STITCHES USED IN HAND EMBROIDERY AS TAUGHT AT THE ROYAL SCHOOL OF
ART-NEEDLEWORK.
To avoid pulling or puckering the work, care should be taken--firstly,
that the needle is not too small, so as to require any force in
drawing it through the material; secondly, the material must be held
in a convex position over the fingers, so that the crewel or silk in
the needle shall be looser than the ground; and thirdly, not to use
too long needlefuls. These rules apply generally to all handworked
embroideries.
STITCHES.
_Stem Stitch._--The first stitch which is taught to a beginner is
"stem stitch" (wrongly called also, "crewel stitch," as it has no
claim to being used exclusively in crewel embroidery). It is most
useful in work done in the hand, and especially in outlines of
flowers, unshaded leaves, and arabesque, and all conventional designs.
[Illustration: No. 1.--STEM STITCH.]
It may be best described as a long stitch forward on the surface, and
a shorter one backward on the under side of the fabric, the stitches
following each other almost in line from left to right. The effect on
the wrong side is exactly that of an irregular back-stitching used by
dressmakers, as distinguished from regular stitching. A leaf worked in
outline should be begun at the lower or stalk end, and worked round
the right side to the top, taking care that the needle is to the left
of the thread as it is drawn out. When the point of the leaf is
reached, it is best to reverse the operation in working down the left
side towards the stalk again, so as to keep the needle to the right of
the thread instead of to the left, as in going up.
[Illustration: No. 2.]
The reason of this will be easily understood: we will suppose the leaf
to have a slightly serrated edge (and there is no leaf in nature with
an absolutely smooth one). It will be found that in order to give this
ragged appearance, it is necessary to have the points at which the
insertions of the needle occur on the outside of the leaf: whereas if
the stem stitch were continued down the left side, exactly in the same
manner as in ascending the right, we should have the ugly anomaly of a
leaf outlined thus:--
[Illustration: No. 3.]
If the leaf is to be worked "solidly," another row of stem stitching
must be taken up the centre of it (unless it be a very narrow leaf),
to the top. The two halves of the leaf must then be filled in,
separately, with close, even rows of stem stitch, worked in the
ordinary way, with the needle to the left of the thread. This will
prevent the ugly ridge which remains in the centre, if it is worked
round and round the inside of the outline. Stem stitch must be varied
according to the work in hand. If a perfectly even line is required,
care must be taken that the direction of the needle when inserted is
in a straight line with the preceding stitch. If a slight serrature is
required, each stitch must be sloped a little by inserting the needle
at a slight angle, as shown in the illustration. The length of the
surface stitches must vary to suit the style of each piece of
embroidery.
* * * * *
_Split Stitch_ is worked like ordinary "stem," except that the needle
is always brought up _through_ the crewel or silk, which it splits, in
passing.
The effect is to produce a more even line than is possible with the
most careful stem stitch. It is used for delicate outlines. Split
stitch is rarely used in hand embroidery, being more suitable for
frame work: but has been described here as being a form of stem
stitch. The effect is somewhat like a confused chain stitch.
* * * * *
_Satin Stitch_--_French Plumetis_--is one of those chiefly used in
white embroidery, and consists in taking the needle each time back
again almost to the spot from which it started, so that the same
amount of crewel or silk remains on the back of the work as on the
front. This produces a surface as smooth as satin: hence its name. It
is chiefly used in working the petals of small flowers, such as
"Forget-me-nots," and in arabesque designs where a raised effect is
wanted in small masses.
[Illustration: No. 4.--SATIN STITCH.]
* * * * *
_Blanket Stitch_ is used for working the edges of table-covers,
mantel valances, blankets, &c., or for edging any other material. It
is simply a button-hole stitch, and may be varied in many ways by
sloping the stitches alternately to right and left; by working two or
three together, and leaving a space between them and the next set; or
by working a second row round the edge of the cloth over the first
with a different shade of wool.
