linen pieces, however, have to be hemmed first and then the fancy edge
put on. An edge of pyramids is attractive. An edge of buttonholed
loops with a picot in the centre of each bar as described on Hardanger
is also good. Sometimes the loop or pyramid may need stretching in
shape. Take a pin in the lower centre and pull the edges out the
desired size.
In turning curves an extra little loop may have to be worked so as not
to crowd the large points.
XIX
HEMSTITCHING FOR HANDKERCHIEFS AND COLLAR AND CUFFS SETS, ALSO SIMPLE
DRAWN-WORK STITCHES
Drawn work is another of the fascinating branches of fancy work and
when used in combination with embroidery it greatly enriches the piece.
Suppose now that you wanted to make a handkerchief and yet did not want
to take the time to buttonhole the four edges. Well there is nothing
more appropriate than hemstitching. The very expensive handkerchiefs
only have two threads drawn before hemstitching them but it will be
easiest to hemstitch when more threads are pulled.
[Illustration: Fig. 173. Hemstitch]
Handkerchief linen that can be bought from one dollar up per yard is of
course the correct thing to use, but lawn or fine china silk is often
substituted.
A third of a yard of linen thirty-six inches wide will make three
handkerchiefs. A thread will have to be drawn so that the squares will
be perfectly straight. A twelve-inch square of linen will make a nice
little handkerchief. Narrow hems not more than one-quarter inch wide
are more generally used at present so we will plan our handkerchief for
that.
[Illustration: Fig. 174. Hemstitching, second step]
Measure up from the edge of one side five eighths of an inch and draw
out four threads one at a time. The other three sides must also be
treated in like manner. After measuring the first side with the tape
measure the other sides are more accurately measured by turning up one
corner of the side that has the thread drawn so that it forms a right
angle. The upper edge of the angle must just touch the drawn threads.
Crease firmly along the diagonal as shown in the diagram. Now with the
piece still folded over pull the first thread of the second side of
the handkerchief so that the corner when turned back forms a perfect
square (Figure 173).
When the threads of the four sides have been drawn fold back one eighth
of an inch, then make a double fold so that the hem is just one-quarter
inch wide. Baste it down so that the folded edge lies right under the
drawn threads. With your needle threaded with a piece of No. 100 sewing
cotton, start from one corner. Let the end of your threaded needle
fall between the two thicknesses of the material. Bring the needle
through the edge of the hem. Work from right to left; pass the needle
under four of the upright threads. Now pass again under the same group
of four threads, but this time carry the needle through the edge. Hem
directly on a line with the fourth thread of the group (Figure 174).
[Illustration: Fig. 175. Another way to hemstitch]
Another way is to hold the material with the hem toward you and work
from left to right. Pass the needle under four threads letting the
thread in the needle fall under the point of the needle. Pull the
needle through, thus forming a loop and taking a stitch into the hem in
the usual way (Figure 175).
If your thread gives out or breaks, start the next thread by working
over two or three of the stitches.
In hemstitching the corners take up four of the double threads.
When hemstitching on coarser material more threads can be drawn and
also a greater number of threads can be taken up when working.
Dainty little collar and cuffs sets can be made by hemstitching the
hems: and a quarter of an inch above this work make a row of French
knots or feather-stitching.
[Illustration: Fig. 176. Double hemstitching]
Sometimes when a very open effect is desired it is necessary to double
hemstitch the threads. This is very simple. Hemstitch in the usual way,
then turn the work and take up each group on the other side of the
drawn threads (Figure 176).
Drawn work is worked to perfection in Mexico. There they have large
classes for the mountain children who do most elaborate pieces on
frames.
Hemstitching is not always necessary in doing drawn work. Many
beautiful borders can be made with simple stitches.
The sheaf stitch (Figure 177) is made by pulling the threads for a
space of a quarter of an inch or more. Decide the width that you desire
and then cut the threads perpendicularly. Draw the first and last
thread to the distance desired, and then cut opposite end to match the
first slash. After the threads have been drawn out neatly buttonhole
the cut edges with narrow buttonhole stitches. Now place your work in
your embroidery hoops, or, better still, if it is possible, buy a pair
of oval ones that are especially made for drawn work. Fasten thread in
the centre of one of the buttonholed sides.
