the same stitch. It also has a special name among laceworkers--_point
de Sorrento_, although only varying slightly in the arrangement of the
loops from _point de Bruxelles_. It is used principally for the filling
of open spaces and is comparatively quickly worked. Good results, too,
can be had by filling in large spaces with woollen threads of the
twisted type. In the first row the stitches are taken rather closely
together but equally distributed in the second row; one stitch is
worked into the last loop of the first row; one loop is missed; one
stitch into each of the two following loops, and so on across the
space. The pattern starts on the left side and is worked to and fro,
the third row, therefore, starts from the left again with one stitch
into the smaller loop and three into the wider loop.
[Illustration: FIG. 54.]
[Illustration: FIG. 54A.]
Fig. 54 is rather a favourite pattern, but the making of the small
wheels or roses is just a little tedious. The foundation is a row of
looped button-hole stitches, similar to Fig. 52, worked into a circle
of braid or a row of not too closely worked button-holed material as
described on p. 138. If the circle is small, another row added to this
and drawn up by overcasting the inner circle will often be sufficient.
The little wheels take up quite a large space themselves, but where
such elaborate stitching is wanted they look very effective.
_Method_:--After the row of open loops has been made, overcast a single
stitch into each loop and draw up the thread to tighten the circle; the
first row of open button-holing should be nicely spaced to leave room
for the forming of the little wheels. The little wheel-like forms are
woven in and out of the connecting stitches as is clearly shown in Fig.
54A. Another method of filling in a circle is as follows:--Make a row
of open button-holing as Fig. 52, spaced widely, so that there may be
eight or ten loops in the round. This done, draw them up by overcasting
one stitch into each loop; then carry the thread back to the edge of
the braid at the starting point of the first button-hole loop--this
is necessary to complete the first loop, the last half of which, so
far, has only got one strand. Add two more threads to this half-loop
by carrying the needle to the centre and back again; this acts as a
strengthening or padding thread to the half-loop, which has now to be
button-holed from the outer edge to the inner circle. Each loop is
worked in the same way, always adding the padding threads and starting
the button-holing from the braid, and from there working towards the
centre. When each loop has been worked, button-hole round the inner
circle with the heading towards the outer ring; slip the thread up
through the first bar and finish off neatly.
[Illustration: FIG. 55.]
Fig. 55 gives a simple method of filling in a square opening with a
circular form. It is not so complicated as one might suppose. Start at
the lower left-hand corner and lay the threads for the square; then
the first diagonal line is stretched across to the top right-hand
corner; overcast it back--in the method shown in the diagram--as far
as the centre only. From this point--the centre--each thread is laid
in succession to the edge--vertical, diagonal, horizontal, each one in
turn--and overcast back to the centre; when the circle is complete,
overcast the second part of the first diagonal back to the edge. The
loose button-hole loops are then worked, two into each side of the side
and the thread, passing round the first incomplete loop, is interlaced
round the inner circle to strengthen and tighten it (compare Fig.
55). Now complete the first button-hole loop; make the final outside
circle and finish off the thread. If the filling looks rather thin when
finished it may be solidified by working a row of close button-holing
round the inner circle.
This stitch is an interesting one and rather less used than the common
_point de Bruxelles_, on account of the initial difficulty of keeping
it quite regular; a little practice very quickly gives facility to a
careful worker.
[Illustration: FIG. 56.]
=A Netting Knot= (=Fig. 56=).--The knot is similar to that used for
netting. In working an open space as in Fig. 56, it will be found of
considerable aid--towards the equalising of the loops--if horizontal
lines are drawn on the foundation material. The loop may be fixed with
a pin into position, and the needle being inserted behind the loop of
the upper row and the stretched thread, the working thread is then
twisted over and under the needle before the thread is drawn up. This
stitch can also be worked without the strengthening horizontal lines,
either in diagonal or straight lines. To work it diagonally, make
the first loop in the left top corner of the square; overcast a few
stitches along the top to reach the position for starting the second
row; each loop is secured with the knot as in Fig. 56, their regularity
and equal length being ensured by the pin which is stuck into the
foundation. In netting, a knitting needle or small mesh is used
instead of a pin.
[Illustration: PLATE XIV.
CORNER OF COT COVERLET--UNFINISHED (_See p. 138_)]
=Edgings.=--A very dainty and durable little edging may be made by
working this knot on to a coloured or a lace braid. In Fig. 30 the knot
comes at the edge of the material, while with this _point Turc_ knot
the edge of the loop is knotted. If the loop in the edging in Fig. 30
is worked rather tighter, it also makes a very durable finish.
[Illustration: FIG. 57.]
=Picots= (Fig. 57).--The little pin picot is occasionally used as a
finish to a button-hole edging. It is rather ineffective, having only a
single thread, which is apt to disappear after a little wear. Fig. 23
gives a much more substantial picot in bullion stitch.
To work Fig. 57, button-hole a few stitches along the edge or bar as
the case may be; fix a pin into the material or bar and pass the thread
under it; take a stitch into the material; bring the needle out at the
back; slip it under the three threads from left to right (see Fig. 57)
and draw through. Make a firm knot close to the edge of the material,
then continue the button-holing till the next point is reached.
=Venetian Picot.=--A more substantial picot is used in Venetian lace
and embroidery as follows:--Make a connecting bar by stretching three
threads across from one edge of the opening to the other, as in Fig.
26. Button-hole half-way across, then insert a pin as Fig. 57, but
pass the thread under the pin and over the bar twice; then begin to
button-hole the picot at the point where the pin is inserted and work
five or six button-hole stitches till the bar is reached; the point
must be closely covered, then continue the button-holing of the bar.
[Illustration: FIG. 58.]
Fig. 58, _a_, _b_, _c_, show how a solid little picot may be worked as
an edging; it should have some decorative stitch to join up the picots,
such as large overcasting, button-hole, chain or couching stitch. It
is generally easier to work the picots with the edge held away from
the worker. Make a loop as at _a_; fasten it with a pin; then take the
thread to the top of the loop and pass it round as _b_. Then interlace
backwards and forwards, passing the needle under the thread before
going over to the opposite side, _c_. Repeat four or five times until
the loop is filled. A twisted thread of a fairly thick make is most
suitable for these picots.
[Illustration: FIG. 59.]
=A Button-hole Edging.=--Fig. 59 shows how to work an edging which is
particularly suitable for household linen, table mats, towels, etc.;
being both strong and durable, it will stand the hard wear which
household articles in daily use are subjected to.
Figs. 60 and 61 are very good surface stitches, both of which make
bold and most effective headings to a border or band of needle-weaving.
Both depend considerably on the care with which the foundation stitches
are worked; if these are not equally distributed and the interlacing
thread carefully adjusted to form the circles or links of the pattern
the decorative value of the line or filling is spoilt.
