Chapter XIII. on crochet edgings.

CHAPTER VIII

COUCHING--FRENCH KNOTS AND BULLION STITCH

“When she rode in coach abroad, was always knotting thread.”

Couching is a pleasant and most useful method of applying threads,

cords or braids to materials of various kinds. For filling in forms,

circles, or squares it is equal to chain stitch, and should be worked

similarly--all forms, whether squares or curves, are better to be

commenced from the outer edge and worked inwards, in order to preserve

the shape. Special care is required for the outlining of squares or

angular forms where the tendency is to tighten the applied material,

whether threads or braids, in turning the corners. At these points the

threads or braids should lie easily and they should be firmly sewn

down with closer stitchery. Couching is one of the simplest means of

decorating velvet, a material always difficult of manipulation, and

particularly so for the beginner, on account of the pile, which is apt

to cause irregularity in the stitchery.

[Illustration: FIG. 21.]

[Illustration: FIG. 21A.]

=Couching= (=Figs. 21, 21a=).--This stitch is often worked in a

frame--it is easier to keep the material stretched; when working

diagonal lines or circles, where much of the stitchery comes on the

cross of the material, it is advisable to do so. By means of couching,

the embroideress may sharply define an outline, fill in various forms,

geometric or otherwise, repair a worn surface, work diaper patterns, or

attach metal threads and braids to her embroidery (Plate XVI.).

It is a name applied to a method of attaching threads singly or in

groups to a foundation by means of another thread, usually a single

one. Under all circumstances this should be finer than the thread or

cord sewn down. It is most economical in use as the threads lie on the

surface--a point well worth consideration (Plate III.).

Probably it was originally used for the sewing on of gold

threads, which were too precious to be wasted, being made of pure

metal--naturally the difficulty of drawing these metal threads through

the material would lead to the simplest means of attachment. At any

rate, this method of sewing on gold threads was in general use all over

Europe as early as the twelfth century.

[Illustration: PLATE VIII.

A LUNCHEON MAT. (_See page 86._)]

Couching is particularly useful as an outline to stitching, especially

where a weak line requires defining. An irregularly sewn form, whether

floral or geometrical, may be much improved, and the colour may also

be enhanced, by a firmly couched outline. It is most convenient for

sewing down applied work. Primarily it covers the join, and is of

considerable importance in aiding the colour scheme (Plate IV.).

Where simple treatment shows to advantage, couched threads, outlined

with metal cord, give the necessary means of expressing taste and

choice of colour, and with a little extra stitching to indicate

veinings or whatever detail there may be, couching can again be applied

with good results, instead of resorting to another stitch. It is worked

from right to left; the small tying down stitches may be straight or

slanted, but they ought not to be placed too far apart--for simple

decorative work, from a sixteenth to a quarter of an inch, the latter

for the attaching of wools or yarns and narrow braids, the former for

finer work. One of the commonest mistakes of a beginner is to couch

with a thick thread, each stitch varying from a half to one-and-a-half

inches apart. This entirely destroys the character and effect of the

applied threads. When couching a straight line with cord or braid

it should be held rather tightly, while with wool or silk a pretty

bead-like appearance can be got by holding the thread rather loosely

(Plate XVI.).

The fashion of sewing on a cord invisibly--as in upholstery--by

untwisting the cord slightly between each stitch should never be

resorted to for embroidery.

=Ancient method of Couching, “Point rentré et retiré.”=--A most

interesting method of couching, which unfortunately fell out of use,

was practised up till the middle of the fourteenth century. The

couching thread was on the reverse side, and was generally of strong

waxed linen thread, which did not appear on the surface at all. The

ground material was formed of two layers of linen, and the gold or silk

thread was kept on the surface, only penetrating the layers of linen

at intervals where the linen couching thread had drawn it through.

Some of the beautiful specimens of early English work, the famous Syon

Cope and the Jesse Cope, to be seen in the Victoria and Albert Museum,

the backgrounds of which are covered with couching done in this quaint

and durable fashion, are well worth studying. The linen background of

the Syon Cope is couched in coloured silk, that of the Jesse Cope in

fine gold.

The two lines on the outer edges of the sideboard runner, which has

almost the appearance of back stitching, are worked in this way (Plate

VI.).

[Illustration: FIG. 22A.]

[Illustration: FIG. 22B.]

=French Knots= (=Figs. 22a, 22b=).--French knots can be applied with

artistic effect in many ways, not as an outline, but as an adjunct to

some of the line stitches, such as chain stitch, couching, back stitch,

etc. (Plate XIV.). They may be used to add touches of colour to a

pattern, to modify or enrich it (Plate XIII.); to powder backgrounds,

either single or in clusters, qualifying both texture and colour; to

outline or fill in flower centres, to form stamens (Plate XI.); to fill

in lattice patterns or any form that requires some contrast of stitch

or colour.

_Method_:--To work a French knot, bring out the needle at the point

where the knot is to be; place the thumb of the left hand over the

thread (Fig. 22A); twist the needle once round this tightened thread;

turn the point to the right--thumb still holding the thread--and insert

it just behind the point where it came out, and draw the thread through

to the back, or when some experience has been gained, the needle may be

drawn through on the right side in position for the next knot.

The Chinese, who are adepts, frequently work entire pieces of

embroidery in knots with such care and precision that they are almost

mechanical in appearance. They have a method of knotting their thread

first, then sewing each knot down. This method was also common in

England about the seventeenth century. At that time ladies used to work

up hanks of thread, and, by means of a small cushion and a netting

needle, work a succession of knots on the entire length; these hanks

were wound up into balls ready for applying to the work in hand.

It is better in making French knots to use a thick thread, or if a

large knot is required, two or more threads in the needle are more

satisfactory than twisting one several times round the needle. Plate V.

shows knots applied to the edges of the galoon, which serve to fix it

down, as well as to give a finish to the latchet darns.

[Illustration: FIG. 23.]

=Bullion Knots= (=Fig. 23=).--Bullion knots are frequently used in

white embroidery where variety of stitch is made use of in order to

relieve the monotony. They consist of little tight coils of thread and

can be used most successfully to form the centres of large flowers,

either in a mass or in pattern. Squares or lozenge-shaped forms with a

French knot in each space make rather interesting fillings.

Fig. 23 shows how bullion knots might be applied in lines radiating

from the centre to form small flowers.

=Flower Centre in Bullion Stitch.=--_Method of working_:--Bring the

thread up on the surface at the centre; insert the needle at the outer

edge of the circle, and draw it out for half its length at the centre,

beside the thread, which now take hold of with the right hand, and

twist firmly, but not too tightly, round the needle six or eight times

according to the size of knot required. Then place the thumb of the

left hand on the coil and draw the thread carefully through till it is

tight. It is always advisable to keep the thumb over the coil during

the whole process if possible.

=A Good Flower Centre.=--Make a number of bullion knots to fit the

circle, then surround the outer circle with one or two rows of close

regularly-sized French knots. Bullion stitch may be used for small

flowers--each petal being made of two knots, meeting at the tip--for

leaves, inside fillings, ground powderings and sprigs.

Fig. 23 _a_ shows how to make picots in bullion stitch. They are

generally worked into a bar or loop of button-hole stitch, which may

form an edging, as in Fig. 37, or an open loop, as in Fig. 23 _b_.

Picots of this type when worked in a fine linen thread are used for

the outlines and edgings of laces. To work as Fig. 23 _a_, make the

required number of button-hole stitches, then insert the needle for

half its length through the head of the last one; twist the thread

round the needle from left to right six, eight, or ten times,

according to the thickness of the thread and the size of the picot

required; place the thumb of the left hand over the coil and draw the

needle and thread gently through; keeping the thumb still on the coil,

tighten the thread until the stitch has been drawn up into a small

semi-circle; then continue the button-hole stitch till the next picot

is reached. Note Fig. 23 _b_--the thread is placed under the needle

before it is drawn through.

If a larger picot is required, it may be made in button-hole stitch

instead of bullion stitch. Button-hole the bar or loop to the left of

the required picot, and lay the foundation or padding threads for the

picot by carrying a thread to and fro three times from the left to the

right; pass the needle each time through the edges of the button-hole;

when the third thread is laid the needle is at the right side of the

picot; button-hole the loop closely till it is covered, then continue

on to the next point. Open-looped button-hole edging looks very well

with three bullion stitch picots, but the worker requires to be of a

patient temperament, as each loop takes some time to work.

Bullion knots are used very frequently in Mount-mellick work. This

type of needlework originated in Ireland; it is of a very elaborate

nature, generally done in coarse white threads on a strong white linen

or jean foundation. Here monotony in tone allows for a great variety of

stitching. Openwork is not combined with it, as the patterns in which

it is worked are mostly of a bold conventional floral type; most of

the stitches used are those which give a raised effect, such as the

different linked stitches, chain, cable, raised-stem stitches, French

and bullion knots, and padded satin stitch. The flowers are filled in

with a great variety of lace stitches.

Button-hole bars are useful for connecting two edges such as the two

sides of a lined bag, the seams of a child’s frock, or for adding a

false hem to any dainty article. They are in common use for modern

openwork embroidery, where they form connecting links between the

various parts of the design.

[Illustration: FIG. 24.]

=Button-hole Bars= (=Fig. 24=).--Fig. 24 shows the method of working

connecting bars. The objects to be joined together may be of any

shape, provided the lines are more or less parallel with each other.

Begin by button-holing one part of the work, which will give a basis

or line into which the bars may be worked, then button-hole the part

to be joined to it a few stitches, until the place where the bar is

to be is reached; lay each of the threads into a different loop of

the button-holing--this gives a greater strength and wider surface to

work upon; when finished, button-hole along the edge as before, until

the next point where a bar is to be worked is reached. These bars are

worked over three threads, and should, when worked in lines, be made

before the material is cut, otherwise it is better to have the two

parts to be joined tacked down on to a piece of stiff linen, glazed

calico, or brown paper.

