ENCYCLOPEDIA

OF

NEEDLEWORK

ENGLISH EDITION

ALL RIGHTS RESERVED

To be had:

of TH. DE DILLMONT, DORNACH, Alsace,
and at all booksellers, and embroidery shops.

Price, English bound with gilt edges:

Preface.

The absolute want of any comprehensive book on
needlework—such an one as contains both verbal and
pictorial descriptions of everything included under the
name of needlework—has led me to put into the serviceable
form of an Encyclopedia, all the knowledge and
experience, which years of unceasing study and practice
have enabled me to accumulate on the subject, with the
hope that diligent female workers of all ages, may be able,
by its means to instruct themselves in every branch of
plain and fancy needlework.

All the patterns given, even the most insignificant,
were worked afresh for the purpose, and thus, not merely
faithful representations, but also lucid and intelligible
explanations of the same, are secured.

In order that my readers may have something besides
the dull theory, the work is enlivened by a number of
useful patterns, some new, some derived from the artistic
productions of such countries and epochs as have
become famous by special excellence in the domain of
needlework.

Though, at first sight, the reproduction of many of
these patterns may seem to present insuperable difficulties,
they will, after a careful study of the text, and exact attention
to the directions given, prove easy to carry out.

Many of these interesting designs are drawn from
private collections, whose owners, with great kindness,
placed their treasures at my disposal, to copy and borrow
from at discretion, for which I desire to take the present
opportunity, of tendering them my warmest thanks.

The choice of colours and material—a difficult matter
to many—my readers will find rendered comparatively
easy to them by the notes affixed to the illustrations; and
I may point out, that most of the patterns were worked
with D.M.C cottons, which enjoy the well-earned reputation
of being, the very best of their kind, in the market
of the world.

Experience has convinced me that, in many instances,
these cottons may with advantage take the place of wool,
linen thread, and even silk.

If this work meet with indulgent judges, and prove
really useful, I shall find ample reward in that fact for
the trouble and difficulties that have unavoidably attended
its completion.

Stripe showing running, stitching, button-holing, and herring-boning.

Plain Sewing.

Many, on opening the Encyclopedia of needlework will
be disposed to exclaim as they read the heading of this first
section: What is the use of describing all the old well-known
stitches, when machines have so nearly superseded the slower
process of hand-sewing? To this our reply is that, of all
kinds of needlework, Plain Sewing needs to be most thoroughly
learned, as being the foundation of all. Those who are
able to employ others to work for them, should at least know
how to distinguish good work from bad, and those who are in
less fortunate circumstances, have to be taught how to work for
themselves.

Position of the body and hands.—Before describing
different kinds of stitches, a word should be said as to
the position of the body and hands when at work. Long experience
has convinced me that no kind of needlework necessitates
a stooping or cramped attitude. To obviate which, see
that your chair and table suit each other in height, and that you
so hold your work as hardly to need to bend your head at all.
The practice of fastening the work to the knee, besides being
ungraceful, is injurious to the health.

Needles.—These should be of the best quality. To test
a needle, try to break it; if it resist, and then break clean in
two, the steel is good; if it bend without breaking, or break
without any resistance, it is bad. Never use a bent needle, it
makes ugly and irregular stitches, and see that the eye, whether
round or egg-shaped, be well-drilled, that it may not fray
or cut the thread. Long or half-long needles are the best for
white work, long ones for dress-making, and longer ones still,
with long eyes, for darning. A stock of each, from No 5 to 12,
is advised. The needle should always be a little thicker than
the thread, to make an easy passage for it through the stuff.

To keep needles from rusting, strew a little stone alum in
the packets, and workers whose hands are apt to get damp,
should have a small box of it handy, to powder their fingers
with. Blackened needles can be made quite bright again by
drawing them through an emery cushion.

Scissors.—Scissors are a very important accessory of the
work-table, and two varieties are indispensable; a pair of large
ones for cutting-out, with one point blunt and the other sharp,
the latter to be always held downwards; and a pair of smaller
ones with two sharp points. The handles should be large and
round; if at all tight, they tire and disfigure the hand.

Thimble.—Steel thimbles are the best; bone are very
liable to break, and silver ones are not deeply enough pitted, to
hold the needle. A thimble should be light, with a rounded
top and flat rim.

The thread.—Except for tacking, your thread should never
be more than from 40 to 50 c/m. long.[1] If the thread is
in skeins, it does not matter which end you begin with, but if
you use reeled cotton, thread your needle with the end that
points to the reel, when you cut it; as the other end will split,
and unravel, when twisted from left to right, which is generally
done, to facilitate the process of threading. The cotton should
always be cut, as it is weakened by breaking.

Knotting the thread into the needle (fig. 1).—When the
thread becomes inconveniently short, and you do not want
take a fresh one, it may be knotted into the needle, thus:
bring it round the forefinger close to the needle, cross it on the
inside next to the finger, hold the crossed threads fast, with the
thumb draw the needle out through the loop thus formed,
and tighten the loop round both ends.

Fig. 1. Knotting the thread into the needle.

Materials.—For tacking, use Coton à coudre D.M.C qualité
supérieure (black and gold stamp) Nos. 2 to 6.[A] For hand-sewing,
Fil d’Alsace D.M.C Nos. 30 to 700,[A] and Fil à dentelle D.M.C,
balls or reels, Nos. 25 to 100[A] will be found most useful. For
machine-work: Câblé 6 fils pour machines D.M.C, Nos. 30 to
300,[A] black and
white, or white
and blue stamp.
These can also be
used for hand-work.
Both these
and the lace-thread
(Fil à dentelle) on reels, are
superfine in quality.
The medium
sizes are the most
useful; but the
only suitable ones
for very fine and
delicate fabrics are
the Fil à dentelle
D.M.C, and Fil
d’Alsace, and the
latter only is manufactured
in the
higher numbers.

All these threads are to be had, wound in balls, or on
reels, the buyer may make his own choice; balls are apt to
get tangled, but the cotton preserves its roundness better than
when it is wound on reels. Linen is generally sewn with
linen-thread, but Fil à dentelle and the Fil d’Alsace are very
good substitutes.

Position of the hands (fig. 2).—The stuff, fastened to a
cushion, must be held with the left hand, which should neither
rest on the table, nor on the cushion, the needle must be held
between the thumb and forefinger, of the right hand, and
the middle finger, armed with the thimble, pushes the needle
far enough through the stuff, for the other fingers to take hold
of it and draw it out; the thread then comes to lie between the
fourth and fifth fingers in the form of a loop, which must be
tightened gradually to avoid its knotting.

Fig. 2. Position of the hands.

Position of the hands without cushion (fig. 3).—When
the work cannot be
fastened to a cushion
it should be
held between the
forefinger and the
thumb, and left
hanging down, over
the other fingers.
If it need to be
more firmly held,
draw it between the fourth and fifth fingers, which will prevent
it from getting puckered or dragged.

Fig. 3. Position of the hands without cushion.

Stitches.—Plain-Sewing comprises 4 varieties of stitches,
(1) running, (2) back-stitching, (3) hemming and (4) top or
over-sewing.

(1) Running-stitch (fig. 4).—This is the simplest and
easiest of all. Pass the needle in and out of the material, at
regular intervals, in a horizontal direction,
taking up three or four threads at a time.
If the stuff allow, several stitches may
be taken on the needle at once, before the
thread is drawn out. Running-stitch is used
for plain seams, for joining light materials,
for making gathers and for hems.

Fig. 4. Running-stitch.

(2) Back-stitch (fig. 5).—Insert the needle, and draw it out
six threads further on, carry your thread back, from left to
right, and insert the needle three threads back from the point
at which it was last drawn out, and bring it out six threads
beyond. Stitching and back-stitching are better and more
quickly done by machine than by hand.

Fig. 5. Back-stitch.

Stitching (fig. 6).—The production of
a row of back-stitches, that exactly meet
one another, constitutes what is called
stitching. Only one stitch can be made
at a time, and the needle must be put
in, exactly at the point where it was
drawn out to form the preceding back-stitch,
and brought out as many threads
further on as were covered by the last back-stitch.
The beauty of stitching depends
on the uniform length of the stitches, and
the straightness of the line formed, to
ensure which it is necessary to count the
threads for each stitch, and to draw a
thread to mark the line. If you have to
stitch in a slanting line across the stuff,
or the stuff be such as to render the
drawing of a thread impossible, a coloured
tacking thread should be run in first, to
as a guide.

Fig. 6. Stitching.

Stitched hem (fig. 7).—Make a double
turning, as for a hem, draw a thread
two or three threads above the edge of the first turning, and
do your stitching through all three layers of stuff; the right
side will be that on which you form your stitches.

Fig. 7. Stitched hem.

(3) Hemming-stitch (fig. 8).—To make a good hem,
your stuff must be cut in the line of the thread. Highly dressed
stuffs, such as linen and calico; should be rubbed in the hand,
to soften them, before the hem is laid. Your first turning
should not be more than 2 m/m. wide; turn down the whole
length of your hem, and then make the second turning of the
same width, so that the raw edge is enclosed between two
layers of stuff.

Fig. 8. Hemming-stitch.

Narrow hems do not need to be tacked, but wide ones, where
the first turning should only be just wide enough to prevent
the edge from fraying, ought always to be. In hemming you
insert the needle and thread directed in a slanting position
towards you, just below the edge of the hem, and push it
out two threads above, and so on to the end, setting the
stitches, two or three threads apart, in a continuous straight
line. To ensure the hem being straight, a thread may be
drawn to mark the line for the second turning, but it is not
a good plan, especially in shirt-making, as the edge of the
stuff, too apt in any case, to cut and fray, is, thereby, still
further weakened. Hems in woollen materials, which will not
take a bend, can only be laid and tacked, bit by bit. In making,
what are called rolled hems, the needle must be slipped in, so
as only to pierce the first turning, in order that the stitches
may not be visible on the outside.

Flat seam (fig. 9).—Lay your two edges, whether straight
or slanting, exactly even, tack them together with stitches
2 c/m. long, distant 1 to 2 c/m. from the edge, and then back-stitch
them by machine or by hand, following
the tacking-thread. Cut off half the inner
edge, turn the outer one in, as for a hem
and sew it down with hemming-stitches.

Fig. 9. Flat seam.

Smooth the seam underneath with the
forefinger as you go, to make it lie quite
flat. Beginners should flatten down the seam with their
thimbles, or with the handle of the scissors, before they
begin to hem, as the outer and wider edge is very apt to get
pushed up and bulge over, in the sewing, which hides the
stitches.

Rounded seam.—Back-stitch your two edges together, as
above directed, then cut off the inner edge to a width of four
threads, and roll the outer one in, with the left thumb, till
the raw edge is quite hidden, hemming as you roll. This
kind of seam, on the wrong side, looks like a fine cord, laid
on, and is used in making the finer qualities of underclothing.

Fastening threads off, and on (fig. 10).—Knots should be
avoided in white work. To fasten on, in hemming, turn the
needle backwards with the point up, take one stitch, and stroke
and work the end of the thread in, underneath the turning.
To fasten on, in back-stitching or running, make one stitch
with the new thread, then take both ends and lay them
down together to the left, and work over them, so that they
wind in, and out of the next few stitches.

Fig. 10.
Fastening threads off
and on.

(4) Top or over-sewing stitch (fig. 11).—This stitch is used
for joining selvedges together. To keep the
two pieces even, it is better, either to tack or
pin them together first. Insert the needle,
from right to left, under the first thread of
the selvedge, and through both edges, and
sew from right to left, setting your stitches
not more than three threads apart. The
thread must not be drawn too tightly, so
that when the seam is finished and flattened
with the thimble, the selvedges may
lie, side by side.

Fig. 11.
Top or over-sewing
stitch.

Another kind of sewing-stitch (fig.
12)—For dress-seams and patching; sew
left to right, tacking or pinning the
edges together first, and holding them
tightly with the thumb and finger, to keep
perfectly even.

Fig. 12.
Another kind of
sewing-stitch.

Antique or old-German seam (figs. 13
and 14).—Tack or pin the selvedges together
as above, then, pointing your needle
upwards from below, insert it, two threads
from the selvedge, first on the wrong side,
then on the right, first through one selvedge,
then through the other, setting the
stitches two threads apart. In this manner,
the thread crosses itself, between the two
selvedges, and a perfectly flat seam is produced.
Seams of this kind occur in old embroidered
linen articles, where the stuff was
too narrow to allow for any other. A
similar stitch, fig. 14, only slanting,
instead of quite straight, as in fig. 13, is used in making
sheets.

Fig. 13.
Antique or old-german
seam.

Fig. 14.
Antique or old
german seam.

French double seam (fig. 15).—For joining such stuffs
as fray, use the so-called French-seam.

Run your two pieces of stuff together, the wrong sides
touching, and the edges perfectly even, then turn them round
just at the seam, so that the right sides come together inside,
and the two raw edges
are enclosed between,
and run them together
again. See that no threads
are visible on the outside.
This seam is used chiefly
in dress-making, for
joining slight materials
together which cannot be
kept from fraying by any
other means.

Fig. 15.
French double-seam.

Hemmed double
seam (figs. 16 and 17).—Turn
in the two raw
edges, and lay them one
upon the other, so that
the one next the forefinger, lies slightly higher than the
one next the thumb. Insert the needle, not upwards from below
but first into the upper edge, and then, slightly slanting, into
the lower one. This seam is used
in dress-making, for fastening
down linings. Fig. 17 shows
another kind of double seam, where
the two edges are laid together,
turned in twice, and hemmed in
the ordinary manner, with the sole
difference, that the needle has to
pass through a sixfold layer of stuff.

Fig. 16.
Hemmed double-seam.

Fig. 17.
Open hemmed double-seam.

Gathering (fig. 18).—Gathers are made with running-stitches
of perfectly equal length; take up and leave three or
four threads, alternately, and instead of holding the stuff fast
with your thumb, push it on to the needle as you go, and
draw up your thread after every four or five stitches.

Fig. 18. Gathering.

Stroking gathers (fig. 19).—When you have run in your
gathering thread, draw it up tight, and make it fast round the
finger of your left hand, and then stroke down the gathers
with a strong needle, so that they lie evenly side by side,
pushing each gather, in stroking
it, under your left thumb,
whilst you support the stuff
at the back with your other
fingers.

Fig. 19. Stroking gathers.

Running in a second
gathering thread (fig. 20).—This
is to fix the gathers after
they have been stroked, and
should be run in 1 or 2 c/m.
below the first thread, according to the
kind of stuff, and the purpose it is intended
for: take up five or six gathers
at a time, and draw your two threads
perfectly even, that the gathers may
be straight to the line of the thread.

Fig. 20.
Running in a second gathering-thread.

Sewing on gathers (fig. 21).—To
distribute the fullness equally,
divide the gathered portion of material,
and the band, or plain piece, on to which it is to be
sewn, into equal parts, and pin the two together at corresponding
distances, the gathered portion under the plain, and
hem each gather to the band or plain piece, sloping the needle
to make the thread slant, and slipping it through the upper
threads only of the gathers.

Fig. 21. Sewing on gathers.

Whipping (fig. 22).—Whipping is another form of gathering,
used for fine materials.
With the thumb and forefinger
of the left hand, roll the
edge over towards you, into a
very tight thin roll, insert the
needle on the inside of the roll
next the thumb, and bring it
out on the outside next the
forefinger, at very regular distances,
and draw up the thread
slightly, from time to time, to
form the gathers.

Fig. 22. Whipping.

Ornamental hem (fig. 23).
For an ornamental hem, make a turning, 2 or 3 c/m. deep, and
run in a thread, with small running-stitches up and down,
as shown in fig. 23. By slightly drawing
the thread, the straight edge will be made
to look as if it were scalloped.

Fig. 23. Ornamental hem.

Sewing on cord (fig. 24).—For sewing
on cord, use strong thread, either Fil
d’Alsace D.M.C, Fil à dentelle D.M.C or
Câblé 6 fils D.M.C No. 25, 30, 35 or 40.^[A]
Be careful not to stretch the cord, but to hold it in, as
you sew it, as it invariably
shrinks more than the
stuff in the first washing.
Fasten it with hemming
stitches to the edge of the
turning, taking care that
it does not get twisted.

Fig. 24. Sewing on cord.

Sewing on flaps (fig. 25).—These should be back-stitched
on to the right side of the article they are to be affixed to, quite
close to the edge, then folded over in half, and hemmed down on
the wrong side. Like the cord, the flap must, in the process,
be held in very firmly with the left hand. Though the back-stitching
could be more quickly done
by machine, hand-work is here preferable,
as the holding in cannot be
done by machine.

Fig. 25. Sewing on flaps.

Sewing on tape-loops (figs. 26
and 27).—These, in the case of the
coarser articles of household linen,
are generally fastened to the corners.
Lay the ends of your piece of tape,
which should be from 15 to 17
c/m. long, side by side, turn in
and hem them down, on three sides:
the loop should be so folded as
to form a three-cornered point,
shewn in the illustration. Join
the two edges of the tape together
in the middle with a few cross-stitches,
and stitch the edge of
the hem of the article to the loop,
on the right side.

Fig. 26. Sewing on
tape-loops to the corner.

Fig. 27. Sewing on tape-loops in
the middle of the article.

Fig. 27 shows how to sew on
a loop in the middle of an article,
the two ends separately, one on
one side, the other on the other.

Strings and loops for fine
under-linen (fig. 28).—Sew these
on, likewise, on the wrong side of
the article, hemming down the ends,
and fastening them on the
right side, with two rows of stitching
crossing each other, and a third row along the edge.

Fig. 28.
Strings and loops on fine
under-linen.

Button-holes in linen (fig. 29).—Cut your hole perfectly
straight, and of exactly, the diameter of the button, having
previously marked out the place for it, with two rows of
running-stitches,
two or three threads apart. Put in your needle at the
back of the slit, and take up about
three threads, bring the working
thread round, from right to left
under the point of the needle, and
draw the needle out through the loop,
so that the little knot comes at the
edge of the slit, and so on to the end,
working from the lower left-hand corner
to the right. Then make a bar of button-hole
stitching across each end, the
knotted edge towards the slit.

Fig. 29.
Button-holes in linen.

Button holes in dress materials
(fig. 30).—Mark out and cut them as
above described; if however, the material
be liable to fray, wet the slit as
soon as you have cut it, with liquid
gum, and lay a strand of strong thread
along the edge to make your stitches
over; one end of dress button-holes
must be round, the stitches diverging
like rays from the centre, and when
you have worked the second side, thread the needle with the
loose strand, and pull it slightly, to
straighten the edges; then fasten off, and
close the button-hole with a straight bar of
stitches across the other end, as in fig. 29.

Fig. 30.
Button-holes in dress-materials.

Sewing on buttons (figs. 31 and 32).—To
sew linen, or webbed buttons on to underclothing,
fasten in your thread with a stitch
or two, at the place where the button is to
be; bring the needle out through the middle
of the button, and make eight stitches, diverging
from the centre like a star, and if
you like, encircle them by a row of stitching,
as in fig. 32. This done, bring the
needle out between the stuff and the button, and twist the
cotton six or seven times round it, then push the needle through
to the wrong side, and fasten off.

Fig. 31. Sewing on
linen buttons.

Fig. 32. Sewing on
webbed buttons.

Binding slits (figs. 33, 34, 35, 36).—Nothing is more apt
to tear than a slit whether
it be hemmed or merely
bound. To prevent this,
make a semicircle of button-hole
stitches at the
bottom of the slit, and
above that, to connect the
two sides, a bridge of
several threads, covered
with button-hole stitches.

In fig. 33, we show a
hemmed slit, and in figs.
34 and 35, are two slits
backed the one with a
narrow, the other, with a
broad piece of the material,
cut on the cross.

Fig. 33. Binding slits
with hem.

Fig. 34. Binding slits
with piece on cross.

Fig. 35. Binding slits
with broad band.

Fig. 36. Strengthening
slits with
gusset.

In under-linen, it often
so happens that two
selvedges meet at the slit,
which renders binding
unnecessary; in that case
take a small square of
stuff, turn in the raw
edges, top-sew it into the
slit on two sides, turn in the other two, fold over on the bias,
and hem them down over the
top-sewing, as shewn in fig. 36.
Such little squares of material,
inserted into a slit or seam, to
prevent its tearing, are called
gussets.

Sewing on piping (fig. 37).
Piping is a border, consisting of a cord or bobbin, folded into
a stripe of material, cut on the cross, and affixed to the edge
of an article to give it more strength and finish. It is a
good substitute for a hem or binding on a
bias edge, which by means of the cord, can be
held in, and prevented from stretching. Cut
your stripes diagonally, across the web of the
stuff, and very even; run them together, lay
the cord or bobbin along the stripe, on the
wrong side, 5 m/m. from the edge, fold the
edge over, and tack the cord lightly in. Then
lay it on the raw edge of the article, with the
cord towards you, and with all the raw edges
turned away from you. Back-stitch the piping
to the edge, keeping close to the cord. Then
turn the article round, fold in the raw outside
edge over the others, and hem it down like
an ordinary hem.

Fig. 37. Sewing on piping.

Fixing whale-bones (fig. 38).—Before
slipping the whalebone into its case or fold
of stuff, pierce holes in it, top and bottom,
with a red hot stiletto. Through these holes,
make your stitches, diverging like
rays or crossing each other as
shown in fig. 38.

Fig. 38.
Fixing whale-bones.

Herring-boning (fig. 39).—This
stitch is chiefly used for
seams in flannel, and for overcasting
dress-seams, and takes
the place of hemming, for fastening down the raw edges of a
seam that has been run or stitched, without turning them in.
Herring-boning is done from left to right, and forms two rows
of stitches. Insert the needle from right to left, and make a
stitch first above, and then below the edge, the threads crossing
each other diagonally, as shewn in fig. 39.

Fig. 39. Herring-boning

Next Chapter.

Return to Table of Contents

SPECIMENS OF PATTERN DARNS.

Mending.

The mending of wearing-apparel and house-linen, though
often an ungrateful task, is yet a very necessary one, to which
every female hand ought to be carefully trained. How best
to disguise and repair the wear and tear of use or accident
is quite as valuable an art, as that of making new things.

Under the head of mending, we include the strengthening
and replacing of the worn and broken threads of a fabric, and
fitting in of new stuff in the place of that which is torn or
damaged. The former is called darning, the latter, patching.

Darning.—When only a few of the warp or woof threads
are torn or missing, a darn will repair the mischief, provided
the surrounding parts be sound. When the damage is more
extensive, the piece must be cut out.

In some cases the warp of the stuff itself can be used for
darning, otherwise thread as much like the stuff as possible
should be chosen.

Materials suitable for mending.—Coton à repriser D.M.C
is used for most kinds of darning. It can be had in 18 different
sizes, from Nos. 8 to 100, white and unbleached, and in
all the colours of the D.M.C colour-card in Nos. 12, 25 and 50.

