ruler just below where you want
your scallop to be. Inscribe half a circle with the aid of your thimble
or spool on the straight line. Just within this half-circle draw
another half-circle that will touch the upper line of the scallop. A
ten-cent piece or in fact any coin can be used like this. Embroidered
pieces should be washed by themselves, especially if they are worked in
colours.
A little girl I was teaching some years ago was very slow in working
a centre piece. She finished the piece one day just before her term
was over. Thinking that she would surprise me, little Daisy decided to
launder the piece herself. Her mother knew nothing about embroidery, so
was not able to tell her how to proceed. So Daisy washed the piece and
having seen how mother bleached the linens, Daisy desired to give her
piece a sun bath. She spread it out in the sun and when she went for it
the colour was half out. Poor little Daisy was heart-broken. She would
not have had this trouble had she observed the following directions:
Put the piece to launder in warm water and rub it with a pure soap,
such as castile. Ordinary laundry soaps are too strong of lye to be
used. If the piece is very soiled let it soak a long time, several
hours. Usually washing the piece out in water is sufficient. Rub with
the hand only. Rinse in clean water and lay the piece on a thick cloth
or a Turkish towel. Roll the towel up and leave until the piece is
almost dry.
Lay the embroidery, with the worked side down, over a heavy padded
surface. Press with a hot iron quickly. If the centre of the piece
puckers, dampen it again till you have pressed it out thoroughly.
If you fear to put the iron directly on the piece lay a thin white
cloth over it and then press. Many a really beautiful piece is spoiled
in the laundering.
XIII
ROMAN CUT-WORK, FANCY BUTTONHOLING FOR BORDERS, WORK BAGS, BERMUDA
FAGOTTING
Roman cut-work or Colbert embroidery is one of the prettiest forms of
buttonholing. The right way to work it is to make the stitches so that
each one is distinct from the other. Some people insist on crowding the
stitches as in regular fine buttonholing, which is quite a mistake, as
its distinctness lies in dissimilarity to the ordinary buttonholing
(Figure 122).
The work is used for centre pieces, corners of lunch napkins, coat
sets, as well as on heavy linen dresses. In Scotland the little girls
make the entire yokes of their night gowns in cut-work as well as the
top of their night gown case. These cases are placed on top of the bed
pillows during the day and are marvels of fine handwork. This custom is
not restricted to Scotland, but Italian, French, and German women are
also proud of their night dress cases.
The design for Roman cut-work should be bold and not too close
together. It should be stamped directly on the material. The American
way of working it is to run a line of fine stitches on the outline and
then work a row of buttonholing. The stitches are a little less than an
eighth of an inch deep. The background spaces between the design are
then cut away close to the buttonhole edge. Do not neglect to wet and
press the linen before cutting the buttonholing. Keep the twill of the
buttonholing on the outer edge of the design so that the background
will be bordered with the twilled edges (Figure 123).
[Illustration: Fig. 122. Roman cut-work]
The European method of Roman cut-work is to run the thread first and
then cut the material so that there is an eighth of an inch extending
beyond the running stitches. This is turned under till the running
thread forms the edge and then the buttonholing is worked through both
thicknesses of the material. This way prevents the linen from fraying.
The design is basted over a piece of coloured paper, letting the
basting stitches follow closely the buttonholing. The wide spaces are
then filled in with a simple lace stitch such as the twisted bar, woven
bar, or spiders. Sometimes the spider is used in conjunction with one
of the former stitches, and it is an excellent stitch for filling in
the corners. Marking cotton No. 20 or No. 25 should be used for Roman
cut-work, as well as the lace stitches.
[Illustration: Fig. 123. A Roman cut-work centre piece]
To make the twisted bar, plan the open spaces so that they will be well
filled and yet not too crowded. Span from one side of the space to the
other with the thread, then return and whip the thread or stitch three
or four times. The stitches may be connected and have the appearance of
a series of points (Figure 124).
[Illustration: Fig. 124. The twisted bar]
The woven bars are made by working two threads across the space about
one eighth of an inch apart. Start from one end and weave. Take up
one thread on the upward and the other thread on the downward pass.
Continue in this manner till the whole bar is woven. The bars are
placed at equal distances apart (Figure 125).
