A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK, WITH SOME NEW AND ORIGINAL
PATTERNS.
“COME around early this afternoon and bring your fancy-work; we will
have a nice, cosey time; all the girls will be there, and we can read
that last new book.” Such is the familiar and welcome invitation given
and received, from time to time, by most young girls, and they find
quiet but real recreation in these informal meetings, where, while
listening to a friend read aloud, they believe it much easier to keep
their minds on the subject if their hands are employed with dainty
needle-work. Then, too, sewing is a real pleasure when one becomes
interested in the work, and anyone who thoroughly understands plain
sewing can with ease learn fancy stitches of all kinds, for good
old-fashioned
=Plain Sewing=
is the foundation—the A B C—of all the more elaborate drawn work,
embroideries, and some of the laces. As a rule we think
OVERHANDING
comes first on the list of plain stitches; this is exactly the same
as sewing over and over. Hold the two edges of the material firmly
together between the first finger and thumb of the left hand, while
with the right hand you take the stitches very close together and as
near the edge as possible, sewing from right to left (Fig. 292). It is
well to keep the edge nearest to you a little tighter than the outer
edge, to prevent its puckering. Always baste the seam before sewing,
and when the seam is finished open it and flatten out the stitches
(Fig. 293), so that the edges of the material will not overlap, but
just meet together and lie smooth and flat.
[Illustration: Fig. 292.—Overhanding; or Sewing over and over.]
[Illustration: Fig. 293—Overhanding. The seam opened with stitches
flattened out.]
OVERCASTING
is the same as overhanding, except the stitches slant, are farther
apart, taken down deeper in the material, and the seam is not opened.
HEMMING.
First turn in the raw edge four or five threads, according to the kind
of goods to be hemmed, then turn it down again to the desired width;
this done, baste the hem down evenly and neatly—it must be of the same
width throughout—hold the sewing over the first finger of your left
hand, and have the stitches small, even, and very near the edge of the
hem (Fig. 294).
[Illustration: Fig. 294.—Hemming.]
RUNNING.
Pass the needle in and out of the material in a straight line (Fig.
295), making all the stitches the same size. We believe the rule is to
take up two threads and leave two; but the length of the stitch should
be regulated by the kind of material used.
[Illustration: Fig. 295.—Running.]
BASTING
is to take long stitches in the same manner as running.
GATHERING
does not differ much from running; the stitches are taken on the needle
in the same manner, but in this case two threads are taken up and four
left; the line should be kept perfectly straight.
If you wish to gather an apron or a skirt divide it into halves, then
into quarters, in order to make the fulness even on each half of the
band; mark the four places and gather on the right side; when finished
draw the stitches tightly together on the thread and stroke down
evenly with a needle. To sew in the gathers, back-stitch each one in
separately.
STITCHING.
Take two threads back of the needle and two before, having each stitch
meet the last one, as in Fig. 296; keep the stitches even and in a
straight line.
[Illustration: Fig. 296.—Stitching.]
BACK-STITCHING.
Proceed as in stitching, only make the stitches longer and do not have
them meet.
FELLING.
First baste up the seam, allowing the upper edge to extend five threads
beyond the lower edge (Fig. 296); then back-stitch or stitch the two
edges together; next turn the upper edge down over the lower one and
lay open the seam so that the fell will lie down flat like a hem (Fig.
297); then hem it down neatly.
[Illustration: Fig. 297.—Felling.]
=Button-holes.=
Fig. 298 shows how to take the proper stitch. Be careful in cutting
button-holes to make the slit even to a thread and cut the outer corner
rounded; bar the inner corner by taking two stitches across it, and
overcast the button-hole around three or four threads deep from the
edge, or if the material is not inclined to ravel run it with thread,
either double or single, drawing it a trifle tight; then begin at the
left-hand corner to work the button-hole, leaving one thread between
each stitch; keep the stitches exactly the same depth and the loop or
pearl of the button-hole on the upper edge.