It is but very slightly twisted and can be split or used
double, if necessary, according to the material. For all the
coarser articles of house-linen, unbleached cotton is the best,
and for the finer white fabrics, Coton surfin D.M.C Nos. 110,
120 and 150[A]. This cotton, which is not the least twisted,
and is to be had both white and unbleached, can be used, by
subdividing it, for darning the finest cambric.

Varieties of darning.—These are four, (1) Linen darning,
(2) Damask darning, (3) Satin or Twill darning, and (4) Invisible
darning, called also, Fine-drawing.

(1) Linen Darning (figs. 40 and 41).—All darns should be
made on the wrong side of the stuff, excepting fig. 54, which it
is sometimes better to make on the right side. The longitudinal
running, to form the warp, must be made first. The
thread must not be drawn tightly in running your stitches
backwards and forwards, and be careful to leave loops at each
turning, to allow for the shrinking of the thread in the
washing, without its pulling the darn together.

Fig. 40.
Linen darning. Drawing in the
warp threads.

Run your needle in, about one c/m. above the damaged
part, take up one or two threads of the stuff and miss the same
number, working straight to a thread; on reaching the hole,
carry your cotton straight across it, take up alternate threads
beyond, and proceed as before. Continue the rows backwards
and forwards, taking up in each row, the threads left in the
preceding one. Turn the work round and do the same for the
woof; alternately taking up and leaving the warp threads,
where the cotton crosses the hole. The threads must lie so
alone both ways, that the darn, when completed, replaces the
original web. The threads are only drawn so far apart in the
illustrations, for the sake of clearness.

Fig. 41.
Linen darning. Drawing in the
woof threads.

When the material to be darned does not admit of a fleecy
thread, such as Coton à repriser D.M.C, one that as nearly
as possible matches the material, should be chosen from
the D.M.C cottons.[A]

Diagonal linen darning (fig. 42).—Darns are sometimes
begun from the corner, so as to form a diagonal web, but they
are then much more visible than when they are worked
straight to a thread, and therefore not advisable.

Fig. 42.
Diagonal linen darning.

(2) Satin or twill darning (fig. 43).—By twill darning,
the damaged web of any twilled or diagonal material can be
restored. It would be impossible to enumerate all the varieties
of twilled stuffs, but the illustrations and accompanying
directions will enable the worker to imitate them all.

Fig. 43.
Satin or twill darning.

Begin, as in ordinary darning by running in the warp
threads, then take up one thread, and miss three. In every
succeeding row, advance one thread in the same direction. Or,
miss one thread of the stuff and take up two, and as before,
advance, one thread in the same direction, every succeeding
row. The order in which threads
should be missed and taken up,
must depend on the web which
the darn is intended to imitate.

When the original is a coloured
stuff, it is advisable to make a
specimen darn first, on a larger
scale, so that you may be more
sure of obtaining a correct copy of
the original web.

(3) Damask darning (figs. 44,
45, 46, 47, 48, 49).—A damask darn
is begun in the same way as all other darns are; the pattern is
formed by the cross-runnings and will vary with the number
of warp threads taken up and missed, in each successive
running. The woven design which you are to copy with your
needle must therefore be carefully examined first.

Figs. 44 and 45 show the wrong and right sides of a
damask darn, in process of being made.

Fig. 44.
Damask darning. Wrong side.

Fig. 45.
Damask darning. Right side.

Fig. 46 represents a completed one. In the case of coloured
webs, a light shade of cotton is generally used for the warp,
one that matches the stuff, for the shot or woof.

Fig. 46.
Damask darning. Covered
ground.

Figs. 47 and 48, illustrate two specimens of darning,
formerly done in the convents, from which it will be seen,
that the warp and the woof were first drawn in with rather fine
thread and the pattern then worked into this foundation with
coarser, or else, coloured thread. When this kind of darn is
in two colours, take, for the
darker shade, Coton à broder
D.M.C, or Coton à repriser D.M.C,
which are both of them to be had
in all the bright and faded shades,
to match alike both old and new
linen.

Fig. 47.
Damask darning on
needle-made ground.

Fig. 48.
Damask darning on
needle-made ground.

Fig. 49, which is executed in
two colours, and is likewise copied
from an old work on darning,
shows you the manner in which a
dice-pattern is to be reproduced.

Fig. 49. Damask darning with coloured thread.

(4) Darning, lost in the ground
(fig. 50).—A kind of darn used
for repairing rents, the edges of
which fit exactly into one another.
Neither the torn threads of the
material nor the rough edges
must be cut off; the torn part is to
be tacked upon a piece of oil-cloth, wrong side uppermost,
and the edges, drawn together by a thread, run in backwards,
and forwards, across them. The stitches must be set as closely
together as possible, and regularly inverted, as in every other
darn. A much finer thread relatively than that of which the
material is composed should, in all cases be used for darning.
In this instance also, for the sake of greater distinctness, the
size of the thread has been magnified in the illustration.
Coton surfin D.M.C, will be found the best for darning both
calico and linen.

Fig. 50.
Darning lost in the ground.

Fine drawing (fig. 51).—The art of making invisible darns
in cloth, though such a useful one, is all but unknown. It is a
tedious process and one which, though easy enough to understand,
requires great care in the execution.

Fig. 51. Fine drawing.

Use as fine a needle as possible and thread it with hair,
instead of silk, or any other kind of fibre. Red and white
hair is the strongest, and stronger than the ravellings of the
stuff. Of course the hair has first to be carefully cleansed from
grease. Pare the edges of the rent, on the right sides, quite
clean and even, with a razor, so that both rent and stitches
may be lost in the hairy surface of the cloth. Scissors do not
cut so closely, and are liable moreover, to disturb the nap,
and render the darn more visible. When this is done, fit the
edges exactly together, and overcast them. Then thread a
needle with a hair by the root, and slip it in, 2 or 3 m/m.
from the one edge and back again pointed towards you,
through the other, so that, neither needle nor hair, are visible
on either side. The stitches should be set slightly slanting and
must be quite lost in the thickness of the cloth. The needle
must always be put in, exactly at the place where it came
out, and the hair not be too tightly drawn.

When the darn is finished, lay the article on a bare table,
or ironing-board, cover it with a damp cloth, and iron it. The
sharpest eye will fail to detect a rent, when carefully darned
in this manner.

Patching.—As we have already said, when the defective
part is past darning, it must be cut out, and a new piece of
stuff inserted in its place. If the garment be no longer new,
it should be patched with a slighter material than that of
which it was originally made. The patch should be of the same
shape, and cut the same way of the stuff, as the piece it is to
replace, it should also be, just so much larger, as to allow for
the turnings in, and can either be top-sewn, or else, run and
felled in.

Back-stitching and felling in a patch (fig. 52).—Tack
in the new piece, so that its
edges overlap the edges of the
hole. The back-stitching must be
done on the article itself, as this
renders it easier to do the corners
neatly. The hem is turned
down on to the patch. Make
a little snip at the corners with
your scissors to prevent puckering.
The back-stitching should
form a right angle at each
corner.

Fig. 52.
Back-stitching and felling in a patch.

Top-sewing in a patch (fig.
53).—To do this, the edges of the
hole and of the patch, must first
be turned in, and either overcast
or hemmed, to prevent their
fraying, after which, sew the two
edges together. The raw edges
may also be turned in with herring-boning
as in fig. 39, putting
the needle, only through one
layer of stuff.

Fig. 53.
Top-sewing in a patch.

Drawing in a patch (fig.
54).—Take a square piece of the
original stuff, 5 or 6 c/m. larger
each way, than the hole it is to
fill, draw out threads on all the
four sides, till the piece exactly
matches the hole, and tack it
into its place. Thread a very fine
needle with the two ends of a
thread of silk or Fil d’Alsace
D.M.C No. 700, run it in at the
corner of the stuff, and draw it out, leaving a loop behind.
Into this loop, slip the first of the threads, which as it were,
form a fringe to the patch, and tighten the loop round it, and
so on with each thread, alternately taking up and leaving
threads in the stuff, as in ordinary darning.

Fig. 54.
Drawing in a patch.

To put a patch into a thin material, in this manner, you
must darn in the threads, a good long way, into the material,
in order that the double layer of threads may be less visible.

Next Chapter.

Return to Table of Contents

Stripe of cut open-work on white linen.

Single and cut Open-work.

The above heading comprises every sort of needle-work, to
which the drawing out of threads is a preliminary. By sewing
over the single threads that remain, and drawing them together
in different ways, an infinite variety of patterns can be produced.
Many pretty combinations also, can be made of open-work,
cross-stitch, and other kinds of embroidery.

Materials suitable for open-work.—For all the coarser
stuffs, such as Holbein-linen, Java and linen-canvas and the
like, now in such favour for the imitation of old needlework,
it will be best to use: Fil à pointer D.M.C, No. 30[A] and Cordonnet
6 fils D.M.C, Nos. 10 to 20,[A] and for the finer stuffs,
such as antique-linen and linen-gauze; Cordonnet 6 fils D.M.C
Nos. 50 to 150,[A] Fil d’Alsace D.M.C, Nos. 20 to 100, and Fil à
dentelle D.M.C, Nos. 25 to 80.

Coloured patterns can also be executed in open-work, with
Coton à broder D.M.C Nos. 16 to 35, and Coton à repriser
D.M.C, Nos. 25 to 50[A] .

The two different kinds of open-work.—The one is
called, single open-work, the Italian Punto tirato, in which
the first step is to draw out one layer of threads; the other,
cut open-work, the Italian Punto tagliato, for which, both
the warp, and the woof threads, have to be drawn out.

Single open-work (Punto tirato).—This, in its simplest
form, is the ornamental latticed hem, in common use where
something rather more decorative than an ordinary hem (fig.
8) is required, and consists in drawing out one layer of threads,
either the warp or the woof.

Single hem-stitch (fig. 55).—Draw out, according to
the coarseness of the stuff, two or four threads, below the
edge of the turning, and tack your hem down to the line thus
drawn. Fasten your thread in
to the left, and work your hem
from right to left, taking up
three or four cross-threads at a
time, and inserting your needle,
immediately above, into the
folded hem, three or four threads from the edge, and then
drawing it out.

Fig. 55. Single hem-stitch.

The same stitch is used for preventing the fringes, that
serve as a finish to so many articles of house-linen, from
ravelling.

Second hem-stitch (fig. 56).—Prepare your hem as for fig. 55, and work from left to right; with this difference, that after
drawing two or three cross-threads
together, from right to
left, you skip the same number
of perpendicular threads you
took up below, and insert your
needle downwards from above,
bringing it out at the bottom edge of the hem.

Fig. 56. Second hem-stitch.

These stitches, which can
be used for the right side also,
form a kind of little tress, along
the edge of the hem.

Ladder stitch hem (fig. 57).
Complete the hem, as already
directed in fig. 55, then draw out three or five threads more,
turn the work round, and repeat the process, taking up the
same clusters of threads which you took up in the first row of
stitches, thus forming little perpendicular bars.

Fig. 57. Ladder stitch hem.

Double hem-stitch (fig. 58).
Begin as in fig. 55, forming your
clusters of an even number of
threads; and then, in making
your second row of stitches,
draw half the threads of one
cluster, and half of the next
together, thereby making them
slant, first one way and then
the other.

Fig. 58. Double hem-stitch.

Antique hem-stitch (figs. 59, 60, 61 and 62).
In the old, elaborate, linen needlework, we often meet
two kinds of hem-stitching
seldom found in modern
books on needle-work. Figs. 59
to 62 are magnified representations
of the same. At the
necessary depth for forming a
narrow hem, a thread is drawn,
in the case of very fine
textures where the edge is
rolled, not laid; then fasten in
the working thread at the left,
and work the stitches from
left to right. Passing your
needle, from right to left, under
three or four threads, draw the
thread round the cluster and
carry your needle on, through
as many threads of the upper
layer of stuff, as you took up
below, so that the stitch may
always emerge from the middle
of the cluster.

Fig. 59. Antique hem-stitch.
Wrong side.

Fig. 60. Antique hem-stitch.
Right side.

Antique hem-stitch (figs. 61
and 62).—These show, the right
and wrong sides of the hem;
here the rolled hem is prepared
as above, but the stitches are
worked from right to left, and
the thread is carried round the
little roll, so that, as shown in
fig. 62, it is visible on both
sides of the hem. The needle
does not enter the stuff, but is
carried back at once, from the
outside, and put in again between
two clusters of threads.

Fig. 61. Antique hem-stitch.
Wrong side.

Fig. 62. Antique hem-stitch.
Right side.

Slanting hem-stitch (figs.
63 and 64).—Bring out your
needle and thread, two or three
threads above the edge of the
turning, between the first and
second of the three cross-threads
that compose the cluster, and
then slip it under the cluster,
from right to left. The loop
must lie in front of the needle.
When you have drawn up the
stitch, put the needle in, one
thread further on, and take up
two threads. Fig. 64 shows the
stitch on the right side.

Fig. 63.
Slanting hem-stitch.
Wrong side.

Fig. 64.
Slanting hem-stitch.
Right side.

Double-rowed ornamental
seam (figs. 65, 66, 67).—Begin
with any one of the
hems already described, then
counting as many threads
downwards, as are clustered
together in the first row, draw
out a second thread, and cluster
the perpendicular threads in
this second line together, as shown in figs. 65 and 66. On the
right side the stitch is straight (fig. 67). Coloured cottons
should be used for all the above patterns of hem-stitch, when
they are to be introduced into coloured embroideries.

Fig. 65.
Double-rowed ornamental seam.
Wrong side.

Fig. 66.
Double-rowed ornamental seam.
Wrong side.

Fig. 67.
Double-rowed ornamental seam.
Right side.

Single three-rowed open-work (fig. 68).—This, and
the following patterns, are suitable for the headings of hems,
and for connecting stripes of embroidery, and are also often
used instead of lace, and lace insertion.

Fig. 68. Single three-rowed open-work.

Fig. 68 will be found specially useful, in cases where
the object is, to produce a good deal of effect, at the cost of
as little labour as possible. Make six rows of hem-stitching, as
in fig. 55; the first and sixth rows to serve as a finish, above
and below.

The second and third, after drawing out six threads, the third
and fourth after drawing out eight. The clusters must all consist
of an even number of threads. The upper and the lower
band of open-work is to be copied from fig. 58, the centre
one, from fig. 57. Divide the threads of the perpendicular
clusters in two; insert the needle, from left to right, underneath
half the second cluster, turn the needle’s eye, by a
second movement, from left to right, and take up the second
part of the first cluster, drawing it under, and at the same
time, in front of the first half of the second cluster. Be careful
not to draw your thread too tightly.

Open-work with two threads drawn through (fig. 69).—One
such wide lane of open-work, between two finishing rows
of stitches, may have two threads drawn through it.

Fig. 69. Open-work with two threads drawn through.

Open-work with three threads drawn through (fig. 70).
Overcast both edges with single stitches; draw the clusters
together in the middle, as in fig. 68; then above and below
the middle thread, draw in first one thread and then a second,
straight above it, securing the latter with back-stitches to
enclose the clusters between two threads.

Fig. 70. Open-work with three threads drawn through.

Clustered open-work (fig. 71).—Draw out from sixteen
to eighteen threads, between two hem-stitched edges. Fasten
your thread in, 3 m/m. above the seam-edge, and wind it three
times round every two clusters, passing the needle, the third
time, under the two first rounds, to fasten the thread. The
thread, thus drawn through, must be left rather slack. A second
row of stitches, similar to the first, and at the same
distance from the bottom edge, completes this pattern. To
give it greater strength, you may if you like, work back over
the first thread, with a second, taking care to pass it under
the knot, which was formed by the first.

Fig. 71. Clustered open-work.

Double-rowed cluster-open-work (fig. 72).—A very good
effect can be obtained by making the above stitch in such a
manner, as to form groups of three clusters each, between hem-stitched
bands of the stuff.

Fig. 72. Double-rowed cluster-open-work.

Turkish cluster open-work (fig. 73).—After portioning
off, and sewing up the clusters on one side, draw out twelve or
fourteen threads, and make your connecting-stitch and hem, all
in one, as follows: bring out the thread before the cluster, and
pass it round it, then from right to left, over three horizontal
and under four perpendicular threads, again from left to right,
over the four threads just passed over, and out at the second
cluster; laying it over this, you bring it out behind the first
cluster, wind it round the middle of them both, and pass it
through, between the overcasting stitches back to the hem;
encircle the second cluster with a loop-stitch, and carry your
thread again over three horizontal and four perpendicular
threads, and upwards, slanting underneath the stuff, out in
front of the next cluster.

Fig. 73. Turkish cluster open-work.

Open-work with darning stitch (fig. 74).—Draw out
from eight to twelve threads, according to the quality of the
stuff. Insert your needle and thread between two clusters, and
pass it, as if you were darning, backwards and forwards
over them, until they are encased half way down with
stitches. In so doing, work with the eye of the needle forward,
and the point towards your thimble. To pass to the
next cluster, take one stitch back, under the one just darned,
and bring your thread underneath the threads of the stuff, to
the second cluster.

Fig. 74. Open-work with darning stitch.

Open-work in three colours (fig. 75).—This pattern
which is to be done in the same way as fig. 74, requires
the drawing out of, at least, eighteen threads. Every cross-line
of three clusters is to be worked in one colour. The
colours may all be different, or you may if you prefer, take
shades of the same colour.

Fig. 75. Open-work in three colours.
Colours: Bleu-Indigo 311, 322, 334, Brun-Caroubier 354, 303, 357, or
Rouge-Géranium 349, 351, 352.[A]

Open-work insertion (figs. 76 and 77).—For both these,
the edges are to be overcast, and the darning stitches packed
sufficiently closely together, for the threads of the stuff to be
entirely covered.

Fig. 76. Open-work insertion.

Fig. 77. Open-work insertion.

Fig. 76 requires the drawing out of eighteen threads,
fig. 77, of thirty. Both admit of several colours being used.

Open-work insertion (fig. 78).—After drawing out sixteen
or eighteen threads, bind both sides with stitches made over
four horizontal and four perpendicular threads, as follows;
make one back-stitch over four disengaged threads, then
bring up your thread from right to left, over four horizontal
and under four perpendicular threads, back over the four last
threads, and draw it out beside the next cluster. The clusters,
as they now stand, are bound together in the middle, three
by three, with darning-stitches. The thread must be fastened
in and cut off, after each group is finished.

Fig. 78. Open-work insertion.

Open-work insertion (fig. 79).—First bind the two edges
with stitches, in the ordinary way. At the last stitch introduce
the thread slanting, according to the dotted line, pass it
under four horizontal and three perpendicular threads of the
stuff and draw it out; then over three threads from right to
left, and back under the same, from left to right, and out
again; over four horizontal threads, and, under and again
over, three perpendicular ones; for the next stitch, you again
follow the dotted slanting line.

Fig. 79. Open-work insertion.

Then make the darning stitch over nine threads, or three
clusters. At half their length, you leave out three threads, first
on the right, then on the left, whilst in the other half, you,
in a similar manner, take in three; so that you have two
darned and two undarned clusters, standing opposite each
other. Finally, you overcast the single clusters, and connect
every two with a lock-stitch, as shown in the accompanying
illustration.

Open-work insertion (fig. 80).—Draw out twenty threads,
overcast both edges with stitches, made over three threads.
Then, make slanting stitches, proceeding out from these, over
three, six and nine threads respectively, all three terminating
in a perpendicular line, one below the other.

Fig. 80. Open-work insertion.

For the open-work, twist the thread five times, quite tightly
round and round one cluster, bring it to the edge, between
the second and third clusters, and connect these by means
of six darning-stitches to and fro: join the first and second
clusters in the same way by twelve stitches, and finish, by
twisting the thread five times round the remaining length
of the first cluster. The second half of the open-work figure is
carried out in a similar manner over the third and fourth
clusters.

Open-work insertion in four colours (fig. 81).—Draw
out, from twenty-five to thirty threads. The outside figures are
executed over six clusters, of three threads each, in a dark
and light shade alternately of the same colour. Each of the
middle figures combines three clusters of the two figures above
it, and may be executed, either in a different colour altogether,
or in a lighter shade of the one employed in the top row.
The little star in the centre should be worked in dark red,
or black.

Fig. 81. Open-work insertion in four colours.
Materials: Coton à broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos. 15 to 30.[A]
Colours: Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.[A]

Open-work insertions (figs. 82, 83, 84).—For each of
these draw out forty threads. Fig. 82 worked in white, and
Rouge-Grenat clair 309, comprises fourteen clusters, of four
threads each. Begin at the top of the big pyramid, so that the
threads which you run in, can be more closely crowded
together.

Fig. 82. Open-work insertion.

In fig. 83, the two rows of short clusters are worked in
Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 330; [A]
the pyramid of steps, in Brun-Chamois moyen, 324;[A] the
three inner clusters in Brim-Chamois très clair, 418. One figure
consists of fourteen clusters, of three threads each.

Fig. 83. Open-work insertion.

Fig. 84 also is to be worked in three colours; the light
squares in unbleached cotton, the middle figure in Bleu-Indigo
très clair, 334, the large squares on either side in
Brun-Cuir clair 432. Each figure contains eighteen clusters,
of three threads each.

Fig. 84. Open-work insertion.

Open-work insertion with spiders (fig. 85).—The edges
are to be herring-boned, as described in fig. 39. In the middle,
the so-called spiders are made, over every group of four
clusters. The thread that runs out from the spider, passes
over two clusters and under one, and then three or four
times, over and under the clusters, as in darning, and so
back, under the spider, at the place at which it was drawn in,
and then on, to the next four strands of thread.

Fig. 85. Open-work insertion with spiders.

Three-rowed open-work (fig. 86).—Draw out five threads
for the narrow stripe, and from fourteen to sixteen for
the wide one. Each cluster should consist of four threads.
The narrow bands between, are to be herring-boned on
either side. The dotted line shows the course of the thread,
on the wrong side. Then unite each separate cluster in the
middle, with a back-stitch, as shown in the illustration, and
finally, join every group of four clusters together, with three
stitches, and make a spider in the middle of the open-work,
at the point where the threads intersect each other.

Fig. 86. Three-rowed open-work.

Open-work insertion with rings (fig. 87).—Bind the
edges on both sides, with straight, two-sided, stitches. Take,
for this, Coton à broder D.M.C, No. 30, (embroidery cotton),
using it double. Draw out, from twenty-four to thirty threads.
Wind your thread six or seven times round the middle of each
cluster of nine threads, and then make darning-stitches, above
and below, to a length of 3 m/m. When you have completed
two clusters, join them together, by four interlocked stitches;
wind your thread three times round the single thread, and sew
it over with close stitches.

Fig. 87. Open-work insertion with rings.

