are often very attractive worked in this stitch.
The question often arises as to which is the right place to put a
letter or monogram on a table cloth, napkin, pillow case, or sheet, and
though you may not be interested in any of these articles at present,
it is well to know these little points when helping to mark the
household linens.
Napkins are usually marked with the letter in the direct centre when
folded. Of course, like many other things, there are fads for changing
the position. One extreme style is to mark the letter in the direct
centre of the napkin. This style necessitates folding the napkin in a
fancy shape so that the embroidery will be seen at its best advantage.
There are two good ways to mark a table cloth. One is to place the
lettering midway between one corner of the table and the hem. When
the cloth is on the table the letter is below the top. The second and
newer way is to have the letter on the top of the table on a line with
the plates. If two sets of letters or monograms are used place them at
diagonal corners.
On sheets the letters should be placed two and a half inches above the
hem. The letter is worked so that when the sheet is folded back the
base of the letter is toward the foot of the bed.
Pillow cases or towels are marked in the centre of one side, two inches
above the hem.
Again let me impress upon you not to embroider white washable material
in silk, thinking that because silks are more expensive they are
better. Silks are apt to discolour in laundering. Cottons are now
manufactured that have a high gloss like silk and yet they never
discolour.
[Illustration: Fig. 140. A handkerchief corner in satin-stitch]
Another pretty and new way to mark letters on lawn or fine linen
handkerchiefs is one that gives the effect of Bermuda fagotting and yet
it is only hemming with a large needle (Figure 140). Draw the letter
in pencil on the handkerchief. Thread a large tapestry or chenille
needle with a piece of No. 200 linen thread. Cotton thread may be used
but it is very apt to break. Tie one end of the thread to the eye of
the needle so that it does not slip out. Thread another needle with a
strand of No. 8 marking cotton and pass it to the back at the beginning
of the letter. Unthread the needle, allowing a half inch to extend
out of the back. Let the No. 8 cotton follow the lines of the letter
and take a stitch into the material with the large needle. Work from
right to left, holding the No. 8 cotton from you. Pull the fine thread
tight around the stitch you have taken. Now pass your needle around
the same group of threads of the material, holding the stitch over the
heavy cotton. Work around the entire outside of the letter, then turn
and work the inner line. Stitch again through the hole already made,
taking up the same group of threads. Sometimes this style is called
ladder-stitch, as the heavy cotton gives the effect of the side of the
ladder and the groups of threads represent the rungs. Any design that
is uniformly narrow can be carried out in ladder-stitch.
[Illustration: Fig. 141. A simple letter for towels]
XV
EYELETS AND FRENCH KNOTS, BULLION STITCH, AND OTHER FANCY STITCHES.
The most beautiful of the embroidery stitches is the eyelet, and it is
also one of the hardest. A piece of embroidery that is thickly covered
with eyelet-work and possibly a little satin-stitch and buttonholing
is commonly termed Madeira embroidery. One will often see a piece of
the Madeira embroidery so closely covered that it is almost impossible
to put another stitch in between the embroidered spots. About fifty
years ago it was a matter of impossibility to buy machine embroidery,
and eyelet-work was one of the last things made by machine. It was an
easy matter to distinguish the hand-work from the machine-work up to
about five years ago. A certain regularity of the stitches and the kind
of thread used proclaimed it machine to even the amateur. Now-a-days
the crafty manufacturers stamp the material to imitate the hand-made
embroideries and use a thread of the same quality so that sometimes
the professional embroiderers find it hard to distinguish it from the
real.
If you should ask a boy who has watched his mother working one, what
an eyelet is he will probably tell you that it is cutting holes in the
material and sewing them up again. To his mind this is a great waste of
time.
[Illustration: Fig. 142. Baby's bootees]
Besides being ornamental, the eyelets often play an important part.