=A Luncheon Set.=--This illustration gives a table centre in cream

canvas embroidered in bright blue, green, red, cream, yellow,

heliotrope and black. The design is simple; it is more or less governed

by the mesh of the material and the method of working it, which

renders the construction so simple and gives a quaintness and rigidity

admirable in effect. By examining the illustration it will be seen

that the central portion of the design is occupied by a broad band of

needle-weaving, about two inches wide, worked on the weft threads,

the warp or vertical threads having been withdrawn to the required

depth. The weaving forms seven separate groups, each of which is

composed of two colours. The whole mass, rich in effect, is finished

on either side with two bars of latchet darning; these are worked

similarly to repairing darns, but are left free at the sides. They are

edged with an oriental stitch in blue which may be worked much closer

and more regularly (see Plate I., where, as a heading to the band of

needle-weaving, it has almost the effect of a braid). The corners,

which balance the wide needle-woven bar, are worked in chequers of red,

green, and blue; the larger squares are in green, worked in a simple

stitch similar to Fig. 18. A row of equally distributed petal or loop

stitches (Fig. 3, p. 49) breaks the severity of the line; seven lines

of couching--sewn in self-colours--connect the two ends. The edges of

the cloth are turned over on the surface and finished with a row of

blue galoon--Prussian binding; this is tacked in place on each side

with little triangular stitches in green embroidery cotton. Through

these stitches a thread of bright red is interlaced; this is followed

by a second one in cream colour. Large tassels (Fig. 41, p. 120) in

blue make a finish to the corners. Six little mats, 12 inches by 9

inches, when finished, were made to match, each having a border and

couched lines similar to those of the scarf. Little blue tassels of

appropriate size completed this useful little set.

One yard of material, 54 inches wide, is required to make the complete

set, that is the table scarf, 54 inches wide by 24 inches, and six

little mats, 14 inches by 10 inches; this allows for folds at ends and

sides. If braid is used for finishing the hems, after calculating the

quantity an extra yard should be allowed, as with so many corners to

turn one is apt to be too short in the end, and these braids are often

difficult to match.

Wools and thick cotton threads may be used and a large-eyed

blunt-pointed needle for the weaving and darning.

CHAPTER IX

BRAIDS AND DESIGN--FAGGOTING--VEINING--ANTIQUE SEAMS--KNOT INSERTION

AND EDGING

“There’s nothing neere at hand, or fartherest sought,

But with the needle may be shap’d and wrought.”

=Braids.=--Braids in different widths are invaluable to the

embroideress who wishes to execute rapidly a piece of work suitable for

daily household use, which may possibly be exposed to the smoky and

foggy city atmosphere, and on which she does not wish to expend much

time, labour, or money.

Braids of various kinds and qualities--mohair, alpaca, woollen, cotton

or silk--can be utilised in many ways, and for different objects, as

well as for the finishing and decoration of hems and borders (Plates

IX. and XII.).

Those which have an unbroken edge are the best for ornamental purposes.

They may form the basis of simple geometrical patterns (Fig. 45); lines

may be arranged to go in different ways, running vertically from end

to end of a table scarf (Plate VI.), horizontally, as Plate III., or

diagonally--the direction is immaterial; all are simple to arrange,

with the exception of diagonal lines, which always require care in the

placing and stitching, on account of the different stretching qualities

of the braid and of the material. Sometimes the bands of braid are

placed singly, sometimes in pairs, one braid--usually in a contrasting

colour--being superimposed on the other. They may cross each other at

right angles, they may entwine or interlace (Plate X.), or they may be

formed into circles or spirals (Figs. 45, 51).

The manner in which braids themselves are made, with the twistings

and interlacings of strands and groups of threads, is interesting;

this renders them peculiarly suitable for the designing of interlacing

patterns, both simple and intricate (Figs. 49, 50).

The word “braid” is taken from the verb of the old Anglo-Saxon

“bregdan,” or “bredan,” signifying to weave, to entwine, to braid; the

latter word bearing, in those days, the meaning “to plait,” a word

which came into use at a later date.

The use of braid for decorative purposes has come down to us from very

early times--it has always been used by Eastern peoples much more than

by those of the Western countries. Some of the elaborately worked

pieces of Indian and Persian work, where tinsel braids are freely

employed, are things to marvel at.

The peasant costumes of many countries--particularly those for gala

days--are made gorgeous by the addition of bands of brilliantly

coloured braids, enriched in many cases by embroidery. Braids are used

on uniforms, in an official sense, where they are considered as symbols

of honour--the higher the grade, the more elaborate the decoration.

Care must be taken with the arrangement of these patterns--all curves

must be exact, interlacing designs must be correct, the series of

bands always passing alternately the one under the other.

The possibilities for the treatment of braids and bands, for the

decoration and enrichment of them, open up an interesting field to the

young designer. By comparing some of the plates it will be seen that

much has been done in a simple way by the use of these braids and tapes.

Many of the old illuminated manuscripts show wonderful interlacing

designs, many of which were copied or adapted by embroiderers of the

period.

An old Venetian pattern book, published in 1562, gives beautiful

examples of the letters of the alphabet worked first with an outline in

narrow braid, an elaborate twisted design being then woven in and out

of the double lines with a narrow braid, with the help of a tapestry

needle; the delicate points and finishings of the letters being

finished in satin stitch.

Perhaps the best way to go about a design in which bands of braid

are to form the foundation of the design would be to take one form

and try how it might be adapted to suit the conditions of space and

material. A border for a circular form is simpler in construction than

one for a square--the corners of the latter always requiring special

attention--but after a few preliminary trials it will be readily seen

what the possibilities are.

=Interlacing Knots.=--Interlacings of knots and bands are always

interesting, and the working out of these designs should be a

profitable exercise for a beginner. There is such variety in their

construction, such simple or intricate patterns to be made out of

these continuous and interlacing lines, that all craft workers have

found in them a ready means of ornamentation. Knot designs of a

simple kind may be applied in the form of braids and cords to many

useful articles of domestic use; the most direct way to work out some

elementary designs would be to take a length of soft cord and some

pins, and using the back of a cushion as a foundation, or a covered

table, pin out a geometrical design--a square would be suitable for the

first attempt--and develop it. The first square might have the braids

twisted into small loops at the corners, the second might have the

sides indented or looped, and so on. Make a series of these with every

possible variation; then all could be drawn in a note-book, in squared

paper--for the sake of ease and accuracy. The ends of the cords or

braids should be pinned together in order to form a continuous band.

The next step would be to interweave a second length of cord into those

already formed. Care is necessary to interlace the bands, so that

each passes over and under the other in regular rotation. This second

band might take the form of another square, set the reverse way, or a

circular form might be introduced. When all possibilities have been

worked out, they also should be noted. By degrees more complicated and

intricate knots may be attempted.

Sometimes an elaborate form may be worked out on paper to begin with,

then interlaced and pinned out in cord. The embroideress will find

a note-book and a square of canvas very useful for reference, also

as aids to memory: in the former, she can make notes of designs and

suitable detail, of colour schemes taken from pictures, materials and

embroideries, suggestions for finishing and fastenings of garments,

little notes and quotations suitable for embroidery--all sorts of

interesting matter which the eye is quick to see but which the memory

cannot always recall at the right moment. In the square of canvas

or coarse linen, divided into sections, might be worked some of the

more interesting or unusual stitches, or groups of stitches; or

pleasing combinations of stitches and colour might be preserved as the

opportunity occurred. These might serve to suggest or recall methods

and varieties suitable to some work in hand.

=Faggoting.=--Faggoting is a stitch which is used to connect two edges,

particularly such edges as require a dainty finish, or to fill in an

open space, or to serve as a foundation for some interlacing stitch. It

is much used for joining ribbons, braids, or thin materials, such as

ninon, chiffon, or crêpe.

_Method_:--Prepare the material for faggoting by tacking it on to a

piece of stiff _toile cirée_, glazed calico, or if that is not at hand,

stiff brown paper will answer the purpose. This is done in order to

keep the edges at an equal distance. The width of the space may vary

from one-quarter to three-quarters of an inch; the joining thread

should vary in thickness--the wider the space, the thicker the thread.

Draw two parallel lines on the foundation as a guide, if necessary, and

tack the material to these lines. If a braid or ribbon or any material

with a finished edge is used, there is no need for turnings, but with

a raw edge it is necessary to turn in three-eighths of an inch and to

press them with an iron before starting.

To work the stitch, begin at the upper end of the left-hand corner with

a small stitch; cross to the opposite side; take a stitch, keeping the

thread under the needle; work alternately from side to side, always

inserting the needle from the outside. Keep the stitch regular, the

same size and the intervals of equal distance.

Faggoting is practically a herring-bone stitch, but the needle is

inserted vertically. See Plate I. and compare the stitchery in blue

which forms a line up either side. It forms the foundation for many

interlacing stitches of which there are quite a variety adaptable to

various purposes.

[Illustration: FIG. 25.]

By interlacing threads as in Fig. 25, where the dotted line represents

the interwoven thread, the whole of the foundation stitches can be

covered. It must be done in rows, one after the other. The first row

is drawn much tighter than the one in Fig. 25, each successive row

being placed on the outside of the previous row, till eventually the

faggoting foundation has almost disappeared.

A very good line of raised stitchery can be worked on to a foundation

of herring-bone stitching. The threads are laced in, one row at a time,

as shown in Fig. 25. See Plate XIV., where it is worked round the outer

edge, also in the nightdress case (Plate XI.), where it forms the

narrow inner border.

“=Point d’Alencon.=”--Faggot or Russian is one of the stitches used in

the making of point lace or Honiton point. As a lace stitch, it goes

under the name of “_Point d’Alencon_.” It is used to join the braids;

it also makes one of the principal filling stitches for leaves or oval

spaces.

[Illustration: FIG. 26.]

=Veining= (=Fig. 26=).--Fig. 26 shows a well-known joining stitch,

which looks well if done in a twisted silk, wool, or linen. It makes

a pretty insertion, and adds much to the appearance of a seam. It is

a narrow line stitch, therefore the two edges of the material should

not be too widely spaced. Prepare the edges in the same manner as for

faggoting and tack them on to a stiff foundation.

_Method_:--Fasten the thread to the edge of the material; carry the

needle across to the opposite edge; insert it under and bring it

through the material; twist the thread twice round the needle and

insert it on the opposite side from underneath, as shown in the

diagram; oversew a few stitches along the edge to carry the thread into

position for the next stitch. This insertion is useful for joining

braids, for dress fitments and other purposes; it is much in vogue for

the joining of thin materials, such as chiffon and ninon or crêpe;

these require to have a fold laid and pressed before being tacked on to

the paper.