Open-work insertion with spiders (fig. 88).—Draw out
twenty-four threads. Ornament the two edges with half-spiders.
You begin these over two threads, and go on taking in others,
to the number of eight. The whole spider in the middle, is
made as above described.

Fig. 88. Open-work insertion with spiders.

Open-work insertion (figs. 89 and 90).—The beauty of this
otherwise simple pattern, lies in the peculiar knot, with which
the edges of the stuff are ornamented.

Fig. 89. Open-work insertion.

Carry the working thread, as shown in fig. 90, from right
to left, (see the description of the right side) over and under
four threads; then bring the needle back, under the thread
which lies slanting, form a loop with the forefinger of the
left hand, slip it on to the needle, and draw it up close to
the first stitch; pull the needle through the knot, and proceed
to the next stitch.

The illustration explains how the open-work in the middle
should be carried out.

Fig. 90. Explanation of the stitch for fig. 89.

Open-work with winding stitch (fig. 91).—For this
pattern, which is a very laborious one to work, draw out
twenty-eight threads. Bind the edges with two-sided stitches,
over two, three, four and five threads, respectively. For the
middle figures, you must reckon four threads for the clusters,
round which the working thread is tightly twisted, eight for
the darned clusters, ornamented with picots (see fig. 165), and
sixteen for the rectangular rosettes, in two colours.

Make a loose spider over the threads, as a background for
the rosette. Work the picots in a different colour from the
cluster, and the rosettes, likewise, in two colours. The connecting
loops between the figures should be made as you go along,
the thread being always carried back into the loop just made.

Fig. 91. Open-work with winding stitch.

Cutting out threads at the corners (figs. 92, 93, 94, 95).
If you want to carry a latticed-hem or a simple open-work
pattern, round a corner, you must cut and loosen the threads,
on both sides, about one c/m. from the edge of the hem, as
seen in fig. 92. The loose threads can be pushed into the
turning, and the edge button-holed, as in fig. 93.

If however, on the other hand, the stitching be continued
without interruption, as indicated in the upper part of fig. 94,
the loose threads must be brought to the wrong side, and
as represented in the lower part of fig. 94, fastened down with
a few stitches.

Fig. 92.
The cutting and loosening of
the threads at the
corners.

Fig. 93.
The over casting of the disengaged
edge at the corner, the threads being
turned in within the hem.

Fig. 94.
Bordering the disengaged edge with
hem-stitching, the threads being
turned over

Fig. 95.
Filling in the corner with a spider,
and continuation of the lattice-work
thence.

Cut open-work (Punto tagliato).—For cut open-work,
threads have to be drawn out both ways, the number of
course to depend on the pattern. Threads, left between others
that have been cut out, serve as a foundation on which a great
variety of stitches can be worked. Stuffs, equally coarse in the
warp and woof, should be chosen for all cut open-work, for
then the empty spaces that remain, where threads have been
drawn out both ways, will be perfectly square.

Drawing out threads both ways (fig. 96).—The same
number of threads must be drawn out each way; most patterns
require the same number of threads to be left as are drawn out.
In fig. 96, three threads have been drawn out and three left.

Fig. 96. Drawing out threads both ways,
without regard to the edges.

Cutting out threads (fig. 97).—We often meet with
cut open-work patterns, set in another kind of embroidery.
In such cases, the threads that are to be cut out, must be cut
a few millimetres within the edge, and then drawn out, so
that there may be a frame of the stuff left intact outside.

Fig. 97. Cutting out threads,
in the middle of the stuff.

Button-holing the raw edges (fig. 98).—In very fine
linen textures, the threads can simply be cut out, but in the
case of coarser stuffs, and when a pattern ends in steps as in
figs. 103, 104, 105, the raw edges must be button-holed as
in fig. 98, or 99.

Fig. 98. Button-holing the raw edges
of cut open-work.

Overcasting the raw edges (fig. 99).—Cording the raw
edges, is even better than button-holing them. Count the
number of threads carefully that have to be cut out, run in a
thread to mark the pattern, and then only, cut the threads
through, at least two threads within the line.

Fig. 99. Overcasting the raw edges
of cut open-work.

Overcasting the trellised ground (fig. 100).—If you
only have a small surface to embroider, you can draw out all
the threads at once. But in the case
of a large piece of work it is better to
begin by removing the threads in one
direction only, and completing all the
little bars, one way first; after which
you draw out the threads the other
way and embroider those you leave.
In this way you will secure greater
equality and finish in your work.

Fig. 100. Overcasting the trellised
ground.

Ground for square, fig. 105 (figs.
101 and 102).—Finish the first row of
bars along the edge completely, to
begin with. In the second row, overcast
the bar, down to half its length, then carry your thread
over two empty spaces, see the letter a, come back to the bar,
overcasting the thread which you threw across first, and passing
the needle under the bars of the stuff. In the second rows
that intersect the first, marked by letter b, the threads meet
in the middle of the empty space.

In fig. 102, finish the bars, overcast both ways first, and
then fill in the ground with interlaced threads, worked row
by row, throwing the thread from one square to the other as
you go, and doubling it, as you return. For the bars, see the
chapters on net embroidery, and Irish lace.

Fig. 101. Lattice-ground for square
in fig. 105, showing the course
of the stitches.

Fig. 102. Lattice-ground for square
in fig. 105.

Lattice-ground and damask stitch for square, fig. 105
(fig. 103).—Our illustration shows a third kind of openwork
ground with one corner in damask stitch, of the square
represented in fig. 105. The little bars which intersect each
square crossways, are made in two divisions, by carrying the
thread to the opposite
bar and back. In the
same way, the second
thread is carried over
the first. The damask
stitches are described in
the next chapter, in figs.
143 and 144.

Fig. 103. Lattice-ground with a portion of square, fig. 105.

Lattice-ground and
damask stitches for
square, fig. 105 (fig. 104).—Damask,
or gobelin
stitches, are given in figs.
152, 153, 154. The ground
of this part of the square
(fig. 104) is adorned with
narrow bars, worked in
darning stitch. From the
centre of one bar, proceed
three bars made on
three foundation-threads,
and a fourth made on
two, on account of the
passage to the next bar.

Fig. 104.
Lattice-ground and damask stitch for
square, fig. 105.

Quarter of the square in single and cut open-work,
and damask-stitch (fig. 105).—Original size 48 c/m. square.
This handsome square is worked in unbleached cotton on
a white ground; it may also be worked in colours. A very
good effect is produced by using Chiné d’or D.M.C[A] red,
blue, or green for the gobelin stitch, and a uniform pale tint
for the cut open-work.

Figs. 101, 102, 103, 104 illustrate in detail, one quarter of
the square, which is represented here one third of the original
size. The centre piece (fig. 104) is bordered by four stripes,
two long and two short; the former containing two lozenge-shaped
open-work figures separated and finished off by damask
stitches; the latter, only one such figure. For the insertion in
single open-work, that recurs three times, you will find a
variety of designs in figs. 81, 82, 83, 84, 87, 88.

Fig. 105. Quarter of the square in single and cut open-work,
and damask stitch.

Original size 48 c/m. square.

Materials suitable for Holbein linen: Fil à pointer D.M.C No. 15 or 20, and Coton
à repriser D.M.C No. 25. [A]

For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C
No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in place of the latter,
Coton à broder surfin D.M.C No. 190.[A]

Drawing in the pattern (fig. 106).—Darning in the threads,
as you do into a net foundation is a slower process and one
that requires greater skill than drawing them in.
The illustration shows the proper order and
direction of
stitches for Fig.
108. In this case
likewise, the little
bars must be
finished, before
the actual pattern
is filled in.

Fig. 106. Drawing in the pattern.
(Explanation of fig. 108)

Darning in the threads (fig. 107)—In
old
needle-work
we often find the
pattern reserved,
that is, left blank
and outlined by
the grounding.
As it is difficult,
especially in executing
minute,
and delicate figures,
to withdraw
the threads partially,
without injuring
the linen
foundation, they
are withdrawn throughout, and new ones drawn in, to form
the pattern. To explain this more clearly, the original threads
of the material are represented in a lighter shade than the new
ones that are drawn in; the course of the stitches is indicated
in a darker shade.

Fig. 107. Darning in the threads.
(Explanation of fig. 109).

Broad insertion in cut open-work, with the pattern
drawn in (fig. 108).—This insertion, suitable according to the
foundation it is worked on, for the decoration either of curtains,
table-covers, bed-linen or underclothing, is made as shown
in fig. 106. If intended for the decoration of any article made
of white linen, we recommend
unbleached materials for the
lattice-work, and bleached
for the pattern, to bring it
out in strong relief.

Fig. 108. Broad insertion in cut open-work, with pattern drawn in.

Insertion in cut open-work,
with pattern darned
in (fig. 109).—This insertion
can be introduced into
any kind of linen material,
and used for ornamenting
towels, aprons, bed-linen
and table-linen. When it is
used to connect bands of
cross-stitch embroidery, the
open-work should be of the
same colour as the embroidery,
and the pattern worked
in white or unbleached cotton,
to correspond with the
foundation. In fig. 109, the
pattern is half as large again
as in the original.

Fig. 109. Insertion in cut open-work, with pattern darned in.

Materials—For Holbein linen: Fil à pointer D.M.C No. 15 or 20, Cordonnet 6 fils
D.M.C No. 8, 10 or 15 for the bars.—Coton à tricoter D.M.C No. 16 or Coton à
repriser D.M.C No. 12 or 25 for darning or drawing in the pattern.

For finer linens: Fil à dentelle D.M.C Nos. 25 to 30, or Cordonnet 6 fils D.M.C
Nos. 25 to 40 for the bars and Coton à repriser D.M.C No. 50 for darning or
drawing in the pattern.

Cut open-work pattern (figs. 110 and 111).—This pattern,
more of the nature of lace than any of the former, is well
adapted for trimming, not only household articles but also
church furniture, altar-cloths and the like, which are required
to wash, as it can be worked in any width.

Fig. 110, a magnified representation of the work in process
of execution, shows alternately, ten threads withdrawn each
way and six left, with open spaces between. The arcs are
worked over three carefully laid threads, carried across from
the middle of one bar to the middle of the bar at right angles
to it, the wheels on the other hand are begun and finished at
the same corner. Overcast the cut edges, and hem-stitch the
outside layer of stuff (figs. 61 and 62).

Fig. 110.
Cut open-work pattern.
Fig. 111 in process of execution.

Fig. 111. Cut open-work pattern.
Materials: Fil à pointer D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to
50 or Fil à dentelle D.M.C Nos. 25 to 50.

Greek cut open-work pattern (fig. 112).—After the foregoing
explanations, no difficulty will be found in copying the
beautiful Greek cut open-work pattern, illustrated in fig. 112.
Here, we have in the original, 48 threads drawn out in the
middle, both ways, from one straight bar to another,
(these bars being darned) with open spaces between; and
in the lower and narrower division, 21 threads drawn out
each way. The cut edges, from bar to bar, are hem-stitched
on both sides, leaving four threads of the stuff between.

The long bars, in the second figure, are button holed on
both sides, those with the picots, on one side only.

Fig. 112. Greek cut open-work pattern.
Materials: Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d’Alsace D.M.C Nos. 20 to
100 or Fil à dentelle D.M.C Nos. 25 to 50.

Next Chapter.

Return to Table of Contents

Net stripe, in imitation of brussels lace.

Net and damask stitches.

Many net embroidery patterns and damask stitches consist
of a combination of ordinary running and darning, others of
chain, stem and cross stitch.

Net embroidery.—All these kinds of stitches can be
worked on the coarse Greek net, as it is called, as well as on
the finest quality of real Brussels net.

Stripes of net, finished off with button-hole edging, and
ornamented with one or other of the following patterns, make
very pretty washing laces and the like; net laid upon Irish
point and converted by needlework into a lace ground, makes
an excellent substitute for a hand-made ground, which demands
much labour and time.

Materials suitable for net embroidery.—The choice of
material must be determined by the quality of the net and the
effect to be produced. For a coarse make of net and a very
marked pattern, the lowest numbers of D.M.C cottons, or the
narrowest braids, such as Soutache D.M.C Nos. 1, 2, 3 should
be used; if the net be fine and the pattern a delicate one,
then the higher numbers of the following are preferable: Coton
à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25
to 70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle
D.M.C Nos. 25 to 50, Coton à broder surfin D.M.C Nos. 100,
120, 150. The latter must be adjusted to the required size
before being used, that is to say as many strands of it
removed, as is necessary in order to reduce it to the proper
thickness.

Tracing with running stitches (fig. 113).—Have your
pattern traced on linen or paper; tack the net upon it, and copy
it carefully on the net with running stitches. As in darning,
the stitches must run first above and then beneath, alternating
in each succeeding row. At the turn of the lines, the stitches
cross each other, as shown in
the illustration.

Fig. 113. Tracing with running stitches.

Net pattern (fig. 114).—Here
too the pattern is traced
with running stitches, which
are run in on both sides of
each row of meshes. The
thread is carried first to the
right, and then to the left,
under every alternate bar of
the net and out again. Between
the first and second rows, one
thread of the foundation must
be left uncovered. In the next
row, the thread is carried back again, so that it encircles each
mesh. In the third row, the thread passes under the same bar
of net as in the second, the threads touching each other. The
fourth row is a repetition of the first.

Fig. 114. Net pattern.

Net pattern (fig. 115).—This consists of two rows of
stitches. In the first, the single stitches run diagonally from
left to right, over and under a mesh; in the second row the
triple stitches, also carried diagonally across a mesh, lie from
right to left.

Fig. 115. Net pattern.

Net pattern (fig. 116).—Begin with a double row, as in
fig. 114; this is followed by a row of cross-stitch, touching
the others, for which the thread has to be carried, first under
one of the straight bars of the
mesh and then diagonally,
across it. A second, similar row
of stitches backwards, completes
the crosses. This can be
further varied by the introduction
of a row of triple stitches,
after the double row, as in fig. 115, and the repetition of the
two first only.

Fig. 116. Net pattern.

These rows can also be
worked in two colours, or in
white thread and washing gold.

Net pattern (fig. 117).—Begin at the top, carrying the
thread, first under and then over two bars and a mesh, and
then underneath as before. In the second as in the first row,
the threads must be drawn in, so that 4 threads always meet
in one mesh, and two run parallel to each other through the
same mesh.

Fig. 117. Net pattern.

Net pattern (fig. 118).—This pattern, which resembles
fig. 117 in the execution, is thickened by triple stitches. Above,
where in the preceding row three threads were laid, the thread
should be single.

Fig. 118. Net pattern.

Very pretty varieties are to be obtained by the introduction
of several colours. Take white, for instance, for the first row,
and different shades of the same colour for the second, third,
fourth and fifth rows; such as, Bleu-Lapis 345, 344, 343, 333,
342,[A] or Rouge-Cardinal 348, 305, 304, 347, 346,[A] or
Rouge-Géranium, Brun-Caroubier or any other colour that is
absolutely fast.

Net pattern (fig. 119).—After one row of cross-stitch, such
as was described in fig. 116, add a second, carrying the thread
under the bar that lies between the first stitches, so that the
two rows only cover three threads of the net. The close bands
of cross-stitch must be divided from each other by one row of
net bars.

Fig. 119. Net pattern.

Net pattern (fig. 120).—Draw the thread twice backwards
and forwards, as in darning, through one row of meshes. In
the next, make four stitches over one mesh and two bars.
After the fourth stitch, the thread is carried forward under
two bars to the next group. The meshes filled in thus are
divided from each other by two double rows of darning
stitches. Here you may introduce a variety in the colour, using
either white and unbleached, or unbleached and pale blue, or
some other combination of the kind.

Fig. 120. Net pattern.

Net pattern (fig. 121).—Make
three diagonal stitches
over three bars and two meshes,
then returning to the mesh
out of which the first stitches
come, make three more in the
opposite direction. In the second
row, the stitches meet in
the same mesh as those of
the first.

Fig. 121. Net pattern.

Net pattern (fig. 122).—Carry
the thread upwards from
below, over a bar of the net, then pass it horizontally under
another bar and carrying it downwards, pass it under a diagonal
bar and cover the other three. In the second row, your
loops must be turned the opposite way. When the whole
foundation is finished, run a thread over the whole surface
and overcast it. A good effect is produced by using white and
unbleached cottons, in alternate rows.

Fig. 122. Net pattern.

Net pattern (fig. 123).—This pattern consists of one row
of overcasting, one of stitches like those described in fig. 114,
and one of cross-stitch, as in fig. 39, running diagonally across
the stuff. Besides the cottons already mentioned, washing gold
thread (Or fin D.M.C pour la broderie), may be used for the
overcasting. Dead gold introduced into simple needlework of
this kind enlivens it extremely.

Fig. 123. Net pattern.

Net pattern (fig. 124).—Three kinds of stitches are required
for this pattern. In the first row the stitch lies crossed
underneath the net; in the second, 3 stitches are made
over one mesh, the first and the last of which are carried
across three meshes. In the third row, button-hole stitches
are carried from right to left over two diagonal bars, in such
a manner that the thread is drawn through the mesh facing
the loops, and the next stitch comes out under the loop of
the preceding one.

Fig. 124. Net pattern.

Net pattern (fig. 125).—Fill in every other diagonal row
of meshes with chain stitch, inserting the needle into the same
mesh it came out of, so that the thread lies in front of the needle,
in a loop. The rows of chain stitch may be made with two or
three rows of meshes between them. Even the diagonal lines
by themselves, make a very pretty foundation for other stitches.

Fig. 125. Net pattern.

Net pattern (fig. 126).—The first row worked from left
to right, consists of three loop stitches upwards and three
downwards, each over one bar. In the second row, divided
from the first by one row of stitches, the inner loops must be
turned towards each other; in the third, the outer ones. Any of
the stitches, already described, can be introduced into this
pattern to enliven it.

Fig. 126. Net pattern.

Net insertions (figs. 127 and 128).—These two, as well as
the subsequent patterns, are most of them worked in darning
stitch and simple overcasting.

The scallops in fig. 127 are formed of darning stitches,
over 4, 3, 2 and 1 mesh, respectively. In the intervening space,
which is five meshes wide, the stitch shown in fig. 118, may
be introduced.

Fig. 127. Net insertion.

In repeating the pattern, the stitches forming the scallops,
must be made to run in the opposite direction. Instead of the
thread, simply drawn through the middle, little stars like
those described in fig. 134, have a very pretty effect.

In fig. 128, the thread is first carried round one mesh and
then on to the next scallop. In the second scallop, which turns
the opposite way, the thread is carried once more round
the last mesh after the
pyramid is completed, and
then on, to the next figure.

Fig. 128. Net insertion.

Net pattern (fig. 129).—This
checked pattern is
also worked in darning
stitch. Carry the thread, as
in fig. 125, through every
second row of meshes. When
the bottom rows are all
finished, the upper ones are
worked across them in the
same way. Here the stitches
may, if preferred, be distributed
more sparingly. But
if they are set wider apart,
the spaces between should be
filled up in some way. Little
dots, made of Coton à repriser
D.M.C, will answer the purpose best.

Fig. 129. Net pattern.

Net insertions (figs. 130, 131,
132).—These three patterns are
specially suitable, for insertions,
neck-tie lappets and the
like, in the place of crochet,
pillow, and other kinds of lace.
Both design and stitch are clearly
enough represented in the subjoined
figure for further explanation to be unnecessary. All
three should be worked with rather coarse cotton, and Soutache
D.M.C[A] (braid) drawn in, produces an excellent effect.

Fig. 130. Net insertion.

Fig. 131. Net insertion.

Fig. 132. Net insertion.

Net pattern (fig. 133).—These delicate little figures can
be worked into a close pattern, or can be strewn singly over
the surface. The closer you set the stitches, the more clear and
distinct the stars will be. The thread must be drawn in to the
centre mesh from without, so as to be invisible if possible, and
then back again to the outside when the stitches are finished.

Fig. 133. Net pattern.

Net pattern (fig. 134).—These flowerets have a very pretty
effect, set either singly, or in double or triple rows, and are
very useful for filling up gaps or supplementing rows.

Fig. 134. Net pattern.

Net pattern (fig. 135).—These star-shaped figures, their
longest stitch covering three straight bars and two meshes,
the shortest, three diagonal bars and two meshes, may like
the above flowerets, be ranged closely together in rows, so that
four stitches, two horizontal and two vertical ones, meet in
one mesh. Cotton of two
colours should be used, in
order that the figures may
be distinct from each other:
white and unbleached are the
best, in cases where bright
colours would be unsuitable.

Fig. 135. Net pattern.

Net insertion (fig. 136).—These
diamonds make a very
pretty grounding either set separately,
or in a continuous
pattern. The design is slight,
nevertheless, when it is worked
in coarse cotton, the effect is exceedingly
handsome, especially if the inside, in addition
to the star here given,
be enriched with ordinary
darning-stitches,
worked in fine gold
thread, as we have
already mentioned.

Fig. 136. Net insertion.

Net tracery with border (fig. 137).—In
order to bring out
the pattern and the
colours, use instead
of cotton, Soutache
D.M.C, or Lacets
surfins D.M.C. Both
are to be had in all the colours, given in the list of colours of
the D.M.C threads and cottons. The little border can be used in
conjunction with any of the preceding patterns, but care must
be taken not to let it get twisted in the working. To prevent
this, slip a coarse needle under the last stitch, and draw the
braid flat over it.

Fig. 137. Net tracery with braids.
Materials: Soutache D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.

Broad net lace tracery (fig. 138).—The pattern of this
pretty lace must first be transferred to stout paper, or oil-cloth.
All the leaves and stalks, and the button-holing round the
open centres of the flowers, are worked in a pale green, the
two bottom flowers in Turkey red, the star-shaped one in
blue, the calyx in which the stalks unite, in dark red, and the
little bells, in the lightest green.

Fig. 138. Broad net lace tracery.
Materials: Coton à broder D.M.C No. 30, 35 or 40.—Colours: Rouge-Turc 321,
Rouge-Cardinal 346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.

Net darning.—We conclude with some directions for
darning net, a valuable art, by means of which many a curious
piece of old needlework is preserved. Coarse and fine net are
all darned in the same way.

Laying the first thread (fig. 139).—Tack the net which
is to be darned, closely to the defective part, upon either
oil-cloth or coloured paper and cut the edges straight to the
thread; Your thread must be of exactly the same size, as that
of which the net is made. It takes three rows of stitches to
imitate the net ground; in the first place, as shown in fig. 139, cross-threads must be laid from side to side, carried as
in darning, a little beyond the edges of the hole and so as to
surround each mesh with a slanting stitch.

Fig. 139. Net darning.
Laying the first thread.

Laying the second thread (fig. 140).—Secondly, beginning
from one corner, threads are laid diagonally across the first
layer. The cross-threads of the foundation are encircled by a
stitch, made from right to left, the needle is then carried
under the next horizontal bar, and the first layer of threads
is overcast with similar stitches.

