LAID WORK--BASKET AND LINE STITCHES
“And thou shalt embroider the coat of fine linen, and thou shalt make
the girdle of needlework.”
=A Sideboard Cloth.=--Plate VI. gives an example of a very handsome
sideboard cloth. The canvas is of the tough hard-wearing type,
generally used to cover basket hampers, but under the skilful fingers
of the embroideress it became a beautiful piece of work, with which
one might well adorn a good piece of furniture. The illustration shows
the design, which is of the simple straight-line type. The canvas,
of rather a heavy weight, is of a rich warm brown; the threads of
floss embroidery linen are in rich blue, tussore colour, emerald
green, grey-green, a pale blue-green and brown. The design is placed
at the ends, where it forms bars and blocks of rich colouring. It
occupies about 8 or 9 inches, 6½ inches for the embroidery, and 2½
inches for the wide band of braid. The stitchery is made up of bars
of needle-weaving with bars and blocks of solid embroidery. The wide
bands at the top and foot, enclosing the central portion, are of
needle-weaving in a perfectly simple pattern. Each band is about 1 inch
wide; they are worked in blue-brown and three shades of green. The bar
in the central panel is woven in tussore and light green, surrounded
by a border in satin stitch of emerald green. The upright bars or
straps on either side are woven in bright blue with blue-green crosses
in the centre; the chequered squares in tussore and blue are enclosed
by emerald green bands in satin stitch. The background of the central
panel is worked in chequers of blue tussore and light bluish-green; the
little crosses, hardly visible in the illustration, are all in emerald,
while the darning stitch, which forms the background, is in bright blue.
=Square Stitch.=--The remainder of the background is worked in square
stitch (see Figs. L and M). A fold of the canvas turned over on to the
right side has a frayed edge; three or four threads are withdrawn--this
gives a pretty soft effect; the fold is tacked down over a creamy-fawn
skirt braid, with lines of couching in tussore. These lines have the
appearance of back stitching, but are in reality couched down; they
are sewn in that interesting method of bygone days, when embroiderers
worked much in gold threads.
“=Point rentré et retiré.=”--The surface thread is pulled through
and caught underneath by means of another thread which never appears
upon the surface at all; this method has been applied to backgrounds
worked in silk, as well as in gold (p. 81). It is economical in use
and very durable. One can well understand the reason of its use, but
not the cause of its falling out of use. Probably this was due to the
gradual decadence of embroidery in this country towards the end of the
fourteenth century, or perhaps the then new method of couching--in use
at the present day--involved less time and labour.
[Illustration: PLATE VI.
A SIDEBOARD CLOTH]
The wide dark bar at the end of the work is of dark brown braid,
about 2½ inches wide, with straps of the lighter braid couched down in
brown thread; these straps are carried down over the fringe which has
been added in the various colours with a crochet hook (p. 115). The
sideboard cloth is 54 inches by 22 inches wide. The fringe is about 4
inches deep.
=Laid Work.=--Laid work is particularly effective for the filling of
large surfaces, where a bold definite mass of colour is required.
It is a method of applying threads which gives a rich appearance
almost similar to that achieved by the _appliqué_ of some rich silk
material. The stitches are on the surface only and are generally very
long; they have to be crossed and recrossed by other strands, which
in their turn are tied down by little stitches. When worked in floss
silk, a favourite medium with Eastern embroiderers, it is a stitch
_par excellence_ for showing off the beauty and lustrous sheen of the
thread, but it is not a very durable type of work, and is therefore
only suitable for such articles as are not exposed to hard wear, unless
worked in wools or thick cottons. All the threads on the surface
are “laid,” as the term is, in parallel lines either vertical or in
whatever direction is best, in order to allow the couching lines to
accentuate the form or pattern; it adds to the durability of the work
if these threads are laid rather widely apart to begin with, as it
allows the needle to get a firmer hold of the material; the spaces
are then filled up by working over the surface a second time. Compare
Fig. 15 and note first layer of stitches. For example, let us suppose
the vertical threads are laid--the horizontal ones, of another colour
perhaps, could be placed over them, about three-quarters of an inch
apart; small upright stitches, about half an inch apart, could couch,
or fasten these down, one row alternating with the other. This is a
most decorative method of filling in large flowers or leaves. Single
petals can be laid diagonally, crossed and tied down, or a complete
flower may have laid lines radiating from the centre, with the second
layer of threads in concentric circles couched down with small stitches
of a contrasting colour.
[Illustration: FIG. 15.]
=Chequered or Basket Pattern= (=Fig. 15=).--Fig. 15 gives a plaited
or basket pattern; after the vertical threads are laid or placed in
position in such a way as to lie easily--just filling the form--the
weaving in of the cross threads is a simple matter.
=To work a Chequered Pattern.=--Begin at the right-hand corner and pass
the needle over and under three strands for three rows, then reverse
the chequer by lifting the stitches previously passed over. This work
looks much better if the darning is all done from right to left. It
is not so economical in thread, but much more practical on account of
its greater durability, as the threads all lie the same way; they are
carried back behind the material instead of being worked to and fro as
in ordinary darning.