A very pretty addition to a border, whether for a piece of ornamental

work, for the edging of a collar, the joining up of a bag, or for the

foot of a jumper, is made by inserting between the material a line of

gold tinsel or velvet ribbon, braid, or even material of a contrasting

colour. This must be tacked on firmly to a foundation of stiff calico

or brown paper, then attached by an insertion to the edges of the

material.

This stitch, whether used as an insertion or as a filling, must also

in this case be carefully arranged and regularly worked, otherwise the

appearance of the work is spoiled. The threads should in all cases be

tightened sufficiently to give the necessary firm twist to the line.

To obtain the technique of many of these insertion stitches it is only

needful to practise them for a few minutes on a piece of material as

a preliminary to the actual working of them. This enables the worker

to see what size of thread to use, and it gives her the opportunity

of trying and comparing various colours without the irksome task of

unpicking.

[Illustration: FIG. 27.]

Fig. 27 is worked much the same as Russian stitch (Fig. 25), except

that it is worked closer and the thread picked up by the point of the

needle before it is inserted on the opposite side--this twisted faggot

stitch is really a combination of the veining and faggot insertion and

is used for the same purposes.

[Illustration: PLATE IX.

THREE COLLARS. (_See page 162._)]

=Antique Seam= (=Fig. 28=).--In earlier times, when the linens were

woven in narrower widths, the seams were always connected in a more

interesting method than at the present day, when, if a flat seam is

wanted, the selvedges are invariably oversewn. One of the older

methods is shown in Fig. 28. It makes a firm, flat and decorative

row of stitching. For the joining of selvedges of bed-linen a narrow

slanting stitch sewn in white was used; for more decorative purposes a

coloured and a larger straight stitch was used, as Fig. 29. To work,

lay the two selvedges parallel to each other and tack or pin them quite

flat. Begin on the left side and insert the needle from below on the

right and left sides alternately; in this way the threads cross each

other between the selvedges. In connecting a very thin material in this

way it makes a good finish.

[Illustration: FIG. 28.]

[Illustration: FIG. 29.]

[Illustration: FIG. 29A.]

Fig. 29 gives an effective stitch for a decorative joining of two

edges. It may be applied to bands, cushion covers and household

embroideries generally.

_To work_:--Prepare the seams by placing the two selvedges flat on to

a stiff foundation, say quarter of an inch apart; secure the thread on

the left upper edge; insert the needle at the lower edge a little to

the right; pull through with the thread to the right of the needle;

make a little stitch, as Fig. 29; pull through with the thread under

the needle. This makes a good firm insertion; a thick twisted thread is

the most suitable. Fig. 29 shows the insertion rather widely spaced.

Plate XII. shows this stitch worked in wool, where it is applied to the

edges of braids, which form the foundation for a useful collar.

[Illustration: FIG. 30.]

=A Useful Edging.=--Fig. 30 gives a knotted loop stitch which is again

borrowed from the many useful lace stitches. It is an edging which may

be worked in silks, flax, cotton, threads, or wools. In Plate XII.

it forms the finish to the braid collar, where it is worked in thick

cotton thread. This loop stitch makes a charming insertion if worked on

to the edges of any suitable material--narrow ribbon or hat straws. The

working of the stitch is clearly shown in Fig. 30. The two edges are

joined with an interlacing stitch of a contrasting colour, with raffia,

cord, or narrow ribbon. Bands of hat straw could be joined in this way

and made up into delightful light and economical summer hats. The shape

could be then placed over a foundation of wire and the brim stiffened

with wire, button-holed on to the straw with a silk, flax, or raffia

thread.

=A Collar of Braid.=--Plate XII. illustrates an interesting piece of

work, built up of oddments of skirt braid, silver tinsel, braid, silks

and wools.

Very charming dress and coat fitments may be made in this way, and all

sorts of scraps and remainders of trimmings and braids, silk patches

and patterns may be utilised. The construction is very simple. The best

way to set about the making of these braid collars, cuffs, or bands

is to cut out the desired shape--the exact size wanted. The pattern

is then placed on to a piece of glazed calico and the outline traced

firmly upon it. A still more direct method is to cut out the pattern

in stiff brown paper and utilise it as the foundation on which to

tack the braids. Care must be taken to have the shape correct before

starting to work with the materials. This being assured, arrange a

braid or cross-bar of material round the outer part; tack it at the

outer edge with bright-coloured wool on to the paper foundation, then

adjust the bars and panels, allowing the ends of the braids to slip

under the outer braid. Circles or squares of ribbon, velvet, or tinsel,

placed in the most important parts and tied to the outer edges with

lines of braid or ribbon, which, in turn, might be connected with open

stitchery, fork-pin insertion (Fig. 73), or some small beads, are very

pretty. All give scope for individual taste and ingenuity in colour

and material. If the collar is on the round, the outer bands must be

flexible, in order to take the curve nicely.

The collar in the illustration has for the outer row a skirt braid of a

soft dove grey. It is tacked in place with a line of couching in royal

blue wool, sewn on with a silk thread--reel twist is very good--of the

same colour; the stripes of cream-coloured braid are ornamented with

coral-coloured wool in long stitches, tacked down the centre to form

a point. The smaller panels have been placed in position previously;

they consist of chequered silk ribbon in grey and heliotrope. All the

short lines are connected with Russian stitch worked in coral wool,

the bands of cream braid being laid on over them and then sewn down;

finally the inner edge of the border is couched down. The edges are now

all tucked out of sight, the brown paper is cut away from the back, all

ends, edges and tags are secured and made neat with tiny overcasting

stitches, and the collar may either be lined or sewn on in place

without lining, as the case may be.

It is often necessary to confine the cut edges of the broad braid,

in order to prevent them from spreading, by winding a thread round

and tying it just above the part to be cut--this often saves time and

trouble in the long run.

[Illustration: PLATE X.

A TEA-COSY COVER (_See p. 112_.)]

CHAPTER X

INSERTIONS IN NEEDLE-WEAVING--POINT DE RÉPRISE--INTERLACING AND

OPENWORK BACKGROUND

“There she weaves, by night and day,

A magic web with colours gay.”

=A Chequered Pattern= (=Fig. 31=).--Chequered patterns look well in

needle-weaving. A number of colours may be introduced if the spacing

permits.

[Illustration: FIG. 31.]

Fig. 31 shows a diagram of needle-weaving which gives the method of

working a chequered pattern on the upright or warp threads. Prepare the

bar or band by removing the weaker (weft) threads; a little decorative

line of stitchery may then be added by hemstitching, button-holing,

or herring-boning the edges; this adds a finish and groups the warp

threads into clusters which is an advantage--it saves trouble when

the actual weaving begins by keeping the weft threads in place; cross

stitch and oversewing are useful stitches for the same purpose. The

worker should be careful to group the strands equally by dividing them

into clusters of three, four, or six threads. In Fig. 31 the upper row

is hemstitched loosely, to show the method (see also Fig. 34, p. 114,

for hemstitching). The lower edge of the diagram is not hemstitched; if

the threads are woven in closely it is not always necessary to do so,

although a line of stitchery is an improvement--it softens the edge and

adds to the appearance of the weaving (see Chapter V.).

_Method of working Fig. 31_:--Withdraw the threads of the material for

three-quarters of an inch wide, and of the desired length; cut the weft

threads at one end and the corresponding threads at the opposite end.

If the bar is long, correctness of line may be ensured by pulling and

tightening a single thread on the upper and lower edges--these will

indicate the exact spot for cutting them without risk of mistake. Take

a fairly long thread of wool and a blunt-pointed tapestry needle; a

loose but regularly-woven canvas is the best material to work on to

begin with, and wool or flax threads give the best results. The threads

are easily seen and counted, and there is not the same chance of their

being dragged or over-tightened. Secure the thread by running a few

stitches on the under side; bring the needle up between two groups of

threads; pass it alternately over one group and under the other until a

piece the size of the chequer wanted has been filled in. As the needle

passes to and fro it should press down each row of weaving closely

together; this has the same effect as the “comb” which the weaver uses

to press down the weft threads of his fabric. The first block being

finished, pass to the next two groups by carrying the needle over and

under as before, and pressing down each row with the needle; the

second compact mass will then be woven as in the diagram. To reach

the next block, slip the needle down the back of the second chequer;

this will bring it into position to work the lower block. Continue

in this way to the end of the row, always passing the needle--at the

back--through the group of woven threads to get into position for the

next block.

=Reversible Needle-weaving.=--These chequers may be worked in slanting

rows, or they may form a vandyke pattern, ascending and descending in a

series of little steps; the V-shaped spaces between at top and bottom

of the line may be filled in with another pattern or with rows of

chequers in a contrasting colour. Both sides of the patterns are alike,

and when the beginnings and finishings of threads are neatly done it

may be reversible. This is one difference between needle-weaving and

tapestry-weaving; in the latter the work is done with the wrong side or

back of the pattern uppermost; it shows the starting and fastening off

of threads, as well as the passing of threads from one part to another,

all of which makes the one side unpresentable.

=Another Pattern.=--Some simple insertions may be worked by varying,

slightly, the arrangement of the groups. Begin as in Fig. 31, but weave

over three groups of threads instead of two; having arrived at the

centre, carry on weaving over two more groups to the right and include

the last group of the block just darned, to form the beginning of the

new block. By repeating these groups of three alternately at the top

and at the foot, always using the last of the previously darned block

as the first of the next, a pretty little pattern is formed--a central

cluster of threads is left between each block, which may afterwards

be oversewn with a contrasting colour, or left with the warp threads

of the material exposed. A very open and particularly effective

insertion for a hem is made by working over two groups of four threads

each--three or six strands of thread in each cluster if preferred.

Begin exactly as in Fig. 31, at the left lower corner, and weave to the

centre; then take in one more cluster and weave in with it the last one

of the previous block; work to the top; slip the thread down to the

centre; weave over two clusters, adding one of those previously woven

with another group; continue in this way to the end. By adding a new

cluster to the one already in use the threads are pulled further apart,

and a wider opening between the groups is the result. With these few

suggestions, the worker will find that she can arrange and vary these

insertions to suit her material and her own taste.