Fig. 140. Net darning.
Laying the second thread.

Laying the third thread (fig. 141).—Thirdly, threads
are carried across the second
and first layers. They must
start, far enough from the edge,
for the second layer of threads
to be overcast at the same time,
so that there may be no loose
threads left on the wrong side.
In this third journey, every
diagonal thread of the foundation
is to be encircled with a
stitch, taken upwards from
below, the cut edges being
strengthened in the same way.
Then, to form the little cross in
the fabric, the thread must be
conducted by means of a second stitch, under the single horizontal
thread, outwards, to the next-diagonal thread.

Fig. 141. Net darning. Laying the third thread.

In places where the net is worn, it can be strengthened in the
same manner, the stitches being made the way of the stuff.

Damask stitches.—As a rule the pattern is simply outlined
with stem and cord stitch, and the inside spaces are left
plain. In spite of the time this simple tracing takes to do, the
effect is rather poor and scanty. If however, the inside of the
leaves and flowers, be filled in with damask stitch, the result
is very handsome.

Not only can the following stitches, which are suitable for any
linen coarse or fine, be used for this kind of embroidery, but
most of the net and lace patterns too, and these combined
with button-holing and flat stitch produce charming effects.

Materials suitable for damask stitches.—All the threads
and cottons used for net work can also be used for damask
stitches, according to the material and the kind of work. We will
enumerate them once more: Coton à tricoter D.M.C Nos. 8
to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton à broder
D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50,
Coton à broder surfin D.M.C Nos. 100, 120, 150.[A]

This kind of embroidery is generally done with a very
coarse needle, to press the threads of the stuff closely together
and make the light spaces between, which appear in many of
the following illustrations.

First pattern (fig. 142).—Carry
the needle in a
slanting direction over three
threads and bring it out,
from right to left, under
three perpendicular ones,
then again slanting, over
three threads, from left to
right, and out again underneath
three horizontal ones,
downwards from above.
Thus the first stitch lies
across, from right to left,
the second, lengthways. On
the wrong side, the stitch forms
a regular succession of steps.

Fig. 142. First pattern

Second pattern (fig. 143).—This
is worked exactly in the
same manner as fig. 142, only
that the second row of stitches
touches the first, so that two
threads enter and issue from
the same hole.

Fig. 143. Second pattern

Third pattern (fig. 144).—Though
at first sight, this
stitch is very like the Holbein
or stroke stitch, it is very different in the execution. It is
worked in two rows, to and fro; in the first, you make all
the vertical stitches side by side in the width of the stuff,
drawing your thread very tightly, in the second, coming
back, you make the horizontal
stitches in a straight
line, at right angles to the
first stitches. On the wrong
side the stitches are crossed;
they in thin stuffs,
show through, and quite
alter the appearance of the
right side.

Fig. 144. Third pattern.

Fourth, pattern (fig. 145).—In the first row, the
thread is carried slanting
upwards from right to left,
over two threads, then
downwards under two.
Coming back, the stitches must be set the opposite way, so
that four threads meet in one hole.

Fig. 145. Fourth pattern.

Fifth pattern (fig. 146).—This is worked like fig. 145,
only that the stitches must cover three threads each way. In
the second row, you take up one thread on the right and two
on the left, to form your stitches.

Fig. 146. Fifth pattern.

Sixth pattern (fig. 147).—Here, the stitches form a
chess-board pattern. You begin with a diagonal stitch over
two threads and bring your needle up again into the same line
it started from. The second stitch covers three threads, the
third six, the fourth eight; the next three decrease, successively
in length, in the same proportion.

Fig. 147. Sixth pattern.

Seventh pattern (fig. 148).—Two kinds of cotton have
to be used for this pattern, one of them soft and flat, like
Colon à repriser D.M.C[A] (darning cotton) or Coton à tricoter
D.M.C (knitting cotton)[A] for
the flat stitches, and the other
strongly twisted, like Cordonnet
6 fils D.M.C No. 8, 10, 12 or
15,[A] for the cross stitches.

Fig. 148. Seventh pattern.

The five flat stitches cover
three threads in width and six
in height, and lie from right to
left and from left to right. In
the second row, which must be
two threads distant from the
first, the stitches must lie in
the contrary direction. In the
lozenge-shaped space between, make four cross stitches,
over four threads in height and two in
width.

Eighth pattern (figs. 149 and 150).—Make
five stitches over 8 horizontal threads,
miss 6 threads and make another 5 stitches.
The groups of long stitches above and
beneath the first row, encroach over two
threads of the first group, so that a space
of only four threads remains between two
groups. The stitch between these groups
is generally known as the rococo
stitch.

Fig. 149. Eighth pattern.

Bring out your needle between
the third and fourth of
these threads, and insert it
again above, drawing it out
afterwards between the second
and third horizontal thread,
and securing the first stitch
with a back stitch. Make the
three remaining stitches, as
explained in fig. 150.

Fig. 150. Explanation of the rococo stitch in fig. 149.

Ninth pattern (fig. 151).—This
consists of straight bands
of flat stitches, covering three
threads each way, with spaces
8 threads wide between, ornamented
with a small pattern in
stroke stitch, (see chapter on
Tapestry and Linen embroidery).

Fig. 151. Ninth pattern.

Damask stitch for figs. 103
and 105 (fig. 152).—The stitches,
here represented on a large scale,
form the border to the square in
cut open-work in fig. 105. The long diagonal stitches, on
either side, can be made to look fuller and more distinct, by
using a soft, coarse cotton.

Fig. 152. Damask stitch for figs. 103 and 105.

Tenth and eleventh patterns (figs. 153 and 154).—The
former of these is used for filling in the short stripe in fig. 105, the second for the long inside one. Fig. 153 is clear
enough to need no explanation;
with reference to fig. 154, it is
however as well to point out that
the shortest stitch should cover
4 threads and the longest 12,
the rest is easily learnt from the
illustration. This is a very suitable
design for the decoration of large
surfaces and combines well with
any running diagonal pattern,
when it can be made to form a
large star which can be worked
as a separate figure.

Fig. 153.
Tenth pattern. Damask stitch for
figs. 104 and 105.

Fig. 154.
Eleventh pattern. Damask stitch
for fig. 105.

Twelfth pattern (fig. 155).—In
cases where this and the
following stitches are to be
executed on a light, transparent
stuff, it is best to use a very
strongly twisted thread, such
as Fil d’Alsace D.M.C[A] or, Fil
à dentelle D.M.C[A] instead of
a softer and looser material. A
stiff thread compresses the
threads of the stuff better and
the open spaces, thus made in
it, are rendered more visible.

Fig. 155. Twelfth pattern.

Count 6 threads vertically,
put in the needle and draw
it through from right to left,
underneath 3 diagonal threads. For the next stitch, carry it
upwards over 6 threads, and back under 3. The second row is
worked back over the first in the same way. Leave 6 threads
between each row.

Thirteenth pattern (fig. 156).—Carry the thread, from
right to left over four vertical threads, and under the same
number of horizontal ones. The second row of stitches touches
the first, so that the thread it is worked with seems to be
drawn through under the same threads of the stuff, as the one
the first row was worked with.

Fig. 156. Thirteenth pattern.

Fourteenth pattern (fig. 157).—Here, the stitches, contrary
to those in fig. 147, are set vertically. The first stitch
covers 2 threads, the second 6, the third 10, the fourth 14, the
fifth 18. The longest stitches of two checks always meet in the
same hole.

Fig. 157. Fourteenth pattern.

Fifteenth pattern (fig. 158).—Cover the whole expanse
with rows of stitches, such as are described in fig. 155, with
intervals of 12 threads between them.

Fig. 158. Fifteenth pattern.

These rows are intersected by others, to which the thread
is passed, from between the sixth and seventh of the 12 threads
between the first rows. Where the stitches of the two rows
meet, the working thread of the second row must be drawn
through, under that of the first.

Sixteenth pattern (fig. 159).—Between every two rows of
cross-stitch, leave an interval of 6 threads, counting those on
each side of the rows. Over these 6 threads work 2 rows, as
shown in fig. 148, but so, that in the second, the lower
stitch of the first row and the upper one of the second, cover
the same threads.

Fig. 159. Sixteenth pattern.

Seventeenth pattern (fig. 160).—This consists of stripes,
4 stitches wide, like those of fig. 155, with 3 threads between,
which are overcast in the ordinary manner.

Fig. 160. Seventeenth pattern.

Eighteenth pattern (fig. 161).—Small squares of 7
stitches, inclined alternately, to the right and left, and so
formed, that the longest stitch of one square is crossed by the
first short stitch of the next, so that a space only 6 threads
wide and 4 long, remains uncovered. The intervening stripes
are filled with 3 rows of overcasting stitches, covering 2
threads each way.

Fig. 161. Eighteenth pattern.

Nineteenth pattern (fig. 162).—The steps formed by
this pattern are 11 stitches high, and 11 wide, and each stitch
covers 4 threads.

Fig. 162. Nineteenth pattern.

Eight threads intervene between each row of steps, which
are covered at the bend, by a square of stitches, from the last
of which, the thread is carried on at once, to the four single
stitches.

Twentieth pattern (fig. 163).—The 4 squares set opposite
to each other, with 2 threads between, are edged all round by
3 rows of overcasting.

Fig. 163. Twentieth pattern.

Twenty-first pattern (fig. 164).—Begin by rows of stitches,
like those described in fig. 155, over 4 and 2 threads, with
4 threads between, not counting those covered with cross-stitch.
Between the two rows of cross-stitch, join 6 threads
together by a back-stitch, and carry your thread over the two
last of the 6, to the 2 first of the next cluster. The narrow
diagonal stripes are separated by 24 threads, exclusive of those
covered by the cross-stitches. These spaces are filled in with
squares, 10 threads wide and 10 long, formed by back-stitches
crossed on the wrong side.

Fig. 164. Twenty-first pattern.

Twenty-second pattern (fig. 165).—In the closer stuffs,
of a coarse texture, the threads of which do not admit of being
drawn together, as you can those, of a loose thin stuff, where,
by simply pulling your thread a little tighter you get open
spaces, you must begin by cutting out every fourth or fifth
thread. After which, you overcast all the rows, first one way,
and then the other, with stitches
covering 4 threads, each way.
On this foundation with strong,
loosely-twisted cotton, Coton
à broder D.M.C or Coton à
tricoter D.M.C No. 25, 30, 35,
or 40, make long stitches, as
indicated in the illustration.

Fig. 165. Twenty-second pattern.

Twenty-third pattern (fig. 166.)—From the point where
the thread comes out of the
stuff, make 16 stitches, four
times over, all coming out of
the same hole, over 8, 6, 4 and 6 threads, thus forming a
star. Leave an interval of four threads between the stars, and
unite the intervening threads by cross-stitches one way, and
whip-stitches, the other.

Fig. 166. Twenty-third pattern.

Twenty-fourth pattern (fig. 167).—Make a succession
of diagonal stitches, increasing in length, and advancing one
thread at a time, until the seventh stitch covers seven threads,
and completes the triangle. Then begin a second triangle on
the nearest, adjacent thread.

Fig. 167. Twenty-fourth pattern.

Twenty-fifth pattern (fig. 168).—Cover your whole surface
with squares of 16 stitches, as in fig. 147, and fill in the
intervening squares with 23 stitches, all radiating from one
centre.

Fig. 168. Twenty-fifth pattern.

Twenty-sixth pattern (fig. 169).—Diagonal trellised
stripes, made as indicated in fig. 165, and overcast, form the
ground. Twelve threads are to be left between the stripes, upon
which, work six-cornered, lozenge-shaped groups of stitches,
set at right angles to each other, in diagonal rows.

Fig. 169. Twenty-sixth pattern.

Twenty-seventh pattern (fig. 170).—We conclude our
chapter with a circular design, which combines a variety of
stitches, and introduces our workers to two new patterns, as
well as to an advantageous way of hiding the junction of
several kinds of stitches by semicircles of button-hole stitching.

Fig. 170. Twenty-seventh pattern.

Next Chapter.

Return to Table of Contents

Stripe in flat and raised satin stitch, and madeira embroidery.

White Embroidery.

We have retained the familiar term, white embroidery,
for this kind of needlework, for convenience sake, in spite of
its inaccuracy, now that coloured materials are quite as much
used for it as white.

It is executed, either on a backing of oil-cloth, or in an
embroidery frame, called «tambour-frame». Only skilful
workers can dispense with these, for an untrained hand can
hardly avoid puckering. If you work without a foundation, the
material must be held, quite smoothly over the forefinger, so
that the threads lie perfectly straight, otherwise, the pattern
is very apt to get pulled out of shape in the working. With
your three other fingers you hold the material fast, the thumb
resting on the work itself, beyond the outline of the pattern,
which must be turned towards the worker. It is always the
outside line of a pattern that is drawn in double lines, that
should be turned towards the palm of the hand.

Tracing patterns.—Patterns are generally to be had ready
traced, but as it is often necessary to repeat, enlarge, or
reduce them, descriptions of several modes of doing so, will
be found at the end of the concluding chapter.

Materials.—A loose, soft make of cotton, the looser the
better, and very little twisted, is the best material for embroidery.
We recommend for white embroidery in general, Coton
à broder D.M.C Nos. 16 to 150; for monograms on cambric,
Coton à broder surfin D.M.C Nos. 100, 120, 150;[A] and
for English or Madeira embroidery, Coton Madeira D.M.C
Nos. 40, 50, 60;[A] for padding, or raising the embroidery,
all the different kinds of Coton à repriser D.M.C[A] can be used.

Outlining and padding.—The outlining of a pattern is
a very important preliminary. A want of precision in the ultimate
effect is often due, merely to careless outlining. This
part of the work should be done with rather a coarser cotton
than the embroidery itself. Fasten in the thread by a few
running stitches, never with a knot, a rule to be observed also
in embroidering, except in very rare cases. Finish off your
thread by drawing it through the tracing stitches, or through
some part of the pattern that is already finished. Fill in the
spaces between the lines with a padding of run threads, run
loosely, and so that they lie thickly and solidly in the centre,
and shade off on both sides. The fullness,
and roundness of embroidery,
depends on the firmness of this sub-stratum
of threads. The outlining and
the padding of the different rounded
and pointed scallops, as well as of other
figures that occur in white embroidery,
are illustrated in figs. 181, 182, 183,
184, 185, 187, 189, 190 and 191.

Blanket, or button-hole stitch
(fig. 171).—Work from left to right;
run in a foundation line, hold down the
working thread below the run line
with the right thumb; insert the needle
above and bring it out below the run
line but above the working thread;
tighten the loop thus formed, without
drawing up the stuff, and continue in
this manner, setting your stitches closely and regularly, side
by side.

Fig. 171. Blanket, or
button-hole stitch.

Straight stem stitch (fig. 172).—Work from left to right.
The needle must always be inserted above the run thread,
and brought out underneath it. In the case of a very delicate
pattern, take up only just as much stuff as the run thread
covers.

Fig. 172. Straight stem stitch.

Sloping stem stitch (fig. 173).—Work without a run
thread; insert the needle from right
to left in a slanting direction,
under 1 or 2 horizontal threads,
and 5 or 6 perpendicular ones;
so that each stitch reaches halfway
back to the last.

Fig. 173. Sloping stem stitch.

This kind of stem stitch is chiefly
used for the fine upstrokes of
letters and numbers, and for linen
embroidery.

Back-stitching (fig. 174).—Back-stitching,
that is small, even
stitches set closely together, is done
from right to left, along a straight
line, and is chiefly used for filling
in the centres of letters, leaves and
flowers.

Fig. 174. Back-stitching.

Crossed back-stitch (figs. 175
and 176).—Used, generally speaking,
only for very transparent materials;
it forms a close seam of cross-stitch,
on the wrong side, and two
straight rows of back-stitching on
the right. To work, insert the
needle as if for an ordinary back-stitch,
pass it under the stuff,
sloping it a little towards the second
outline of the pattern, and
draw it out almost in front of the
first stitch. After making a back-stitch, pass the needle up
again under the stuff and bring it out at the spot where the
next stitch is to be.

Fig. 175. Crossed back-stitch.
Right side.

Fig. 176. Crossed back-stitch.
Wrong side.

Fig. 176 shows the interlacing of the stitches on the wrong
side, and the way in which this stitch, when it is used for
filling in centres, can be worked on
the right side.

Simple knot stitch (fig. 177).
This consists of two back-stitches,
side by side, covering the same
threads; it is chiefly used for
filling in leaves, embroidered on
very thin materials, or in conjunction
with flat stitch.

Fig. 177. Simple knot stitch.

Twisted knot stitch (fig. 178).
To work hold the working thread
down with the thumb close to the
spot where you first brought it out,
twist it twice round the needle,
turn the needle round from left to
right, following the direction indicated
by the arrow, pass it through
the fabric at the place which is
marked by a dot, and draw it out
at the place where the next stitch
is to be.

Fig. 178. Twisted knot stitch.

Post stitch (fig. 179).—Something
like knot stitch and much used
for patterns, composed of small
flowers and leaves, where it often
takes the place of raised satin stitch.
The illustration represents five
leaves finished, and the sixth in
process of being worked.

Fig. 179. Post stitch.

To work, bring the needle up from the back and twist
the thread round it as many times as the length of the stitch
requires, hold the left thumb on the species of curl thus
formed, and passing the needle and thread through it, insert
it at the end of the leaf where it first came out, and draw
it out at the right place for the next stitch.

Button-hole bars (fig. 180).—When a pattern is ornamented
with open-work bars, begin by tracing the outside
parallel lines. Then button-hole the whole lower line and
the upper one, till you come to the place where the first bar
is to be; then you carry your thread across and bring up
the needle from below through one of the loops, as, shown
in the figure; lay three threads in this manner, inserting your
needle the third time one loop further on. Then cover the
three threads thickly with button-holing.

Fig. 180. Button-hole bars.

Different kinds of scallops (figs. 181, 182, 183).—The
outlining, padding and button-holing of these scallops is executed
in the manner already described. Be careful to adapt the
length of the stitches to the shape and size of the scallops. If
they are pointed (figs.
182, 183), the stitches
will have to be set
very closely together
on the inner line, and
a little play allowed
them on the outer, to
come exactly to the
point, which should
be very sharply defined.

Fig. 181. Round, button-holed scallops.

Fig. 182. Large, pointed, button-holed scallops.

Fig. 183. Small, pointed, button-holed scallops.

Rose scallops (figs.
184 and 185).—These
are, large button-holed
scallops with indented
edges, in the one case, rounded at the top and sharply pointed
at the join; in the other, pointed at the top, and joined at
the bottom by a straight bar of button-holing.

Fig. 184. Rounded rose scallops.

Fig. 185. Pointed rose scallops.

Eyelet holes (figs. 186, 187, 188).—Outline the eyelet holes
very carefully first by running a thread round them, then
cut out the enclosed stuff with a sharp pair of finely pointed
scissors, and edge the hole with plain overcasting stitches,
worked from left to right.

Fig. 186. Overcast eyelet holes.

When you have a long row of eyelet holes to make, outline
the upper and lower halves alternately, first on one side and
then on the other, using two threads, and then overcast them
in the same way. The double crossing of the working threads
between the eyelet holes makes them much stronger, than if
each hole were finished off separately, and the thread passed
underneath from one to
the other.

Fig. 187. Button-holed shaded eyelet holes.

Fig. 188. Shaded eyelet holes half overcast, half button-holed.

The lower halves of
shaded eyelet holes, (see
figs. 187 and 188), are
worked with very short
stitches, and the upper
halves with long ones; they
may be edged entirely, either with button-holing or overcasting,
or half with one and half with the other.

Six leaves in raised satin stitch (fig. 189).—Raised satin
stitch is chiefly used for working flowers, leaves, petals, dots,
initials and monograms. After tracing the outline of the design,
fill in the centres with a padding of long, close stitches
for which you can again take Coton à repriser D.M.C[A]
and then, beginning always at the point of the leaf, see letter A,
cover it with flat, perfectly even stitches, worked from right-to-left.
B illustrates a leaf, divided through the middle by a line of
overcasting; C, one with a corded vein; D, a divided leaf
worked in sloping satin stitch; E, a leaf, with a corded vein
and framed in sloping satin stitch; F, a leaf worked half in
satin stitch, half in back-stitch and straight stem stitch.

Fig. 189. Six leaves in raised satin stitch.

Leaves and flowers of all descriptions, can be executed in
any of these stitches, and in different combinations of the same.

Six ways of making dots (fig. 190).—Dots, when they
are well made, are exceedingly effective in white embroidery,
particularly if they are worked in a variety of stitches.
Dot A is worked in raised satin stitch; B, in raised satin
stitch, framed in back stitch; C, in raised satin stitch, framed
in twisted knot stitch; D is composed of several post stitches
of different lengths, set in a frame of stem stitches; E is worked
in back-stitch, and F consists of a small eyelet hole, with
a corded setting, which forms the centre.

Fig. 190. Six ways of making dots.

Venetian embroidery (fig. 191).—Scallops, worked in
very high relief, called Venetian embroidery, are an imitation
on stuff of Venetian lace.

Real Venetian point is entirely needle-made; in the embroidered
imitations of it, the stuff takes the place of the
needle-made lace foundation. To make it more like the original
however, the ground is seldom left plain, but is covered with
fancy stitches, such as are represented in the illustration, or
with one or other of the damask stitches in figs. 146 to 170.
The button-hole bars may be made with or without picots.
A full description of the latter will be found in the chapters
on net embroidery, and Irish lace. The space to be button-holed,
must be well padded, for thereon depends the roundness
of the embroidery. For this purpose take 6 or 8 threads of
Coton à repriser D.M.C No. 25,[A] and fasten them down on to
the pattern with loose stitches, laying on extra threads, and
cutting them gradually away, according to the width the line
is to be. The stuff underneath the bars should only be cut
away when the embroidery is quite finished.

Fig. 191. Venetian embroidery.

Renaissance embroidery (figs. 192 and 193).—This is the
term applied, more especially in France, to embroidery
patterns, which are worked entirely in button-holing, and
connected by button-hole bars without picots, as shewn in the
two accompanying figures. The outside edge in fig. 193, is embellished
with picots, described in the chapters just referred to.

Fig. 192. Renaissance embroidery.

Fig. 193. Renaissance embroidery.

Richelieu embroidery (fig. 194).—The name given to
embroidery of a similar kind to the former, but in which the
connecting bars, instead of being left plain as they are in the
Renaissance embroidery, are ornamented with picots.

Fig. 194. Richelieu embroidery.

Madeira work (figs. 195, 196, 197).—This kind of embroidery,
which consists chiefly of eyelet holes, and is distinguished
for the excellence of its workmanship used to be
known as English, but is now generally called Madeira work,
from the island where it originated. The scallops in figs. 195
and 197, are bordered with shaded eyelet holes, worked half
in button-hole stitch, half in overcasting; the finely scalloped
edge, in fig. 196, is entirely button-holed. In working eyelet
holes, the material must always be turned in, up to the
inside line, and completely worked in, underneath the
in order that no loose threads may be visible on the wrong side.