[Illustration: Fig. 125. The woven bar]
The spider is a little more complicated. It is made on an uneven
number of threads, usually seven. They may be double or single. To
make the whipped or double-thread spider, span the space with the
thread and then whip back to the centre and connect the thread to the
buttonholing again at some little distance from the first stitch. Whip
back to the centre again and take a stitch directly opposite. Continue
in this manner till there are five, seven, or nine threads around the
centre, then proceed to weave under one and over the next thread until
a good-sized spider is made. Do not make too large a spider, as it
detracts from the work. An illustration for the single spider is given
in the chapter on lace stitches.
[Illustration: Fig. 126. Blanket stitch]
The blanket stitch is a favourite for working the edge of flannel
skirts or quilted covers. Worsted or coarse silk can be used for it.
It is made on the raw or folded edge of the material. Two stitches
are long and two are short. Sometimes they are worked like a pyramid.
Beginning at the base we increase each stitch till we reach the point
and then decrease each stitch in length as we work back to the base on
the other side (Figure 126).
The triangular buttonhole is a pretty stitch for a conventional design
that has long narrow sections. It may also be used for working a very
large simple scallop (Figure 127). The way we were taught in school
was to mark the section to be worked in deep points. The twill of the
buttonholing must come on the lines. The stitches are not very close to
each other. The stitches are taken on the line across to the next line.
Begin at the longest opening and make every stitch shorter. When the
line is covered, turn the work so that the twill of the buttonholing
touches the top of the stitches just made. If this stitch is used on
the outer scallop it will be necessary to hem the material, letting the
triangular buttonholing form the edge.
[Illustration: Fig. 127. The triangular buttonholing]
Then there are fancy forms of buttonholing that are used especially
in Mount Mellick work. The double buttonhole stitch is effective to
fill in the large leaves. The stitches are taken in groups of two,
then a little space and two more stitches. Continue in straight rows.
Sometimes one will see a leaf worked one half in double buttonholing
and the other half in a close stitch.
[Illustration: Fig. 128. The honeycomb stitch]
The honeycomb or mesh is a fancy name for another form of buttonholing.
Work a row of buttonholing about a quarter of an inch apart. The
distance may be changed to suit the design you are working on. In the
second and all other rows, the needle is over the buttonhole loop
directly above and a short stitch taken a quarter of an inch, or the
distance you have decided on, below the loop. In starting each row
bring the needle up a quarter of an inch, or more or less as you
desire, below the previous row. The distance must be kept even to
achieve satisfactory results. It is not necessary to start from one
side always. The first row is worked from left to right, the second
from right to left and so on, back and forth, till the space is filled
(Figure 128).
Bermuda fagotting is the name of a stitch that gives the effect of
drawn work, when no threads have been drawn. It is used on scroll
designs as well as to outline a simple floral pattern. Lawn, dimity,
China silk, handkerchief linen, or nainsook are the prettiest materials
for this stitch, as it demands a fine, transparent background to give
the right effect.
[Illustration: Fig. 129. Diagram of stitches]
Sewing cotton No. 100 or 150 and a special needle are the only
requirements for this work. The needles can be bought from any art
needlework shop for five cents each. It is like a large-sized carpet
needle with a small eye. A carpet needle can be substituted if it is
not possible to obtain the regular needle in your locality. Tie one end
of the thread to the eye of the needle. While practising this stitch it
will be necessary to make guide lines. On each side of the design line
make a row of dots an eighth of an inch apart. The dots above the line
must be directly over the lower dots. Note the diagram (Figure 129) of
this stitch. I have numbered the first six dots.
Take a stitch from one to three and tie the end of the thread under
this point. Make the stitch a second time from these points, pulling
the material between them closely. Pass the needle underneath and
connect one and two with two stitches. Then pass to point four and
connect two. Three and four are connected in the same manner. It is
only necessary to tie the thread when commencing the work or a new
thread. The needle is so large that it makes quite a hole in the
material and the thread is so fine that the manner of working is not
clear to the average eye unless a detailed explanation is given (Figure
130).
[Illustration: Fig. 130. An enlarged drawing of Bermuda fagotting]
When working on a curved line or a corner it will be necessary to make
an extra stitch on the outer or longer side only.
The scroll lines or stems of a conventional shirtwaist design are more
dainty when made in Bermuda fagotting. The corners of handkerchiefs
or a design on underwear or yokes and collars lend themselves to this
style of adornment.
XIV
SATIN-STITCH AND MARKING
The more interested we become in embroidery the more we find how much
more there still is to be learned about it.