[Illustration: FIG. 60.]
=A Border Stitch= (=Fig. 60=).--To work as Fig. 60 three rows are
required to complete the stitch. First make a row of horizontal
stitches on a level with each other; then take a long thread and pass
the needle, eye foremost, up under the first small stitch, down through
the second, and so on, till the first row is finished--the second row
of interlacing completes the link.
[Illustration: FIG. 61.]
=An Interlacing Border or Filling= (=Fig. 61=).--The stitch may also be
used as a background or filling, in which case the ground must first
be patterned over with alternating rows of horizontal and vertical
stitches, equally spaced. The vertical stitches hold the lower and
upper edges of the links together--one such stitch is seen on the left
of Fig. 60. Fig. 61 looks well if the foundation stitches are worked
in one colour and the interlacing threads in another. By looking at
the figure it will be seen that four small horizontal stitches are
required to support the interlacing threads, in groups of two. These
must be equally spaced so that the rings may be equal in size. After
the foundation stitches are worked proceed exactly as in Fig. 60. Take
a long thread for the interlacing of the first row; pass the eye of the
needle foremost through the small stitches to prevent splitting of the
threads; follow by a second row, which completes the ring.
Fig. 13 gives a row of large back stitching with an interlacing thread
which is worked in a similar way, and which makes a good firm line or
heading to a border or hem.
[Illustration: FIG. 62]
=Two Leaf Fillings= (=Fig. 62=).--This filling for a leaf or oval form
is quickly worked; it may be used equally well for a surface stitch.
Fig. 62 represents a leaf with a lace braid for the outline. The
central thread which forms the mid-rib is stretched first, the loosely
worked loops are then threaded over this. This very simple arrangement
looks remarkably well, and can be still further enriched by spacing the
loops much wider apart, stretching horizontal lines across the spaces
and forming little woven wheels, or rosettes, over them, down the
mid-rib. This is, of course, a much more elaborate type of leaf, and
would be used to fill quite a large space.
There are many simpler methods of filling leaf forms or oval spaces--a
row of button-holing, _point de Bruxelles_ (Fig. 52) worked round the
inner edge, followed by one or two rows of looped button-hole stitch
(Fig. 53), and closed down the centre by a line of faggot, or Russian
stitch, finally overcasting a few stitches to the edge in order to
finish off the thread neatly.
Similarly, Fig. 62 _b_, may also be worked either as a surface filling
or as an open one. The horizontal lines are stretched first, then
overcasting from left to right of the straight lines fixes these
transverse threads; otherwise they would be apt to get out of place, as
they are only threaded over the one line and under the other.
=Point de Venise= (=Fig. 62= _a_).--This can be worked on to baby
garments, or to any article where a dainty finish is required. It looks
even better if the heading is of some of the lace braids. The thread is
secured at the edge and a looped stitch is taken as a foundation thread
into which are worked four button-hole stitches--to form a scallop.
This charming edging is much used in _point de Venise_. The same stitch
also makes a beautiful filling pattern.
=A Useful Bag.=--Plate XIII. illustrates what may be done with such
simple materials as canvas, braid and wool. The foundation of canvas
has the design traced on to the material; it consists of a series
of little circles and half-circles, which overlap here and there,
and which are eventually turned into gay little conventional flowers
by means of bright-coloured wools. These flowers are mostly worked
in petal stitch (Fig. 3A), and French knots (Fig. 22A). The band is
enclosed by two rows of braid, oversewn with green, blue and purple
wool. The foot of the bag is made up of an oval of braid worked in rows
from the centre outwards; the tassels, also of braid, are brightened
by rings and tags of wool; little thin lines of tinsel threads are
darned into the canvas--these serve to connect the embroidered band
with the upper decoration. The embroidered rings which hold the draw
strings are extremely pretty. This note of originality, and indeed,
the whole bag, conveys to one’s mind the impression of the bright
personality of the worker who thus gives outward expression of the joy
it gives her to work with her needle.
CHAPTER XIII
DECORATIVE FLOWERS AND LEAVES--EDGING AND INSERTION
“Take the gifts, too, to serve as monuments of my hand labour.”
These little flowers are a dainty trimming for hat bands (Plates IX.
and XII.), collars, ribbon, ties and jumpers, for dress decoration, or
as an addition to almost any article of daily wear: further, they are
so simple to work that a very few directions will enable any one to
make and apply them to whatever object may be chosen for decoration.
=Crochet.=--All crochet consists of a series of little loops made by a
needle or hook, these being worked or drawn together in various ways
to form patterns or designs suitable for edgings, insertions, motifs,
etc., for domestic use, and innumerable articles of personal wear.
The foundation stitch is a chain, and all patterns commence with
it--two or three or more, according to the article to be formed. Most
crochet patterns are worked in rows, backwards and forwards, or all
from one end; in the former case, the work must be turned at the end
of the row, after making two or three stitches to allow for turning;
therefore, the second, fourth, and sixth row, etc., will be worked on
the opposite side from the first, third, and fifth, etc. When the rows
are all started from the same end, the wool must be cut off at the end
of each row, and commenced again at the beginning of the next. Crochet
is worked, as in ordinary needlework, from right to left.
[Illustration: FIG. 63.]
=Chain Slip-knot= (=Fig. 63=).--We will start then with a slip-knot,
which forms the first loop for the chain (Fig. 63). Wind the wool once
round the first two fingers of the left hand and pull the long end of
the wool through the circle thus made in a such a way as to form a
loop; insert the hook; pull both ends of the wool and tighten the knot
sufficiently to leave an easy passage for the hook through it. The next
stitch is made by taking up the long end of the wool with the hook and
drawing it through the loop. Repeat this process until the length of
chain required has been obtained (Fig. 64). A little practice will soon
give the regularity of stitch necessary.
[Illustration: FIG. 64.]
=Single Stitch.=--To practise single crochet, make a chain about 12
inches long; put the hook into the upper half-loop of the second chain;
throw the wool over the point and draw it through this half-loop and
through the loop which is already on the hook. Proceed in this way to
the end of the chain; work one chain; turn and work back again, taking
care to put the hook into the upper half of the stitch of the previous
row. Thus the first stitch of each succeeding row is always worked into
the back of the last stitch of the preceding row.
[Illustration: PLATE XV.
TWO SIMPLE BASKETS (_See p. 169_)]
=Double Stitch.=--Double stitch is not very different from single
stitch. Put the hook into the upper half of the third chain from the
hook, as in single stitch; pass the wool over the hook and draw it
through. There are now two loops on the hook. Pass the wool over again
and draw it through these two loops; continue to the end of the chain
and turn as in single stitch.