Fig. 195. Madeira work.

Fig. 196. Madeira work.
Materials: Coton Madeira D.M.C No. 40, 50 or 60. (Special cotton
for Madeira work)[A]

Fig. 197. Madeira-work.
Materials: Coton Madeira D.M.C No. 40, 50 or 60. (Special cotton for
Madeira-work).

Swiss embroidery frame (fig. 198).—Letters, monograms,
coronets and the like, require extreme care in the
working, and can only be really well done in a frame. The
round Swiss frame, or tambour frame, is the one most
commonly used. It consists of two wooden hoops, fitting
loosely into each other; the inner one, fastened to a support
with a wooden screw let into the lower part of it, with which
to fasten the frame to the table. The outside hoop is loose.

Place the fabric to be embroidered over the smaller hoop,
the pattern in the middle, and press the other down over it so
that it is tightly stretched and fixed between the two hoops.

A leathern strap with holes and a buckle, sometimes takes
the place of the second hoop.

Fig. 198. Swiss embroidery frame.

Ordinary embroidery frame (fig. 199).—Tambour frames
can only be used for embroidering pocket-handkerchiefs
and other small articles; all larger work has to be done in
an ordinary frame. Sew a piece of strong stuff into the
frame, stretch it as tightly and evenly as possible, and cut
out a square in the middle to the size of the pattern. Then
tack your work in underneath, straight to the thread, dividing
it out carefully with pins first, to ensure its being set in
perfectly evenly. Roll or fold up the rest of the stuff over the
edges of the frame, and secure it with a few stitches or pins,
to keep it out of the way of your hand as you work.

Fig. 199. Ordinary embroidery frame.

Alphabets for monograms (figs. 200 to 205).—On account
of the difficulty of devising a good monogram for marking under-linen,
we subjoin two alphabets, by the aid of which our
workers will be able to compose their own.

The letters are of a good medium size, which can be magnified
or reduced according to the worker’s own taste.

For any such modifications, we would again draw our
reader’s attention to the directions given in the concluding
chapter. The three first plates represent large wide letters,
intended to contain or encompass the more elongated ones,
represented in the fourth and fifth plates, figs. 203 and 204.

The interlacing of the letters requires to be carefully done,
and our workers should study the following specimens, so
as to learn the stitches also, which are most suitable for this
branch of embroidery.

Fig. 200. Alphabets for monograms. Outside letters A to H.

Fig. 201. Alphabets for monograms. Outside letters J to Q.

Fig. 202. Alphabets for monograms. Outside letters R to Y.

Fig. 203. Alphabets for monograms. Inside letters A to L.

Fig. 204. Alphabets for monograms. Inside letters M to X.

Fig. 205. Alphabets for monograms. Last inside and outside letters.

Monogram composed of letters A and D (fig. 206).—Here,
letter A is worked in flat satin stitch, in Bleu-Indigo 312,
and set in stem stitch, worked in Rouge-Turc 321. D as a contrast
to A, is embroidered in transverse bars, the left part in
pale blue and white, the right in pale blue and dark blue. The
little ornaments may be worked according to fancy, either in
white, or in one of the given colours.

Fig. 206. Monogram composed of letters A and
D drawn from the alphabets of
monograms.
Materials: Coton à broder D.M.C
Nos. 100 to 150.
Colours: Bleu-Indigo 334, Rouge-Turc
321 and white.[A]

Monogram composed of letters V and S (fig. 207).—The
flat satin stitch in both letters is worked in white; the
setting, is in red, in short stem stitch, or if preferred, in
knotted back stitch.

Fig. 207.
Monogram composed of letters V and
S drawn from the alphabets of
monograms.
Materials: Coton à broder D.M.C
No. 120.
Colours: White and Rouge-Cardinal
305.[A]

Monogram composed of letters R and C (fig. 208).—These
are worked in black and grey, for mourning; the
way C is divided, admits of a variety in the stitch; for instance,
the back-stitches, in the illustration, may be replaced
by very small eyelet holes.

Fig. 208.
Monogram composed of letters R and
C drawn from the alphabets of
monograms.
Materials: Fil à dentelle D.M.C
No. 150.
Colours: Gris-Cendre 318 and Noir
grand Teint 310.

Monogram composed of letters G and E (fig. 209).—The
flat satin stitching and back-stitching in E, and the stem-stitched
edges of G are worked in white Coton à broder
D.M.C; the inside of G in ivory white Coton surfin D.M.C.

Fig. 209.
Monogram composed of letters G and
E drawn from the alphabets of
monograms.
Materials: Coton à broder D.M.C
No. 120 white
and Coton surfin D.M.C No. 120,
unbleached.

Border in Gobelin stitch (fig. 210).—Gobelin embroidery
is merely raised satin stitch, worked directly upon the pattern,
without any foundation, or padding. The effectiveness of this
kind of embroidery, which appears so complicated and is
really so easy, and the many ways in which it can be utilised,
soon brought it into favour. It can be worked on the article
itself, or on stripes, laid on afterwards, with a hem-stitch
bordering. The original of fig. 210 was in blue and red; Bleu
Indigo 312 for the grounding, Rouge-Turc 321, for the setting
in stem-stitch. The herring-boning along the edges of the
pattern, top and bottom, is also in red.

Fig. 210. Border in gobelin stitch.
Materials: Coton à broder D.M.C No. 35 in two different colours such as:
Bleu-Indigo 312 and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or,
Gris-Tilleul 393 and Rouge-Cardinal 305.[A]

Should a different selection of colours be made, it is important
to remember that in all cases a sharp contrast is
desirable.

Alphabet and numerals, left blank, and outlined by
the grounding, worked in Gobelin stitch (figs. 211 to 215).

Fig. 211. Alphabet left blank and outlined by the grounding. Letters A to N.

Fig. 212. Alphabet left blank and outlined by the grounding. Letters O to Z.

Fig. 213. Letter O, from the alphabet
given in figs. 211 and 212.

Fig. 214. Numerals left blank and outlined by the grounding.

The border worked in Gobelin
stitch, illustrated in
fig. 210, suggested to us the
idea of an alphabet and
numerals, to be executed
in a similar style, left blank,
that is to say, and outlined
by a grounding in Gobelin
stitch, which are better suited
to embroideries of the
kind than those generally
used. Our limited space prevents
us from giving all the
letters in the diagonal position
they are intended to
occupy on the article itself.
O and W only, are represented
in the right position.
No difficulty will be found
in copying the other letters,
in giving them the proper
direction.

Fig. 215. Letter W, from the alphabet
given in fig. 211 and 212.

In order to economize
room, J and H are represented
in one square, but they
are easily distinguishable
from each other.

Fig. 214 represents the
numerals, executed in the
same way. We should like to draw our readers attention to
a few other ways in which letters and numerals may be
outlined by the background; for example, the solid parts
can be worked either in plain or twisted knot stitch (figs. 177
and 178); in very fine chain stitch; in old German knot or bead
stitch (fig. 873), or even in piqué embroidery (fig. 877).

Border outlined by grounding, worked in Gobelin and
stem stitch (fig. 216). The grounding of this
pattern is worked on stiff white linen, and entirely in Rouge-Turc
321, and the outlining in Noir grand Teint 310. The same
pattern can equally well be worked on gauzes and other transparent
stuffs, but with Coton à repriser, instead of Coton à
broder D.M.C, for the solid parts. Two shades of Rouge-Grenat,
one dark and one very light, may be taken instead, or two of
Jaune-Rouille, or of Violet-Mauve, employing always the lighter
shade for the grounding and the darker for the setting.

Fig. 216. Border, outlined by the grounding worked in gobelin
and stem stitch.
First part.

Fig. 216. Second part.
Materials: Coton à broder D.M.C No. 50.—Colours: Rouge-Turc 321 and Noir
grand Teint 310.[A]

Be careful, in the grounding, not to make the red stitches
near the edge, longer than they are represented in the illustration
and to set the black stem stitches as close as possible to
the grounding.

The pattern, which could only be reproduced in the original
size, had to be divided in two, to fit the page. In copying
it, join the A and B of the first part to the A and B of the
second; the same in fig. 217, each time the pattern is repeated,
the flowers are to droop from the + as seen from the position
of the buds in the first part, at the beginning of the
drawing.

Flower garland in different kinds of stitches (figs. 217
and 218).—Most of the stitches, described at the beginning of
this chapter, will be found in this graceful garland, in the execution
of which a considerable variety of colours can be introduced.
The rose-buds may be worked in two shades of Vert-Pistache
and of Rouge-Grenat, in the stitches described in
figs. 173, 177, 189 A; the forget-me-nots, in two or even
three shades of Bleu-Indigo, in raised satin stitch and knotted
stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul,
the stamens in Jaune-Citron, and the stalks of the roses in
Brun-Acajou.

Fig. 217. Flower-garland in different kinds of stitches.
First part.

Fig. 217. Second part.
Materials: Coton à broder D.M.C No. 40.
Colours: Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334, Vert-Pistache
319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301, Jaune-citron 446.

Fig. 218. Showing the working of the outside
stitches in fig. 217.

The border that completes this charming pattern, consists
of four rows of button holing, worked in four colours. The
first row in our illustration is worked in pale pink, followed
by three shades of green, the palest of which is used for the
second row of stitches.

When these rows are worked upon a satine or cambric foundation,
it is advisable to begin by making a small drawing, in
which the height of the stitches and the distance between them
is accurately marked out, then prick the pattern through and
pounce it upon the material beneath.

When they are worked on a material, the threads of which
can be counted no such precaution is necessary.

Insertion in Gobelin and stem stitch (fig. 219).—Owing
to the shortness of the stitches, this pattern is easier to work
than the foregoing ones. The little flowers are embroidered
alternately in dark and light red; the setting varies to correspond,
the light red flower being set in dark red, and vice versa.
The interior of the leaves is in light green and the setting,
as well as the connecting bars, in dark green.

Fig. 219. Insertion in gobelin and stem stitch.
Materials: Coton à broder D.M.C No. 35—Colours: Rouge-Cardinal 347 and
Rouge-Géranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and
334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
Jaune-Rouille 364 365.[A]

Stripes of embroidery with lace insertion between (fig. 220).—We conclude this chapter, by showing how stripes of
embroidery can be used alone, or in conjunction, either with
bands of open-work, or lace, crochet, or net insertion. Such
combinations are useful for ornamenting aprons, table-cloths,
curtains etc., every description in short of household linen
and of children’s garments. One great advantage, moreover,
which stripes of this kind, have over larger pieces of embroidery
is that they require neither frame nor pillow, nor wearisome
counting of stitches, but can be worked in the hand, at
all times and places.

Fig. 220. Stripes of embroidery with insertion between.

Next Chapter.

Return to Table of Contents

Stripe of gold embroidery in gold thread, purl, and flattened gold wire.

Flat stitch and Gold embroidery.

The terms, flat stitch and gold embroidery, suggest as a
rule, needle-work upon rich materials, such as velvet, brocade,
plush and the like.

Nevertheless, a great deal of beautiful embroidery is to be
met with, in silk and gold thread upon quite common stuffs;
Persian and Moorish embroidery for instance, both remarkable
for their delicacy and minuteness, and executed upon ordinary
linen, or cotton fabrics.

As a fact, the material is quite a secondary matter; almost
any will do equally well as a foundation, for the stitches
described in these pages. Flat stitch, and some of the other
stitches used in gold embroidery, can be worked with any kind
of thread, but best of all with the D.M.C cottons.

Flat stitch embroidery.—Decorative designs, and conventional
flowers, are the most suitable for flat stitch
embroidery; a faithful representation of natural flowers should
not be attempted, unless it be so well executed, as to produce
the effect of a painting and thus possess real artistic merit.

Encroaching flat stitch (fig. 221).—Small delicate flowers,
leaves, and arabesques, should in preference, be worked either
in straight flat stitch (figs. 189 and 190) or in encroaching flat
stitch. The stitches should all be of equal length, the length
to be determined by the quality of the thread; a fine thread
necessitating short, and a coarse one, long stitches. The
stitches should run, one into the other, as shown in the illustration.
They are worked in
rows, those of the second
row encroaching on those of
the first, and fitting into
one another.

Fig. 221.
Encroaching satin stitch.

Work your flowers and
leaves from the point, never
from the calyx or stalk. If
they are to be shaded, begin
by choosing the right shade
for the outside edge, varying
the depth according to the
light in which the object is supposed to be placed. The stitches
should always follow the direction of the drawing.

Oriental stitch (figs. 222, 223, 224).—The three following
stitches, which we have grouped under one heading, are known
also, under the name of Renaissance or Arabic stitches. We
have used the term Oriental, because they are to be met with
in almost all Oriental needlework and probably derive their
origin from Asia, whose inhabitants have, at all times, been
renowned for the beauty of their embroideries.

Fig. 222. Oriental stitch.

These kind of stitches are only suitable for large, bold
designs. Draw in the vertical threads first; in working with a
soft, silky material, to economise thread, and prevent the embroidery
from becoming too heavy, you can begin your second
stitch close to where the first ended.

Fig. 223. Oriental stitch.

But if the thread be one that is liable to twist, take it back
underneath the stuff and begin your next stitch in a line
with the first, so that all the stitches of the first layer, which
form the grounding, are carried from the top to the bottom.
The same directions apply to figs. 223, 224 and 226.

Fig. 224. Oriental stitch.

When you have laid your vertical
threads, stretch threads
horizontally across, and fasten
them down with isolated stitches,
set six vertical threads apart.
The position of these fastening
stitches on the transverse threads
must alternate in each row, as
indicated in fig. 222.

For fig. 223, make a similar
grounding to the one above described,
laying the horizontal threads a little closer together,
and making the fastening stitches over two threads.

In fig. 224, the second threads are carried diagonally across
the foundation-threads, and the fastening stitches are given a
similar direction.

For these stitches, use either one material only, a fleecy
thread like Coton à repriser D.M.C for instance, or else two,
such as Coton à repriser D.M.C for
the grounding, and a material with a
strong twist like Cordonnet 6 fils
D.M.C or Fil à pointer D.M.C for
the stem stitch.

Plaited stitch (fig. 225).—When
the vertical stitches are laid, a kind
of plait is formed in the following
way. Pass the thread three times,
alternately under and over three foundation
threads. To do this very
accurately, you must take the thread
back, underneath, to its starting-point;
and consequently, always make your
stitch from right to left.

Fig. 225. Plaited stitch.

If you have chosen a washing
material, and D.M.C cottons to work
with, use one colour of cotton for the
foundation, and Chiné d’or D.M.C
No. 30, for the plaited stitch.

Mosaic stitch (fig. 226).—In old
embroideries we often find this stitch,
employed as a substitute for plush or
other costly stuffs, appliquéd on to
the foundation. It is executed in the
same manner as the four preceding
stitches, but can only be done in thick
twist, such as Cordonnet 6 fils D.M.C
or Ganse turque D.M.C.

Fig. 226. Mosaic stitch.

Each stitch should be made separately,
and must pass underneath
the foundation, so that the threads
which form the pattern are not flat,
as they are in the preceding examples,
but slightly rounded.

Border in Persian stitch (fig. 227).—This stitch, of
Persian origin, resembles the one represented in fig. 175.
Instead of bringing the needle out, however, as indicated in
fig. 176, take it back as you see in the illustration, to the
space between the outlines of the drawing, and behind the
thread that forms the next stitch. Before filling in the pattern,
outline it with short stem stitches, or a fine cord, laid on,
and secured with invisible stitches.

Fig. 227. Border in persian stitch.
Materials: Cordonnet 6 fils D.M.C No. 14, 15, 20 or 25.
Colours: Noir grand Teint 310, Vert-Mousse 469 and 471, Rouge-Cardinal 346,
Jaune-vieil-Or 680, Violet-Mauve 315 and 316.

This graceful design which can be utilised in various ways
is formed of leaves of 7 lobes, worked alternately in dark and
light green; of flowers of 3 petals, worked in red and the
centres in yellow, and of small leaves in violet. The setting,
throughout, is worked either in black or in dark brown.

Stripe worked in flat stitch (fig. 228).—This pattern,
simple as it is, will be found both useful and effective for the
trimming of all kinds of articles of dress. The bottom edge
should be finished off with rounded scallops or toothed vandykes
worked in button-hole stitch. The flowers in flat stitch,
are worked alternately, in Rouge-Géranium 351 and 352, and
the leaves alternately, in Vert-de-gris 474 and 475; the centres
of the flowers are worked in knot stitch, in Jaune-Rouille 308.

Fig. 228. Stripe worked in flat stitch.
Materials—According to the stuff: Fil à dentelle D.M.C, Cordonnet 6 fils
D.M.C or Coton à repriser D.M.C[A]
Colours—For the flowers: Rouge-Géranium 351 and 352.—For the knot stitch:
Jaune-Rouille 308.—For the foliage: Vert-de-gris 474 and 475.[A]

Bouquet in straight and encroaching flat stitch (fig. 229).
As we have already observed, it is by no means easy to
arrange the colours in an embroidery of this kind, so as to
obtain a really artistic effect. Whether the design be a conventional
one or not, the great point is to put in the lights and
shadows at the right place. If you want to make a faithful
copy of a natural flower, take the flower itself, or a coloured
botanical drawing of it, and if possible, a good black and white
drawing of the same, match the colours in 6 or 7 shades, by the
flower itself, keeping them all rather paler in tone, and take
the black and white drawing as a guide for the lights and
shadows. The colours for the leaves and petals, which should
always be worked from the outside, should be chosen with
a view to their blending well together. The stamens and
the centres of the flowers should be left to the last, but the
veins and ribs of the leaves, should always be put in before
the grounding.

Fig. 229. Bouquet in straight and encroaching flat stitch.
Materials: Coton à repriser D.M.C No. 50.
Colours—For the forget-me-nots: Bleu-Indigo 312, 322 and 334.—For the
other flowers: Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache
369.—For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471
and 472.—For the stalks: Brun-Havane 455 and 457.[A]

For embroideries of this kind, suitable materials must be
selected; the more delicate and minute the design, and the
more varied the colouring, the softer and finer should be the
quality of the material employed. Specially to be recommended,
as adapted to every form of stitch and as being each of them
capable of being subdivided,
are Filoselle, Marseille, open
Chinese silk and Coton à
repriser D.M.C.[A]

Flowers embroidered in
the Chinese manner (fig. 230).—All Chinese embroidery
displays undoubted originality
and wonderful skill
and judgment in the choice of
material and colour. It excels
particularly, in the representation
of figures, flowers, and
animals, but differs from European
work in this, that instead of using flat stitch and
making the colours blend together as we do, the Chinese put
them, side by side, without intermediate tones, or they sometimes
work the whole pattern in knot stitch. The little knots,
formed by this stitch are generally set in gold thread.

Fig. 230.
Flowers embroidered in the chinese
manner.

Often too, instead of combining a number of colours, as
we do, the Chinese fill in the whole leaf with long stitches and
upon this foundation, draw the veins in a different stitch and
colour. Even the flowers, they embroider in the same way, in
very fine thread, filling in the whole ground first, with stitches
set very closely together and marking in the seed vessels afterwards,
by very diminutive knots, wide apart.

Chinese encroaching flat stitch (fig. 231).—Another easy
kind of embroidery, common in China, is done in encroaching
flat stitch. The branch represented in our drawing, taken from
a large design, is executed in three shades of yellow, resembling
those of the Jaune-Rouille series on the D.M.C colour card.[A]

Fig. 231. Chinese encroaching flat stitch.
Materials: Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chiné d’or D.M.C.
Colours—For the cotton: Jaune-Rouille 363, 308, 366.—For Chiné d’or:
Red and gold, blue and gold, green and gold.[A]

The stitches of the different rows encroach upon one another,
as the working detail shows, and the three shades
alternate in regular succession. Flowers, butterflies and birds
are represented in Chinese embroidery, executed in this manner.
It is a style, that is adapted to stuffs of all kinds, washing
materials as well as others, and can be worked in the hand
and with any of the D.M.C threads and cottons.[A]

Raised embroidery (figs. 232 and 233).—Raised embroidery
worked in colours, must be stuffed or padded first, like the
white embroidery in fig. 191. If you outline your design with
a cord, secure it on the right side with invisible stitches, untwisting
the cord slightly as you insert your needle and thread,
that the stitch may be hidden between the strands. Use Coton
à repriser D.M.C No. 25, for the padding. These cottons are
to be had in all the colours,
indicated in the D.M.C
colour card, and are the
most suitable for the kind
of work.

Fig. 232. Raised embroidery.
Preparatory work.

Fig. 233. Raised embroidery.
Work completed.

Use Coton à broder
D.M.C for the transverse
stitches and over the smooth
surface which is thus formed,
work close lines of
satin stitch in silk or cotton;
the effect produced, will
bear more resemblance to
appliqué work than to embroidery.
The centres of
the flowers are filled in with
knot stitches, which are
either set directly on the
stuff or on an embroidered
ground.

Embroidery in the
Turkish style (figs. 234
and 235).—This again is a
style of embroidery different
from any we are accustomed to. The solid raised parts are
first padded with common coarse cotton and then worked over
with gold, silver, or silk thread.

Contrary to what is noticeable in the real Turkish embroidery,
the preparatory work here is very carefully done, with
several threads of Coton à repriser D.M.C used as one. A
rope of five threads is laid down, and carried from right to
left and from left to right, across the width of the pattern.
After laying it across to the right, as explained in fig. 234,
bring the needle out a little beyond the space occupied by
the threads, insert it behind them and passing it under the
stuff, draw it out at the
spot indicated by the arrow.
The stitch that secures the
threads, should be sufficiently
long to give them a
little play, so that they
may lie perfectly parallel,
side by side, over the whole
width of the pattern.

Fig. 234. Embroidery in the turkish style.
Preparatory work.

This kind of work can
be done on woolen or cotton
materials, and generally
speaking, with D.M.C cottons,
and gold thread shot
with colour (Chiné d’or
D.M.C.)

Very pretty effects can
be obtained, by a combination
of three shades of
Rouge-Cardinal 347, 346
and 304, with Chiné d’or
gold and dark blue or with
Chiné d’or, gold and light
blue.[A]

This kind of embroidery may be regarded as the transition
from satin stitch to gold embroidery.

Fig. 235. Embroidery in the turkish style.
Work completed.

Gold embroidery.—Up to the present time, dating from
the end of the eighteenth century, gold embroidery has been
almost exclusively confined to those who made it a profession;
amateurs have seldom attempted what, it was commonly supposed,
required an apprenticeship of nine years to attain any
proficiency in.