[Illustration: Fig. 298.—Button-hole Stitch.]
HERRING-BONE OR CAT’S-TOOTH STITCH
is used to keep the seams in flannel spread open and fastened neatly
down. Fig. 299 shows how to take the stitch; make the stitches all even
and of the same size.
[Illustration: Fig. 299.—Herring-bone Stitch.]
We have now given all the stitches which properly belong to plain
sewing, and our next step will be
=Darning and Mending.=
“A stitch in time saves nine;” this much most of us know from
experience, and it is wise to devote a little time on a certain day
each week to looking over the wardrobe and making any repairs that may
be needed; the little care and time thus bestowed will prove a true
economy, and it is a real comfort to have all one’s clothing in perfect
order.
TO DARN A JERSEY OR A STOCKING.
With a needle and thread carefully draw out the uneven ravelled edges
of the hole, in order to diminish its size as much as possible, and
bring the loops and ends back in their proper places; then place under
it a wooden egg or anything that will answer the purpose, and using
thread of the same texture and shade of color as the garment to be
mended, run back and forth across the hole as far as the material is
worn thin, leaving a loop at the end of each turn. In crossing the
threads, take up every other thread alternately each way (Fig. 300),
and make the darn of an irregular shape, as one of an even outline does
not wear well; when the weaving or darning is finished the loops can be
cut off.
[Illustration: Fig. 300.—Jersey or Stocking Darn.]
[Illustration: Fig. 301.—Tear Darn.]
TO DARN A TEAR.
Carefully bring the ragged edges together and baste the tear as nearly
as possible in its original position; then, if it is delicate muslin
or dress material to be mended, use ravellings of the same instead of
thread to darn with, and weave it in and out across the edges of the
rent, as in Fig. 301; if the darn needs strengthening, baste a piece
of the same material under the rent before darning, and catch down
the edges of the piece on the under side of the goods. In mending
broadcloth or like material, darn it on the wrong side, and when the
darn is finished, ruff up the nap with the point of the needle at the
edges of the tear on the right side to cover the stitches; then dampen
the darn, and after laying a thin clean cloth over it, press with a
moderately hot flat-iron; this should make the darn almost, if not
quite, imperceptible.
=How to Patch.=
If possible cut the piece intended as a patch of the same goods as the
garment to be mended, and if there is a pattern be careful to so cut
and place the patch that it will match exactly; baste and hem down the
patch on the right side of the worn part of the garment; then cut out
the old material on the wrong side, leaving enough edge to form a firm
hem; sew this to the patch, taking care that the stitches do not show
on the right side.
=How to Sew on a Button.=
Should much strain come on the button, as in little children’s clothes,
first hem down a small double piece of muslin, on the wrong side of
the garment, at the exact spot where the button is to be placed, and
with strong thread take a stitch on the right side; then sew the button
through about four times, being careful not to let the stitches spread
on the wrong side; wind the thread three times around the shank of the
button formed by the stitches, drawing the thread a little tight, pass
the needle through and fasten the thread neatly on the wrong side; the
extra piece of muslin can be omitted when not needed.
=To Mend a Kid Glove.=
If the glove is merely ripped, and there is no strain on the portion
to be mended, sew the two edges together over and over on the right
side with fine thread or sewing-silk matching in color the glove to
be mended; if, however, there _is_ liability of its tearing out again,
strengthen the edges by first working a button-hole stitch on each;
then sew them together over and over, passing the needle in and out of
the loops of the button-hole stitch, so forming a narrow net-work of
thread between the two pieces of kid. Should the glove need a patch,
carefully cut a piece of kid out of the best part of an old kid glove
corresponding in color to the one needing repairs; make the patch
exactly the shape and size of the hole, and button-hole stitch all
around the edge of the hole and the edge of the patch; then sew in the
patch over and over, catching together the loops of the button-hole
stitches; this makes the mending firm, neat, and strong.