=Treble Stitch.=--This stitch uses up much more wool than the two
preceding ones. Begin by passing the wool over the hook, then insert it
in the upper half of the chain already made; draw the wool through and
there will be three loops on the hook. Put the wool over the hook and
draw it through two loops; put it over a third time and draw through
the two remaining stitches. That completes a treble stitch. It will now
be noticed that for a single stitch the wool passes over the hook once,
for a double stitch it passes over twice, and for a treble stitch it
passes over three times.
=Long Treble Stitch.=--Long trebles are made by passing the wool twice
over the hook to begin with, then working it by drawing the needle
through two by two, always remembering to pass the wool over the hook,
just as in treble stitch. When working trebles to and fro, four or
five chain stitches must always be made at the end of each row before
turning. When the work is turned, these chain stitches form, or rather
replace, the first treble, which is skipped. This keeps the edges more
regular.
[Illustration: FIG. 65.]
=Ladder Insertion= (=Fig 65=).--Fig. 65 forms a useful little insertion
or ladder on which to place the crochet flowers. It connects the
groups and prevents the spotty appearance which would be rather a
disadvantage if the flowers were scattered in arrangement (Plate XII.).
It is very simply worked. Make a chain the required length, then add
three or four stitches for turning, to allow for the depth of the
treble; insert the hook into the fifth half-loop, counting backwards,
and make a treble stitch as described (p. 157); crochet one or two
chain between each treble stitch to correspond with the number of chain
stitches passed over.
=Hooks.=--In making the flowers, it is better for a novice to work with
a bone crochet hook and wool; steel hooks are used for fine threads,
flax, silk, or cotton, and are not quite so easy to manipulate as bone
or wooden ones. The point of the hook ought to be quite free from
roughness, as the wool or thread of any kind is so easily ruffled.
[Illustration: FIG. 66.]
=Flowers= (=Fig. 66=).--To make the simplest flower, work five chain
and join (Fig. 66 _a_). This figure is worked very loosely in order to
show the method. Then make seven chain and one double crochet into the
ring; five chain and one double crochet into the ring. Work in this way
until seven little petals have been formed, then join into the third
chain; finish off by cutting the wool and pulling it through. Thread a
needle with the cut end, and slip it down the chain to fasten off. This
forms a tiny flower, which may be duplicated in various tones of the
same colour and sewn on to the foundation with cross stitch or French
knots. The sizes of the flowers will vary considerably according to
the thickness of the hook and thread used, as well as to the method of
working, but it is always better to crochet flowers firmly to keep them
in shape.
[Illustration: FIG. 67.]
=A more elaborate Flower= (=Fig. 67=).--Fig. 67 gives a slightly more
elaborate flower.
_Method_:--Work six or seven chain and join by pulling the loop through
the first stitch. To make the petals, work four chain; three treble
stitches into the ring; four chain and one single or double stitch into
the ring--this completes a petal. Notice that the four chain at the
beginning and end form the sides of the petal. Be careful not to split
the wool while working, as this spoils the appearance of the flower.
Make five, six, or seven petals and join at the ring as before.
If a larger flower is wanted, make a small flower as Fig. 66 for the
centre, and work the petals into the openings instead of into the ring;
the petals may be made fuller also by adding more treble stitches to
each one.
Figs. 66 and 67, if worked in silk, cotton, or flax, make quite a
pretty decoration; the flowers may be folded into various shapes and an
interesting touch of colour or a stitch here or there, or an outline of
button-holing will add richness and variety to the work (Plate XV.).
[Illustration: FIG. 68.]
=Leaves= (=Fig. 68=).--Leaves are quite simple to make, and, of course,
will vary in size and form, just as the flowers do, according to the
size of the hook and the thickness of wool used. A chain forms the
mid-rib of the leaf, and into this double, treble and long treble
stitches are worked up one side of the chain and down the other, the
long trebles coming at the widest part and decreasing towards the tip.
_Method_:--Make nineteen chain as a foundation; work one single stitch
into the second chain from the hook, one double crochet into each of
the next two chain, one treble stitch into each of the next two chain,
one long treble into each of the next eight chain, one treble into each
of the next two chain, one double crochet into the next chain, three
double crochet into the last chain. These three stitches form the tip
of the leaf. Continue with one double crochet into the next chain; on
the other side of the chain a treble stitch into each of the next two
chain, and so on--repeating the stitches as on the ascending side--to
the end of the chain (Plate XII.). This leaf may be enlarged by working
a row of double stitch all round, while a smaller one may be made
by starting with thirteen or fifteen chain and putting in fewer long
trebles.
[Illustration: FIG. 69.]
=Wired Leaves= (=Fig. 69=).--Another type of leaf (Fig. 69) is made
with two lengths of covered green millinery wire--any wire will do
so long as it is covered--which are tied together in the centre with
green silk and then bent into the form of a leaf and fastened at
the foot with silk or wool. The wire is then interlaced with wool,
flax, or silk, or chenille, in green, blue, or any colour desired. As
the weaving proceeds in and out, take care to push the rows closely
together until the tip is reached; pass the needle and thread twice
round the tip and slip the needle down the centre to the stem, where
the thread is wound round and round until it is firm and a sufficient
length of stem is covered.
=Wired Flowers.=--Flowers may be made in the same way, each petal being
treated as a leaf; five or six are then tied together to form the stem,
and French or bullion knots added in another colour--to give stamens
and pistil for the centre.
[Illustration: FIG. 70.]
A USEFUL CORD (FIG. 70).--Fig. 70 makes a very good finish for various
purposes; it is a chain made with double stitch. Begin with two chain;
put the hook into the first chain; pass the thread over and draw it
through in a loop; pass the thread over again and draw it through the
two loops on the hook; put the hook into the left side of the stitch
just made; pass the thread over the hook and draw it through; pass the
thread again over the hook and draw it through both stitches; continue
in this way till length required has been worked. This little cord
will be useful for bags, edgings for coats and jumpers and many other
articles.
[Illustration: FIG. 71.]
=Tricot= (=Fig. 71=).--Fig. 71 represents another type of crochet,
sometimes called Victorian or Tunisian crochet or simply crochet
tricot. It makes a firm, close, yet elastic piece of work, and is
specially suited to the making of children’s slippers, scarves,
bonnets, reins, braces, collars, hat bands, etc. It is always worked
in rows--never in rounds--and a long straight hook with a knob at the
end is necessary as all the stitches on the advancing row are kept on
the hook and worked off on the return row--these two rows complete the
stitch, which is worked on the right side backwards and forwards.
Tricot crochet is commenced with a chain the exact length and finished
off with single stitch.