They are used to run ribbon through in corset covers, night-gowns and
other pieces of underwear, as well as on bags, baby bootees, (Figure
142), caps and carriage covers. No machine beading can impart the
elegance that a well-made eyelet does to a personal garment. Eyelets
can be either round or oval. For a small round one run a tracing thread
on the outline. Let each stitch take up but one or two threads of the
material. Use No. 35 or finer marking cotton for small eyelets. With
your stiletto pierce a hole in the outlined edge till it is just the
size of the stamped eyelet. Now with the same thread sew around the
opening with close over-and-over stitches. The stitches should only be
the width of the stamped line (Figure 143). They must be even, else you
will have a "Pig's-eye."
[Illustration: Fig. 143. The way to work an eyelet]
For the large round eyelet, as well as the oval, in all sizes it will
be necessary to cut the material within the outline which has first
been traced with the running thread. The cuts should be made lengthwise
and crosswise, right to the tracing thread. The cut material is turned
under to the wrong side and the eyelet worked as just described. After
the embroidery is finished turn the material over and any part of
the cut cloth that extends beyond the stitches trim off. Your fine
embroidery scissors should be used for the cutting.
[Illustration: Fig. 144. The round eyelet]
Sometimes you might like to make an eyelet to represent a grape. Some
embroiderers call it a shaded or padded eyelet. After the eyelet has
been traced make another row of tracing or padding below the lower half
of the eyelet. Start from the centre side of the eyelet and make the
second tracing deeper on the lower portion of the eyelet. If any space
is left between these two rows of tracings fill in with other rows of
uneven darning (Figure 144A).
[Illustration: Fig. 144A. A padded eyelet]
When eyelets are used on the outer edge of a design, they should be
buttonholed.
[Illustration: Fig. 145. A simple centre piece in eyelets]
The next stitch to claim our attention is French knots. In France they
are known as the English knot. They are used to fill in the centres of
flowers. When working a piece of golden rod the natural effect is best
produced by using French knots very close to each other. A row worked
on each side of a row of feather stitching makes a pretty decoration on
babies' dresses, caps or even on yokes of dresses for yourself.
[Illustration: Fig. 146. An eyelet design for a pillow]
A heavy thread is good to practise making the knot. The actual size
or kind of thread to use should depend partly on the kind of material
and partly upon the other style of work or stitches that you intend
combining with it.
[Illustration: Photograph by Mary G. Huntsman. Many a Happy Hour is
Spent Embroidering]
To work the knot, fasten the thread securely on the wrong side and
bring the needle through to the right side. Now hold the thread down
with your left thumb. With the right hand put the needle over and under
the thread until there are three or four coils of the thread around
the point of the needle. Now hold these coils down with the left thumb.
Turn the needle so that its point will go down through the material as
close as possible to the place through which it came (Figure 147).
[Illustration: Fig. 147. French knots]
A pretty idea for making knots for dress trimmings is to thread the
needle with two strands of silk, each of a different colour.
Bullion stitch is an elongated French knot. It is used considerably in
Mountmellick embroidery, to represent grains of wheat. Small leaves and
daisies are oftentimes carried out in bullion stitch.
To make the stitch we will say that we are working on the conventional
daisy. Bring the thread up to the base of the petal. Insert the needle
so that the length of the petal lies on top of it. (See Figure 148.)
Twine the thread around the needle point until there are as many coils
as the length of the petal. The left thumb should hold the coils in
place while you are twisting them. The needle is now drawn through the
material. It is put through the same hole, or as near as possible to
the one from which it came. Keep the left thumb holding down the coils
until the stitch has been fastened.
Another way to accomplish bullion stitch, which has the same
appearance, but which really is a very much slower method, is to lay a
heavy thread the length of the stitch desired and then neatly wind the
cotton over it. It requires a heavy cotton to work this successfully.
[Illustration: Fig. 148. Bullion-stitch]
An embroidery needle should not be used for either French knots or
bullion stitch, as the eye is apt to stick when pulling it through the
coils. A large sewing needle should be substituted.
[Illustration: Fig. 149. An elaborate piece of buttonholing and
satin-stitch]
Any girl can make dainty and original designs for eyelet work if she
will invest in compasses. As has been stated before, eyelets vary in
size. The size that is most effective for decorating heavy linen or
cotton is an eyelet a little less than half an inch in diameter. A
larger eyelet is often used, but it requires a good deal of patience
and experience to keep it in shape.
