{ _a._ Simple Long and Short Stitch.
I. Long and Short Stitches. { _b._ Feather Stitch.
{ _c._ Overlap Stitch.
{ _d._ Tapestry Stitch.
II. Satin Stitches. { _a._ Simple Satin Stitch.
{ _b._ French Laid Work.
{ _a._ Simple Couching Stitch.
{ _b._ Twisted Stitch.
III. Couching Stitches. { _c._ Brick Couching Stitch.
{ _d._ Diaper Couching (Over Satin Stitch).
{ _e._ Other Elaborate Couching Stitches.
{ _a._ Kensington Outline Stitch.
{ _b._ Bulgarian Stitch.
IV. Outline Stitches. { _c._ Split Stitch.
{ _d._ Stem Stitch.
{ _e._ Twisted Outline Stitch.
{ _a._ Simple French Knot.
V. Wound Stitches. { _b._ French Knot, combined with Stem.
{ _c._ Bullion Stitch.
{ _a._ Simple Buttonhole Stitch.
{ _b._ Blanket Stitch.
VI. Buttonhole Stitches. { _c._ Honeycomb Stitch.
{ _d._ Double Buttonhole Stitch.
{ _e._ Ladder Stitch.
{ _f._ Cat, Brier, or Seamstress
Feather Stitch.
{ _a._ Common Chain Stitch.
{ _b._ Rope Stitch.
{ _c._ Single Reverse Chain Stitch.
VII. Chain Stitches. { _d._ Double Reverse Chain Stitch.
{ _e._ Double Chain Stitch.
{ _f._ Cable Stitch.
{ _g._ Beading Stitch.
{ _h._ Bird's Eye Stitch.
{ _a._ Simple Darning Stitch.
VIII. Darning Stitches. { _b._ Brick Darning Stitch.
{ _c._ Seed Stitch.
{ _d._ Queen Anne Stitch.
{ _a._ Herringbone Stitch.
IX. Fancy Stitches. { _b._ Ismit Stitch.
{ _c._ Janina Stitch.
{ _d._ Border Stitch.
The above table will be found of great value to beginners, enabling
them easily to master the scientific or theoretical as well as the
practical part of this article.
"Long and short" stitch as commonly used on linens is a border work.
That is, the forms of the design are not filled in entirely; the
stitches are carried round the outline and such space as they do not
cover within the form is allowed to remain in a low relief. This is
known as "half work," sometimes as "half solid Kensington," while
the solid "opus plumarium" is often called "Kensington." While it is
true that the Kensington school revived this ancient embroidery it is
doubtful if this is sufficient reason why it should give to it the
name. The history of art will be better preserved if we adhere to the
old terms. The effect of the contrasted surfaces, through the half
work, of the ground material and the embroidery, is very pleasing,
and such a method is more suitable on linen than solid embroidery.
It is less conventional and therefore is in harmony with the fabric.
On the other hand solid embroidery is rich in itself and should be
used to decorate rich fabrics. This is not an _invariable_ rule but
its restrictions are reasonable. Such exceptions as these may be
noted,--tiny forms such as the fronds of maiden hair fern may be made
solid to advantage, and the Bulgarian embroidery, fully described
elsewhere in this book, is heavy and complete. Conversely, good effects
are sometimes obtained with _heavy_ silks in half work on rich fabrics.
The artistic principle involved in the "half work" is suggestiveness.
If the design is good to start with, a great deal of spirit may be put
into it by the simple border embroidery.