=A Tricot Collar= (=Plate IX.=).--The collar in Plate IX. is worked in
Knox’s linen “cord” floss thread. Make sixteen chain and work three
rows of double stitch to keep the ends from curling up as they would
do if the tricot stitch was started right away. For the tricot, the
loop row is worked thus:--Put the hook through the first stitch; pass
the thread over and draw it through in a loop; put the hook through
the second stitch and pass the thread over; draw through in a loop;
continue in this way to the end of the row, when there should be
sixteen loops on the hook. Put the thread over the hook and draw it
through one loop; pass the thread over and draw it through two loops;
keep on repeating this, passing the thread over and drawing through
two loops until there is only one stitch left on the hook. These two
rows complete the stitch. In the next row, the loop row, put the hook
through the hole between the first and second stitches; pass the thread
over and draw it through; pass the thread over the hook again and draw
it through the first of the two loops on the hook; repeat to end of
row, always putting the hook into the hole between the stitches; count
the stitches at the end of the rows, as it is quite a common mistake
for a beginner to increase or decrease by missing or making stitches.
The collar is finished with a row of single stitch right round, a deep
picot fringe to the ends with flowers worked in Knox’s linen “cord”
floss thread in delicate tints edged with silver thread and placed in
groups to give weight, interest and finish to the whole.
=Picots.=--Picots (Fig. 72) make a dainty finish for an edging of
crochet, needlework, or lace. Collars, table mats and many small
articles may be improved by these light points of various shapes; the
one objection to them is that they lose in appearance after washings
and so are not suitable for rough wear unless substantially made.
=Plain Crochet Picots.=--Crochet picots are quickly and easily worked.
For a plain triangular point, make six chain, then work one treble
stitch into the first chain made, that is the stitch furthest from the
hook. Repeat six chain and one treble into the first chain for the
length required--the six chain form the little triangular points or
picots, the treble stitch forms the heading.
=Dropping Picots.=--These dropping picots are a little more solid in
appearance than the plain picots. Make five chain; withdraw the hook
from the loop and insert it in the second of the five chain stitches
just made; take up the loop dropped; pass the thread over the needle
and draw it through the two loops; repeat with five chain; drop the
last loop; insert in second chain; take up the dropped loop; put the
thread over the hook and draw through both loops. Continue in this way
for the length required.
=Crochet Lace Picots= (=Fig. 73=).--Lace picots, as the name suggests,
are generally worked in fine threads; nevertheless, they can make very
effective trimmings if worked in wool or stout thread over a mesh, and
will wear wonderfully well.
=Two-chain Picots.=--Commence with two chain; put the hook into the
first chain; pass the wool over and draw it through the stitch--there
are now two loops on the hook; work two chain, then slip the loop
nearest the end of the hook off on to a thin wire or mesh and repeat.
Put the hook into the first of the two chain; pass the wool over
and draw it through the stitch; work two chain and slip off the last
loop. It is sometimes easier to withdraw the needle from the two loops
instead of slipping the last loop off the end of the hook and to
replace it into the front loop.
This edging may be sewn to a piece of work.
[Illustration: FIG. 72.]
=Picots= (=Fig. 72=).--The following picot is worked directly on to
the edge of the finished piece of crochet, or it may be worked into a
length of chain and overcast to the edge of any article suitable. Put
the hook into the first stitch; pass the wool over and draw through;
work one double crochet (see p. 157) into the next chain; draw out
the loop to the desired length for the picot and slip it on to a mesh
or pencil; insert the hook into the horizontal stitch at the foot of
the loop; pass the wool over the hook and draw a loop through; make a
double crochet stitch into the next chain; draw out the loop and slip
on to the mesh; repeat to the end of the work.
=Two-pronged Fork.=--A very quickly worked insertion, fringe, or edging
may be made by means of a two-pronged fork. The little implement can
be manufactured quite easily at home. For a fringe, a wooden fork is
necessary, with one wide and one narrow prong. The usual fork is of
thick steel wire and varies in size, but as steel wire is too hard
for the unskilled worker to manipulate, a softer metal would be more
satisfactory. A length of copper wire about one-eighth of an inch in
diameter and 15 inches long, could be beaten into the form of a hairpin
(Fig. 73) by means of a hammer; if the metal is too hard to take the
curve it can be softened by annealing it. The width between the prongs
may vary in different forks according to the width of the insertion
to be made, from half an inch to 3 inches apart is the usual spacing.
The stitch is made with a crochet needle, which will also vary in size
according to the material used; for working in fingering wool, three or
four ply, a No. 1 steel crochet needle does very well. Cotton, flax,
wool, raffia, string and metal threads, all may be worked up to form
various useful articles for decorative purposes. An effective fringe
could be made by threading beads into the wool; the beads could be kept
at the edge of the wide prong.
[Illustration: FIG. 73.]
=An Insertion or Fringe.=--Method of working:--This insertion may be
worked in two ways. By looking at Fig. 73 it will be seen that the
stitch is a very simple one. Make a slip-knot as Fig. 63, and one
chain; withdraw the hook. Place the fork with the prongs upwards in
the left hand, between the thumb and the middle finger; slip the chain
stitch on to the left prong with the thread towards the worker. Insert
the hook from below into it, then carry the thread round the right
prong and pass it over the point of the hook; pull it through the loop;
make one chain; put the thread round the left prong and turn the fork
to the right--slipping the hook over the right prong at the same time
so that it remains in the same position between the prongs with the
handle to the worker; insert the hook into the stitch on the left prong
from below; catch the thread and pull through; there are now two loops
on the hook; close these by putting the thread over and drawing it
through both. Repeat with the thread round the left prong as before.
=Raffia.=--A simple braid is done in three movements, the fork being
turned between each three. When the fork is filled, closely covered,
slip off the loops and reinsert the two prongs into the last five
or six loops, then continue for the required length. Two or three
braids may be joined together by slipping one loop over another, or a
contrasting thread may be taken and two loops on the one side may be
joined together by a double stitch; then make three chain; two loops on
the other side, joined again, then three chain; working in this way,
the joining forms a little row of vandykes in chain stitch. The outer
edges are then strengthened by one double stitch into two loops; two
chain; one double stitch into the next two loops; two chain, and so on.
Carpet and skirt braids may be joined together by means of an insertion
made in twine or raffia--the latter being the more decorative. After
making a row of gimp on a wide-pronged fork, connect it to the carpet
braid by working two double crochet stitches into each loop and two
into the braid--if a sufficient number of rows are joined together a
strong and useful shopping bag may be made, finished with handles of
plaited raffia and braid.