[Illustration: No. 5.--BLANKET STITCH.]
* * * * *
_Knotted Stitch_, or _French Knot_, is used for the centres of such
flowers as the daisy or wild rose, and sometimes for the anthers of
others. The needle is brought up at the exact spot where the knot is
to be: the thread is held in the left hand, and twisted once or twice
round the needle, the point of which is then passed through the
fabric close to the spot where it came up: the right hand draws it
underneath, while the thumb of the left keeps the thread in its place
until the knot is secure. The knots are increased in size according to
the number of twists round the needle. When properly made, they should
look like beads, and lie in perfectly even and regular rows.
[Illustration: No. 6.--KNOTTED STITCH, or FRENCH KNOT.]
This stitch is very ancient, and does not seem confined to any
country, and the Chinese execute large and elaborate pieces of
embroidery in it, introducing beautiful shading. A curious specimen of
very fine knotting stitch was exhibited at the Royal School in 1878,
probably of French workmanship. It was a portrait of St. Ignatius
Loyola, not more than six inches in length, and was entirely executed
in knots of such fineness, that without a magnifying glass it was
impossible to discover the stitches. This, however, is a _tour de
force_, and not quoted as worthy of imitation.
There is one variety of this stitch, in which the thread is twisted a
great many times round the needle, so as to form a sort of curl
instead of a single knot. This is found in many ancient embroideries,
where it is used for the hair of saints and angels in ecclesiastical
work.
Knotted stitch was also employed largely in all its forms in the
curious and ingenious but ugly style in vogue during the reign of
James I., when the landscapes were frequently worked in cross, or
feather stitch, while the figures were raised over stuffing, and
dressed, as it were, in robes made entirely in point lace, or
button-hole stitches, executed in silk. The foliage of the trees and
shrubs which we generally find in these embroidered pictures, as well
as the hair in the figures, were worked in knotted stitches of varying
sizes, while the faces were in tent stitch or painted on white silk,
and fastened on to the canvas or linen ground.
[Illustration: No. 7.--BULLION KNOT.]
Another variety of knotting, which is still occasionally used,
resembles _bullion_, being made into a long roll. A stitch of the
length of the intended roll is taken in the material, the point of the
needle being brought to the surface again in the same spot from which
the thread originally started; the thread is then twisted eight or ten
times round the point of the needle, which is drawn out carefully
through the tunnel formed by the twists, this being kept in its place
by the left thumb. The point of the needle is then inserted once more
in the same place as it first entered the material, the long knot or
roll being drawn so as to lie evenly between the points of insertion
and re-appearance, thus treating the twisted thread as if it were
bullion or purl.
* * * * *
_Chain Stitch_ is but little used in embroidery now, although it may
sometimes be suitable for lines. It is made by taking a stitch from
right to left, and before the needle is drawn out the thread is
brought round towards the worker, and under the point of the needle.
[Illustration: No. 8.--CHAIN STITCH.]
The next stitch is taken from the point of the loop thus formed
forwards, and the thread again kept under the point, so that a regular
chain is formed on the surface of the material.
This chain stitch was much employed for ground patterns in the
beautiful gold-coloured work on linen for dress or furniture which
prevailed from the time of James I. to the middle of the eighteenth
century. It gave the appearance of quilting when worked on linen in
geometrical designs, or in fine and often-repeated arabesques.
Examples of it come to us from Germany and Spain, in which the design
is embroidered in satin stitch, or entirely filled in with solid
chain stitch, in a uniform gold colour.
Chain stitch resembles _Tambour work_, which we shall describe amongst
framework stitches, though it is not at present practised at this
School.
* * * * *
_Twisted Chain_, or Rope stitch.
[Illustration: No. 9.--TWISTED CHAIN.]
Effective for outlines on coarse materials, such as blankets, carriage
rugs, footstools, &c.