=Filet Background.=--Small squares, ovals, circles, or indeed any

shaped space may be filled in with a net or filet background, then

darned in with a simple pattern. The usual way of opening a square or

oval (Plate X.) is to button-hole the form round the outside, then

turn the work on to the wrong side and cut the horizontal threads at

the edge--near the button-holing; draw and cut again at the opposite

side these same threads. The whole of the space is cut and divided

up; a bar of threads is left between each of the open spaces, always

leaving the same number of threads between each three or four, and

cut and draw the next three or four. When the horizontal threads are

cut and drawn, cut the vertical ones in the same way; when these are

finished, begin to oversew each line, with one stitch into each hole

backwards and forwards, until each line, horizontal and vertical, is

oversewn. Care must be taken to make all oversewn stitches lie the

same way. Note--the preparation of the background is done on the wrong

side. Little geometrical shapes and patterns may now be darned in. As

said above, the number of threads left in between these open spaces

may vary; the fewer there are, the more open the squares will be. The

result of this cutting and pulling of threads is a net background which

can be worked in many different ways. The usual method is to oversew

all the horizontal lines first, taking care to let the stitches lie the

same way in each row; turn the work half round to oversew the remaining

lines in the same way.

There is another way of making an open background which might commend

itself to those who are averse to removing the threads, that is, by

cutting the material which forms the background into narrow strips

and oversewing the bars. It should be marked off in double horizontal

lines rather less than an eighth of an inch apart; place these double

lines at regular intervals about half an inch apart; rule them in chalk

or pencil, then mark off the half-inch spaces into vertical lines an

eighth of an inch apart; these vertical lines are then cut two or three

at a time with a sharp pair of scissors and oversewn one by one in

rows, overseaming the upper and lower horizontal bars by the way.

Very charming needle-woven bands can be arranged for different

purposes by button-holing squares or oblongs, cutting and withdrawing

four threads each way and leaving eight between. When a square is

button-holed--with twenty-eight vertical and horizontal threads in the

enclosure--there will be four solid squares connecting nine open ones,

that is, one open square in the centre with the four solid squares at

each corner, and the open ones surrounding them. Each solid square has

eight single threads surrounding it; divide these into two groups by

interweaving four threads under two and over two. When finished, there

will be two woven bars connecting each side of the small squares with

each other and with the outer button-holed square. These woven bars

could occur at regular intervals among the more solid needle-woven

portions.

Many very charming things may be made in this way with woven threads.

These primitive patterns can be worked with ease in such varied forms,

alone or as adjuncts to embroidery (Plate VI.), that an inventive

needle-woman can ornament in rich colours, or without the aid of

colour, many interesting pieces of work, provided she takes care to

weave regularly and keeps her design simple and suited to the material.

[Illustration: FIG. 32.]

=“Point de Réprise” or Darning Stitch.=--Fig. 32 shows an insertion

worked on a foundation or trellis. This stitch, which may be used as a

filling for open spaces or for the decoration and joining of two edges,

is an interesting one, and most effective when worked. In cottons,

wools, or silks it could be applied to many different purposes quite

suitably; worked on linen with silk or flax threads, it might provide

a dainty insertion for some article of personal wear; worked in wool,

it could decorate simply collars, cuffs and bands for a dress or jumper

suit. Fig. 32 gives merely one form with the method of weaving, but

there are many others to which the woven pyramid is applied. It is much

quicker and simpler in execution than the button-hole pyramid, which

is firmer but much more tedious to work--the former, too, looks well

in wools and thick threads, while the latter requires lace thread.

Woven pyramids are frequently used by point lace workers; this is

called by them “_point de réprise_,” and applied to the fillings of

circles and leaf shapes where the little cone-like forms work in very

appropriately. The foundation of Fig. 32 is a double line of faggoting

in Russian stitch; a single line is worked first; the stitches are

taken widely apart, then a second row is worked between the spaces of

the other, so that a series of little diamond-shaped spaces are formed

as in Fig. 25. Begin at the edge of the braid and weave the pyramid

from the base so that the points may meet at the centre; be careful to

weave an equal number of threads into each cone-like shape, or they

will vary in size.

=Pyramid Insertion.=--An insertion of alternate pyramids, with the

bases at the centre, is more open and does not take so long to work.

Make a foundation of faggot stitch, a single row this time, then carry

the thread to the point of one of those stitches and weave over two

threads to the centre. As these little cones should always be worked

from the point, carry the thread to the top of the braid by overcasting

the faggot thread; weave again towards the centre; when finished, the

bases of the pyramids will form a central line.

An equally simple insertion and quite as effective is to work the

pyramids in button-hole stitch on to each faggot thread. After forming

the foundation stitches--the trellis--begin at the point as before,

and work two button-hole stitches on each side before crossing over

to the other side; otherwise it is worked exactly as the former

pattern detailed above. Two rows of faggot stitch may be used for

the foundation of quite a number of different woven patterns. Little

rosettes or wheels are formed by five threads; at the junction of the

stitches--at the centre of the space--are four threads; add another by

carrying a central thread to the first group; work the rosettes over

the five threads in a similar manner to Fig. 54, weaving the threads in

and out; when finished, slip the needle under the finished rosette to

the next intersection of the stitches and work the second rosette and

so on. Descriptions are always tedious to follow--the best way is for

one to work with needle and thread while another reads the directions

aloud.

[Illustration: PLATE XI.

A NIGHTDRESS CASE (_See p. 128_.)]

=Interlacing Stitch= (Fig. P, Plate II.).--This interesting insertion

stitch is one which will well repay the worker for her trouble in

mastering it. Although not a complicated stitch, there are little

points to be noted in the laying of the foundation threads which, if

omitted, prevent the interlacing threads from working in properly.

[Illustration: FIG. 33.]

Fig. 33 shows a diagram with the method of laying the foundation

stitches:--One row is worked over the other; this lattice work supports

the interlacing threads, which also require two rows to work them. Fig.

P shows the insertion completed. At a casual glance, Fig. 33 appears to

consist of two rows of herring-bone stitch, the one superimposed upon

the other; but if a short line of herring-boning is worked and compared

with the diagram the difference will be noted at once. In working the

foundation, let the threads lie loosely on the surface to allow for the

interlacing threads.

_Method_:--Secure the thread at the left lower line; take a short

horizontal stitch, three-quarters of an inch to the right on the upper

line. Note--place the thread under the needle when drawing the stitch

through; this keeps the working thread under the diagonal stitch

just formed. Cross to the lower line, and three-quarters of an inch

further on take a horizontal stitch, but this time the thread is not

kept under the needle, as it comes out on top and lies over the last

diagonal. Proceed in this way until the end of the row is finished,

then compare carefully with the diagram. Make sure before starting

the second row that all the diagonal stitches beginning at the left

of the upper row pass under those crossing from right to left; this

is achieved, as said above, by keeping the thread under the needle on

the upper row. The first row of the lattice being finished, start at

the left of the upper line and work in the same way as before; cross

to the lower line, and take the horizontal stitch exactly beneath that

of the previous row; then slip the eye of the needle under the thread

of the diagonal stitch and take the horizontal stitch on the upper

line with the thread under the needle. Working in this way, little

diamond-shaped spaces are formed. With the completion of the second

row, it will be seen that the stitches are all interlaced over and

under each other with the utmost regularity. For the inter-threading of

the pattern, take a long thread and a blunt-pointed needle; the thread

only enters the material at the starting and finishing of the work.

Secure the thread at the left in the middle of the space between the

upper and the lower lines; if an open insertion, it must be secured at

the top. In Fig. 33, the thin dotted line represents the interlacing

thread, which passes over and under the little crosses on the upper

line and down to the crossing at the centre; thus the first row of

interlacing threads are all worked on the upper half of the foundation

stitches. When the end of the line is reached, turn the thread round

the last central cross and return, interlacing the threads on the

lower half of the herring-bone foundation. Note, in passing to the

centre of the line, that the threads interlace regularly with those

of the upper row, as they must pass to the upper side of the central

crosses. By this time it will be seen how beautifully these threads fit

into one another, but should any little mistake have occurred in the

foundation stitches--the supporting lattice work--the equal and regular

inter-threading will be found impossible. The thread must be chosen

to suit the size of stitch--the foundation threads are practically

covered. In Fig. P they are shown rather too clearly at the edges; also

in Fig. 33 the interlacing thread is not in proportion to the size of

the lattice work, but a little practice will soon show the worker the

size of thread suitable for a border; a half-inch border requires a

good stout thread to fill the space--too thin a thread will make the

insertion rather poor in appearance, while too thick a thread will make

the interlacing difficult to manipulate. This insertion looks well

with all types of threads, therefore it can be used for many purposes.

For making decorative hems for household linen it is most useful, and

gives one quite a pleasant change from the usual hemstitch; it is also

more practical, because much more durable. No threads are withdrawn;

a single fold of the material turned over to the front surface is the

preliminary; this is firmly secured by the two lines of herring-bone

stitch. Large decorative initials could be worked with the same stitch;

placed in the centre just below the hem, they would look very well--it

would be better to draw these out on squared paper for the first trial,

one or four squares to each cross, according to the size of the initial

wanted. The insertion could be used for many purposes. In some of the

old German linen work of the fourteenth century this stitch is applied

to household linen--in geometrical patterns to borders, insertions

and corners, where it looks very appropriate; they are worked with

white thread on white linen, but there is no reason why they should

not be embroidered on a coloured linen--blue would look very effective

worked in white threads or _vice versâ_. At a later date, some of the

Eastern countries adapted this stitch to their own type of work and

design, conventional flowers being carried out with admirable effect in

coloured silks. The worker would find this adaptation rather difficult

unless she had done a fair amount of line work.

=Cosy Cover.=--Plate X. illustrates a piece of work suitable for

everyday use. It is a washable cosy slip worked in white linen with

a pattern in braid. In this example the braid is flexible enough to

take the curves of the design easily; it is tacked on, as previously

described in the nightdress case (Plate XI.), on the outer edges, and

gathered up with tiny oversewn stitches on the inner, to make the

curves lie nicely. The design is very simple; it is made up with French

braid in varying lengths formed into curves at the corners; the ground

is of white linen. The braid is sewn on in blue cotton with a small

button-hole stitch; the little daisies of loop stitch and the surface

filling of the centre are also in colour. The open web in the centre is

a simple lace stitch worked in button-holing.