A pretty crochet edging suitable for finishing off many articles of
personal wear or for domestic use, which wears and washes well, may
be worked directly on to the material. Work a row of button-hole
stitch into the edges of the material; space the stitches rather
widely so as to allow of an easy entrance for the crochet hook--this
makes a daintier edging than inserting the needle directly into the
material. It is worked in three rows--a linen thread gives the best
effect. To work the first row, begin with one double stitch into a
button-hole loop, then two chain, and one double crochet into every
second button-hole loop; on approaching the corners, work into every
loop so as to allow the next row to lie easily round them--nothing
spoils good work so much as to see the stitching tightened and strained
round the edges and corners. When the first row is finished join the
stitches with a single stitch and commence the second row. Make eight
or ten chain according to the thread used and size of loop wanted, then
work double crochet into every third or fourth loop of the previous
row--give ease to the corners by working three double crochet into each
loop at the finish of the row; join as in second row. For the third
row work ten or twelve double crochet stitches over the chain loops,
as these stitches should cover the chain loops closely, when they look
similar to button-hole stitching. The appearance of this edging will
naturally vary considerably according to the size of the needle and
thread used. A very serviceable edging, not too minute, is made with
a No. 4 steel crochet hook and linen “L.C.” crochet thread, No. 14.
[Illustration: PLATE XVI.
A CUSHION COVER.]
=Another Edging= (=Plate VII.=).--A very effective edging is worked
into a row of needle button-hole stitch. Like the one above, it wears
and washes well. First row: work one double crochet into one of the
button-hole headings; make ten chain; pass six button-hole loops and
work one double crochet into sixth loop; continue making ten chain and
one double crochet until the row is complete. Break off the thread.
Start the second row with one double crochet in the centre of the chain
loop; make ten chain and work one double crochet into the centre of the
next loop, and so on to the end of the row; then join and break off the
thread. The third row is worked in a coloured thread. Take a blue linen
or cotton thread and start this row by working into the first loop.
Two double crochet, four chain, four double crochet, four chain and
two double crochet. Work the same number of stitches in each loop. The
chain stitches form little picots; this makes a dainty little finish to
a table centre. Compare Plate VII.
Plate XVB. gives an example of a work bag made from rug canvas. It
is worked in cross stitch in two shades of blue, light green and a
reddish-purple raffia. The edges are turned in and finished off with a
border of soft blue brush braid; the handles are of raffia, plaited, in
the different colours; the basket is lined with a printed silk which
matches the various colours.
Plate XV. gives a Japanese basket woven in grass, trimmed with
cherry-coloured braid and crocheted flowers--the flowers are sewn on
with dark blue; the lining consists of two shades of blue. The handles
are of cherry-coloured carpet braid. These baskets are so very useful
for the holding of odds and ends, mending, or embroidery. Some of the
simplest woven Japanese baskets look very well when trimmed with braids
in gay colourings and little crochet flowers. The busy woman might well
have one of these useful little baskets with work ready to her hand, or
suitable in their contents to her various rooms.
=A Cushion Case= (=Plate XVI.=).--The original is a charming piece
of work. The background, of a soft blue tone, is worked in blues,
bright greens, heliotrope and cream. The design, in straight lines and
circles, has two bars of needle-weaving, the definite pattern of which
is shown to advantage by the plain woven bars on either side. The bars
are worked similarly to the latchet darns which are frequently used
instead of rings to support the draw strings of bags.
The design is so simple that it might be drawn directly on to the
material--this should not be a difficult matter if the threads of
the canvas are regularly woven. Put in the main lines first--in the
illustration these lines are worked in satin stitch; use a ruler
and a chalk pencil--the latter is easily rubbed out if a mistake is
made--then run in the design in wool or thread. Measure off the bars
for needle-weaving, but do not cut and draw the threads until ready to
work them. Great care must be taken in planning out the various parts
of the design to have all lines running accurately with the warp and
weft of the material, otherwise, when the woven bars are put in, they
will accentuate any mistake made. The corners are in “laid” stitch,
that is, the threads are stretched loosely across from one side of the
square to the other, horizontally, then vertically--or _vice versâ_;
they are then sewn down at the junctions with tiny cross stitches,
which requires some care if the squares are not to be displaced. The
rows of running or tacking stitches accentuate the oval in the centre.
Cut and draw the threads for the needle-weaving after the outer band
of satin stitch has been worked. The plain bars should be worked in
first, as they are simpler in construction. When these plain bars are
finished, divide up the strands into groups of seven for the pattern,
and one group of eight--the latter forms the start and finish of the
pattern which should have four groups in each. Weave in all the purple
blocks to begin with; these, as may be seen from the illustration,
are widest at the base. Weave over seven groups for one-eighth of the
space; leave out a group of threads on either side and weave over five;
then over three, and then over one group; each step is fully one-eighth
in height. This process is then reversed, and the weaving finishes at
the opposite side over seven groups. The start and finish over four
groups can be followed from the illustration. The central figures
alternating in green and blue will then be woven in without difficulty.
The circles in the centre are worked in rows of satin stitch; the flat
green beads are surrounded by French knots in cream, and each circle is
surrounded on the outer edge by button-holing in blue of a lighter tint
than the canvas.
=Useful Hints.=--As a preliminary to the embroidery of a piece of work
comes the putting on of the pattern. This may be done in different
ways, but whichever way is chosen, it is well to realise from the
outset that accuracy is essential. All possible care should be taken
with the drawing on or tracing of the pattern or design; all straight
lines should follow the warp and the weft of the material, when they
are visible--the slightest unevenness causes unnecessary trouble in the
after-working.
_Transferring the Design_.--As previously mentioned, in a design for
coarse canvas a geometric pattern may be put on with a ruler and a
chalk pencil, but as chalk gives a thickish blunt line and is also
very easily rubbed off, it is necessary to fix the design, either by
running it round with a needle and thread, or by taking a fine brush
and going over the chalk lines with Chinese white or oil paint thinned
with turpentine. Another method is to lay a sheet of tracing paper over
the design and trace it through clearly and accurately; then, following
the plan of the little ones in the kindergarten with their embroidery
cards, lay the traced design, face up, on a pad of felt, or on two or
three folds of woollen material, and prick little holes very closely
together, along the lines of the design.
_Pouncing_.--A needle or a fine glass-headed steel pen will serve
as a pricker. Lay the pricked design face downwards on to the
material--which has previously been pinned on to a drawing board; fix
the tracing, and with a soft pad dipped in powdered chalk and charcoal
rub lightly across the holes from left to right--keep always rubbing
in the same direction; on removing the tracing, the pattern should
be perfectly clear. Take a fine brush and go over the design with
Chinese white or red oil paint thinned with turpentine; this is called
pouncing. The superfluous chalk or charcoal will blow off.
_Carbon Paper._--A simpler method is to use carbon paper, which may be
had in yellow, blue and red. Fix the material on a board and place the
design carefully and evenly on to it. Secure with drawing-pins at the
top line--leave the lower part free; raise the design--like a flap--and
place the carbon paper, colour downwards, on to the material, then pin
down the lower edges of the design. Do not put the pins through the
carbon paper as they leave an ugly mark wherever pressure is applied;
thus rings and bracelets should be removed before tracing. The upper
pins keep the design in position, and progress may be noted by removing
the lower pins and lifting the tracing and the carbon paper without
disturbing the position of the design.