With the compass hundreds of designs may be used. The most popular
as well as being the most attractive is the simple daisy. A circle
is drawn to represent the centre. A quarter of an inch over from the
centre circle, or less if you wish to, draw six other circles so that
they form a ring around the centre dot.
A design such as this can be used on a ruffle of a petticoat or
between tucks on dresses while for a whole linen piece there is
nothing handsomer for a scalloped or hemstitched centre piece, doily,
bureau cover and many other articles on which a bold, open effect is
appropriate.
The Wall-of-Troy design is a good one for compass work, only it is
suggested to faintly rule the design then inscribe the circles so that
their centres are on the line. For instance, suppose you want to make a
border design about an inch and a half deep. Take your rule and keeping
on a straight thread of your material draw a two-inch line, then leave
a space, then draw another line, so on to the end. An inch and a
half above these lines draw another row of lines just over the spaces
of the first row. Connect the ends of the lines together. Plan so
that there is a circle at the points or corners of each line. Between
these dots on the horizontal lines make two more circles, while on the
vertical lines make only one. These instructions are for a circle the
size described; for a smaller eyelet it will be necessary to add more
circles to the lines.
A still simpler design is one that is made on a square, that is, with a
dot at each corner and one in the direct centre. The dots must be kept
the same distance apart.
The Italian girls will make the most elaborate designs of compass
work on strips of firm, heavy muslin for ruffles for underwear. They
are not like the American and French girls, who will only wear the
sheerest kind of light material. The advantage the Italian girl has
over her French and American sisters is that when she embroiders a
garment it lasts for years, even if it is constantly used, while
delicate embroidery is apt to have a very short life on account of the
background. To the American girl this is no drawback, as she is always
craving for new things.
Sometimes a thimble, spool, or even a twenty-five cent piece is used
instead of the compass when a large eyelet is required.
An edge of eyelets is very handsome on a collar and cuff set or
handkerchief. They should be placed so that after they are worked they
touch each other. The entire eyelet may be carried out in buttonholing
or the lower half may be buttonholed and the top worked in the regular
way. After the work has been completed dampen the edge and press before
cutting out the material from underneath the lower edge of the eyelet.
It is possible to work the eyelet without any buttonhole stitches and
yet use it for an edge. In that case a little padding is required and
the stitches should be close together.
A linen hat that has a simple scallop edge and a simple design on the
brim and crown is a treasure that usually only the wealthy enjoy. It
is nice to know how to embroider, but unless we put to use the things
we know our knowledge is like a white elephant on our hands. After a
careful study of the diagram of the stitches you desire to make and
reading the description as to how to make it, a little child could
almost work a hat, but the mounting of a hat is not so simple. Yet,
what is the use of taking time to embroider one if you do not intend
to make it up?
Eyelet work is particularly dainty on a hat as it gives a lacy effect.
The material should be a medium weight linen so as not to be too stiff.
At one time butcher's linen was thought to be the only kind to be used,
but of later years a softer linen is preferred. Lingerie hats have been
used for years, probably long before you were born. Every year the
shape varies a little. One year it is a narrow brim sailor, next year
it is a wide brim, then again a high, next a Tam-o'-shanter crown. The
last four years it has been the mushroom shape. For most faces there is
nothing more becoming and girlish than the latter (Figure 150).
[Illustration: Fig. 150. A lingerie hat]
Sometimes the mushroom shape is covered with hand-embroidered ruffles,
while again a circular piece having the crown cut out is used. The size
of hat varies by what fashion dictates, so it is hard to say just how
large your linen should be cut. A twenty-two or twenty-four inch circle
makes a neat little shape.
After the embroidery has been worked as described in the first part of
this chapter, the frame is prepared for mounting it. A wire frame is
lighter and more satisfactory than a buckram frame.
The first thing to decide is, how are we going to face the hat? Tucked
ruffling, net, dotted swiss, or fine ruffles of Valenciennes lace may
be used. Most people prefer to cover the entire frame with cheap, fine
lawn before facing or covering the hat.