It is like an ordinary chain, except that in place of starting the
second stitch from the centre of the loop, the needle is taken back to
half the distance behind it, and the loop is pushed to one side to
allow the needle to enter in a straight line with the former stitch.
It is not of much use, except when worked with double crewel or with
tapestry wool; and should then have the appearance of a twisted rope.
* * * * *
_Feather Stitch._--Vulgarly called "_long and short stitch_," "_long
stitch_" and sometimes "_embroidery stitch_." We propose to restore to
it its ancient title of feather stitch--"_Opus Plumarium_," so called
from its supposed resemblance to the plumage of a bird.
[Illustration: No. 10.--FEATHER STITCH.]
We shall now describe it as used for handwork; and later (at page 37),
as worked in a frame. These two modes differ very little in
appearance, as the principle is the same, namely, that the stitches
are of varying length, and are worked into and between each other,
adapting themselves to the form of the design, but in handwork the
needle is kept on the surface of the material.
Feather Stitch is generally used for embroidering flowers, whether
natural or conventional.
In working the petal of a flower (such as we have chosen for our
illustration), the outer part is first worked in with stitches which
form a close, even edge on the outline, but a broken one towards the
centre of the petal, being alternately long and short. These edging
stitches resemble satin stitch in so far that the same amount of
crewel or silk appears on the under, as on the upper side of the work:
they must slope towards the narrow part of the petal.
The next stitches are somewhat like an irregular "stem," inasmuch as
they are longer on the surface than on the under side, and are worked
in between the uneven lengths of the edging stitches so as to blend
with them. The petal is then filled up by other stitches, which start
from the centre, and are carried between those already worked.
When the petal is finished, the rows of stitches should be so merged
in each other that they cannot be distinguished, and when shading is
used, the colours should appear to melt into each other.
In serrated leaves, such as hawthorn or virginia creeper, the edging
stitches follow the broken outline of the leaf instead of forming an
even outer edge.
It is necessary to master thoroughly this most important stitch, but
practice only can make the worker perfect.
The work should always be started by running the thread a little way
in front of the embroidery. Knots should never be used except in rare
cases, when it is impossible to avoid them. The thread should always
be finished off on the surface of the work, never at the back, where
there should be no needless waste of material. No untidy ends or knots
should ever appear there; in fact, the wrong side should be quite as
neat as the right. It is a mistake to suppose that pasting will ever
do away with the evil effects of careless work, or will steady
embroidery which has been commenced with knots, and finished with
loose ends at the back.
The stitches vary constantly according to their application, and good
embroiderers differ in their manner of using them: some preferring to
carry the thread back towards the centre of the petal, on the surface
of the work, so as to avoid waste of material; others making their
stitches as in satin stitch--the same on both sides, but these details
may be left to the intelligence and taste of the worker, who should
never be afraid of trying experiments, or working out new ideas.
Nor should she ever fear to unpick her work; for only by experiment
can she succeed in finding the best combinations, and, one little
piece ill done, will be sufficient to spoil her whole embroidery, as
no touching-up can afterwards improve it.
* * * * *
We have now named the principal stitches used in hand embroidery,
whether to be executed in crewel or silk.
There are, however, numberless other stitches used in crewel
embroidery: such as ordinary stitching, like that used in plain
needlework, in which many designs were formerly traced on quilted
backgrounds--others, again, are many of them lace stitches, or forms
of herringbone, and are used for filling in the foliage of large
conventional floriated designs, such as we are accustomed to see in
the English crewel work of the sixteenth and seventeenth centuries, on
a twilled cotton material, resembling our modern Bolton sheeting.
It would be impossible to describe or even enumerate them all; as
varieties may be constantly invented by an ingenious worker to enrich
her design, and in lace work there are already 100 named stitches,
which occasionally are used in decorative embroidery. Most of these,
if required, can be shown as taught at the Royal School of
Art-Needlework, and are illustrated by samplers.
[Decoration]
[Decoration]