[Illustration: Fig. 177. The sheaf stitch.]
The number of threads to take up will depend on the coarseness of the
weave of the material. For medium weight linen take up either six or
eight threads using a stitch like that shown in the first step of the
second method of hemstitching. Pass on to the next stitch and when the
row is finished fasten in the second buttonholed side. The thread that
passes from sheaf to sheaf should lie straight enough so as not to sag
between each group or pucker the material.
Another pretty stitch that reminds one of a fish bone is worked
somewhat like feather-stitching.
Prepare the space as for the sheaf stitch. Connect the thread in the
same way. Take up six threads on the left hand side placing the thread
under the point of the needle as it comes through. Now on the right
hand side divide the group made by the first stitch in half and take
the last three threads and the three next to it that are not worked
(Figure 178).
[Illustration: Fig. 178. A simple stitch in drawn work]
A simple stitch is the twist stitch (Figure 179). Prepare the material
in the same way as for the last two stitches and securely fasten your
needle in the centre of the bar, skip the first three threads. Take up
the next three on your needle; pass the needle back under the first
three. Continue like this till the end of the row is reached.
[Illustration: Fig. 179. The twist-stitch.]
A dainty all-over effect suitable for yokes or corners of
handkerchiefs, cloths, etc., is made by drawing the threads out so that
the material left forms squares. Pull a quarter inch of threads then
leave a half inch of material. Repeat in this manner until the space is
covered. Cross the lines, forming squares of the material (Figure 180).
The double hemstitching, sheaf-stitch, fishbone, or twist stitch can
be worked on the drawn threads. You will note that you will have at
each corner of the solid squares an open quarter-inch square. They
will require an extra stitch such as the spider described in the lace
stitches or the loop stitch described in the Hardanger chapter.
Sometimes it is hard pulling the threads of linen. If the threads are
soaped they come out very easily. Do not wet the soap but just rub it
dry on the material.
Some of the finest examples of hand embroidery or drawn work are found
in the convents. Perhaps you are under the impression that drawn
work must be done right with the hem, but that is not so. I want to
describe a beautiful handkerchief to you that I once saw in a convent.
It was made of the sheerest handkerchief linen and one thread only had
been pulled for the hemstitching. A quarter of an inch above the hem
another thread was drawn, but this time, instead of letting it extend
to the hem, a thread was cut one quarter of an inch from the hem at the
beginning and ending. Six threads were drawn like this at eighth of an
inch spaces. The four sides were treated in like manner.
[Illustration: Fig. 180. The threads pulled to form squares]
[Illustration: Fig. 181. Cat-stitch over the tape]
[Illustration: Fig. 182. Five rows of tape cat-stitched]
Where the threads intersected at the corner, the squares were
hemstitched all around, two stitches being allowed to each side of the
square. The stitches were taken through to the centre of each square.
Beyond where the lines intersected the six long lines were treated
quite differently. A piece of fine braid not more than an eighth of an
inch wide was taken on the space between the first two rows of drawn
threads. A regular cat-stitch was worked over this. First a stitch
was taken on the drawn threads above the braid, then, one below it
(Figure 181). When the braid was entirely covered with stitches on the
first row, a second piece of tape or braid was placed over the space
between the second and third rows of drawn threads. This time instead
of catching the thread of both rows, the stitches are taken into those
of the previous row on one side of the tape and into the third row of
drawn threads on the other side of the tape. Five rows of tape complete
the band between the stitches. Of course all this work is on the wrong
side of the handkerchief. On the right side, a totally different effect
is produced. At first glance you would think that there are five rows
of tiny tucks with hemstitching on each side, until you look again
closely and see that it is padded hemstitching (Figure 182).