Yet another way is to trace the design through on to a piece of
tarlatan--an open-meshed muslin; this being done, place the tarlatan
over the material, take a drawing pen, and with Indian ink run over the
lines already there. If this is quickly done, a clear line should show
on the material.
_Stretching._--Embroidery sometimes gets rather puckered while working.
It can be much improved, not by ironing, which is apt to flatten too
much, but by stretching. Simple needle-weaving with flat stitchery may
be laid on to two or three folds of blanket and pressed without harm.
For most other kinds of work it is better to lay it face downwards on
a board which has already been covered with a napkin or a fine towel;
fix it at regular intervals with drawing-pins, and while doing so
stretch the material into its right shape, if possible; be careful not
to stretch it out of shape, which would be worse than ever; then lay a
damp cloth over the work, leave it over-night to dry, and the puckering
should have disappeared by the time it is dry.
There is really no need to pucker work if it is held properly. Some
stitches are more inclined to tighten than others, but it is generally
when working across the material that they tighten it. The work should
always be held in a convex position over the fingers, and when working
in wools--which are sometimes very elastic--the needle-worker should
see that the threads lie easily over the surface. If the background
appears rounded at the worked part on the under-side, the wools are too
tightly strained. When mistakes are made it is always wiser to cut them
out than to unpick--it does not harm the material in the same way, and
it is not extravagant, as threads are generally too much roughened for
use after unpicking.
_Knots_, as a rule, should be avoided; threads should always be cut,
not broken off. The best way to commence a new thread is to run a few
stitches on the right side on a part which will be covered afterwards
by embroidery. This keeps the wrong side tidier, and the threads more
secure. A long thread does not make for good work, as a rule; it gets
roughened before it is finished and takes longer to pull through.
Braids and thick threads can be taken through to the wrong side by
making a hole with a stiletto, or by using a needle and thread. Bring
the needle through the hole and pass it round the braid, then pass
it back through the same hole and pull the braid through the hole
with it; in the case of a coarse thread, the needle will make a large
enough hole. In working with flax, note the direction of the fibre by
drawing it through the fingers. The needle should be threaded at the
smooth end, so that when the thread is drawn through the material it
is not roughened. In working with double wool, cotton, or silk, pass
two separate threads through the eye--both threads are then running the
same way. Always keep the finished part of the embroidery covered up
while working, if possible; it keeps it fresher and the threads do not
get rubbed. Hot hands discolour the threads, roughened fingers ruffle
them. Washing in warm water with the free use of pumice stone will help
in both cases.
_Washing Woollen Embroideries._--The soap should be of a good quality
and free from alkali, which injures the colours. Flake the soap and
dissolve it in boiling water; whip it into a lather; add cold water
until it is of a comfortable heat for the hands, and put the embroidery
in. Squeeze and work it gently--but on no account rub it--until it is
clean, then rinse in warm water, and again in cooler water; squeeze
the water out; hang up immediately--in the open air, if possible; dry
quickly and pin out on a board, and iron damp on the wrong side on a
folded blanket. White work may be washed in a lather of Lux--any soap
which does not contain alkali may be used. Proceed as for coloured
work, squeezing the dirt out, not rubbing; rinse and stretch over a
towel or put in the open air till almost dry. It is then laid face
downwards on several folds of blanket, a damp cloth placed over it, and
a hot iron passed backwards and forwards until it is quite dry--the
cloth prevents the iron from soiling the material on the back and
equalises the moisture. Velvet should be held while being pressed, or
the iron should be fixed face up and the velvet passed over it. All
wools should be shrunk before being worked on to articles such as sash
curtains and coverlets, which require washing. Steep them in a bath of
hot water for some hours; hang them up--in the hank--to drip; when dry,
they will be as soft as when new.
Braids should be subjected to the same treatment--they may probably
lose a very little colour if they are not reliable of their kind.
=Practical Hints about Materials.=--There is sometimes difficulty in
obtaining threads and materials of a coarse make and weave suitable for
carrying out articles similar to those illustrated throughout the book.
A short list of the names of firms where such may be bought is given
below for the benefit of readers.
Canvases and crashes particularly suited to needle-weaving may be
obtained from Messrs. Brown and Beveridge, Ltd., 194, Bath Street,
Glasgow. These are of good quality, in great variety and excellent
colouring.
Titian canvas, one of the heaviest makes, is very suitable for runners,
table covers and large objects generally; it may be had in three
widths, 27 inches, 50 inches and 72 inches, in mole, blue and soft
brown. Art canvas and antique canvas, both of a regular weave in quiet
colours, are lighter in make.
In vandyke canvases the warp and weft threads, which are of different
colours, blend very harmoniously. Art linens and bloom linens are
charming; the latter are woven in two colours. Celtic canvas in cream,
fawn, red, green, and a beautiful rich blue, are guaranteed fast dyed.
Cotton repps and Sundour unfadeable materials are also suitable and
useful for household decoration.
Messrs. Brown and Beveridge, Ltd., also supply tapestry and crewel
wools and a soft thick silk thread known as Tyrian embroidery silk.
Linens of different makes and colours can be obtained so easily that it
is not necessary to mention any special firm. Heavy unbleached linen
sheetings and towellings can be procured from some of the Irish linen
manufacturers.
Messrs. Murphy and Orr, Donegal Street, Belfast, make a heavy twill
unbleached linen to be recommended for coverlets.
Messrs. J. and J. Baldwin and Partners, Ltd., supply, through their
various agents, wools and yarns of a soft quality and in excellent
ranges of colour. “White Heather,” three-ply, and a thicker “Rainbow”
embroidery wool, sold in balls, are both good.
Fingering wools, three, four and five-ply, in light colours, may be had
from any of the numerous Scotch wool shops--Messrs. Fleming and Reid,
Greenock.
Messrs. W. and J. Knox, Ltd., Kilbirnie, manufacture linen and lace
crochet threads in cream, ecru and Paris white, also linen floss
embroidery threads in a wide range of beautiful colours. L.C. linen
lace thread in various thicknesses, numbering from 8 to 70. The
medium sizes from 35 to 50 are suitable for the background of Rhodian
embroidery.
“Cord” floss, a thick twisted thread, is suitable for knitting; hats,
collars, short jumpers, bags, etc., may be made from it.
Messrs. Kirkby, Beard & Co., Redditch, supply needles of a reliable
quality.
Blunt-pointed tapestry needles, No. 18, suitable for needle-weaving,
crewel and chenille needles, and the excellent “Scientific Sharps” may
be had from most of the needlework depots, or through any of their
agents.
Simple wooden looms for the making of braids, hat bands, ties, girdles,
etc., with instructions and with a piece of work started, may be had
from the Dryad Works, 42, Nicholas Street, Leicester. The same firm
supplies raffia in brilliant colours and raffia needles.