This is done by placing the hat on the lawn, the brim touching the
material, and cutting a circle a trifle larger than the brim. Cut a
circle out for the crown and slip the lawn over the frame. If the crown
is too large to allow the lawn to be slipped over it a wide bias band
of the lawn can be used to cover the brim. The bias strip should be
just the depth of the brim. For the crown, cut a circle large enough to
cover the top and use a bias band around its sides.
Tack the muslin to the frame by long basting stitches. It will be
necessary to pass under the wire when taking a stitch to keep the
material in place. The tucked ruffling can be bought by the yard,
trimmed with a row of narrow lace. The entire thing is banded. To
adjust a ruffling of this sort place the band around the edge of the
crown and tack the ruffle in position at short intervals and at the
extreme edge of the brim.
Net or dotted Swiss is pretty shirred or corded or even put on plain. A
strip three times the length that it would take to go around the brim
plain is cut the depth of the brim. This band is cut on the straight
of the goods. A shirring string is run on both sides. The strip is
placed in position and pinned taking care to distribute the gathers
evenly. The shirring string under the crown is pulled up first and the
material over-handed to the frame. The gathering thread on the outer
edge of the brim is also adjusted like this, only instead of over-hand
stitches, fine running stitches are preferable. Then a small heading
is made on one side of the strip that is to be shirred. The heading
makes a pretty, soft finish at the edge and does not require any great
length of time to do. Allow three quarters of an inch, or more, in the
depth of your ruffle if it is to have a heading. Turn one edge of the
material to the wrong side. The turn should be a little more than a
quarter of an inch deep. The gathering thread is run a quarter of an
inch from the folded edge of the material. When the thread is pulled up
the heading is formed.
If the material is to be corded, baste a narrow round cord like a
corset lace inside the material. The cord is placed where it is desired
and the material is folded over it as for a tuck. A running thread is
worked close to the cord to keep the two pieces of material together.
The threads are afterwards drawn up to bring the fulness of the ruffles
to fit the outer edge of the hat.
Three rows of cording are quite sufficient on the edge and the other
two rows at equal intervals from the outer brim to the crown.
The ruffles of Valenciennes lace are adjusted by pulling the drawing
string on the edge of the lace, and basting the first row of lace on
the extreme edge. The second row just touches the first, and so on,
filling as many rows of lace in as required.
The embroidered piece is then washed and the brim placed. The edge is
tacked at intervals while around the crown the stitches are taken very
close together.
The Tam-o'-shanter crown is pulled in shape by a gathering thread, if
it is cut in a circular shape and the gathering is all on the edge. Cut
the circle large enough to make a pretty Tam-o'-shanter.
The embroidery decoration may be in the direct centre of the crown. If
the design is a small one it can be scattered over the crown to give an
all over effect.
There are many ways that a lingerie hat may be trimmed and it is
hard to say which is the prettiest. A black ribbon band and a bow is
simple but severe. White taffeta ribbon may be used the same way if
an all white hat is wanted. In fact any shade of ribbon is attractive
used like this. The illustration shows a pretty way of trimming a
lingerie hat for a girl of about fourteen. A narrow coloured ribbon
is used around the crown and a rosette of leaves with rose buds and
forget-me-nots is attractively placed on one side.
Sometimes coloured linen is used for the hat and in that case the
embroidery may be worked in the same shade as the linen; or white.
The hat is then trimmed with white or black. A coloured hat is not as
practicable as a white one, as the former is apt to fade and may not be
as becoming as the white.
A baby's buttoned hat is made of two circular pieces scalloped out
at the edges, one piece being four or five inches smaller than the
other. The large one is used for the brim. The head size is cut out
of the direct centre and then bound in tape. Three inches from the
crown opening sew a circular row of buttons, a half inch apart. Use a
washable linen, lace, or crochet button for this purpose.
One inch from the edge of the crown make as many buttonholes as you
have buttons. A pair of daintily hemstitched strings that are attached,
one on each side of the crown opening, completes this charming little
hat. It can be easily unbuttoned and laundered flat. These hats are
made of duck, pique or heavy linen. They are the nicest thing you can
make for your little sister for the summer when she wants to play in
the sun.