There may be embroiderers who are experts in one branch of the subject
and yet who will do very unsatisfactory work in another. For instance,
one girl may be very proficient in fancy stitches and yet may not
do the simple stitches or vice versa. Few American girls excel in
the satin-stitch, not because it is hard, but it must be perfectly
accurate. The average German, Swiss or French child can do better
satin-stitch at the age of twelve than the average American woman does.
From the time the children in those countries can hold a needle in
their hand they are taught to sew and embroider.
[Illustration: Fig. 131. A letter in satin-stitch]
Satin-stitch is a stitch that is taken over and over across a space.
Sometimes it is quite heavily padded and at a first glance gives the
appearance of a piece of material heavily raised. Fine designs should,
however, be slightly padded. There are three ways in which padding may
be done. There is the running or uneven darning, the chain, or the
filling-stitch. A great deal depends on the smoothness of the padding.
The chain-stitch should only be used for coarse work. The padding
should not cover the stamped outlines, for they are needed as a guide
for the satin-stitch. The padding is usually worked in a heavier thread
than the outer stitches. Darning cotton that comes in four strands is
often used. One or two strands is sufficient.
[Illustration: Fig. 131A. Satin-stitch]
The prettiest satin-stitch is taken straight across. The stitches
should not be crowded, but should be worked so that when the embroidery
is finished the stitches are hard to distinguish one from the other.
[Illustration: Fig. 131B. Satin-stitch dot]
The Old English letter "E" (Figure 131) shows a good example of
satin-stitch and outlining. The latter was used on the single lines.
The entire letter may be carried out in satin-stitch by first running
the single lines with uneven darning stitches and then covering these
with fine satin-stitches. Make the padding stitches as close together
as possible, or the satin-stitches will be uneven.
The letter "C" (Figure 132) offers an opportunity of combining two
colours. After the satin-stitch has been done, a little back-stitch
is worked through the centre of the heavily padded sections. This
combination of stitches is pleasing when colour is used, as the
satin-stitch is in one colour and the centre stitches in another. A
great many of the regular sewing stitches can be used instead of the
embroidery ones. For the very fine lines, back-stitching can be used,
making the stitches finer than those used in ordinary sewing.
[Illustration: Fig. 132. Satin-stitching and seeding]
The letter "A" of Figure 133 shows a good combination of satin-stitch
and back-stitching.
[Illustration: Fig. 133. Satin-stitch and back-stitching]
Satin-stitch can be worked straight across or on the slant. Most of
the modern work is straight, though a great many Germans still prefer
to slant their stitches. The work should be held toward you and the
needle straight. The padding should be worked lengthwise on the design
and the satin-stitch in the opposite direction.
The Chinese do beautiful embroidery, usually in satin-stitch which is
not padded and the finest of silks are employed for the work.
Another way of marking is to make a row of French knots along the
outline design. A single line script letter lends itself best to this
kind of work.
[Illustration: Fig. 134. A simple letter in back-stitching]
For bath towels an outlined letter is better than a padded one. The
letter on a school bag or a heavy Turkish towel should be very simple
as the wear they get does not warrant the spending of too much time on
them. If there is a monogram to be made it is prettier if the initials
of the Christian name be light and the surname heavy.
We learned about outlining in the first chapter of embroidery stitches,
but outlining in combination with outer stitches is a little surprise
for you. We have the German to thank for most of the good combinations
of stitches or letters. After the letter has been outlined in white,
we will say, a thread of colour is taken. Starting from the upper
left-hand side the needle is passed under the first stitch of the
outlining, up through the second stitch and down again through the
third, till every stitch has been taken up on the needle (Figure 135).
The threaded needle should not pass through the material except at the
beginning and end of each line (Figure 136).
[Illustration: Fig. 135. A pretty combination stitch]
[Illustration: Fig. 136. A letter in fancy stitch]
Another manner in which a letter may be embroidered, especially an old
English letter, is to work it solid in white and outline it in colour.
The Van Dyke point is good also where a broad space is to be filled. It
is sometimes called the bird's-eye stitch.
[Illustration: Fig. 137. A simple way to work a letter]
Start at the top and on the left side of the letter or space it is to
fill. Insert the needle on the right side and take a stitch to the
centre on a slant like a buttonhole stitch. Fasten to the material with
a little short stitch. Bring needle out at the extreme left and repeat
directions until the space is filled. Each stitch forms a V (note
Figure 138).