[Illustration: PLATE XII.

THREE HAT BANDS (_See p. 129._)]

_Method_:--Cut away the linen (see description, Plate X.); work round

the opening a row of button-hole stitch not too closely set, then

work ten loose loops similar to Fig. 54. Catch the last loop of the

circle into the first to join; then on the last-formed loop work six

button-hole stitches; pass the next loop; work six button-hole stitches

again into the following loop--the third; proceed in this way to the

end of the row. Work on in continuous rows until the centre is reached;

each group of pyramids must have one stitch less in each row as the

circle becomes smaller. Finally, at the apex, the thread is twisted

once round each loop; carry the thread to the edge of the material by

overseaming the edge of the first pyramid; finish it off on the back of

the linen. The square mesh for the open-work is prepared as described

on p. 127. The open-work clusters of the background may be grouped

differently from those in the illustration, where they are oversewn

horizontally and vertically. Quite a pretty variety would be to work

them in diagonal lines securing each cluster with a knot stitch.

_Method_:--Start the thread at a part on the left where a definite

oblique line may be laid. Work a stitch with the thread under the

needle, through the stitch and tighten the knot; carry the thread

obliquely to the next cluster and repeat the knot. Another method is,

after preparing the background, to fill up the spaces with four open

loops of button-hole stitch; work each loop into half the cluster of

surrounding threads--the other half is used in working the adjacent

square; in other words, the open square is filled in with four little

loops, the needle being passed through the first loop to join it with

the last before passing on to the next square, and the clusters of

loose warp and weft threads are divided and pulled apart by the loops,

leaving a little oval-shaped opening. The edges of the cosy are worked

round with loops (see Fig. 57). These finish the sides and serve as a

means of lacing the two halves together. This manner of finishing makes

for simplicity in the washing and ironing.

CHAPTER XI

FRINGES AND TASSELS--HAND-MADE BRAIDS--KNOTS AND PICOTS

“And bid them that they make them fringes in the borders of their

garments.”

Fringes are used to form an ornamental border for various articles;

they seem to be the most natural finish to many of the loosely-woven

textures. They can be knotted in different ways into simple or

elaborate patterns, or they can be enriched with groups and bands

of coloured threads or beads. The most simple are those produced by

the unravelling of the horizontal or weft threads. In planning out a

piece of work to be finished off with a fringe, allow 6 or 7 inches

for it--or whatever depth is wanted; finish it after the rest of the

work has been completed, as the frayed edges are apt to get soiled and

untidy if unravelled before.

[Illustration: FIG. 34.]

=To prepare a Fringe.=--Withdraw a few threads at the head of the

space and work a row of single hemstitching, or overcast it with

large stitches. There is only a single ply of material, but this

stitching, while giving firmness, adds a decorative value and prevents

the loosening of the weft threads. Fig. 34 explains the method of

hemstitching; if the strands or warp threads look rather poor and thin,

additional weight may be given to the whole by darning in either some

of the weft threads, which have been removed, or by adding various

coloured ones.

[Illustration: Fig. 35.]

Fig. 35 shows one way of adding threads. These are fixed into place

most easily by means of a crochet hook.

_Method_:--Wind the thread round a piece of cardboard sufficiently

wide--that is, almost twice the depth of the required fringe; cut the

threads along one edge of the cardboard, and the strands are ready for

use. Put the hook into the material near the edge from behind; lay the

loop of the doubled length of thread on the hook and draw it through,

then slip the two ends through this loop and tighten (Fig. 35).

Many pretty variations may be made by adding beads or narrow ribbons,

tassels or knots (Plate VI.). Those tasteful finishing touches add

greatly to the appearance of the work.

[Illustration: Fig. 36.]

=Knotted Fringe.=--Fig. 36 has the strands in groups knotted together,

then divided and knotted again. These knots take up a fair quantity

of thread, thus the length allowed for the fringe must depend on the

number of rows of knots, as well as on the coarseness or fineness

of the thread used. The thicker and firmer the texture of the

strands, the greater the length of thread required for the knots.

The method of making the knots being shown in the figure, it needs

little explanation. After the first row of knots is formed, the

second row is made up of the groups of threads hanging from these

knots--they are divided, and half a group is taken from the right and

left respectively. Three or four rows may be added in this way, each

succeeding row of knots coming between those of the row above.

[Illustration: Fig. 37.]

=A Flat Knot.=--Fig. 37 gives a flat knot used in fringe-making by

macramé workers. At one time (in the sixteenth century), priests’

vestments were frequently trimmed with this handsome type of fringe,

consisting chiefly of knots grouped into various patterns. It was

then known under the name of “_punto a gruppo_”; later it was called

macramé, from an Arabic word meaning ornamental fringe or trimming. The

Genoese used it for the trimming of bridal dresses. These knots can be

added directly to a hem, or worked over a cord.

_Method_:--Arrange the thread in groups of two double strands, as in

Fig. 37 _a_; take the two outside strands, and passing the left one

under the middle strands, and the right-hand one over them--these

middle strands meanwhile being held taut between the second and third

fingers--bring the left-hand strand out, as Fig. 37, and the right-hand

strand under so that their positions are reversed. Complete the knot

by crossing the reverse way again and tighten to finish. Quite a

pretty fringe can be made by working a row of four of these flat knots

in succession over four strands, one knot below the other; the second

row has the knots made on four strands--two strands taken from each of

the groups immediately above--this brings the knots of the second row

alternating with those of the upper row, as in Fig. 36.

[Illustration: FIG. 38.]

=Twisting and Crossing.=--Fig. 39 gives a little hand-made braid, very

useful for many purposes, for small headings, or for finishings, edges,

or seams. It is a simple plait made with four strands of any firm

thread or narrow braid--the latter is the more suitable for embroidery.

Lace plaits similar to this require bobbins and a pillow, as well as a

suitable lace or linen thread; but the gimps for embroidery can be made

quite nicely by fixing the knots to some firm foundation and winding

the cord, string, or braid on to a piece of cardboard. The plait is

done by means of twisting and crossing. These terms are used in the

making of pillow lace. “Twisting” always means passing the right-hand

strand over the left (Fig. 38 A), and “crossing” means the passing of

the inner left-hand strand over the inner right-hand strand (Fig. 38 B).

[Illustration: FIG. 39.]

[Illustration: FIG. 39A.]

=Hand-made Gimp.=--Fig. 39 shows the braid in process. Each pair of

threads is twisted once, then the inner threads are crossed; this is

repeated to the end, care being taken to keep all threads as equal as

possible. Fig. 39A is the same braid with picot edgings. These picots

may be placed at every second loop instead of every fourth as in the

figure. They are made with the help of pins fixed into the foundation;

the outside thread is passed round the pin before twisting with the

next strand.

=To make a Lace Pillow-Cushion.=--Fig. 40 is a still more elaborate

braid, consisting of five double strands. It could be more easily

worked on a cushion--a large pin-cushion tilted against a table would

do, or the worker could make a pillow-cushion for herself, such as

some lace-makers use, in the following way: Cut a piece of firm cotton

or linen about 20 or 22 inches wide and 22 to 24 inches long; join up

the length by the machine; hem the two ends and run a drawing string

through them to close the ends. Cut two circles of cardboard 4 or 5

inches in diameter; draw up one end of the pillow and place a circle

of cardboard in against the closed end; fill the cushion with bran or

cork--such as is used for packing grapes--horsehair, or sawdust; stuff

tightly; then place the other circle of cardboard on top and tighten up

the second end by means of a strong cord run through the edges. This

little cushion can be placed into a wooden box or basket, which is

better to be weighted a little to keep it steady. Some pillows are made

like a cylinder and fitted into a box, which is higher at the back than

at the front; others are made with an axis which is fitted into grooves

cut in the side of the box; this enables the worker to turn the pillow

and also allows the lace as it is worked off to fall behind into the

box.

[Illustration: FIG. 40.]

=Braid.=--To work Fig. 40, fix on to the cushion in a straight line

five lengths of braid, knotted as in Fig. 38.

_Method_:--Twist the first and second pair once; cross; twist the

second and third pair once; cross; twist the third and fourth pair

once; cross; twist the fourth and fifth pair once; cross; place a pin

at the right-hand edge; twist the fourth pair once; twist the fifth

pair once; cross; twist the third and fourth pair once; cross; twist

the second and third pair once; cross; twist the first and second

pair once; cross; place a pin at the left-hand edge; twist the first

pair twice; twist the second pair once; cross, and repeat from: twist

the second and third pair once; cross, and so on for length required.

This braid when worked with bobbins and a stout linen thread will be

excellent for teaching the method of making grounds for some of the

simpler pillow laces.

=Simple Tassels.=--Fig. 41 gives a small tassel.

[Illustration: FIG. 41.]

[Illustration: FIG. 41A.]

[Illustration: FIG. 41B.]

_Method_:--Take a piece of cardboard, rather wider than the length of

the finished tassel, and wind some wool rather slackly round it, twelve

to twenty times, according to the size and thickness of the tassel to

be made. Take a long large-eyed needle with a doubled thread; slip it

through the wool close to the cardboard; pass the ends through the loop

and pull firmly to tighten. Cut the wool at the opposite edge of the

cardboard. Pass the thread through the centre of the bunch of wool and

knot it two or three times to form a padding for the head. Sometimes a

wooden bead helps to fill out the head, the needle being passed through

it to keep it in place; after which the thread is knotted. Figs. 41

and 41B give the making of the neck of the tassel. Take a needle with

a double thread and wind it round the neck two or three times; pass

the needle through the loop, then up the centre of the head and out

at the top--here another bead adds to the appearance of the finished

tassel--the ends serving to attach it to the embroidery. A much more

elaborate finish may be made by button-holing the head of the tassel,

beginning at the neck and working in rows towards the top. If the

tassel is large enough to admit of it, a crochet-covered top, beginning

with a chain and working upwards, is very quickly made; long chains

ending with beads may finish the lower part effectively. Plate VIII.

shows simple tassels made in this way--those on Plate I. are rather

more elaborate.