INDEX
American cloth, 143
Antique hemstitch, 73
Antique seam, 96
Applied work, 80
Arrow-head filling, 31
Art and craft, 5
Art canvas, 177
Background, open, 105
Backgrounds, 25, 29, 82, 104
Back stitching, 152
Bag, a useful, 153
Bag, work, 169
Bags, 132
Balance, 23
Bands, needle-woven, 105
Basket, Japanese, 169
Basket or stroke stitch, 71
Basket pattern, 33, 70
Basket stitch, 67
to work, 71
Baskets, 132
Beads, 19, 28
Blanket, Scottish, 9
Blanket stitch, to work, 58
Bokhara embroideries, 17
Border, 129
diapered, 60
geometrical, 124
interlacing, 151
pattern, 19
stitch, 151
vandyke, 30
Braid hat band, 133
Braid, Honiton, 144
Braid stitch, 53
Braids, 28, 76, 89, 119
Braids, hand-made, 28, 117
Brocade, 16
Building up of the pattern, 6
Bullion knots, 83
Bullion stitch, 84
Button-hole stitches, 56
bars, 86
crossed, 58
double, 61
edging, 150
filling of a space, 59
loops, open, 139
pyramid, 107
rings, 122
Button-hole stitch, flowers in, 59
Button-hole stitch, leaves in, 61
Buttons, 28
Buttons, indestructible, 123
Cable chain, 52
Cable chain, to work, 52
Canvas, 8, 67, 129, 131, 132, 177
Canvas stitches, 131
Carbon paper, 173
Carpet chenilles, 10
Carrick bend, 125
Celtic canvas, 129
Central fillings, 122
Chain stitch, 45, 79, 126, 143
in two colours, 47
to work, 46
twisted, 45
Chenilles, carpet, 10
Chequered fern stitch, 75
Chequered pattern, 70, 101
Chequered pattern, to work, 70
Chequers, 29
Chinese knot, 126
Circles, 22, 79
Colour, 12-17
Colour, juxtaposition of, 16
Colour, restful, 14
Colour scheme, 6, 80
Colours, six bright, 15
Colours, warm, 13
Common sense, 6
Construction, 6, 20
Cool colours, 14
Cope, Jesse, 82
Cope, Syon, 82
Coptic work, 40
Coral stitch, 48
Cords, 66
Cords, hand-made, 27
Corners, 20
Cosy cover, 112
Cot coverlet, 138
Couching, 68, 79
Couching, ancient method of, 81
Crash, Russian, 9, 37
Cretan stitch, 51
Cretonne, 16
Crochet, 69, 155
a useful cord, 161
chain slip-knot, 156
double stitch, 157
dropping picots, 164
flowers, 158
hooks, 78, 158
insertion, an, 166
lace picots, 164
ladder insertion, 157
leaves, 160
long treble stitch, 157
mesh, 165
picots, 163, 165
plain picots, 164
raffia, 167
single stitch, 156
treble stitch, 157
tricot, 162
two-chain picots, 164
Crossed button-hole, 58
Cross stitch, 101, 130, 131
Cross stitch, Italian, 130
Curtain, part of a, 55
Curving lines, 23
Cushion case, 170
Cut work, 136
Damask, 8
Damask darning, 32
Darning patterns, 29
Darning, single, 33
Darning stitches, 29, 106
Darns, latchet, 66, 170
Decorative back stitch, 61
Decorative initials, 111
Design, 21
Design, habit of, 5
Design, transferring the, 172
Designs, interlacing, 90, 127
Diagonal filling, 34
Diagonal lines, 21, 79
Diapered border, 60
Dominant colour, 16
Double button-hole, 61
Double-net stitch, 144
Drawing, 5
Drawn work, Italian, 137
Eastern embroiderers, 69
Ecclesiastical embroideries, 1
Edgings, 9, 27, 122, 149
Embroiderers, Eastern, 69
Embroideries, Bokhara, 17
Embroideries, ecclesiastical, 1
Embroideries, peasant, 136, 140
Embroideries, washing woollen, 175
Embroidery, Hedebo, 137
Embroidery, Rhodian, 35, 36, 140
Embroidery, Richelieu, 143
Embroidery threads, linen floss, 177
Embroidery, white, 83
Emery cushion, 12
Eyelet holes, 140
Faggoting, 93
Fern stitch, 74
Filet background, 104
Filet pattern, 77
Fillings, 29
arrow-head, 31
central, 122
diagonal, 34
honeycomb, 62
in squares, 35
leaf, 152
openwork, 29, 144
pyramid, 30
star, 31
Fingering wools, 177
Finishing touches, 6, 115
Finishings, 26
Fishbone, 71
Fishbone stitch, 50
Fitments, 26, 27
Flat knot, a, 116
Flowered hat band, 129
Flowers in button-hole stitch, 59
Fork-pin insertion, 99
Foundation net, 144
Frames, 11, 79
French knots, 28, 82
French tape, 75
Fringe, knotted, 115
Fringe, to prepare a, 114
Fringes, 28, 66, 68, 114
Galoon, 65, 66, 83
Galoons and gimps, washing, 28
Geometrical border, 124
Geometrical forms, 5, 19
German linen work, 111
Gimp, 117
Goblin stitch, 132
Good filling, a, 34
Good taste, 6
Greenhouse shading, 8
Groundings, open, 34
Habit of design, 5
Hand-made braids, 28, 117
Hand-made cords, 27
Harmony, 24
Hat bands, 129
Hedebo embroidery, 137
Hems, openwork, 72
Hemstitch, antique, 73
Hemstitching, method of, 115
Herring-bone, 65
Herring-bone foundation, 110
Herring-bone stitch, 94
Hints about materials, practical, 176
Hints, useful, 172
Honeycomb filling, 62
Honeycomb, to work, 63
Honiton braid, 144
Huckaback, 8
Indestructible buttons, 123
Indian work, 90
Individuality, 26
Initials, decorative, 111
Insertion stitches, 133
pyramid, 107
simple, 103
vandyke, 73
Interlacing border, 151
Interlacing designs, 90, 127
Interlacing knots, 91
Interlacing stitch, 108
Isolated pyramids, 107
Italian cross stitch, 130
Italian drawn work, 137
Japanese basket, 169
Jesse Cope, 82
Joining of selvedges, 97
Juxtaposition of colour, 16
Knot, a flat, 116
Knot work, 123
Knots, 83, 126, 127
Knots, French, 28, 82;
netting knot, 148;
ornamental knot, 123;
reef knot, 125;
weaver’s knot, 124
Knotted fringe, 115
Lace edge, 78
Lace-making, 135
Lace pillow-cushion, to make a, 118
Lace stitch, simple, 112
Lace stitches, 144