Sometimes you will find a very elaborate letter, the outline of which
has been worked in satin-stitch or French stemming. Little eyelets or
satin-stitch dots are worked between the lines.
[Illustration: Fig. 138. Van Dyke stitch]
When two or more letters intertwine they are called a monogram. It is
not every set of letters that will make good monograms. Letters that
have a good swing should be selected so that though they intertwine
each letter should stand forth clearly. It is permissible to use the
surname initial a trifle larger than the Christian initial. When
monograms are composed of three letters and one of the smaller letters
is placed on either side of the larger one the effect is very pleasing.
The smaller the letters, the finer the thread should be. No. 50 or
60 marking cotton can be used for letters one half-inch in size. A
three-quarter inch letter should be carried out in No. 45 marking
cotton. A one-inch letter requires No. 35 cotton, while the two-inch
letters take No. 30 and so on. The larger the letter the coarser the
cotton.
[Illustration: Fig. 139. A letter in Van Dyke stitch]
[Illustration: Fig. 139A. Seeding]
The beauty of a monogram is to have something original. Perhaps you
want to work your bag. Take a tea cup and place on the material in the
position you desire the monogram. Run a faint pencil line around the
cup. Draw a block letter in the centre so that it touches the upper
and lower edges of the circle. Your two Christian initials are then
placed one on each side of the centre letter. Try to fit the letters
so as to keep the circle perfect. It may be you will not really draw
block letters, but so much the better, as the monogram will be more
original. If it is impossible to make a complete circle with the
letters, embroider the sections of the circle between the letters
in stem-stitch. Stem-stitch, you will remember, is an outline-stitch
covered with the over-and-over or small satin-stitch.
A monogram of this sort is especially appropriate for a man's
handkerchief. A twenty-five-cent piece, or a fifty-cent piece if it
is a very large handkerchief, should be used for the circle. Seeding
(Figure 139A) may be combined with satin-stitch in working monograms.
Seeding is nothing more than a series of little back-stitches. A good
effect is obtained by working one letter in satin-stitch and the other
in seeding. It will be necessary to outline the outer edges of the
seeded letter.
You have probably noticed the gold emblems and lettering on the sleeves
of army officers' regimentals. They are generally worked in bullion,
though sometimes gold thread is used. Bullion comes in gold and silver
and at the first glance looks like the Oriental gold or silver threads.
The difference is, however, that bullion is tubular, while the threads
are usually composed of two or three strands twisted together or
over and over a thread of red cotton. The red cotton makes a strong
foundation for the gold threads and, by the way, do you know that all
silk that comes on spools has a fine thread of cotton running through
the centre? The purer the silk the less cotton is used, but the latter
is very necessary, as the threads will not stand very much strain if
they are all silk.
Now let us get back to emblems in bullion. It is necessary in bullion
work to have a fine cardboard foundation which is called "the cartoon."
Trace your design on the cardboard and then cut the design out. Baste
the cartoon to the background, which may be of any material you desire.
Broadcloths, silks, satins, and velvets are the materials usually
selected for the work. Thread a fine needle with a piece of silk.
Fasten the thread on the wrong side of the material and bring the
needle up through the right side. Let us suppose that you are working
the block letter A. Start from the apex of the letter. Cut a piece of
the bullion just the size of a very small bead. Slip the needle through
the cut piece of bullion and span the point of the letter. Continue in
this manner till the cardboard is closely covered with the bullion.
Each piece of bullion is cut to fit the space it is to cover.
In working a five pointed star, start and pad each section lengthwise,
if it is to be embroidered in silk or cotton. For bullion work the
cartoon is always necessary.
Work each section of the star from the point to the centre. Work from
left to right, so that each section that is worked is to the left.
Papier-maché letters can be bought that may be used as a padding. They
are very satisfactory for anything that is not to be laundered, but
continual washings flatten the papier-maché, while if the padding is
made of cotton it lasts as long as the background.
Handkerchiefs for yourself can be daintily marked in very fine
feather-stitching in D. M. C. marking cotton No. 80. Remember to keep
the stitches in a pretty slant.
There are numerous places that a letter or monogram can be used. A
girl I know who is at a boarding school has marked all her bed linen
and towels. For each pair of sheets and two pillow cases she uses a
different style letter or monogram so that her linen is in sets.