[Illustration: Fig. 183. A handkerchief for an ambitious little girl]
A section of a drawn work handkerchief for some ambitious little girl
to own is shown in the illustration on this page (Figure 183). It is
like a cobweb. A piece of handkerchief linen twelve inches square is
selected. Starting from the outer edge of the four sides an eighth of
an inch wide space is left, then the threads drawn for an eighth of an
inch. Repeat this seventeen times. At the corners the space and drawn
threads form squares.
Now the rest of the space should be divided up in like manner, so
starting from one corner of the solid square in the centre, draw the
threads for an eighth of an inch, then leave a space the same length
and then draw again. Continue in this manner on the four sides of the
centre square. Pull out all the cut threads and you find that you have
a deep border of little squares. Buttonhole around the four sides of
the centre square with tiny stitches, thus keeping the linen from
fraying.
To get the pointed edge as shown in the handkerchief, buttonhole over
the line of horizontal threads and four of the vertical. The little
filling stitch I am going to suggest to you is so simple that really
after you have buttonholed the handkerchief your task is almost
completed.
Start in the first point under the solid square and work diagonally
across the open space. Pass your thread around the centre of the little
square also on the diagonal. Continue across till you reach the
buttonholed edge around the linen square in the centre.
Skip the next point and work the same stitch in every other point. This
stitch and in fact all the rest of the handkerchief should be carried
out in No. 200 sewing cotton.
In between the worked points make another stitch which is very similar
to the one just described.
It is started from the edge and a stitch is taken on the diagonal
across four of the squares and half way across the solid squares at the
corner of each group.
Having reached the buttonholing next the linen you turn your work and
repeat the stitch over the same square. The stitches now form the
figure 8.
The design of drawn work in the centre of the square is simple as well
as being particularly pleasing. Draw the threads for a half-inch space,
one quarter of an inch above the buttonholing. This must be done on
the four sides of the square. The corners must be buttonholed before
beginning the drawn work. Start the first thread for the drawn work in
the centre of one of the buttonholed corners. Work the sheaf stitch all
the way across. Now start a second thread, knotting the first sheaf in
three, the next in two; so on to the end. These stitches are taken
quite close to the linen. Both sides of the sheaf stitch are treated
the same.
The daisy in the corner completes the pattern. The daisy is made on
the foundation of cross-stitches caused by the sheaf stitch. A Maltese
cross is made thus forming twelve stitches catching all these together
in the centre. Now weave a thread around in a circle, one eighth of an
inch from the centre. To form the petals of the daisy start a thread
from one of the threads that connect with the buttonholing and catch on
the woven circle as you would if you were doing fagotting.
Wherever threads are drawn so that they intersect at right angles, as
in the case of this handkerchief, a space is left vacant which is very
unsightly if not filled in with some figure. Here it was with the daisy
which is extremely easy but in the majority of cases it is with the
Maltese cross.
The wide strip of drawn work shows a pretty pattern for linen scarfs.
It is nothing but right that every girl should take an interest in
her bedroom. She may not be fortunate enough to have one entirely
by herself but that does not excuse her from trying to make it as
attractive as possible. The key-note to beauty and elegance is
simplicity. Better have a dainty bureau scarf hand made and a few
necessary toilet articles than a bureau beribboned and with a lace
scarf, crowded with old visiting cards, dance orders, and dainty
nothings that only catch the dust and give one a bewildered feeling
when one looks at them. The scarf should be worth displaying if it is
hand work, for remember what is worth doing is worth doing well.
The butterfly pattern of drawn work (Figure 184) is simple and pretty
enough to please the most exacting and as has been said before is most
appropriate for bureau scarfs. The material of the scarf may be linen,
lawn, or scrim. It is quite unnecessary that the drawn work extend
around the whole scarf--three sides, one long and the two short, being
quite sufficient.
[Illustration: Fig. 184. The butterfly pattern in drawn work]
Draw the threads out for an inch, then hemstitch the cloth on both
sides of the space; be sure to take up the group of threads already
hemstitched when working on the second side. Fasten the thread in the
direct centre of one end of the drawn work and catch eight groups of
threads to form the sheaf stitch. An eighth of an inch above the centre
thread start another thread. Divide the sheaf in thirds and knot each
section of the first sheaf. Pass the thread to the second sheaf and
repeat the same thing, this time under the centre instead of above it.