=Fancy Stitches.=
These are in many varieties of style; one of the most useful is known
as the
FEATHER STITCH.
Fig. 302 gives the position of the needle and the manner of taking
the stitch. Remember to make all the stitches of an exact length and
the same distance apart, first one on this side and then one on that,
keeping them in a straight, even line.
[Illustration: Fig 302.—Feather Stitch.]
CHAIN STITCH
sometimes takes the place of braiding; it is the same stitch as
that used in the old-fashioned tambouring (Fig. 303); many Persian
embroideries are made in silk with the chain-stitch.
[Illustration: Fig. 303.—Chain Stitch.]
A NEW IDEA IN OUTLINE STITCH.
The stitch (Fig. 304) is used for outline embroidery, and when made
with fine black sewing-silk resembles pen-and-ink work. We have seen
figures outlined on linen with the drapery worked in colors, while the
face, hands, and feet were simply in black and white; being finely
outlined, the effect was novel and artistic, for in this way the
features were made as true as if drawn on paper with a pencil.
For filling in the solid colors take the common running stitch, but
make the stitches long on the right side of the embroidery and very
short on the wrong side, so as to give the appearance of the colored
fabric copied.
[Illustration: Fig. 304.—Outline Stitch.]
Use filo-silk; and English or French embroidery cottons, when colors
are needed in the work. Always soak the silks and cottons in strong
salt and water before using; this sets the color and keeps it from
running when washed.
HEM-STITCHING.
Decide upon the width of the hem and the width of the space for drawn
threads; carefully draw out the thread at one edge of the space, then
the thread at the other edge; next all the intervening threads; this
finished, fold and baste down the hem, allowing it to meet the edge
of the drawn work, and taking five threads running lengthwise in the
space, bind them together at the edge of the hem; at the same time
stitch them to the hem, as in Fig. 305.
[Illustration: Fig. 305.—Hem-stitching.]
=Drawn Work=
always looks well and is very serviceable when made of linen.
Scarfs for buffets, bureaus, or tables, and tea-cloths, tidies, or
chair-backs, can be made of crash, butchers’ linen, and linen sheeting;
it is better to have doylies of very fine linen.
[Illustration: Fig. 306.—Fagotting Stitch.]
In making drawn work, if the article is to be fringed, first draw out
a few threads to measure the depth of the fringe, and at the opening
thus made hem-stitch all around the edge of the material, leaving the
ravelling out of the fringe until the drawn work is finished; proceed
to draw the threads wherever spaces are desired, and before working the
pattern always hem-stitch both edges of the spaces. In Fig. 306 the
pattern marked B shows the stitch called fagotting, made by crossing
every other group of threads back over the one preceding and drawing
the linen thread through in such a way as to keep the groups twisted;
the two lines marked A, in the Fig. 306, are intended more as a finish
to some elaborate design than as a pattern in themselves; these are
made by hem-stitching down a number of threads to each group. Fig.
307 gives a favorite pattern; for this count the threads, so that the
spaces may be equal and regular; draw the threads in all the spaces
running one way first; then draw the threads in the spaces crossing
the first one and run linen threads diagonally across from the top of
the right-hand corner to the bottom of the left, dividing each linen
square into two equal parts; cross these by threads also running
diagonally across from the top of the left-hand corner to the bottom of
the right, again dividing the linen squares, making four equal parts;
then weave threads through all the spaces running both horizontally
and perpendicularly, using the fagotting stitch (Fig. 306), and when
crossing the threads in the open spaces tie the centres of each in
turn, as in Figs. 308, 309; finish the pattern by running a thread in
and out several times around the knots in the centres of the wheels and
fasten the ends by tying neatly. Another pattern is given in Fig. 310.
[Illustration: Fig. 307.—Drawn Work.]
[Illustration: Fig. 308.—First Knot.]
[Illustration: Fig. 309.—Second Knot.]
[Illustration: Fig. 310.—Border in Drawn Work.]