[Illustration: FIG. 42.]

=Needle-made Picots= (=Fig. 42=).--This edging requires a good stout

thread, linen, twisted silk, wool, or fine string, according to the

purpose for which it is required. It may be worked on a braid, a

cord, or the edge of the material. There is no great difficulty in

the working of these picots, but absolute regularity of the loops and

knots is essential--in order to secure this, a mesh, or if that is not

to hand, a pencil may be used to keep the loops uniform in size. After

some practice, the worker will probably dispense with a mesh and use a

pin to keep the loops in place while making the knot.

Fig. 42 shows the method of working. Fasten the thread securely and

take the first stitch, which is of the button-hole type, with the

thread under the needle; then slip the thread round the mesh, passing

it behind and bringing it out over the front of it; put the needle

behind the loop (see Fig. 42) and twist the thread round the needle,

over and under it; pull through and tighten the knot. If a pin is used,

pass the needle behind the first little loop, then put the pin into

position--a quarter or half an inch below the edge; pass the thread

round the head of it; make a loop round the point of the needle and

tighten.

[Illustration: FIG. 43.]

Fig. 43 shows the same edging with an additional row worked over a

narrow braid--several threads could be substituted for the braid.

=Button-holed Rings.=--Button-holed rings are useful. They are

generally made over a foundation of soft threads, which serves the

double purpose of padding and strengthening them.

[Illustration: FIG. 44.]

=Laces, Edgings, Central Fillings.=--Danish needle-workers use these

rings a great deal as foundations for making both laces, and edgings,

also central fillings. The former they apply to their beautifully

worked embroideries as insertions or finishings; the latter have some

arrangement of grouped stitches worked round a button-holed ring, then

sewn on to the parts prepared for them. They use a ring stick, which

is graduated in such a way as to enable them to make rings in several

sizes, also to make any number in the one particular size desired.

Rings are quite simply made. The thread is wound round the stick six to

ten times, according to the size of the ring, and a stitch or two of

button-holing is worked before removing it; then work round the threads

until it is complete and finish by passing the needle through the head

of the first stitch and slipping it inside--and along the line of

strengthening threads; cut off neatly. Rings may have pyramids worked

round them, in which case a definite number of button-hole stitches

should be made. If a ring is covered with twenty-eight button-hole

stitches, four pyramids of six stitches each could be made, with

one stitch between each pyramid; with thirty stitches, six smaller

pyramids, with one stitch between each, could be worked in.

Rings could be made over a metal or bone foundation when they are used

to support any weight, as for the draw strings of a bag, or to attach a

splasher to a wall; for lacing or connecting the front or shoulders of

a jumper or child’s frock they can be either made on threads or metal

rings.

Note the interesting method of applying rings in Plate XIII.; see also

Fig. 23 _b_, which shows method of working rings with picots of bullion

stitch.

Very useful indestructible buttons can be made of very thickly padded

small rings in which the stitches practically fill up the centre;

twisted bars, crossed, should be worked at the back for the purpose of

attaching these buttons to the garments which they are to adorn.

=Ornamental Knot= (=Fig. 45=).--Knot work, like embroidery and lace,

seems to have originated in the East.

All of the following knots may be worked more simply from the diagram

than from the description.

[Illustration: FIG. 45.]

Fig. 45 is commenced at the top or foot, where the =X= is marked.

The braid is joined there under the curve; it is formed of one piece

of braid, and can make a very good centre for a cushion, applied in a

coloured braid, if sufficiently enlarged. It could have a decoration

within the curves of conventional flowers, or, on the other hand, it

might be enclosed by a narrow geometrical border. It could also be

worked in chain, couching, or oriental stitches instead of braid.

[Illustration: FIG. 46.]

=Weaver’s Knot= (=Fig. 46=).--The weaver’s knot, used by all weavers

for the joining of warp threads--weft threads are worked with the

weaving--is a well-known knot. It is illustrated in Fig. 46 and

consists of two loops interlaced; when finished, one loop has the ends

crossed while the other has the two lines lying parallel. It can be

easily followed from the figure. A simple method of tying it is to take

the end of the new joining thread and form it into a loop with the

threads crossed; note that the short end is under and pointing to the

left, and the long upper end is pointing to the right. Place this loop

between the finger and the thumb of the left hand and hold it upright;

take the end of the working thread in the right hand, and putting it

from behind up through the loop, pass it round between the thumb and

the first finger, under the short end of the new thread and over the

long one, down into the upright loop again. Tighten the ends of both

threads.

[Illustration: FIG. 47.]

=The Carrick Bend= (=Fig. 47=).--This knot is simple and ornamental.

It could be used quite successfully for embroidery and braiding. It is

used by sailors for tying hawsers. To arrange the knot take one piece

of narrow braid or cord and form it into a loop on the table; cross the

ends--the under and shorter one points towards the worker; take the

second cord in the right hand and pass it under the complete curve of

the loop in a diagonal direction (see Fig. 47); passing then over the

long and under the short end, enter into the loop and pass it under the

diagonal line and out over the loop. This knot looks well--tighter or

looser according to the width--when placed at intervals on a border and

connected by lines of stitches.

[Illustration: FIG. 48.]

=The Reef Knot.=--This knot varies slightly from Fig. 46. It forms a

rather neater one than the weaver’s knot and is also more ornamental.

_Method_:--Make a loop as before at the end of the new thread. Hold it

upright between the thumb and the first finger of the left hand, but do

not cross the ends; take the end of the working thread and pass it up

through the loop from behind: put it round between the thumb and the

finger, under the two ends of the held thread, then down through the

loop again; draw up both pairs of threads. The reef knot, as its name

indicates, is used by sailors for tying the reef points of a sail.

[Illustration: FIG. 49.]

Fig. 49 shows a knot which may be made of braid or of two rows of cord,

on a larger scale, or it may be worked in chain stitch as a smaller

knot. When made in narrow braid or cord the second cord is laced

through after the knot has been formed by the first cord. This knot

could be used for a border, placed at regular intervals with lines of

cords connecting the one knot with the next; to fill up a corner the

central loop could be made larger. It looks well when worked in chain

stitch or in couched lines.

[Illustration: FIG. 50.]

=The Chinese Knot= (=Fig. 50=).--This knot, used for the ornamentation

of a sailor’s collar, is made of one cord. One loop is made long enough

to pass round the neck, under the collar. Used as a part of the border

design the end loops may be made as long as required to fill the space.

The Chinese knot makes an ornamental fastening for anything that might

require it. To make it, start at the =X=; from there it can be

easily followed from Fig. 50. It takes the form of two hearts reversed

and interlaced; the outer loops are formed in the process.

Fig. 51 is made up of two pieces of braid. The crosses show where the

ends disappear under the curves. This knot could be used similarly to

Figs. 45 and 49.

Knots are not generally used in embroidery for the starting or

finishing of threads, but sometimes a new thread has to be joined

directly on to the old one, in which case a firm, non-slipping knot is

necessary. Figs. 46, 47, 48 are all useful for joining threads.

[Illustration: FIG. 51.]

=Nightdress Case in Blue and White.=--Plate XIV. shows a charming

and useful nightdress case in white linen, embroidered in white and

blue flax. The simple interlacing design is laid on in white French

tape, which develops into leaves at the centre and corners, and gives

scope for a pleasant change in stitchery. The braid is fixed in place

on the outer edge by a button-hole stitch worked in flax thread

over three strands of blue. The material is cut and turned in and

button-holed--this gives a little raised edge and accentuates the outer

line; the inner edge is marked out by a line of back stitching (Fig.

13), and French knots worked in blue (Fig. 22). The spaces between

the interlacing braids are worked in a filet or net pattern--which

is simply worked but rather tedious on account of the necessary

preparation.

_Method_:--Remove four vertical threads and leave four of the linen;

repeat this within the space; then remove four horizontal threads and

leave four; repeat. These little groups of threads are kept closely

together by means of overcasting stitches--which should be done with

a very fine thread--worked in rows over the warp threads, then over

the weft. The linen in the centre of the leaf forms at the centre and

corners should be cut, turned under the braid and button-holed, as

described in Plate XIV. The outer ones are filled in with button-holed

bars, which may be worked as described in Fig. 24, or they may be

inserted after the button-hole edge is finished, by laying two or three

strands, button-holing them, and overcasting three or four stitches

along the edge to carry the needle into position for the next bar. The

opening in the centre is worked in pyramids and bars, alternately (see

description of Plate XIV.). It will be seen that the two outer leaves

of the centre group are worked in a weaving stitch which gives the

appearance of mid-rib and veins.

_Method_:--After the inner edge is button-holed, carry six threads

to and fro from point to base to form the foundation; then weave by

passing the thread over three and under three strands until the point

for the first vein is reached. Press the threads closely together

with the needle to make the line solid; then carry the working thread

across to the edge to and fro and back to the edge; weave into and

out of these three strands until the mid-rib is reached again; weave

a couple of threads into the centre rib, then form the vein on the

opposite side in the same way, and proceed in this way until the base

is reached. The stitch must be very evenly worked and well pressed up

by the needle continuously to get the right effect. The inner leaves

are worked with a row of open button-holing, after which button-holed

loops (Fig. 59) and pyramids are arranged to fill up the space.

The braid-like appearance of the inner border is obtained by working

a row of herring-bone stitch to form a foundation; a long flax thread

is then interlaced as shown in Fig. 25. See also border to Plate XIV.

This interlacing thread is worked in, row after row, until the desired

thickness has been got. In Plate XI. the foundation stitch is in blue

and the interlacing in white flax thread--the little blue points of the

herring-bone stitch peeping out on either side give a pretty effect.

Two rows of fine chain stitch (Fig. 1) finish the dainty border.

[Illustration: PLATE XIII.

A BAG IN CANVAS AND WOOL. (_See page 153._)]

The outer edges following the curves of the braid are worked in open

button-holed loops (Fig. 59) which in Plate XI. are done with the

needle; but this edging may be done more simply, if desired, with a

crochet hook, by forming a row of chain loops, then covering them with

double crochet stitch (see p. 157 for description).