Alternate sheaves are divided above the centre line and the remaining
sheaves under.
A third thread is started beginning an eighth of an inch below the
centre and the other side of the sheaf is divided in three.
A fourth thread is started one eighth of an inch from the solid
material. This time the sheaf is divided in four, in groups of two.
First the top of one sheaf is woven like this, then the bottom of the
next. Continue in this manner till the end of the strip is reached.
The fifth thread knots the groups on the side of each sheaf that was
omitted by the fourth thread.
You will notice now that the four threads cross each other in the
centre of the space between each sheaf. Knot the threads in the centre
and weave across the lower four threads until you have made as large a
fan as the space will allow. The remaining threads are divided in two,
three on each side, and two other fans are woven on them.
In the next space the fan of four is reversed and is made in the
opposite direction to the first group. This pattern is commonly termed
the butterfly pattern.
Drawn work should be worked on frames, though it is not necessary to
use the large square one of the Mexicans. The nicest kind of frame and
one easy to handle is the oval form, which comes in different sizes.
They are particularly convenient to hold a long, narrow piece, which
can be worked to better advantage than on the round rings.
Every once in awhile one sees specimens of a new kind of drawn work.
There is the Mexican of which we have had a few of the simplest
stitches, there is the Hardanger or Swedish drawn work, which is
described in another chapter, the Porto Rico drawn work which is very
intricate and also very trying to the eyes, but after all none compares
in simplicity to the Bulgarian drawn work. It is so substantial that
often after the material of the article on which the work is done has
worn out, the drawn work is as good as new and can be transferred to
another piece of material.
Bulgarian drawn work instead of weakening the material as Mexican work
usually does strengthens it considerably.
The work is done in spaces varying from a half inch to three inches
in width. It can be done on linen, huck or lawn backgrounds, though
sometimes scrim is used. Personally I do not think it pays to work
elaborate patterns on scrim as the background is not substantial enough.
We will take for example the first towel end shown in this work.
[Illustration: Fig. 185. A towel in Bulgarian drawn work]
Draw threads out of an inch and a half space. It is not necessary that
the cloth should be hemstitched, though till you are quite familiar
with the work it may be easier for counting. The hem is then turned
over and hemstitched. Make the double hemstitch on the other side as
described in the first part of this chapter.
I have found that though there are many threads that may be used for
weaving there is nothing quite as satisfactory as Electro in its
finest number. Start from the extreme lower left hand corner. Weave
back and forth over three of the groups with a blunt pointed crewel
needle for one quarter of the distance from the hem. Now omitting the
first group weave across three. You will see that you dropped the first
group and took up the fourth. Weave to the middle of the space. Now
drop the second group and weave across to the fifth group until you are
three quarters across the space. Now drop the third group and weave
across to the sixth. Weave until the space is filled. Without breaking
your thread weave the seventh, eighth and ninth, then the eighth, ninth
and tenth, next the ninth, tenth and eleventh, then the tenth, eleventh
and twelfth. Weaving the eleventh, twelfth and thirteenth brings you
back again to the hem.
The woven threads will look somewhat like an arch of blocks. Between
the arch there are six groups of threads. Let us weave that in pyramid
effect. Start at the hem and weave across the six for a little more
than a quarter of an inch. Then dropping the first and last groups of
threads of the proposed pyramid weave over four threads for another
quarter of an inch. Again dropping the first and last threads of the
four you were weaving, work across two. Fasten your thread by bringing
it through the woven stitches into the hem. A new thread is started in
like manner. You are now ready to start another arch, close to one just
made.
A little more elaborate design is shown in the second towel end, a
detail of which is also given (Figures 186 and 187.)
[Illustration: Fig. 186. Detail of Fig. 187]
After the threads have been prepared as has been just described for the
first towel start from the lower left hand side and weave across the
threads eight times. The weaving is very simple. First you take two
groups with needle pointing to the left and then you take the one group
that you didn't take up the first time. You work back and forth as it
were.