_Point d’Alencon_, 95
_Point de Bruxelles_, 144
_Point de Réprise_, 76, 106, 107
_Point de Sorrento_, 145
_Point de Venise_, 153
_Point rentré et retiré_, 81
_Point Turc_, 149
Laces, 122
Laces, needle-point, 135, 137
Lacis, 136
Ladder hemstitch, 72
Ladder stitch, 45
Laid stitches, 70, 171
Laid work, 67, 69
Latchet darns, 66, 170
Latchets of wool, 27
Leaf fillings, 152
Leaves, 130
Leaves in button-hole stitch, 61
Line stitch, 67
Linen floss embroidery threads, 177
Linen work, German, 111
Linens, 7
Lines, 20
Lines, curving, 23
Lines, diagonal, 21, 79
Lines, straight, 5, 19, 22, 23, 29
Link stitch, 51
Link stitch, to work, 52
Linked chain, 46
Loop stitch, 98
Loop stitch border, 75
Luncheon set, 86
Macramé, 116
Masses, 20
Material, practical hints about, 176
Materials, 7
Mesh, 121
Metal rings, 123
Mexican stitch, 63
Mexican stitch, to work, 63
Mount-mellick work, 85
Needle-made picots, 121
Needle-point laces, 135, 137
Needle-weaving, 28, 67, 87, 101
Needle-weaving, pattern in, 18
Needle-weaving, reversible, 103
Needle-woven bands, 105
Needles, 10
Net stitch, 71
Netting knot, 148
Nightdress case in blue and white, 127
Oddments, remnants and, 7
Open background, 105
Open button-hole loops, 139
Open groundings, 34
Openwork fillings, 29, 144
Openwork hems, 72
Orange, 14
Oriental stitch, 42, 51, 65
Originality, 29
Ornamental knot, 123
Oversewing, 101
Outline stitch, 143
Pattern book, venetian, 91
Pattern, building up of the, 6
Pattern in needle-weaving, 18
Pattern making, 5
Pattern, primitive, 18, 106
Pattern, wave, 32
Patterns, 29, 70, 137
Peasant embroideries, 136, 140
Persian quilting, 46
Persian work, 90
Personality of the worker, 4
Petal or loop stitch, 48
Petit point, 132
Picot, Venetian, 149
Picots, 149
Picots in bullion stitch, 84
Picots, needle-made, 121
Plaited stitch, 71
_Portière_, a, 59
Pouncing, 172
Primitive pattern, 18, 106
Principle of repetition, 20
Principles of colour, 12
“Punch work,” 141
to work, 142
_Punto a gruppo_, 116
Pyramids, 123
filling, 30
insertion, 107
isolated, 139
Quilting, Persian, 46
Raised stitchery, 94
Reef knot, 125
Remnants and oddments, 7
Repetition, principle of, 12
Restful colour, 14
Reticella, 136
Reversible back stitch, 62
Reversible needle-weaving, 103
Rhodian embroidery, 35, 36, 140
Ribbon, velvet, 96
Richelieu embroidery, 143
Richelieu work, 77
Ring stick, 122
Rings, 123
Rings, metal, 123
Rope stitch, 46
Rosettes, 108
Roumanian stitch, 73
Rugs, 133
Runner, table, 63
Russian crash, 9, 37
Russian stitch, 96
Satin stitch, 25, 67, 143
Seam, antique, 96
Selvedges, joining of, 97
Scissors, 11
Scottish blanket, 9
Sideboard cloth, 67
Silks, 10
Simple insertions, 103
Simple lace stitch, 112
Simplicity, 23
Single darning, 33
Six bright colours, 15
Snail-trail, 48
Snail-trail, method of working, 48
Spaces, value of, 20
Split stitch, 47
Square stitch, 35, 36, 68
Square stitch in slanting lines, 37
Star-filling, 31
Stitches, antique hem, 73;
arrangement of, 134;
back, 152;
basket or stroke, 71;
blanket, 58;
border, 151;
braid, 53;
bullion, 84;
button-hole, 56;
canvas, 131;
chain, 45, 79, 126, 143;
chequered fern, 75;
coral, 48;
Cretan, 51;
decorative back, 61;
double-net, 144;
fern, 74;
fish-bone, 50;
goblin, 132;
herring-bone, 94;
insertion, 133;
interlacing, 108;
Italian cross, 137;
lace, 112;
ladder hem, 72;
ladder, 45;
laid, 70, 171;
line, 67;
link, 51;
loop, 98;
Mexican, 63;
net, 71;
Oriental, 42, 51, 65;
outline, 143;
petal or loop, 48;
plaited, 71;
raised, 94;
reversible back, 62;
rope, 46;
Roumanian, 73;
Russian 9, 37;
satin, 25, 67, 143;
simple lace, 112;
split, 47;
square, 35, 36, 68;
square stitch in slanting lines, 37;
surface, 151, 152;
tacking, 25, 66;
tailor’s button, 58;
tambour, 45;
tent, 130, 132;
unity of, 24;
weaving, 128.
Stitchery, 6, 24
Straight lines, 5, 19, 22, 23, 29
Stretching, 173
Stroke stitch, basket or, 71
Surface stitches, 151, 152
Syon Cope, 82
Table mat of white linen, 75
Table runner, 63
Tacking stitch, 25, 66
Tailor’s button stitch, 58
Tambour stitch, 45
Tape, French, 28, 82
Tapestry-weaving, 103
Tassels, 28, 66
Tassels, simple, 120
Technique, 24
Tent stitch, 130, 132
_Tête de Bœuf_, 52
_Tête de Bœuf_, to work, 52
Thimble, 11
Threads, 9
_Toile cirée_, 76, 93
Transferring the design, 172
Treatment, 26
Twisted chain, 45
Unity of stitch, 24
Value of spaces, 20
Vandyke border, 30
Vandyke insertion, 73
Veining, 95
Venetian pattern book, 91
Venetian picot, 149
Velvet, 79, 131
Velvet ribbon, 96
Warm colours, 13
Washing galoons and gimps, 28
Washing woollen embroideries, 175
Wave pattern, 32
Weaver’s knot, 124
Weaving, 77
Weaving stitch, 128
Weft threads, 41
White embroidery, 83
White ground, 15
White work, washing, 175
Wool, latchets of, 27
Woollen embroideries, washing, 175
Wools, 9
Wools, fingering, 177
Work bag, 169
Worker, personality of the, 4
Working of tambour stitch, 46
Woven textures, 9
THE WHITEFRIARS PRESS LTD., LONDON AND TONBRIDGE.
Transcriber's Notes:
Bold type is shown as =strong=.
Italics are shown thus: _sloping_.
Variations in spelling and hyphenation are retained.
Perceived typographical errors have been changed.