XVI
LONG AND SHORT, KENSINGTON EMBROIDERY, AND RIBBON WORK FOR SIMPLE
FLOWERS
It is the ambition of every one who starts to embroider to make a piece
of flower work and though the floral designs are most fascinating to
embroider they are by no means as artistic as the conventional.
The way to embroider a piece of flower work and obtain an original
colouring is to get a natural flower and place it in a vase in a
position that you can clearly see the light and shadow. The best flower
to start with is a daisy. Note that the petals are not a dead white,
but there is a suggestion of green toward the centre of the flower. Get
mercerized cotton to work with at first until you become accustomed to
the stitch.
There is no cut and dried rule in regard to the colouring, but the art
of shading a piece naturally is a lesson that is very essential for the
embroiderer.
To many people the term embroidery means flower work and only after
a course of instruction they discover for themselves how much more
artistic and in keeping with most rooms is a conventional design.
Flower work, however, is not to be despised as you will learn more
about colour combination and Kensington stitch in one piece of this
style than any kind of embroidery.
[Illustration: Fig. 151. Long and short stitch]
All flower work has long and short stitch on the edge of the petals or
leaves that do not turn over. Daisies do not have turn over leaves as
often as a double rose or chrysanthemum. Suppose we draw a very large
daisy on a piece of white muslin. With your needle threaded with white
lustre start from the right-hand side. Take one stitch on the line.
Place your needle back near the same point from which you started. Take
a short stitch that goes a wee bit outside of the stamped line past the
first stitch. The object of going beyond the line, is that the stitch
completely covers the stamping.
The third stitch is taken at the same slant, only longer. The fourth
is a short one and so on, first one short and then one long until the
top of the petal is reached. Remember, though, these stitches are only
on the edge. The left half is worked the same, but the stitches slant
a little differently. A good rule to mention right here is, that all
stitches should slant to the heart of the flower. In leaves they slant
toward the base. The inside of the petal, when the long and short
stitches are completed, should be irregular (Figure 151).
The Kensington stitch gets its name from an English school of
embroidery. It is more like outlining than any other stitch.
After the edge of the flower has been worked in long and short stitch,
the Kensington stitch is used to give the solid effect.
The piece must be held all the while in a tight fitting pair of hoops
so that it can not sag in the least.
If the petal is long, two or three rows of Kensington stitch will have
to be worked to fill it in. If silk is desired, two strands are used
for the edge and one strand for the Kensington stitch. The stitches
are dovetailed into each other. Each row must have an irregular lower
edge, else they will look like bricks laid one on top of the other. The
stitches should be so worked that it is difficult to tell where one
ends and the other begins (Figure 152).
[Illustration: Fig. 152. The Kensington stitch]
Three shades of green are sufficient for the leaves until you are quite
expert. In working them embroider on the edge of the lower half of
each leaf with the second shade and the upper part with the lightest.
Work one side first using the second shade under the lightest and the
third under the second. Work to the midrib only. It is not necessary
to work in the veins, but if they are desired they are put in after
the leaf has been worked. Do not hesitate to cover the stamped veining
on the leaf you are working, as the next leaf will be a guide to where
to place the veins. They may be in the lightest or deepest shade of
green, while sometimes a reddish-brown is substituted.
The centre of the daisy may be satin-stitch or a cluster of French
knots. If the dot is worked from the centre to left and from the centre
to right you are more apt to get a perfect outline than when starting
from one side and working to the other.
As a usual thing the lightest shade is on the outer edge of most
flowers, but there are a few exceptions, like wild roses and some
species of pansies in which the deepest shade is on the edge and toward
the centre it is lightest.
The stems may be worked in satin-stitch or Kensington in wood shades or
deep greens, whichever give the more realistic effect to the flower.
It is a great mistake to use white for the background of flower work.
Cream or pale gray make a very much softer and more pleasing effect.
Sometimes a little of the stem brown can be worked into the leaves.