Outline work is often combined with drawn work; fast colors, in
either cotton, linen or silk, are used for the outline design. When
the article worked is intended for daily use and must frequently be
laundried, it is better to substitute in place of the fringe a wide
hem-stitched hem edged with firm linen lace.
Very dainty fancy aprons are made of common scrim with spaces drawn
and narrow ribbons of different colors simply woven in and out of the
threads, running crosswise through the spaces.
=Applique and Original Designs for Portières.=
The pattern in this work is cut from one material and sewed on another.
Almost any kind of fabric can be used as either applique or foundation;
velvet and plush are suitable for applique, but make poor groundwork,
owing to the long nap; both materials in dark rich colors are handsome
when used as a border on portières or table-covers. To applique a
pattern of velvet or plush cut the design very exact and cover the
wrong side with a slight coating of gum, being careful to have the
gum thin on the edges so that it will not spread on the groundwork;
then lay the velvet on the place it is to occupy, and after pressing
it down very gently and lightly with your hand, allow it to dry; this
accomplished, the edges of the pattern may be hemmed down neatly on
the foundation. If a further finish is desired, outline the design by
sewing all around the edge a small gold or silken cord.
=Portières.=
We give an original applique design for a portière in Fig. 311,
representing Day. The foundation is of soft dark-blue momie-cloth, the
sun a round piece of bright yellow or orange satin, and the rays are
of gold or heavy yellow silk thread merely run in stitches of various
lengths; the cloud is of light blue crape or crazy cloth, and the bird
is one of those which come prepared expressly for applique by the
Japanese, and can be purchased at almost any Japanese or fancy store;
if possible a lark should be selected in preference to other birds.
The border is a band of old gold velvet. Our other design (Fig. 312)
represents Night; the foundation and band are the same as those for the
“Day” portière; the star is of white silk, the moon of very pale Nile
green silk, and the cloud of dark pearl gray crape or crazy cloth, much
darker than the blue momie-cloth.
[Illustration: Fig. 311.—Portière. Day.]
[Illustration: Fig. 312.—Portière. Night.]
The applique work must be done very carefully. First cut out the
designs, next turn in the raw edges evenly and smoothly, and with a
very fine thread and needle baste the edges down; then baste the
designs carefully on the foundations, and, with a fine needle and
sewing-silk matching in color the piece to be appliqued, hem each one
down neatly, making the stitches almost invisible. The band of velvet
can be sewed on the bottom edge of the momie-cloth, then turned up like
a hem and hemmed down.
=Lace.=
Very beautiful lace is made by cutting out the heavy patterns which
are still perfect, from old and worn laces and embroideries, and
transferring the designs to new fine wash-net. After first basting them
on, hem them down to the netting with a fine needle and thread; in this
way the embroideries last as long again and look as well as when new.
=Ribbon Embroideries.=
We can give a clearer idea of this work by means of an example, and we
will take the common white daisy as an illustration.
Thread a long-eyed coarse needle with very narrow white ribbon, and
beginning at the centre of the flower, pass the needle from the wrong
side up through your material, drawing the ribbon out nearly its full
length and leaving only a short piece on the wrong side to be fastened
down; now take a stitch straight out the length of a daisy petal and
pass the needle through to the wrong side; then, taking a very short
stitch, draw the needle out through on the right side; next take
another long stitch back to the centre of the daisy, thus forming the
second petal; continue in the same manner, making the petals radiate
out in a circle from the centre of the flower. Work the centres of the
daisies with yellow silk and the stems in dark-green silk; the leaves
can be either worked or appliqued. For half-blown daisies make only
about a quarter of a circle of petals, and in place of the yellow
centre, work a green calyx. Ox-eyed daisies can be made in the same
way with soft, thin yellow ribbon, a little broader than the ribbon
used for white daisies. The work is rapid and pleasing, and almost any
flower can be imitated very perfectly with ribbon embroidery.
[Illustration]