Now drop the first thread and weave across to the fourth group as in
the first towel. Each set of three groups will only have eight lines
however. Continue in this manner till you are one space from the solid
material, then weave across four instead of three. Start to weave down
on the right side over the three groups under the block of four. Now
continue weaving over groups of three until the hem is almost reached
then weave the last block over four (See detail of Figure 187).
On each side of these blocks weave a row working over two groups.
[Illustration: Fig. 187. A more elaborate design in Bulgarian drawn
work]
The groups of thread within the woven rows are woven into a triangle.
Bulgarian drawn work is used on pillow cases, handkerchiefs, towels,
dresses, scarfs, or small square cloths.
Sometimes coloured threads are used and the result is very effective.
Use cottons and if they are coloured boil them in salt and water before
working with them.
XX
EASY LACE STITCHES, FAGOTTING, SINGLE MESH, DOUBLE MESH, SPIDERS, FAN,
MALTESE CROSS, TWISTED AND BUTTONHOLED BARS, PICOTS FOR SIMPLE EDGES
One of our best authorities on lace has said that there are over one
hundred different stitches used in lace. Now there are various kinds of
laces; there are crochetted, bobbin, as well as needle point laces. It
is about two branches of needlework laces--Renaissance and point--that
we will talk about in this chapter.
Renaissance lace is made by basting a flat braid on a given pattern and
filling the spaces between with simple lace stitches. Point lace is
made of very fine plain braid with much finer thread and more elaborate
stitches.
The basting of the braid is extremely important. Sometimes only a
single line is given to indicate where the braid will be, while again
a double line is shown. The braid must not be wider than the double
lines. It may be basted so that the side held toward you will be the
right side of the lace or _vice versa_. Start from one corner of the
design, turn over one end of the braid an eighth of an inch. For coarse
work one row of basting stitches through the centre of the braid is
sufficient but for fine work baste along both edges of the braid.
In basting around a loop the inner edge of the braid will have to be
gathered. This may be done in two ways: the first by pulling a thread
or by running a thread on the edge. At a sharp point the braid will
have to be turned.
[Illustration: Fig. 187A. Fagotting and feather-stitching on a cap]
The preferred method of working the lace is to have the right side
facing you. In starting to braid turn up one eighth inch of braid and
start from a point so that the end may be covered later.
The braids vary from one cent to fifteen cents per yard.
[Illustration: Fig. 188. Fagotting]
[Illustration: Fig. 189. Single Brussels stitch]
A simple stitch in lace that greatly resembles the Turkish stitch
in embroidery is fagotting. It is a stitch that is often used by
dressmakers to connect bias bands together for yokes and sleeves. For
this as well as other lace stitches the beginning of the thread should
be fastened so as to be unobserved by the average eye. If the braid
is neatly over-casted the end will be quite secure. Starting from the
extreme left of the section to be fagotted take a stitch through the
braid on the opposite side of the opening, letting the thread fall to
the right. The stitches are taken from side to side. This stitch is
best suited to long narrow spaces (Figure 188).
The foundation stitch of lace is the single mesh or net stitch. It is a
stitch that may be used in almost any shape opening. It is a good thing
when working a piece of lace to pick out one stitch for filling in the
background; then the design proper can be as fancy as desired.
[Illustration: Fig. 190. A handkerchief in simple lace stitches]
The mesh or net stitch is good for a filling stitch. A blunt pointed
needle is the best for working lace as you are not so apt to stick
yourself. Make a row of open buttonholing, not however through the
background. The second row is worked slightly below the first row. Each
stitch is taken into a loop of the upper row. If the spaces decrease
in size drop one stitch from each end for as many rows as necessary.
To finish the stitches overcast them to the braid. To many lace makers
this stitch is known as single Brussels (Figure 189).
Double Brussels or the knot is worked like the single only that there
is a second stitch taken in the same position as the first. The last
must be short and drawn tightly (Figure 191).
[Illustration: Fig. 191. Double Brussels stitch]