But now, when it is the fashion to decorate every kind of
fancy article, whether of leather, plush, or velvet, with monograms
and ingenious devices of all descriptions, the art of
gold embroidery has revived and is being taken up and practised
with success, even by those to whom needlework is
nothing more than an agreeable recreation.

We trust that the following directions and illustrations
will enable our readers to dispense with the five years training,
which even now, experts in the art consider necessary.

Implements and materials.—The first and needful requisites
for gold embroidery, are a strong frame, a spindle,
two pressers, one flat and the other convex, a curved knife, a
pricker or stiletto, and a tray, to contain the materials.

Embroidery frame (fig. 236).—The frame, represented
here, is only suitable for small pieces of embroidery, for larger
ones, which have to be done piece by piece, round bars on
which to roll up the stuff, are desirable, as sharp wooden
edges are so apt to mark the stuff.

Fig. 236. Embroidery frame for gold embroidery.

Every gold embroidery, on whatever material it may be
executed, requires a stout foundation, which has to be sewn
into the frame, in doing which, hold the webbing loosely,
almost in folds, and stretch the stuff very tightly. Sew on a
stout cord to the edges of the foundation, which are nearest
the stretchers, setting the stitches, 3 or 4 c/m. apart. Then
put the frame together and stretch the material laterally to its
fullest extent, by passing a piece of
twine, in and out through the cord
at the edge and over the stretchers.
Draw up the bracing until the foundation
is strained evenly and tightly.
Upon this firm foundation lay the
stuff which you are going to embroider,
and hem or herring-bone
it down, taking care
to keep it perfectly even
with the thread of the
foundation and, if possible,
more tightly stretched
to prevent it from
being wrinkled or puckered
when you come to take it off the backing. For directions how to
transfer the pattern to your stuff, and prepare the paste with
which the embroidery has to be stiffened before it is taken out
of the frame, see the concluding chapter in the book.

The spindle (fig. 237).—The spindle to wind the gold
thread upon, should be 20 c/m. long and made of hard wood.
Cover the round stalk and part of the prongs with a double
thread of Coton à broder D.M.C No. 16, or pale yellow Cordonnet
D.M.C No. 25, and terminate this covering with a
loop, to which you fasten the gold thread that you wind
round the stalk.

Fig. 237. The spindle.

The pressers (figs. 238 and 239).—These, so called ‘pressers’,
are small rectangular boards with a handle in the middle.
The convex one, fig. 238, should be 15 c/m. long by 9 broad;
the other, fig. 239, which is quite flat, should be 32 c/m. by 20.

Fig. 238.
Convex presser, for pressing
the stuff on the wrong side.

Fig. 239.
Flat presser for laying on the pattern.

Having cut out your
pattern in cartridge paper,
lay it down, on the wrong
side, upon a board thinly
spread with embroidery
paste. Let it get thoroughly
impregnated with the paste
and then transfer it carefully
to its proper place on the stuff; press it closely down with
the large presser, and with the little convex one rub the stuff
firmly, from beneath,
to make
it adhere closely
to the pasted
pattern; small,
pointed leaves and
flowers will be
found to need sewing
down besides,
as you will
observe in fig. 242, where each
point is secured
by stitches. The
embroidery should not be begun until the paste is perfectly
dry, and the pattern adheres firmly to the stuff.

The knife (fig. 240).—Most gold embroideries require a
foundation of stout cartridge paper, and, in the case of very
delicate designs, the paper should further be covered with kid,
pasted upon it.

Fig. 240. The knife. Reduced scale.

Transfer the design on to the paper or kid, in the
manner described in the concluding chapter, and cut it out
with the knife.
You can only
make very
short incisions
with this tool,
which should
be kept extremely
sharp
and held, in
cutting, with
the point outwards,
and the
rounded part
towards you,
as shown in
the drawing.

Tray to
contain the
materials (fig. 241).—Cut out as many divisions in a thin board, or
sheet of stout cardboard, as you will require materials for
your embroidery; these include not only gold thread
of all kinds,
but likewise
beads and
spangles of all
sorts and sizes
as well as
bright and
dead gold and
silver purl, or
bullion, as it
is also called.
For the pieces of purl alone, which should be cut ready to
hand, you should have several divisions, in order that the
different lengths may be kept separate.

Fig. 241. Tray to contain the materials.

Use of the spindle (fig. 242).—Gold embroidery thread
should be wound double upon the spindle. It is laid backwards
and forwards and secured with two stitches at each
turn, as described in fig. 234. Small holes where the stitches
are to come, have first to be pierced in the material with the
pricker, from the right side, for the needle to pass through.
In soft stuffs, this is unnecessary, but in brocaded materials,
and in plush and leather, where every prick shows and would
often spoil the whole effect, it is indispensable.

Fig. 242. Use of the spindle

Gold thread which is stiff and difficult to work with, can
be rendered soft and pliable by putting it into the oven, or
any other warm place, for a short time.

Embroidery with gold purl (fig. 243).—Embroidery
is the easiest kind of gold embroidery; you
have only to thread the little pieces of purl, cut into the
required lengths beforehand, like beads on your needle, and
fasten them down upon the foundation like the beads in bead-work.
Smooth and crimped gold purl, or silver and gold purl
used together, look exceedingly well, particularly where the
pattern requires effects of light and shade to be reproduced.

Fig. 243. Embroidery with gold purl.

Embroidery in diamond stitch (fig. 244).—The diamond
stitch is a charming novelty in gold embroidery.
Short lengths of purl, not more than
1½ m/m. long, are threaded on the
needle, and the needle is put in and drawn
out at the same hole. These stitches which
resemble knot stitches, form so many little
glittering knots, turned alternately to the
right and left, and look like seed-diamonds
in appearance, more especially, when they
are made in silver purl. The shorter the
pieces are, and the more closely you set the
knots together, the handsomer and richer
the effect will be.

Fig. 244. Diamond stitch.

Chinese gold embroidery (figs. 245
and 246).—We recommend the imitation of Chinese gold
embroidery to our readers as an easy and grateful recreation.
It consists simply in laying down a gold thread, on a delicately
outlined pattern and securing it by stitches. It can be done
on any material, washing or other, the costliest as well as the
most ordinary.

Fig. 245. Chinese gold embroidery. First part.

For a washing material use, Or fin D.M.C pour la broderie,
No. 20, 30 or 40,[A]
which, as it washes
perfectly, is well adapted
for the embroidery
of wearing apparel,
and household linen.
Plain gold thread and
gold thread with a
thread of coloured silk
twisted round it, are
very effective used together.

Fig. 245. Second part

Thus in fig. 245,
the trees, foliage and
flowers, are worked in
plain gold, the grasses,
in gold shot with green,
the butterflies in gold
with red, the two birds
in gold with dark blue,
and gold with light blue.

Fig. 246. Chinese gold embroidery. First part.

Two threads of gold
should be laid down
side by side and secured
by small catching
stitches, set at regular
intervals from one another,
and worked in
Fil d’Alsace D.M.C No. 200,[A] of the same colour. Where the
design requires it, you may separate the gold threads, and
work with one alone.

The second specimen of Chinese embroidery, fig. 246,
resembles the first, as far as materials and execution are concerned,
but the design is different. The grotesque animals,
flowers and shells it represents, can be worked separately, or
connected together so as to form a running pattern.

Fig. 246. Second part.

Stripe worked in various stitches (fig. 247).—All the
designs described thus far, are worked in the same way, but
the stripe now presented to our readers introduces them to
several kinds of gold thread, and a variety of stitches. The
small, turned-back petals of the flowers are worked in plain
gold thread, and outlined with crimped; the rest of the petals
are worked in darning stitch, with plain gold thread. The
latticed leaves are edged with picots, worked with bright
purl. The other parts of the design are all worked with a
double gold thread, the stalks in dead gold, the leaves in
crimped. The gold thread is secured by overcasting stitches
in gold-coloured thread, Jaune d’or 667, but it looks very well
if you use black or red thread for fastening the crimped gold
and dark or light green for the leaves and tendrils.

Fig. 247. Stripe worked in various stitches.

Gold embroidery on a foundation of cords (fig. 248).—In
the old ecclesiastical embroideries, especially those representing
the figures of saints, we often find thick whip cords
used as a foundation, instead of cardboard, for the good reason
that the stiff cardboard does not give such soft and rounded contours
as a cord foundation, which will readily take every bend
and turn that you give to it. In the following illustrations, we
have adhered strictly to the originals, as far as the manner of
working the surface is concerned, but have substituted for
the cord, which in their case has been used for the foundation,
Cordonnet 6 fils D.M.C No. 1, which is better for
padding than the grey whip cord, as it can be had in white or
yellow, according to whether it is intended to serve as a
foundation to silver or gold work.

Fig. 248.
Embroidery in flattened gold
wire and purl.

Lay down as many cords as are necessary to give the design
the requisite thickness, in many cases up to 8 or 10 m/m. in
height, taking care to lay them closely and solidly in the centre,
and graduate them down at the sides and ends. When you
have finished the foundation, edge it with a thick gold cord,
such as Cordonnet d’or D.M.C No. 6 and then only begin the
actual embroidery, all the directions just given, applying merely
to the preparatory work.

Only four of the many stitches that are already in use and
might be devised are described here. For the pattern, represented
in fig. 248, flattened gold or silver wire is necessary,
which should be cut into pieces, long enough to be turned in
at the ends so as to form a little
loop through which the thread
that fastens them down is passed.
Over each length of gold or silver
wire small lengths of purl are
laid at regular intervals, close
enough just to leave room for the
next stitch, the pieces of one row,
alternating in position with those
of the preceding one.

Plaited stitch in gold purl
on a cord foundation (fig. 249).—Distribute the stitches as in
the previous figure, substituting
purl, for the flattened gold wire,
and covering the purl with short lengths of gold thread of
the same kind. All these stitches may be worked in gold and
silver thread, mixed or in the one, or the other alone.

Fig. 249.
Plaited stitch in gold
purl on a cord foundation.

Scale stitch worked in gold thread and purl on a cord
foundation (fig. 250).—Begin by covering the whole padded
surface with gold or silver thread, then sew on short lengths
of purl, long enough to cover six or eight threads, 2 or 3 m/m.
apart, as shown in the engraving. These stitches in dead gold
purl are then surrounded by shining or crimped purl.

Fig. 250.
Scale stitch in gold thread
and purl on a cord foundation.

You bring out the working thread to the left of the purl
stitch, which you take on your needle, put the needle in on the
other side, draw it out above the little stroke, and secure
the crimped purl with an invisible stitch.

Conventional flower worked on a cord foundation
(fig. 251).—The half finished flower, represented here, was
copied from a handsome piece of ecclesiastical embroidery
enriched with ornament of this kind. The three foregoing
stitches and a fourth, are employed in its composition. The
finished portions on the left hand side, are executed in silver
and gold purl, whilst the egg-shaped heart of the flower is
formed of transverse threads, carried over the first padding,
and secured by a stitch between the two cords. In the subsequent
row, the catching stitch is set between the cords, over
which the first gold threads were carried.

Fig. 251. Conventional flower worked on a cord foundation.
Materials.—For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5 or
Fil à pointer D.M.C No. 10.—For sewing on the gold thread and purl:
Soie de coton D.M.C No. 50 or 70, Fil à dentelle D.M.C on reels Nos. 25 to 50.[A]

The heavier the design is, the thicker your padding should
be, and cords a good deal thicker than those which are represented
in the drawing should be used, as the more light and
shade you can introduce into embroidery of this kind, the
greater will be its beauty and value.

Next Chapter.

Return to Table of Contents.

Insertion in cross stitch, alike on both sides, the pattern left blank.

Tapestry and Linen Embroidery.

Tapestry is one of the oldest kinds of needlework and
one which has always been popular every where.

There are two distinct sorts of canvas in use for tapestry,
called respectively, ‘plain (single thread) canvas’, and
‘Penelope (double thread) canvas’. The latter is generally preferred,
because it is easier to count the stitches upon it, but
both make an equally good foundation for the embroidery, as
the following examples will show.

Besides canvas, other fabrics bearing a close resemblance
to it, are often used, especially Java linen, the close texture of
which renders grounding unnecessary.

Cloth, velvet or plush can also be overlaid with canvas,
the threads of which are pulled away after the pattern is
finished. For work of this kind, we however prefer a material
with less dressing, such as a twisted tammy, or Colbert linen,
because the pulling out of the harsh rough threads of the canvas
is very apt to injure the material beneath.

Stitches, worked upon two stuffs, must be drawn very tight,
or they will look loose and untidy when the auxiliary fabric
is taken away.

Tapestry can be done either in a frame, or in the hand; in
the latter case, the ends of the piece of canvas should be
weighted with stones or lead, to prevent its puckering.

The stitches, which ought completely to hide the canvas,
should all lean one way and the underneath ones always from
left to right, as the letters in writing.

Marking out the embroidery ground (fig. 252).—Before
beginning a piece of canvas work and tacking on the auxiliary
fabric, count how many stitches it will contain, and mark them
out in tens, with a coloured thread, as shown in fig. 252, along
two sides at least, in the length and breadth. Having ascertained
the number of stitches both ways, divide them in two, and
starting each time
from the middle
stitch, trace two
lines, one horizontal,
the other vertical,
right across the canvas.
The point of
intersection will be
the centre. This
sort of ground-plan
will be found most
useful, and should
not be pulled out
until, at least, half
the work be finished.
If moreover,
you have corners
to work, or a pattern
to reverse, in the angle of a piece of embroidery, trace a
diagonal line besides, from the corner to the centre.

Fig. 252. Marking out the embroidery ground.

Materials suitable for tapestry.—Hitherto, wool and silk,
were the materials chiefly used for canvas work; a very thick
wool for carpets, as being warmer and more durable. Silk is
too delicate a fibre to resist much wear and tear, and cannot
therefore be recommended for articles that are intended for
constant use, and wool, though stronger, is subject to the
destructive agency of moths; whereas cotton, which is cheaper
than both, and quite as brilliant, is free from all these disadvantages
and is extremely easy to clean.

For most kinds of tapestry we can therefore with perfect
confidence, recommend the use of Coton à tricoter D.M.C
Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to 15, and even
Coton à repriser D.M.C No. 25.[A]

Cross stitch (fig. 253).—Cross stitch is the foundation of
every other stitch, and the one in most common use. It is also
called marking-stitch, being used for marking linen. It is
worked in two lines. In the first, the thread is carried diagonally
from left to right across a square of threads, and then,
downwards, underneath the two horizontal threads; in the
second, the stitches are carried from the right-hand lower
corner of the square to the upper left-hand corner, so that
the four points of the two stitches form a perfect square.

Fig. 253. Cross stitch.

Half cross stitch (fig. 254).—If the cotton is too coarse,
or the canvas too fine, to make the double stitch, carry the
thread back along the whole line and make the half-stitches
across it, from left to right; the same in the case of a piece of
work, which you buy with
a part of the pattern ready-worked.

Fig. 254. Half cross stitch.

Gobelin stitch on plain canvas (fig. 255).—This is
worked over two horizontal threads and one perpendicular. In
a frame, you can work the second row, from right to left,
otherwise, you must turn the work round, and bring out your
needle behind the last-made stitch.

Fig. 255. Gobelin stitch.

Gobelin stitch on Penelope canvas (fig. 256).—For the
same stitch on Penelope canvas, you need rather a coarse
needle, which will make its way easily between the threads of
the canvas.

Fig. 256. Gobelin stitch on penelope
canvas.

Reps stitch (fig. 257).—Contrary to Gobelin stitch, this
stitch which is an imitation of reps, is worked in vertical lines,
over two vertical threads and one horizontal one.

Fig. 257. Reps stitch.

Tent stitch (fig. 258).—This stitch is simply the first half
of a cross or marking stitch, worked over a single thread each
way. The illustration shows the working of a row, from right
to left, the thread being carried forward, underneath the vertical
threads. Tent stitch is used for the most part, in conjunction
with cross stitch, for the more delicate lines and the
shaded parts of flowers and figures.

Fig. 258. Tent stitch.

Wide Gobelin stitch (fig. 259).—This stitch covers two
vertical and two horizontal threads, and advances one thread at
a time.

Fig. 259. Wide gobelin stitch.

Broad cross stitch (fig. 260).—Worked over two vertical
and four horizontal threads, and very useful for filling in large
surfaces as it can be done twice as quickly as the ordinary
cross stitch. It may be varied by turning the crosses first one
way and then the other.

Fig. 260. Broad cross stitch.

Double stitch (fig. 261).—Begin with a simple cross stitch
over every alternate intersection of the threads then make a
second row of stitches between those of the first, but in this
case, over two and six threads, so that they extend beyond the
first each way. In the subsequent rows, a square stitch should
be opposed to a long one and a long stitch to a square one.

Fig. 261. Double stitch.

Rice stitch (fig. 262).—Fill in the whole ground first, with
large cross stitches, over four threads each way, then upon
these, make the so-called rice stitches. These cross the four
points of the large cross stitches, and meet in the space between,
where they form another cross. The large cross stitches
should be worked in rather coarse cotton, the rice stitches in
one of a finer quality.

Fig. 262. Rice stitch.

Double stitch, set two ways (fig. 263).—This consists of
diagonal and upright cross stitches, alternately. Work from left
to right, and carry the thread over four vertical threads and
downwards, under two horizontal ones, then diagonally upwards,
over four threads and downwards under two, then again
over four vertical threads, and so on. Coming back, you cross
the first threads, and pass the working thread each time in a
straight line, underneath the two threads of the canvas. The
stitches of the third and fourth rows are set, as the illustration
shows, the opposite way to those of the two first, the thread
being laid the contrary way. Gold thread is generally used for
this second set of stitches; Or fin D.M.C pour la broderie, or
Chiné d’or D.M.C will be found to be the most suitable for the
purpose.[A]

Fig. 263. Double stitch set two ways.

Plait stitch (fig. 264).—It requires great attention to work
this stitch, to and fro; the easier way is to carry the thread
back each time, to the starting point.

Fig. 264. Plait stitch.

Carry the thread from left to right, over two horizontal
threads, and downwards under four perpendicular ones, then
under two threads, from right to left, as the figure indicates.

Stem stitch (fig. 265).—Here, the stitches are worked in
separate rows, over four threads each way. The working
thread passes first under the two middle threads, from right to
left, and then under the two upper ones.

Fig. 265. Stem stitch.

Leaf stitch (fig. 266).—Carry the thread diagonally over
two double threads each way, and back under one double
thread, to the row whence the stitch started. Make rows of
back-stitches in a different colour between the rows of long ones.

Fig. 266. Leaf stitch.

Fish-bone stitch (fig. 267).—The difference between this
and the preceding stitch is, that the working thread after
passing over three perpendicular and three horizontal threads,
is secured by a back-stitch over the last intersection of the
canvas threads. These back-stitches lean to the right or left,
according to the direction of the long stitches.

Fig. 267. Fish-bone stitch.

Diagonal web stitch (fig. 268).—Stretch diagonal threads
across the whole surface you are going to embroider, and secure
them with rows of overcasting stitches, set, if you are working
on Penelope canvas, between the double threads of the canvas.
In the next rows the stitches must be set the opposite way,
which produces the effect of diagonal or twilled cloth.

Fig. 268. Diagonal web stitch.

Cashmere stitch (fig. 269).—To imitate this texture in
needlework first make one stitch over one crossing of the
canvas threads, and then two stitches over two crossings.

Fig. 269. Cashmere stitch.

Florentine stitch (fig. 270).—Florentine stitch is worked
in slanting lines, the thread being carried, diagonally first over
one and then over two double threads of the canvas.

Fig. 270. Florentine stitch.

Mosaic stitch (fig. 271).—The first row consists of one short
and one long stitch, alternately; the second, of short stitches
only, set between the long stitches of the first row; the third
row is a repetition of the first, and so on.

Fig. 271. Mosaic stitch.

Knotted stitch (fig. 272).—Carry the working thread over
two threads in width and six in height, bring the needle back,
four threads lower down, in front of the double threads, and
insert it behind the preceding stitch, and over the middle
threads, and then carry it down to the line of the stitches. In
the subsequent rows, the stitches extend over four threads
and encroach on two of the previous row, so that the stitches
of the second row lie between those of the first.

Fig. 272. Knotted stitch.

Star, or Smyrna stitch (fig. 273).—- Make a plain cross
stitch over four threads, each way, and then over that, another
cross stitch, standing upright. The same stitch can be made
over six or seven threads; if you work over more than four
threads, it follows that you increase the number of stitches
accordingly.

Fig. 273. Star, or smyrna stitch.

Rococo stitch (figs. 274, 275, 276).—After fastening in your
thread, lay it over four single or two double threads, as the
case may be, and carry the needle through to the left, under one
double thread; then, as fig. 274 shows, bring it back over the
first stitch, put it in by the side of it, and bring it out below,
under half the horizontal threads covered by the first stitch.
Then make a stitch to the right, similar to the one just made
to the left.

Fig. 274. Rococo stitch.
First stitches on the wrong side.

When you have finished one stitch, carry the needle under
one thread, in an oblique line, to the next stitch, see fig. 273.
The whole pattern is worked in diagonal lines.

Fig. 275. Rococo stitch.
Stitches on the right side.

Fig. 276. Rococo stitch. Completed.

Parisian stitch (fig. 277).—This stitch, though it is generally
worked on silk canvas, can also be worked on the different
cotton and linen materials already referred to more than once in
this Encyclopedia. It makes a very good grounding in cases
where the material is not intended to be completely hidden.
It consists of a long stitch over three threads, and a short
stitch over one thread, alternately.

Fig. 277. Parisian stitch.

Greek stitch (fig. 278).—This differs from the ordinary
cross stitch, in the oblique inclination given to the threads, and
the manner in which it is begun. Instead of taking up the two
threads that follow the first stitch, you bring your needle back
from right to left, under the vertical threads of the first stitch,
carry it downwards, and then from right to left, to a distance of
four threads beyond the first stitch. The next stitch is made like
the first. The rows may be joined together, either by the short
or the long stitches, but you must follow one rule throughout.
This stitch is much used in Slavonic countries, for the adornment
of linen garments, and there we have observed that the
short stitches are generally made to encounter the long ones. A
coarse material that covers the ground well, such as, Coton à
tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch.

Fig. 278. Greek stitch.

Scotch stitch (fig. 279).—Squares, composed of slanting
stitches, made over one, three, five, three threads respectively,
and then again over one thread, and separated from each
other by rows of Gobelin stitches, constitute what is ordinarily
known by the name of Scotch stitch.

Fig. 279. Scotch stitch.

Moorish stitch (fig. 280).—For this stitch, instead of surrounding
squares of stitches, made in the way we have just
described, with Gobelin stitch, the squares are made to touch,
rising like steps one above the other, and bordered only at the
sides by Gobelin stitch.

Fig. 280. Moorish stitch.