The Italian, Spanish and Japanese embroiderers make great use of these
laid stitches which, like most other stitches, probably originated in
the East, as they are to be met with in most oriental embroideries.
[Illustration: FIG. 16.]
=Basket or Stroke Stitch= (=Fig. 16=).--This figure gives another good
line in rather high relief stitchery. It is sometimes called plaited
stitch, sometimes fishbone, but it is really a stroke stitch; it is
most effective and useful for a solid line, whether worked on coarse
material with a thick twisted thread, or on fine material with a
correspondingly fine twisted silk thread. It has a strong resemblance
to some of the plaited Slav or Algerian stitches. It may be easily
worked on most materials, especially if a couple of guiding lines are
traced before setting to work. Quite a broad border may be attempted
which will look well if worked in a coarse thread.
=To work Basket Stitch.=--Bring out the needle at the top of the line
on the left; make a slanting stitch downwards to the right line; pass
the needle under the material and bring it out on the left opposite;
take a slanting stitch upwards over the first stitch to the right and
insert the needle a little lower than the level of the first stitch;
then pass under the material to the left side again and bring it out
just under the first stitch; take a slanting stitch downwards again and
continue by taking a cross and a slanting stitch alternately.
[Illustration: FIG. 17.]
Net stitch can also be used as a surface stitch or as a filling for an
open space. It is a method of interlacing which one frequently finds
on the seats of small chairs, in the construction of baskets and other
wicker articles. It may be worked with the lines set further apart than
those in the figure. The horizontal lines are stretched first, not
too tightly; these are followed by oblique lines which start from the
left lower corner. The final row, also in oblique lines, starts at the
right; each row is interlaced with two others. It is useful and most
effective when used as a surface stitch, as a filling for geometrical
forms; when used as a lace stitch worked in a linen thread the lines
may be duplicated. This net is generally the foundation on which the
design is made.
=Openwork Hems= (=Fig. 12=).--Openworked hems may usually be applied to
all types of woven materials, to drawn thread work, and to household
linen. They are more decorative than the ordinary hem.
_Method_:--Draw out the number of threads required--this will always
depend on the quality of the material, and varies from two to six;
lay the folds for the hem and tack them just above the open space;
fasten the thread on the left and insert the needle from right to
left under four, five, or six threads; pull through the needle and
re-insert, taking a vertical stitch under three or four threads of the
folded material. Plate V. shows a border of green galoon fixed with
hemstitching on the inner side; as the material is very loosely woven,
no threads have been withdrawn. The same stitch is used for a heading
for a fringe (Fig. 34); it prevents the material from fraying and
collects the strands into groups.
=Ladder Hemstitch=.--A more open appearance may be given by withdrawing
a few more threads and hemstitching the lower edges also; this makes
a narrow insertion, for by grouping the same threads together, as in
the upper row, little perpendicular strips are formed which gives wider
spacing--the bars suggest the rungs of a ladder, and on this account it
is generally known as ladder hemstitching.
=Vandyke Insertion.=--A vandyke form is also effective; it is worked by
grouping the stitches of the second or lower row, after hemstitching
the upper row, in the following method:--Take up half the threads of
the first cluster and half of the second on the needle, then proceed
as in upper row; by dividing the groups of the upper row in this way a
series of slanting stitches is formed when the lower row is complete.
=Antique Hemstitch.=--There are several other ways of hemstitching
which only vary slightly; perhaps the most decorative form is that
usually seen on old embroideries, where the thread is carried round a
narrow rolled hem, not a folded one.
_Method_:--Work from right to left, beginning at the right corner; pass
the needle over and under a cluster of four threads; draw it out at the
place inserted; pass it over the edge of the rolled hem and bring it
out on the left of the cluster, ready to take the next stitch, over and
under the second group of four strands.
[Illustration: FIG. 18.]
=Roumanian Stitch= (=Fig. 18=).--Cretan, oriental, or Roumanian are
the various names applied to this well-known stitch. It is frequently
to be met with in the early English embroideries, particularly those
of the seventeenth century. It is one of those adaptable stitches
which are so helpful for the decoration of borders, fillings, leaves,
flowers; it has therefore always been much used by embroiderers.
=To work Fig. 18.=--This figure hardly needs description, being merely
a long stitch tacked down. Begin on the left of the space to be filled;
insert the needle on the right edge and bring it up in the centre; take
a small stitch over the stretched thread to fix it down and bring the
needle out at the left edge again, just below the first stitch. If the
thread is stretched loosely across as in the V-shaped portion of the
braid collar, Plate IX., a broad and effective means of filling narrow
spaces or tacking a braid in position can be obtained with economy of
time and material.
[Illustration: FIG. 19.]