The edging of needle-made loops is, of course, preferable to any other,

but in these days, when most of the household linen must go to the

laundry, these little crochet edgings might quite suitably be worked

directly on to little mats, table-napkins, and many other articles.

They are quickly worked and wear excellently.

=Hat Bands.=--The illustration shows two hat bands, both of which might

be made in a colour to go with a hat or suit.

=A Flowered Hat Band= (=Plate XIIa.=).--Plate XIIA. consists of a piece

of cotton--celtic canvas--about 5 inches wide; the length will vary

and must depend on the shape and size of the hat. To make a similar

band, prepare a fringe about half an inch deep on one side only; turn

the fringed edge over the plain one and tack into position; crochet

two lines of insertion (Fig. 65) in wool or in any material preferred.

Make the flowers as in Figs. 66 and 67; those in the centre of the

illustration are made up of three separately worked flowers, the

smallest one is in silver tinsel. The large flower groups are placed

on the band alternately with the smaller sprigs. For the making of the

leaves see Fig. 68, p. 160. This band may be made in a very short time;

it is a very suitable hat decoration for rough weather, as rain does

not destroy either the foundation or the crochet flowers.

=A Velvet Hat Band with Cross Stitch= (=Plate XIIc.=).--Cross stitch,

so little used nowadays in this country, except for the marking of

household linen, seems to have been well known from a very early date

by all needle-workers. It, and many other varieties of a similar

nature, was worked on canvas or linen in patterns where the threads

were counted. At one time these embroideries were so characteristic

of the various countries that their origin was generally recognised

by the pattern and the colour in which they were worked. The Italian

cross stitch, embroidered on a very fine linen, was mostly done in

a reddish-purple, and frequently worked in a two-sided stitch. Red,

blue and yellow were the predominating colours of the Slav, Hungarian

and Swedish peasantry. Very large pieces, destined for wall hangings,

were worked in tent stitch or cross stitch, in designs suggestive

of those used for tapestry weaving. These have even been called

tapestries on that account. The famous Bayeux tapestry represents an

interesting series of events of English history from the accession of

Edward the Confessor to the death of Harold at Hastings; it is worked

in coloured wools on linen canvas: this is, of course, not really

tapestry; a true tapestry is formed by the interlacing or weaving of

warp and weft threads by means of a needle or a shuttle (see chapter on

needle-weaving).

Plate XIIc. shows a dainty band made on velvet ribbon; the quaint

little basket of flowers in cross stitch on a gold-coloured foundation

may be worked quite simply on to any material, but in order to keep

the rigidity which is characteristic of the stitch it is necessary to

have a piece of fine canvas as a foundation. The ribbon is tacked on

over it, and the design is worked over the two materials. In the case

of velvet this method is reversed, as the pile is always an obstacle in

the way of accurate sewing. The canvas is laid on top of the velvet;

the cross stitch is then easily worked and the threads of the canvas

are removed, one by one, when the work is finished. The centre piece of

Fig. C is of gold-coloured velvet worked in this way. It is caught down

on the outer edges by gold tinsel threads, couched closely to keep them

in position; the strips of orange-coloured velvet applied on either

side and peeping through the stitchery give a gay little touch to the

panel, which is finished off by lines of gold thread and two little

gold beads. The strips of decoration at equal intervals are somewhat

similar, but not so elaborate. No cross stitch is used except in the

front.

Much may be done with canvas stitches, provided they are applied to

designs which are treated in a conventional manner. The form of the

stitch, occupying a square space, would enable the worker to make out

patterns on squared paper; chair seats and cushions could be worked

very satisfactorily in geometrical designs.

Baskets and bags, worked on canvas in wools, cottons and raffia, can

be very useful; the canvas should always be worked with a thread which

fills the mesh. For fine embroidery it is often better to work it in

a frame, particularly for fine cross stitch or petit point, or when

worked over two plies of cloth--the frame prevents the under cloth from

puckering.

Some of the darning stitches, too (Plate II.), could be applied

successfully to bags; if small, they could be worked in silk on a

fine-meshed canvas. Cross stitch requires no description, except that

it is worked in two rows; this allows the threads of the second row--on

the return journey--to cross over those of the first. A quick method of

filling a line is to work a half-stitch over a stretched thread.

=Tent Stitch or Petit Point.=--the finest of the canvas stitches--is,

like the first half of the cross stitch, worked over a single thread of

canvas.

Goblin stitch is worked over one vertical and two horizontal strands.

A close herring-bone stitch looks well alternating with rows of an

upright stitch for a canvas-made basket in various colours.

There are many other canvas stitches, but varieties will be easily

constructed by the worker. Canvas may be bought with a single or double

thread, of a coarse or fine quality. A wide-meshed canvas of a stiff

quality, used for rugs, is very satisfactory for the making up of work

bags or baskets with raffia.

=A Braid Hat Band= (=Plate XIIb.=).--A hat band or collar made from

remainders of braids is illustrated on Plate XIIb. The original was

made as a collar to wear with a suit, but it looked so fascinating

as a hat band that it was worn as such. It is a perfectly straight

band and the illustration shows very clearly some of the insertion

stitches already mentioned (see Figs. 25 and 29). Prepare it in the

manner already described for the braid collar (Plate IX.). Cut a

piece of brown paper to the size wanted and tack the braids upon it.

In the illustration three rows of black skirt braid, with a row of

black chenille in the centre, go to form the foundation. The upper and

central rows have a line of blue braid laid over them, just close to

the chenille. Join the braids with faggot stitch on the one side (Fig.

25) and a knot stitch (Fig. 29) on the other. The knot stitch is in

turquoise blue wool, the faggot in jade green with a stronger green

interlaced. The lines of bright blue braid are connected at one side

and the edging (Fig. 30) is worked over the other. This edging has a

thread intertwined with it so that the loops are connected, instead of

being detached as in Fig. 30. When all the braids are connected the

paper is cut away from the back.

CHAPTER XII

DRAWN-THREAD AND WHITE WORK--RHODIAN, RICHELIEU AND HEDEBO

“Be rich in patience if thou in goods be poor.”

Many of the pretty delicate lace stitches which look so complicated

when worked in fine lace threads, on a net or cambric foundation, can

be used with admirable effect for the filling in of spaces and the

covering of surfaces of some of the coarser stuffs; worked in wools

and thick threads they lose their filmy and lace-like appearance,

and can be adapted quite nicely to the more utilitarian articles.

The arrangement of the stitches may be chosen to suit all kinds of

materials; they may be very open or only partly so, but as a rule, the

simpler these surface stitches are, the better they look. The main idea

being to bring the background into tone with the rest of the work,

the worker should choose a stitch which will have just the amount of

colour to give the right tint or shade to the material. Diapers are

also commonly used to tone in the background; single spots or groups

of spots, which may be represented by French knots or bullion knots,

flower or leaf sprigs worked in loop stitch, and all simple types of

darning may be requisitioned for the purpose. Interlacing patterns can

frequently be made up of two or more stitches combined, and may often

be invented on the spur of the moment by the interested needlewoman.

There are endless varieties to be made out of button-hole stitch, which

is the foundation stitch of most needle-point laces (Figs. 53 and

11). Weaving stitch--interweaving of threads--is another upon which

many laces, needle-point and pillow, are built up (Figs. 32, 62, 17

and 40). These two are often combined (Figs. 54 and 55); add to them

darning stitch, both simple and patterned, and we have got one step

towards lace-making. But lace-making is not for the busy woman or

householder, who has her day fully occupied, but rather for the few

who possess skill, good patience, and many unoccupied hours--these

must belong to the woman who would excel in the art of producing the

delicate fabric. It is most interesting to trace the development of

lace; how needle-weaving of the more simple, primitive type later

became drawn-thread work or openwork, in which finer threads and

materials were used; under the skilful fingers of the inhabitants

of the convents works of exquisite skill were produced, vestments

and hangings, all destined to ornament the church. In England in the

sixteenth and seventeenth centuries lace came into general use, and was

worn in great profusion by Queen Elizabeth and her Court. Fine steel

needles were made in England during this reign. Naturally this must

have had some effect on embroidery, but the change does not appear to

have been noticeable. Linen was embroidered in silk in various colours,

and further ornamented with drawn work. This drawn work was followed by

cut work, and from these we have the origin of lace. These first laces

were of two kinds: Lacis and Cut Work. They were heavy in texture and

suited to the costumes of the period.

=Lacis.=--In lacis the background consisted of a network of squared

meshes upon linen on which a pattern was darned in linen thread,

coloured silks, or gold threads; it was worked usually in large pieces,

for coverlets and bed hangings, curtain borders, and altar cloths.

=Cut Work.=--Cut work had the background at certain parts drawn, other

parts were cut away and the edges button-holed. Probably this stitch

was invented for the purpose of protecting these cut edges. This darned

netting and cut work, _point coupe_, were often combined on the one

piece.

=Reticella.=--The next step, of course, was to work without a linen

foundation. The threads were arranged in a frame, on a foundation which

was only there to hold the threads in position while they were worked

into various patterns, and filled with button-hole stitches. All the

laces of this period were geometric in design--squares and circles

combined with cut work, drawn work and embroidery. It was not until

about the end of the seventeenth century that these gave place to

flowing lines and more elaborate and complicated workmanship with a net

background.

Some of the earlier peasant embroideries are singularly interesting.

There is a personality and a quaintness of thought combined with those

spontaneous designs, a brightness of colour so instinctive, and an

inventiveness of method so freely displayed that one has only to see

the embroideries to realise their charm.

The art and craft has passed from generation to generation. Some

nations are distinguished by the exquisite skill with which the work

is executed, others by the multiplicity of colours; the patterns

predominating are mostly of the geometrical type. Some of the sixteenth

and seventeenth-century Italian drawn work (_punto tirato_), in which

the weft or warp threads were removed; _punto tagliato_ (cut work),

in which both the weft and warp threads were cut away, leaving only

connecting bars of the linen, are inspiring to the needlewoman of

leisure.

From these embroidered and cut-linen works reticella and needle-point

laces arose.

=Hedebo Embroidery.=--The embroidery done by the peasantry of Denmark

is worked almost entirely in button-hole stitch, on a firm linen

ground, and with a coarse linen thread. (The Danish women always wear a

little shield of metal when they are working on the second joint of the

little finger to protect it--the constant friction would be apt to cut

the finger otherwise.)