Oriental stitch (fig. 281).—Here, you make four diagonal
stitches over one, two, three and four double threads respectively;
which four stitches form so many triangles, one above
the other. The empty spaces between are filled up with Gobelin
stitches covering two threads.

Fig. 281. Oriental stitch.

Shell stitch (fig. 282).—Carry your thread upwards over
six horizontal threads, then from right to left, under one vertical
thread and downwards over six horizontal ones. When you
have made four vertical stitches in this way, bring the needle
out behind the third double thread, counted lengthways, and
between the third and fourth, counted across, and fasten the
four long stitches together with a back-stitch, to the middle
thread of the canvas. Draw a thread of a different colour twice
through these back-stitches, so as to form small knots like
shells, and then fill in the ground between the rows of long
stitches, with back-stitches.

Fig. 282. Shell stitch.

Jacquard stitch (fig. 283).—If you have a large plain surface
to cover, you should choose a stitch that forms a pattern
in itself. Jacquard stitch and others which we shall describe
later on, will be found to produce the effect of brocaded stuff. To
work Jacquard stitch, make six stitches underneath one another,
over two double threads, and six by the side of one another,
from left to right, over two double threads. The second row
consists of the same number of stitches, similarly worked
downwards and to the side, but over one double thread only.

Fig. 283. Jacquard stitch.

Byzantine stitch (fig. 284).—Here, you make the same
number of stitches as in the preceding figure but with this
difference, that the two rows of stitches are made either over
two, or four threads.

Fig. 284. Byzantine stitch.

Milanese stitch (fig. 285).—In the first row, the back-stitch
is made alternately, first over four diagonal crosses and then
over one; in the second row, over three and two; in the third,
over two and three, in the fourth, over one and four. The last
long stitches should come under the last short ones and the
short ones, in the middle of the last long ones.

Fig. 285. Milanese stitch.

Plush stitch (fig. 286).—This stitch, also called Astrachan
stitch, by means of which a very good imitation of an Oriental
rug can be produced, consists of loops, each secured by a cross
stitch; the best way to ensure these loops being even and
regular is to make them over a narrow wooden ruler, or a piece
of whalebone.

The effect can be varied by cutting the loops, which gives
the surface the appearance of velvet.

Fig. 286. Plush stitch.

The illustration represents the middle loops only, as cut, for
the cut and the uncut stitch can both be introduced into the
same piece of embroidery. For example, the borders in
figs. 290, and 291, are worked in open or cut plush stitch,
whilst in the centres, the stitch is left uncut. Two stitches
of a similar kind, called Smyrna and Malta stitch, suitable for
making rugs or carpets, are described in the last chapter but
one in the book.

Chain stitch (fig. 287).—Generally speaking, this stitch is
only used for the adornment of under-linen or small articles of
fancy-work but it can also be employed in copying cross stitch
patterns. In old collections we often meet with very interesting
pieces of needlework, which were used for hangings or screens,
where the figure-subjects, are executed in chain stitch. Patterns
in many colours, gain immensely
by being worked
in this stitch, the
colours blend together
better than in any other,
and even the shape of
the stitch contributes to
soften the contrasts of
colour.

Chain stitch cannot,
like other stitches, be
worked to and fro, nor
can all the stitches of
one row be finished first,
as is generally possible
in cross stitch work, each
row must be begun separately, and always from the same
side, and a different needle should be used for each colour,
as the material has often to be changed.

Fig. 287. Chain stitch.

The stitch is worked as follows; after fastening in your
thread, insert the needle at the same hole it came out of,
and bring it out two threads lower down. Keep the loop,
formed by the working thread, under the point of the needle.
The thread should not be drawn up tightly but left to
form a rather loose, round loop. For the next stitches, insert
the needle close to the thread that issues from the last loop.

Pattern for borders or grounding (fig. 288).—This simple
but most effective design, copied from one of the most beautiful
of Oriental carpets, can be executed in, either cross stitch,
plush stitch, or chain stitch. To make a wider border still, the
diagonal lines that divide the figures shaped like an S, have
only to be prolonged, and the figures repeated.

The colours have been chosen with the view of reproducing
as nearly as possible the subdued and faded tones, which time
has imparted to the original.

Fig. 288. Pattern for borders or groundings.
Materials: Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos.
3 to 15, Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25.
Explanation of the signs prefixed to the colours: () Rouge-Cardinal 346,
() Rouge-Cornouille 449, () Bleu-Indigo 311, and () Bleu-Indigo 322,
() Gris-Cendre 414, () Bronze doré 585 and () Vert-Mousse 470.[A]

Pattern for grounding (fig. 289).—Diagonal lines, intersected
by balls, serve here as a setting for quaintly shaped
flowers and leaves. The outlines are all worked in cross stitch,
and the solid parts, in either tent stitch or Gobelin stitch.

Fig. 289. Pattern for grounding.
Materials: Coton à tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C
Nos. 5 to 15 or Coton à broder D.M.C No. 16. [A]
Explanation of the signs prefixed to the colours: () Noir grand Teint 310, () Jaune
d’Ocre 676, () Violet-Mauve 315, () Rouge-Géranium 349, () Rouge-Aurore 360,
() Bleu-Indigo 312, () Bleu pâle 668, () Rouge-Cornouille 449, () Vert-de-gris 474,
() Vert-de-gris 475, () Grounding.[A]

Part of a design, suitable for carpets (figs. 290 and 291).
Our space will not admit of our reproducing more than a
quarter of this design. Colours of the softest shades should
be selected for it. A black line divides the pattern into four
quarters. The upper quarter on the right, and the lower one,
on the left, should be worked in blue, and the upper one
on the left, copied from fig. 290.

Fig. 290. Part of a design suitable for carpets.

Materials: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6
to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser D.M.C No. 12.
Explanation of the signs prefixed to the colours: () Noir grand Teint 310,
() Rouge-Grenat 358, () Rouge-Cornouille 450,
() Bleu-Indigo 311, () Bleu-Indigo 322,
() Vert métallique 465, () Gris-Noisette 424.[A]

The narrow border, in red, blue and green, is to be repeated
after the broad band, which is represented in fig. 291, has been
added to the grounding. A very good effect is obtained, if in the
broad border, fig. 291, you vary the background of the different
subjects.

Fig. 291. Outer border of the design for carpets fig. 290.
Materials: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos.
6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton à repriser D.M.C No. 12. [A]
Explanation of the signs prefixed to the colours: () Noir grand Teint 310,
() Rouge-Grenat 358, () Bleu-Indigo 311,
() Vert métallique 465, () Jaune-vieil-Or
679, () Gris-Noisette 424, () Rouge-Cornouille 450.[A]

Linen embroidery.—The stitches used in linen embroidery
are very similar to those used in canvas work. The ordinary
cross stitch, as represented in fig. 253, is the one most
commonly used, but it is not so effective as the two-sided
stitches, which in the beautiful old needlework of the 15th,
16th and 17th centuries, have always excited our wonder and
admiration.

Stuffs suitable for linen embroidery.—Most embroidery
of this kind, and more especially the Italian, is done on very
fine linen. Such fine work however, requires more time and
patience than people, in these days, are as a rule disposed to
bestow on work intended merely for pleasure and recreation.
To meet the requirements of the day, therefore, in addition
to the finer kinds of linen, a great variety of textures, are
now manufactured, the threads of which, being thick and
round, can be easily counted. The cross stitches that are worked
on Cuba, Ceylon or Batavia linen, are large and coarse, those
on linen-canvas, Russian linen, twisted tammy, and Rhodes
linen, small and fine.

Linen fabrics are either white, unbleached or cream-coloured.
All three are used for embroidery, but the coloured cottons
show up best on the cream ground; on the white, they look
hard and crude, and on the unbleached, dull and faded.

Materials suitable for linen embroidery—As most linen
embroidery is executed on articles that are subjected to frequent
washing, the D.M.C cottons, which are to be had in
every shade and colour, are the best for the purpose. For
coarse stuffs, coarse cotton should be used, such as knitting
cotton, Coton à tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A]
which will be found a very good substitute for wool; or six-cord
crochet cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10
and 15,[A] which gives quite as full and brilliant a stitch, as
silk-twist. Finer cottons should be used
for the finer stuffs, such as embroidery cotton
(Coton à broder D.M.C) Nos. 6 to 200,[A]
and lace thread (Fil à dentelle D.M.C) Nos.
30 to 150.[A] In many cases, even darning
cotton (Coton à repriser D.M.C) can be
used, as like Algerian silk, it can be
split or taken double, to suit the stuff.

Plain cross stitch on auxiliary canvas
(fig. 292).—Plain cross stitch, commonly
called marking stitch, has already been described in fig. 253. But it may be well to observe, that when an auxiliary
material is used, it should be most carefully tacked upon the
stuff following the thread of the same, and a sufficient margin
left to allow of the drawing out of the canvas threads, when
the work is finished.

Fig. 292.
Plain cross stitch on
auxiliary canvas.

Two-sided cross stitch, worked in four rows of
stitches (figs. 293, 294, 295).—Straight lines of cross stitch,
alike on both sides, can be worked in two journeys to and fro.
Working from left to right, begin by fastening in your thread,
never with a knot, but by two or three little running stitches,
which are hidden afterwards by your first cross stitch. Directing
your needle to the right, pass it diagonally over a double
cross of the warp and woof of the canvas, and so on to the
end of the line.

Fig. 293.
First half of the first journey and auxiliary stitch
for returning.

Having reached the last stitch, draw out your thread in
the middle of it, make an auxiliary diagonal stitch downwards
to the right, bring the needle up in the middle of the last
stitch, take it thence, upwards to the left, across two threads,
and begin the return journey, from right to left, crossing and
thus completing the first row of stitches. In the auxiliary
stitch with which you begin the backward journey, the thread
lies double on
both sides. Fig.
295 shows how to
pass down to the
next row.

Fig. 294.
One journey and first half of the second finished,
and auxiliary stitch leading to the second return.

Fig. 295.
The two journeys to and fro, completing one row
of cross stitch, both sides alike.

Two-sided
marking stitch
(figs. 296 and 297).
The above mode
of working two-sided
cross stitch
cannot be applied
to letters, or patterns
in broken
lines, which both
consist chiefly of
isolated stitches.
Figs. 296 and 297
explain the course
of the stitches in
embroidery of this
kind.

Fig. 296. Two-sided marking stitch. Different positions of the needle.

The working
detail A, Fig.
296, indicates the
spot for the thread
to enter the stuff, and the position of the needle for the
first and second stitches; B, the first two stitches completed,
with an auxiliary stitch to the right, the thread drawn out on
the right, and the position of the needle for the fifth stitch
that completes the cross; G shows the completion of the stitch
begun at B and the position of the needle for a second stitch
to the right; D, one cross stitch completed and another begun,
immediately beneath A. In fig. 297, E shows how to work
stitches to the left; F, an auxiliary stitch to reach an isolated
cross stitch on the right, G, auxiliary stitches between two
isolated cross stitches, and H, a second and last auxiliary
stitch to complete the cross.

Fig. 297. Two-sided marking stitch. Different positions of the needle.

It requires both practice and care to do this two-sided
marking stitch, so as not to disfigure the stuff by superfluous
stitches.

Cross stitch forming a square at the back (figs. 298 and
299).—Many of the alphabets we so admire in old samplers
are worked in cross stitch, that forms a square at the back.
Each stitch has to be finished off before another is begun;
if you carefully examine figs. 298 and 299, which show
severally the right and the wrong sides of the stitch, you will
find no difficulty in mastering it. Letter A, fig. 296, shows the
entrance of the thread, the position of the needle for half the
cross stitch on the right side, and the second side of the
square at the back, as shown in fig. 299, A. Letter B, fig. 298,
shows the cross stitch finished, and the position of the needle
for the third side of the square on the wrong side, indicated
by the same letter in fig. 299. C, in both figures, indicates a stitch
which is double on the right side, and on the wrong side
forms the fourth side of the square, whilst letter D, explains
how to continue the stitches.

Fig. 298. Right side of the cross stitch, forming a square at the back.

Fig. 299. Square stitch forming the back of the cross stitch.

Two-sided Italian stitch (figs. 300, 301, 302, 303).—Two-sided
Italian stitch consists of cross stitches, alike on both sides,
divided from each other by horizontal and vertical stitches.
The upper and lower stitches should all slope one way, as
in plain cross stitch.

Italian stitch is worked in one journey, to and fro. Fig. 300
shows how to fasten in the thread, and place the needle for
the first stitch, from right to left; fig. 301, the position of the
needle from left to right, to form the cross at the back, and
the vertical stitch to the left, on the right side; fig. 302, the
position of the needle, for a two-sided horizontal stitch at the
bottom of the cross, where upon you proceed as in fig. 300.
Fig. 303 explains the return of the thread, which completes
the double crosses and the lines between.

Fig. 300. Two-sided italian stitch. Introduction of the
thread and position of the needle for the first stitch.

Fig. 301. Two-sided italian stitch. Position of the needle
for the 2nd and 3rd stitches.

The horizontal lines, not made on the first journey, are
added on the way back. In conclusion, pass the needle back,
horizontally, from left to right, to make the final stitch over
the cross, and then make the stitch between,
as shown in fig. 303. On a thin
stuff, this stitch produces an extremely
pretty effect, resembling lattice-work, provided
the thread be tightly drawn in the
working.

Fig. 302. Two-sided italian stitch. Position of the needle
for the 4th and 5th stitches.

Fig. 303. Two-sided italian stitch. Return journey, which
completes the cross stitch.

Montenegrin cross stitch (figs. 304,
305, 306).—The Slavonic tribes of the
southern districts of E. Europe, especially
the Montenegrins, have a great partiality
for this stitch, which has been rarely
noticed, hitherto, in books on needlework.
The right side shows cross
stitches with a double
thread underneath, and
divided by vertical stitches;
the wrong side, regular
cross stitches, also divided
by vertical stitches. Coarse
cotton should be used for
this stitch; it produces a
richer effect and not only
covers the stuff better, but
also the underneath stitch
which in the Slavonic
work, is entirely hidden
by the cross stitches.

Fig. 304.
Montenegrin cross stitch.
1st, 2nd, 3rd, 4th and 5th stitch and transversal stitch

Begin, as letter A indicates,
with a long, slanting stitch, across
4 and 8 threads, then, bringing
your needle back from right to
left, under four threads, draw it
out, carry it over the first long
stitch, and insert it again from
left to right, under the first four
threads of the canvas. These four
stitches finished, proceed to the
fifth and sixth, which as B shows, cross the first four, then
repeat the first stitch.

Fig. 305.
Montenegrin cross stitch.
Position of the stitches on the wrong side.

The threads that form the stitches on the wrong side,
should always be opposed to
each other, that is, one cross
should lean to the right, the
other to the left, as shown in
fig. 305. This variation in
the inclination of the stitches,
which is regarded as a fault in
plain cross stitch, is indispensable
here, and produces
a charming effect on the wrong
side.

Fig. 306.
Montenegrin cross stitch.
A row of stitches finished.

Plaited Algerian stitch (fig. 307).—The distinguishing
feature of this stitch is, that it
only advances one thread at
a time. It should be begun
on an uneven number of
threads, and like the Montenegrin stitch, should be worked
with coarse cotton. The rows may touch, either at the top
or at the bottom of the stitch, so long as you keep to one plan
throughout.

Fig. 307.
Plaited algerian stitch.

Two-sided Spanish plaited stitch (figs. 308 and 309).—This
stitch has the advantage of being, not only very effective, but
also very quickly executed. It is worked in two rows, forwards
and backwards. All cross stitch patterns can be worked
in Spanish stitch. The gaps, which are occasioned by the long
stitches, have to be filled in with short ones. In itself, the
stitch consists of slanting stitches, three threads a part, alike
on both sides, and advances three threads at a time, as shown
in figs. 308 and 309.

Fig. 308. Two-sided plaited spanish stitch.

Fig. 309. Two-sided plaited spanish stitch.

Two-sided line stitch (figs. 310 and 311).—Square stitch,
Holbein stitch, line, or stroke stitch, as it is sometimes called,
and setting stitch, are all worked on one principle. Though
all these two-sided stitches are related to each other, and by
no means difficult of execution, those new to the work will
find a little practice necessary, to make the stitches follow in
their proper order. Fig. 310 explains how the needle has to
pass, alternately, step by step, over and under the threads of
the stuff, and fig. 311, how the threads, left blank the first
time, are covered on the way back. The great difficulty is how
to place your first row of stitches so as to
ensure an unbroken course back. It is as
well before setting out, to ascertain
clearly the most direct course back, so
that you may not come to a stand-still,
or be obliged to make unnecessary
stitches on the wrong side. If you have
to pass obliquely across the stuff, as in
patterns figs. 326, 327, 328, 329, 331 and
333, proceed in the same way as though
you were covering the straight threads
of a fabric.

Fig. 310. Two-sided line stitch. Forward row.

Fig. 311. Two-sided line stitch. Backward row.

Two-sided insertion (figs. 312, 313,
314, 315, 316, 317, 318).—We conclude
this series of stitches with a description
of a pretty, two-sided insertion, suitable
for joining stripes of work of different
widths together. In pieces of old needlework,
we often find handsome, coloured
patterns, joined together by a piece of lace or some quite different
kind of work. The insertion represented in fig. 317, is a
very good substitute for either. Fig. 312 explains the first stitch
and the course of the second, from left to right, under 3 vertical
and 3 horizontal threads; the 3rd stitch to the left, over
6 vertical threads, and the beginning of the 4th stitch.
Fig. 313 shows the 4th stitch completed, and the direction
the 5th and 6th stitches have to take; fig. 314, the 6th
completed, and the position of the needle for the 7th and 8th;
fig. 315, the 9th lower, horizontal stitch, over 6 vertical threads,
the 10th backward stitch, and the position of the needle for
the 11th and last stitch. Fig. 317 represents a whole series
of stitches, and fig. 318, the back of the work, which though
quite a different pattern, will combine very well with any two-sided
embroidery.

Fig. 312. Two-sided insertion.
First detail.

Fig. 313. Two-sided insertion.
Second detail.

Fig. 314. Two-sided insertion.
Third detail.

Fig. 315. Two-sided insertion.
Fourth detail.

Fig. 316. Two-sided insertion.
Fifth detail.

These insertions can be worked on any stuff, but the stitches,
must be done, both ways, on a number of threads, divisible by
3. Thus, the first stitch may cover 6, 9, or 12 threads, but
never 8, 10, 12 or 14. [Transcriber’s note: 12, here, appears to be an error in the original.]

Fig. 317. Two-sided insertion. Row of stitches finished.

Fig. 318. Two-sided insertion, showing the back of fig. 317.

Gothic borders in Gobelin and cross stitch (figs. 319 and
320).—We are indebted for both these pretty patterns, which
are quite Gothic in their character, to a visit we paid to the
national museum at Munich, where we discovered them
amongst a heap of other old valuables, lying un-heeded in a
remote corner. Their simple graceful outlines render them
peculiarly suitable for the decoration of table-cloths, counterpanes,
curtains, etc. All embroideries of this kind should be
finished off with a deep fringe, made in the stuff itself, or
knotted on to it or may be trimmed with a heavy thread lace,
of a wide width, corresponding with the work in character.

Fig. 319. Gothic border in cross stitch.
Materials: Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos.
16 to 35, or Cordonnet 6 fils D.M.C Nos. 3 to 15.[A]
Colours: Rouge-Turc 321, or two shades of Bleu-Indigo, 311 and 334, or
two shades of Rouge-Grenat, 358 and 359 or two shades of Brun-Acajou,
300 and 402.[A]

The design may be worked either in one shade, as in fig. 319, or in two, as in fig. 320, where all the outside stitches
are worked in the darker shade of the given colours.

Fig. 320. Gothic border in cross stitch.
Materials: Coton à tricoter D.M.C Nos. 16 to 35.
Colours: Bleu-Indigo 311 and 344, or Rouge-Cardinal 346 and Rouge-Géranium
335, or Gris-Tilleul 391 and 331.[A]

Powdering and border. Albanian subjects (figs. 321 and
322).—The arrangement of colours for these charming patterns,
of Albanian origin, should be as follows; the dark-coloured
crosses, red, the lighter ones, alternately blue and green, the
lightest, yellow.

Fig. 321. Powdering. Albanian subject.
Materials: Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Coton à repriser D.M.C No. 12, 25 or 50. [A]
Colours: Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465,
Jaune-Orange 444, Gris-Brun 409.[A]

In fig. 321, most of the stitches in every other diagonal
row, are worked in red, the others in green or blue; in the
intermediate rows the flowers are worked alternately, in green
and red, or blue and red, and throughout, the centre of each
figure should consist of 4 stitches in yellow.

Fig. 322. Albanian subject.
Materials: Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6 fils D.M.C Nos. 3 to 25. [A]
Colours: Rouge-Cardinal 347, Bleu-Indigo 312, Jaune-Orange 444, Vert
métallique 465, Gris-Brun 409.[A]

In fig. 321, which serves as a border to the above, only the
stalks of the 4 conventional pinks, which, with the cross in
their middle, form a square, are in brown.

These squares are separated from the bottom border by an
insertion, in Gobelin stitch, worked over 6 threads, in red,
blue, green and yellow, from 20 to 25 stitches of each. This
band is edged on both sides with a row of stem stitches,
worked in yellow over 4 threads. The Holbein stitches that
border the band, can be made in whichever colour the worker
prefers, or else in red and gold thread.

Borders in stroke stitch (figs. 323, 324, 325).—These three
patterns will give our readers an opportunity of perfecting
themselves in two-sided, square stitch (see figs. 310 and 311),
also called stroke, or line stitch, according as it is worked, in
oblique, or straight rows.

Fig. 323. Border in stroke stitch.
Materials: Coton à marquer D.M.C Nos. 5 to 200. [A]
Colours: Rouge-Turc 321 or Bleu-Indigo 312. [A]

Fig. 324. Border in stroke stitch.
Materials: Coton à repriser D.M.C No. 50. [A]
Colours: Vert-Pistache 319, or Vert-Mousse 470. [A]

Fig. 325. Insertion in stroke stitch.
Materials: Coton à broder D.M.C Nos. 16 to 60. [A]
Colours: Rouge-Turc 321, or Rouge-Grenat 309, or Bleu-Indigo 311.[A]

We again recommend our readers, to begin by ascertaining
the course the stitches should take, in order to avoid all unnecessary
stitches and be sure of finding their way back according
to the prescribed rule.

Corners in stroke stitch (figs. 326 and 327).—These pretty
little patterns are suitable for the decoration of ladies’ and
children’s collars, fine pocket-handkerchiefs and finger napkins,
and can be worked in one or two colours, as preferred. If two
colours be used, the darker should be taken for the interior, the
lighter for the narrow outside edge.