=To work Fern or Fish-bone Stitch= (=Fig. 19=).--This stitch, somewhat
similar in form, also makes a good border line or even a filling, if
worked in rows, see Fig. D, Plate XI., where a centre line of material
gives the rib. In Fig. 19 the stitches meet in the centre and have a
definite central rib. A central line should be marked on the material
before starting to work it. Bring the thread out at the left; take a
slanting stitch towards the centre and insert the needle just beyond
the line; bring it out at the opposite edge; take another slanting
stitch and insert just beyond the line again. This slight overlapping
of the stitches in the middle gives the solid effect to the stitch.
=Chequered Fern Stitch.=--A pleasing variation may be introduced into
a quiet border by working this stitch in two colours; two or three
stitches worked in each colour will give a chequered effect, and help
to relieve monotony if necessary. Work with two threads, bringing
each to the surface as required. This stitch makes a good filling for
leaves, the mid line being suggestive of the mid-rib.
[Illustration: FIG. 20.]
=Loop-stitch Border= (=Fig. 20=).--This border is of the familiar loop
or petal stitch. It has been already described (Figs. 3A and 3B). It
makes a very pretty border between broad bars of needle-weaving. The
method of working is quite the same, the only difference being in the
length of the tying stitch, which in this border forms the stem, while
in the flowers it ties the edges of the petals; the loops are thus
reversed in the working. The border may easily be followed from Fig.
20. Plate VIII. shows this stitch applied to the edges of the squares
at the corners, where it serves to accentuate them as well as to soften
their outline.
=Table Mat of White Linen.=--Plate VII. gives a table mat embroidered
in blue; it is the central mat of an afternoon tea set. The design is
of a very simple nature, composed by the loops and curves of the French
tape. The main curves are formed of four short lengths which meet at
the ends and sides. Each piece of tape takes a curve at the centre
and begins and ends with a spiral; the outer sides can be put in with
one length of braid--eight short pieces will do equally well; little
remainders may be economically disposed of in this way. The inner parts
of the curves give the opportunity for openwork detail which enriches,
while it lightens the background. The design should be drawn out on
paper. All lines which represent the braid must be parallel and spaced
as nearly as possible to correspond to the width of it; it is important
to remember that braid spreads when curving and therefore the centres
of loops or circles become smaller when placed on the material; this
must be allowed for in the drawing out of the design. Care and accuracy
are necessary both in forming the curves and in tacking on the braid;
the beauty of the work would be marred by uncertain lines and unequal
curves.
[Illustration: PLATE VII.
A TABLE CENTRE IN WHITE AND BLUE]
Plate VII. has not much variety of stitch; the relief given by the blue
stitches prevents any feeling of monotony.
_Method_:--Tack on the braid round the outer edges; overseam the
inner edges of the parts which take the curves; prepare for the more
open spaces by snipping the linen, the way of the warp and the weft,
quite close to the braid; then turn the edges in under the braid and
button-hole with blue thread, not too closely, the needle should
enter easily into the head of the stitches for the making of the lace
stitch--“_Point de Réprise_.” These openings may be backed by small
pieces of _toile cirée_; a little medallion of button-holed linen
should be placed in the centre and tacked firmly in place. The
connecting threads for the weaving of the little bars or bridges are
laid in two or four strands, according to the fineness of the thread.
Begin at the outer edge; carry the thread to the inner medallion, and
slip the needle, eye first, through a loop of button-hole stitch;
overcast the next one, and carry the thread from there back to the
outer edge; then weave over and under these two strands till the centre
is reached. Oversew one or two button-hole loops and lay the threads
for the next bridge; this, when woven, will finish at the outer edge
again. Oversew the stitches until the position for the next bar is
reached, and continue till the circle is filled in. The corners are
worked similarly with a few added bridges here and there to fill in
spaces, which would otherwise be rather empty. These oval openings and
ends might be worked in what is known as Richelieu work, instead of in
the manner described. It is rather a quicker method, but not quite so
firm, nor are the bars so flat.
_Method_:--Button-hole the inner edge of the space, also round the edge
of the little inside medallion; then lay three strands of thread as the
foundation of the bridges (see Fig. 24); button-hole these to the edge
and oversew the button-hole stitches of the outer edge until the thread
is in position for the next strap.
When the work is finished, the linen under the bars is carefully cut
away with a very sharp pair of embroidery scissors.
Run round the outer edges of the spaces which are to be filled in with
a filet or net pattern with two rows of tacking stitch to strengthen,
and button-hole over this.
To prepare the mesh background, turn on the wrong side, then cut six
and pass six horizontal threads alternately; remove the cut threads;
turn the work half round and prepare the threads, previously the
vertical ones, in the same way, that is, cut and withdraw six, pass
six. Turn the work to the right side again and oversew the strands,
one stitch into each little space, taking care to let the stitches
slant in the same direction on the return row. This groundwork is also
described in connection with Plate XV. The braid has a row of French
knots in blue to finish the inner edge. For the finishing of the edges
of the mat, a firmer edge will be made by cutting the linen a quarter
of an inch beyond the braid and turning it back under the braid, then
button-hole this double edge and the braid together in blue. The little
lace edge may be worked with the needle or with the crochet hook; in
Plate VII. the latter was used. The lower loops are worked in white,
the edging in blue with picots is worked into it. For description, see