It is an exceedingly durable type of embroidery or lace--for it

partakes of the nature of both--and is simple to work. The designs are

mostly of the geometrical type, consisting of squares, circles, ovals,

etc., worked in button-hole stitch, arranged to form borders, corners,

or centres for table and bed linen. By combining other embroidery

stitches with the button-hole stitch many charming pieces of work might

be produced without much difficulty. Many of the Danish peasantry earn

their livelihood by means of this beautiful work.

Plate XIV. illustrates the corner for a panel for a pram or cot

coverlet in process. The centres of the forms are all worked in the

typical hedebo work, while the outer parts are filled in with a variety

of stitches. To prepare the simple design, make a series of squares

and circles in paper and connect them with double lines; arrange and

space them symmetrically. Leave sufficient space between each circle to

allow for the surrounding stitchery (see chapter on design). Then, when

finished, draw directly on to the linen with compasses or any small

round shape; leave sufficient material for a hem or border. The linen

should be of a good firm quality. Use a sewing needle--No. 6 scientific

sharp--and a lace thread--Taylor’s Mecklenberg, No. 6, or Knox’s

two-cord linen lace thread, No. 25 or 30, are suitable.

_Method_:--To prepare a circle, outline it with two rows of tacking

stitch, keeping most of the thread on the surface by lifting a tiny

stitch of linen. Tack the piece to be worked over _toile cirée_ or

over a stiff piece of brown paper; with sharp pointed scissors snip a

small piece out of the centre of the circle, and by the warp and weft

threads, cut up almost to the edge to allow the material to be turned

back quite close to the edges of the double row of tacking, about six

cuts to the half-circle. Begin to work in the following way:--Secure

the thread at the edge nearest the worker by running it along the

outline for a short distance--knots are never used--and bring it out

on the surface; hold the material so as to be able to work towards the

centre of the circle--that is, away from the worker; make the first

stitch by inserting the needle from underneath; draw up the thread

until there is only a small loop left; put the needle through the loop

from underneath and tighten with a jerk of the thread. Repeat these

stitches, but not too closely, round the circle, turning the material

under as the work proceeds; finish with the last stitch into the first

loop. The button-hole stitches should not be worked either too closely

or too tightly--about six or seven stitches to a quarter of an inch.

The inner row is worked in open button-hole loops (see Fig. 52), one

loop into the head of every fourth stitch; this can be strengthened by

working back along the top, one stitch into each loop. A close row of

button-holing, or, if preferred, another row of open button-holing,

should be sufficient to fill the circle. Carry the thread down over the

first button-hole loop, which is a single thread, and secure it at the

back of the linen.

The centre filling, composed of groups of three loops and pyramids, is

worked as in Fig. 59. The working of continuous pyramids is described

in connection with the cosy slip. Isolated pyramids are worked in

a slightly different manner. Starting from the left, work seven

button-hole stitches into the heads of the seven stitches surrounding

the open space; overseam back to the left; work six button-hole

stitches into the previous row; overseam back; work five button-hole

stitches and overseam back, when there is only one stitch left;

overseam down the right side of the pyramid; this brings the needle

into position to work the next group of loops. When all pyramids and

loops are finished, pick up a pyramid and a loop alternately with a

button-hole stitch into each; overseam one stitch into each loop, then

down the side of the last-made pyramid; fasten off at the edge.

The flowers in Plate XIV. are worked down the outer edges in blue and

white linen embroidery thread. The stitchery used can be fairly well

seen from the illustration. The largest flower in the corner has a row

of eyelet holes, made at equal distances to finish the hedebo centre;

the space is further ornamented with open button-holing (Fig. 53,

Plate X.) in blue. This stitching should be commenced at the centre;

the final row is worked into the linen and headed by a line of back

stitch in white; a line of chain stitch in blue finishes the flower.

The flower on the left has a waved line of closely set French knots,

filling up the space, followed by a row of chain stitch in white. The

little outer spaces between the curves are filled in with oriental

stitch (Fig. 18); these alternate with French knots worked in blue.

The flower on the right is filled in with loop or petal stitch, and

finished with a double row of blue knots.

Rhodes embroidery is rather different from the other peasant

embroideries. It is less varied, and so it is more monotonous and

less interesting to work than many of the openwork or drawn-thread

varieties. It seems to be of very ancient origin, and though it has

been brought into prominence lately, under different names, it is only

a revival of the old form of needlework done by the people of the

Isle of Rhodes and adapted to modern methods. The old work was done

on hand-made linen; the background was worked in red and the design

left in the linen, with an outline stitch to define it; it was thrown

strongly into relief by the colour of the worked background.

“=Punch Work.=”--In America this embroidery is known under the name

of “Punch work.” It is much used as dress trimmings and for bed linen

and table wear; as the fabric is not weakened by the withdrawal of the

threads, it stands wonderfully well for articles of daily household use.

The linen should be loosely-woven so that the warp and weft threads can

be gathered easily together without puckering the work--if hand-made,

so much the better; a linen working thread, strong but fine, and

a thick needle are required so as to separate the strands of the

material. Special needles may be had from needlework depots at 1_d._

each. The strong fine thread draws the clusters together and yet does

not fill up the open spaces which are a feature of the background. Fig.

M, Plate II., gives an idea of how the stitch is worked, but in the

figure the working thread is cotton, and each group of five threads is

gone over twice, so that the open spaces are rather smaller than they

would be if a linen thread had been used. When the material has been

chosen and the design traced on, fix the work on to a drawing-board,

and with a ruler mark off the dots in rows one-eighth of an inch apart;

note particularly in starting the first row of dots, that they are in

a perfectly straight line--with the warp or weft of the linen; this is

very important, as the work will not look well unless care is taken

in marking these dots. If the warp and weft lines of the material are

easily followed without strain to the eyes, these dots need not be

marked, but in many cases it is better to have a guide of some sort,

particularly when fine linen or muslin is used. Another method of

marking in the pattern of dots is to use an open canvas as a guide;

this can be placed over the linen and fixed with drawing-pins at the

top; the dots can be marked with a knitting needle or traced at regular

intervals through the threads of the canvas with a sharp-pointed

pencil. The only difficulty in using the canvas is that the lines of

warp and weft of the linen are hidden, so care must be taken to make

both materials correspond, otherwise the dots will be off the straight

line and the work will prove most unsatisfactory when finished.

Some workers prefer to do the outlining of the design first and the

background afterwards, others reverse the process--much depends on

the worker herself; the background can be kept free from puckering by

placing the work in a frame.

=To work Fig. M.=--Tie the thread to begin with; bring the needle out

at the first dot of the top left-hand corner; put it down through

the dot to the right; pull the three or four strands together and

repeat this horizontal stitch to tighten; pass the needle diagonally

under to the second left-hand dot--exactly under the first; make an

upward stitch into the first dot; pull strands together; repeat stitch

and tighten--this brings the needle to the surface again with one

horizontal and one vertical stitch completed. Repeat these two stitches

to the end of the row. These stitches should form three sides of a

square, the fourth side being added with the second row.

When the edge of the space is reached, turn the work round so as to be

able to work from the top down, as at starting. Make a little stitch to

keep the thread firm, on the wrong side, then bring the needle out at

the dot to the left; put it down through the previous hole--horizontal

stitch; repeat; take a vertical stitch, putting the needle down into

the previous hole, and, completing the square (Fig. M), repeat; pass

the needle diagonally under the material to the next dot, and so on.

When a very fine material is used the groups of threads may be held

together by a single stitch instead of a double one. This background

may be worked in a different way, all the horizontal stitches being

worked first, and then the whole turned half round and the vertical

stitches, which are now horizontal, worked next. This may commend

itself to some, being rather a simpler method; it is done entirely in

horizontal stitches and needs no description after studying the first

method. After the background is finished the design may be worked in

with satin stitch, chain stitch, outline stitch or button-hole stitch.

This should be done in the hand.

=Richelieu Embroidery.=--Richelieu embroidery--another of the

embroideries worked in button-hole stitch--is even simpler in

execution than Danish work, as the material is not cut away until the

button-holed bars--which connect the pattern--are finished. It is

worked in the hand, generally over a piece of _toile cirée_--American

cloth specially made for embroidery. The entire design is outlined in

small tacking stitches with embroidery cotton; the bars are then worked

in--they always have picots, which is characteristic of Richelieu work.

For the working of bars see Fig. 24, and of picots, Fig. 57. Care

must be taken to secure the ends of the bars, by passing the needle

through the linen to the back and making a stitch, before running the

stitches along the outline to the point for the making of the next

bar. The design is then button-holed all over in equal-sized stitches;

the flower centres are worked in, and finally the linen is cut away

very close to the button-holed design with a sharp pair of embroidery

scissors.

[Illustration: FIG. 52.]

=Edging: Point de Bruxelles= (=Fig. 52=).--This Fig. 52, which consists

of a piece of Honiton braid with an edging, shows the working of one of

the most elementary of the lace stitches. It will be seen at a glance

that it is the familiar button-hole stitch worked in loose loops;

to lace-makers it is known as _point de Bruxelles_. It is a stitch

constantly in use with them as it forms a good foundation net, and

charming patterns may be made with it when worked in rows, backwards

and forwards. _Point de Bruxelles_ is frequently found in laces of

different types as it may be worked closely or openly to suit various

styles and designs. The stitches are worked into the loops of the

previous row; sometimes a strengthening thread is stretched from right

to left, in which case the button-hole loops are worked from left to

right over this thread, as well as into the loops of the upper row.

There are many beautiful varieties of patterns for covering spaces or

openwork fillings to be made from this simple foundation stitch, by

varying the grouping of some and duplicating others (Fig. 53). What is

known as double-net stitch has two button-hole stitches worked into

each of the loops of the previous row. When used as a surface stitch

worked in coarse threads the loops may be fairly loose, provided care

is taken to keep them regular in shape and size. For those who are not

expert a frame is helpful or a piece of stiff glazed calico or brown

paper--either might be utilised to keep the material stretched.

As a filling for an open space they should be worked much smaller and

closer in a linen thread, the size mainly depending upon the opening to

be filled in.

[Illustration: FIG. 53.]