Fig. 326. & fig. 327.
Corners in line stitch.
Materials: Coton à broder D.M.C
Nos 35 to 200 or Fil à dentelle D.M.C
Nos. 25 to 70. [A]
Colours: Bleu-Indigo, or Rouge-Cardinal,
or Brun-Caroubier, or Violet-Lie-de-vin. [A]

Stripe in stroke stitch (fig. 328).—This is copied from a
piece of Italian work, though from a resemblance in the different
subjects to the rose, thistle and shamrock, if might have
been supposed to be of English origin. The original work was
executed in a most brilliant purple red which time has toned
down to the colour of Jaune-Rouille 308, or Brun-Cuir 432,
one or other of which we recommend, as being the only colours
with which any thing approaching the refined distinguished
look of the old embroidery, can be given to the new.

Fig. 328. Stripe in stroke stitch.
Materials: Cordonnet 6 fils D.M.C Nos. 15 to 50, Coton à broder D.M.C
Nos. 16 to 35, or Coton à repriser D.M.C No. 12, 25 or 50. [A]
Colours: Jaune-Rouille 308, or Jaune-vieil-Or 680.[A]

Grounding in diagonal lines (fig. 329).—This pattern
can be worked, in any of the previous stitches, or in back-stitch.
It is only suitable for large surfaces, on account of the
diagonal lines, and should be worked, all in one colour. It can
be varied by adding sprays to the upper sides of the slanting
stalks, like those on the lower sides, turned either the same
way, or upwards. Skilled workers will readily contrive the
middles for themselves, by combining the different subjects
and putting them together in various positions, either diagonally
or at right angles to each other, with the help of the Penelope
mirror.[2]

Fig. 329. Grounding in diagonal lines.
Materials: Coton à tricoter D.M.C Nos. 6 to 16, or Coton à broder D.M.C
Nos. 16 to 100.
Colours: Bleu-Indigo 322, or Rouge-Cardinal 347.

Powdering in cross, stroke and star stitch (fig. 330).—This
charming combination of cross, stroke and star stitches,
can be made use of wherever embroidery is available as a
means of decoration.

Fig. 330. Powdering in cross, stroke and star stitch.
Materials: Coton à repriser D.M.C No. 50 and Chiné d’or D.M.C. [A]
Colours—For the Cotton: Rouge-Grenat 326.—For the Chiné:
Bleu-Indigo and gold.[A]

The cross stitches, in which the solid parts of the pattern
are worked, should be in one colour only, the stroke and star
stitches, in Chiné d’or D.M.C. [A]

Border in Greek stitch (fig. 331).—All the darker lines
here, should be worked in black, colour 473, the leaves in the
form of steps, alternately in light and dark red up to the stalks,
the line of demarcation being indicated by the different direction
of the stitches, so that two light leaves, and two dark leaves,
should always face each other.

Fig. 331. Border in greek stitch.
Materials: Coton à broder D.M.C Nos. 16 to 25, or Coton à repriser D.M.C
Nos. 12 to 50.
Colours: Rouge-Géranium 349 and 351, Jaune-Rouille 364, Bleu de France 341,
Bleu pâle 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30 and
Chiné d’or D.M.C No. 30.

In the original, the cross bars that unite the leaves, are in
yellow, whilst the detached figures that separate them, are
worked, those that come between the light red leaves, in pale
blue, and those between the dark red ones, in gold thread.
The exterior part of the figure is filled in with the different
colours, indicated above; with the exception of the small squares
in Gobelin stitch, which should all be worked in plain gold,
or Chiné d’or D.M.C, green and gold. The SS in the narrow
outside border, should be worked in two shades of blue;
the outside stitches in colour 341 and the solid parts in colour
668. The little figures with the transverse bars that unite the
SS, should be set in black, and filled in, alternately, in light
and dark red, and in yellow.

Grounding (fig. 332).—This grounding was copied from
a beautiful old cushion-cover
and will be found
particularly useful in the
confection of small embroidered
articles, because the
pattern will always form a
centre point in itself. A
light, brilliant red, such as
either of the two colours
indicated beneath the
figure, will best reproduce
the tone of the original.

Fig. 332. Grounding.
Materials: Coton à tricoter D.M.C Nos. 6 to
10, or Coton à broder D.M.C Nos. 16 to 100.[A]
Colours: Rouge-Cardinal 804, or Rouge-Cornouille 450.[A]

In making the little
stars that connect the different
squares, the mode
we recommended for working
stroke stitch should be
adopted, that is, beginning,
by bringing the needle out in the middle, making 7
stitches, and at the eighth, carrying the needle back under
the first, to the spot whence you started. The stitches will
then be alike on both sides.

Wallachian border (fig. 333).—A piece of Wallachian
needlework, executed on rough linen, and uncommon, both in
colour and design, suggested the charming embroidery, here represented.
In place of the somewhat violent colours, which indicate
an undeveloped taste, we have substituted softer and more
refined ones. All the stroke stitches of the middle stripe and
of the two border stripes, top and bottom, as well as the
darker portions of the small dice, subdivided into eight, in
the bottom border, and of the small diagonal squares in the
top border, worked in Gobelin stitch, are in red, colour 346.
The setting of upright stroke stitches round the large centre
figures, as well as the straight lines that divide these same
figures into four, are
worked in yellow, colour
680.

Fig. 333. Wallachian border.
Gobelin stitch, stroke stitch and spanish half-stitch.
Materials.—For Rhodes linen No. 1: Cordonnet 6 fils D.M.C No. 15, and Or fin
D.M.C pour la broderie No. 30.—For other stuffs: Coton à tricoter D.M.C Nos.
6 to 16, or Coton à repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C. [A]
Colours: Rouge-Cardinal 346, Rouge-Géranium 326, Vert-Pistache 319 and
Jaune-vieil-Or 680.[A]

The squares and the
half-squares are worked in
colour 326, green 319, and
gold thread; colour 326
is indicated in the illustration
by the darkest
shade, green 319, by the
medium shade, and the
gold thread by the lightest
shade.

The stitches in the
right bottom quarter and
top left one, incline upwards
from left to right,
in the two other quarters
they incline the contrary
way. The Spanish half-stitch
as shown in fig. 309,
can only be done over 4
and 2 threads and worked
one way, not to and fro.

The general effect is
very much heightened by
the introduction of one
or two rows of stitches,
worked in gold thread,
into the straight lines on
either side of the stripes;
all the light parts of the
design moreover, should
be worked in gold thread.

Borders in several shades of one colour (figs. 334 and
335). In some beautifully embroidered Chinese hangings, that
latterly came under our notice, the principal subject was the
figure of a mandarin, in a very richly decorated dress. The
pretty pattern, given in fig. 334, was
copied from the collar and cuffs of
this dress. We should advise working
it in several shades of pink or red,
or in a single one of the colours indicated
above.

Fig. 334. Border in several shades of one colour.
Materials: Coton à tricoter D.M.C Nos. 12 to 20, Coton à broder D.M.C Nos.
16 to 35 or Coton à repriser No. 12, 25 or 50.
Colours: Three shades of either Bleu-Indigo, Rouge-Grenat,
or Violet-Mauve etc. etc.

The border of these hangings
furnished us with pattern 335, which
will be found to look best, worked
in three very distinct shades of
blue.

Fig. 335. Border in several shades of one colour.

The grotesque heads of animals,
and the flowers and branches which
break the running pattern, and are a Chinese speciality,
distinguish this design from the more conventional patterns
of the present day.

We recommend these two pretty patterns, to our readers
notice, as likewise adaptable by transposition, to centres, or by
repetition, to broad stripes. With very little trouble they
can be converted, into a variety of subjects, such as it is
often difficult to find ready made, and exactly suited to the
purpose in hand.

Border in Greek stitch with a footing, composed of
branches (fig. 336).—This design can be worked in Greek,
Slavonic, Montenegrin, or plaited Algerian stitch. Our illustration
worked in Greek stitch, shows how one stitch encroaches
upon another, and how the thread is carried from one
isolated stitch, to another.

Fig. 336. Border in greek stitch with a
footing, composed of branches.

It will be found to be an improvement if the stitches are so
made as to follow the direction of the lines. The central subject
may be repeated two or three times, according to the width of
border required. The edging is the same throughout. The use
of the ‘Penelope mirror’ for repeating patterns is described
in the concluding chapter of the book.

Table-cover in Gobelin and stroke stitch (figs. 337, 338,
339, 340).—This tasteful little table-cover provides excellent
practice in working two sided, square stitch. The square
represented in fig. 339, forms the middle of the cloth. The
Gobelin stitches, set very closely, unite and form a star in the
centre of the principal subject. They begin in the corners, in
red and continue in green, violet and blue, successively; the
little branches in stroke stitch, on each side of the Gobelin
stitches, correspond with them in colour, and the small figures,
that form the border of the square, may be worked, indiscriminately,
in any of the colours used for the Gobelin stitches of
the centre. Four branches run inwards from the corners of the
square, and four more advance to meet, and pass them, from
the inner angles of the wide border. Four figures, copied from
the outside border, fig. 339, and worked in yellow, and the
little star, fig. 337, besides the little subjects, borrowed from
the outside border, fig. 338, are strewn lightly over the foundation,
interspersed between the branches. In fig. 340, nevertheless,
which represents the whole table-cover, the edge is
formed of the small subjects contained in the wide border and
not of the little stars. The Gobelin stitches in the centre of
fig. 337, are in dark green, the star stitches and the stroke
stitches on the outside in red. The wide border consists of
stars, every other row of which, is worked in red; the intermediate
rows, successively, in blue, green, and yellow. The
corners are composed of four detached stars, framed by a row
of stroke stitches, one red and one blue, alternately. This line
skirts both sides of the border, and forms the base to the
quaint figures, that terminate the design and which can be
worked in all the colours used for the inside.

Fig. 337. Small detached subject of fig. 340.

Fig. 338. Outer border of fig. 340.

Fig. 339. Middle of fig. 340.

The original of our illustration, which is on fine Rhodes
linen, in Coton à broder D.M.C No. 25, is only a small table-cover;
for a larger one, if you wish strictly to adhere to the
pattern, Java or Ceylon linen will be the best material to
select, with Coton à tricoter D.M.C No. 12, for the stroke
stitches and Coton à repriser No. 25 for the Gobelin stitches.

Fig. 340. Table-cover in gobelin and stroke stitch.
Materials.—According to the stuff: Coton à tricoter D.M.C Nos. 6 to 16, Coton
à broder D.M.C Nos. 16 to 35, Coton à repriser D.M.C Nos. 12, 25, 50, Fil à
pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3 to 20.[A]
Colours: Rouge-Cornouille 450, Vert-Pistache 319, Violet-Lie-de-vin 372,
Jaune-Rouille 364, Bleu-Indigo 322.[A]

Next Chapter.

Return to Table of Contents.

Insertion—Plain stitches and overs

Knitting.

Knitting is one of the earliest forms of needlework, and
one, which has been carried to the highest perfection. It would
be difficult to invent new stitches or patterns and, we shall
therefore confine ourselves to describing the stitches in general
use, and reproducing those of the old patterns we consider
the most useful, that our readers may make their own selection.

In former days, knitting served mainly for the manufacture
of stockings, and even now, in spite of machines, hand-knit
stockings, and numberless other useful and ornamental articles,
such as shawls, counterpanes, cradle-coverings, gloves, laces
etc. are in great request.

Besides its practical use, knitting is an easy and pleasant
pastime that can be taken up at odd minutes and even carried
on, whilst talking, or reading.

Knitting consists of loops, or stitches, as they are generally
called, formed by means of a thread and two needles.

In round knitting, four, or five needles are necessary for
the better handling of the work.

Through the loops formed in knitting, being connected
together in unbroken continuity, a very elastic fabric is produced,
which is specially suitable for making warm, and
closely-fitting wearing-apparel.

Materials.—Threads with a slight twist, such as Coton à
tricoter D.M.C, are the best. With regard to the thickness of
the needles, whether they be of steel, wood, or bone, your
choice must be determined by the quality of the thread used.

The accompanying table is intended to help inexperienced
knitters to match their needles and thread, we advisedly say,
help, as it is impossible exactly to determine the numbers that
will correspond, because every hand knits differently, and a
loose knitter has to use finer needles than a tight knitter.

Other materials are enumerated here, besides, what is
properly speaking, called knitting-cotton, as for caps, lace
edgings, insertions and so forth, finer kinds of thread and
threads with a stronger twist which show up the pattern better,
should be used.

Table of the approximate relation of the D.M.C threads
and cottons to the numbers of the knitting needles.[A]

Position of the hands in knitting (fig. 341.)—Lay the
thread over the fifth finger of the right hand, and twist it
round it, then carry it over the forefinger, which should be
kept close to the work, the work being held between the third
finger and the thumb. The left hand remains more or less
inactive, having merely, by a slight movement of the forefinger
to pass the loops, in succession, on to the needle in the right
hand, which forms the stitches. This position of the hands,
which is the one usually adopted in England and France, is
the one represented in our illustration. The Germans on the
contrary, lay the thread over the left hand, and can move the
hands much more quickly, in consequence. There are some
ways of casting on, which can only be done in the German
fashion.

To prevent the irregularity in stitches, the needles should
never be allowed to protrude more than 1 or 1½ c/m, from
the work. All exaggerated movement of the arms, which renders
knitting a very tiring occupation, should be avoided.

Fig. 341. Position of the hands in knitting.

Casting on.—Casting, or, setting on, as it is sometimes
called, is the formation of the first row of stitches which are
to constitute the foundation of the work.

There are four methods of casting on: (1) crossed casting
on, done in four different ways; (2) knitting on; (3) slipping
on, also done in two ways; (4) casting on with picots.

(1) Crossed casting on with a single thread (fig. 342).
Lay the thread over your fingers as though you were beginning
a chain of plain stitches, fig. 403, leaving a long end, sufficient
to make the number of stitches required, lying within the palm
of the hand. Put the needle in from below, into the loop on
the thumb, and pass it from right to left under that part of
the thread which lies between the forefinger and the thumb.
Then bring the thread through the loop on the thumb, draw
the thumb out, and lay the loop on the needle. In making the
next stitches, lay the thread over the thumb, so that the end
lies outside. Put in the needle under the front thread and
complete the stitch as before. This method of casting on is
generally done over two needles, one of them being drawn out
before the knitting-off is begun, to ensure a loose edge.

Fig. 342. Crossed casting on with a single thread.

Crossed casting on with a threefold thread.—This method
is similar to the last, only that the thread is taken threefold
and is drawn by the needle through the loop, which is formed
at the bend of the thread. Then you pass the single thread
over the left hand, and the triple one over the thumb, as shown
in fig. 342, and make the same stitches, as above. The threefold
thread makes a broad chain at the bottom of the loops.

Double crossed casting on (fig. 343).—This can be done
either with a single or a threefold thread. In our drawing it is
done with the latter. The first stitch is made as we have already
described, only that you have to keep the loop on your thumb,
put the needle into it a second time, lay hold of the thread behind,
cast on a second stitch, and then only, withdraw your thumb.
In this manner two loops are made at once, close together.

Fig. 343. Double crossed casting on.

Crossed casting on, forming a chain (fig. 344.)—Begin by
making one such stitch, as we have described in fig. 341; for
the second and following stitches, bring the end of the thread
to the inside of the palm of the hand, so that it lies between
the thumb and the forefinger.

Fig. 344. Crossed casting on, forming a chain.

(2) Knitting on stitches (fig. 345).—Begin with a plain
crossed stitch; then take the thread and the needle in the left
hand, a second needle in the right, and catch it into the stitch
on the left needle, lay the thread under the right needle and
draw it through in a loop, through the loop on the left needle.
Then transfer it as a fresh stitch to the left needle; catch the
needle into this second stitch, and draw the thread through
it, to form the third, and so on.

This method of casting on is used for articles, that are
to have a double edge, (see figs. 355, 356), because stitches,
made in this way, are easier to pick up than the tighter ones;
but it should not be used, where it will form the actual edge,
as the loops are always too open.

Fig. 345. Knitting on stitches.

(3) Casting on with slip loops (fig. 346).—Begin by casting
on one loop in the ordinary way, next, lay the thread, as in
German knitting, over the left hand, twisting it once only
round the forefinger, then put the needle in, upwards from
below, under the thread that lies on the outside of the forefinger;
draw out the finger from the loop, put the loop on the
needle to the right, take the thread on the forefinger again,
and so on.

Fig. 346. Casting on with slip loops.

Casting on with double slip loops (fig. 347).—Begin by
casting on a stitch in the ordinary way, then lay the thread
over the forefinger, the reverse way, so that it crosses between,
not outside the hand and the body of the knitter. Pass the
needle upwards from below, under the inside thread, and slip
this thread as a loop on to the needle. Continue to cast on,
inserting the needle under the front and back threads alternately.
This method is specially suitable for open patterns, where
you have to increase several times, in succession.

Fig. 347. Casting on with double slip loops.

(4) Casting on with picots (fig. 348).—Cast on two stitches
in the ordinary way and turn the work. Lay the thread
over the needle, put the needle into the first stitch, from right
to left, and slip it on to the right needle, knit off the second
stitch plain, and draw the slipped one over it.

Fig. 348. Casting on with picots.

Cast on as many stitches as you want in this manner and
then pick up the picots thus formed, with an auxiliary needle,
and knit them off like ordinary stitches.

This method of casting on may be varied thus in the following
manner: having cast on the stitches as in fig. 348, throw
the thread over the needle and knit two stitches together.

Plain stitch (fig. 349).—This is the easiest stitch and the
first which a knitter has to learn. It is executed as follows:
Put the right-hand needle in, upwards from below, under
the front part of the first stitch on the left-hand needle, lay
the thread from right to left under the needle, draw it through
the loop, and drop the loop off the left needle.

Fig. 349. Plain stitch.

Plain knitting is employed wherever a perfectly smooth,
even surface is required. It looks quite differently on the
wrong side from what it does on the right where it presents
the appearance of vertical rows of plaiting.

Back, or seam-stitch (fig. 350).—You may intentionally
knit the wrong side of plain knitting. This is called purling and
is done, in the following way: lay the thread over the left
needle, and put the right one, downwards from above, behind
the thread, into the loop on the left needle, lay the thread
upwards from below, over the right needle, draw it through
the loop, and drop the loop off the left needle. This stitch is
used in knitting patterns, and for marking horizontal lines in
smooth surfaces, such as the seam of a stocking, for instance.

Fig. 350. Back or seam-stitch.

Plain stitch taken from behind (fig. 351).—Put the
needle in from right to left, under the back part of the stitch;
leave the thread behind the needle, then pass it from right to
left over the needle and draw it through the stitch.

Fig. 351. Plain stitch taken from behind.

Back, or seam-stitch taken from behind (fig. 352).—Put
the needle into the second part of the stitch, upwards from
below, and knit it as a back or seam-stitch.

Fig. 352. Back or seam-stitch taken from behind.

In plain stitch, taken from behind, the two threads of the
loop are crossed, instead of lying side by side, as they do in
plain knitting.

Back-stitch taken from behind, is only used for certain
open-work patterns.

Overs (fig. 353).—These form holes in plain knitting, and
are used for open-work patterns and for increasing.

Fig. 353. Overs.

To make an over, lay the thread over the needle, and in
the next row, knit this loop like any other stitch.

Each over adds one to the existing number of stitches. In
cases, therefore, where the number is to remain the same, you
have to make as many intakes as overs. Overs can only be
used in conjunction with other stitches.

Knot stitch (fig. 354).—This forms a raised spot in plain
knitting and is executed as follows: knit 1, and leave it on the
left-hand needle; put the stitch you have made with the right
needle back on the left, and knit it off. Make 4 or 5 similar
stitches, all issuing from the same stitch on the left needle, so
that you have 4 or 5 loops on the right needle; then drop the
stitch off the left needle, and pull the 4 first loops over the last one.

Fig. 354. Knot stitch.

Cable or chain stitch.—Chain stitches are used for strengthening
and equalizing the edges of articles that are made in
stripes. They can be made in two ways; either, you knit off all
the stitches on one needle, turn the work, put the needle into
the first stitch, as if you were going to knit it from the back,
and take it off the left needle without knitting it, the thread
to lie behind the needle; or, you knit off all the stitches on
one needle, turn the work, and knit off the first stitch.

The names of the stitches.—Out of the stitches that have
been already described, other stitches are formed, which, as
they are frequently alluded to in knitting directions, we shall
here enumerate, explaining all the terms, usually employed
in such directions.

Over, or increase.—Explained in fig. 353.
Throwing the thread once over the right needle.

Double over, or two increases.—Throwing the thread
twice over the needle.

Plain intake.—Knitting two stitches together plain. This
is done when the intake is to lie from left to right.

Purled intake.—Purling two stitches together. This is
done to make the stitches, that are knitted together, visible; or
in the case of a piece of work composed of stripes, on the
wrong side, when the intake is to lean to the right, on the
right side.

Plain decrease, taken from behind.—Knitting off two
stitches together, plain from behind. This is done when the
intake is to lie to the left.

Purled decrease, taken from behind.—Purling two
stitches together, from behind. This is done when, in articles
composed of stripes, the decrease has to be made on the wrong
side, and is to lie to the left on the right side.

Pulling over.—Slipping a stitch from the left needle to
the right without knitting it, knitting the next plain, and
pulling the slipped stitch over the knitted one. In this manner
two or three stitches can be pulled over the knitted one.

Casting off.—To prevent the stitches from unravelling
they are finished off in the following manner. Knit off two
plain, pull the first over the second and drop it, so that
only one remains on the needle. Knit the next stitch, and pull
the one behind over it, and so on. This chain of stitches, must
neither be too tight, nor too loose, but just as elastic as the
rest of the work.

Materials for stockings.—Stockings can be made of silk,
wool or cotton, entirely according to fancy, but for coloured
stockings, we cannot too highly recommend the D.M.C knitting
cottons, as more durable, in all respects, than either silk
or wool. They are manufactured in 360 different shades,
whereas, wool and silk are only to be had in a very limited
assortment of colours. For hand-knit stockings, Nos. 25, 30,
35[A] are the best, for machine-knit, Nos. 40 and 50.

Stocking knitting.—A stocking consists of five parts:
(1) the top, (2) the knee, (3) the leg, (4) the heel, (5) the foot.

(1). The top may be either ribbed, or knitted in an openwork
stitch of same kind or with a double-toothed edge,
fig. 356.

(2) and (3). The knee, and the leg down to the heel, are
generally plain knitted; it is only children’s stockings that are
fancy knitted.

(4). The heel, is worked as straight knitting backwards
and forwards; by knitting first one row plain and then turning
back and knitting it purl. It is shaped to the foot by the intakes
at the top.

(5). The foot is knitted plain, with intakes from the heel
onwards, to get rid of the superfluous stitches. Then knit a
plain piece, without a seam-stitch, till you begin to decrease
for the toe, which can be worked in several different ways.

To ensure the right proportions between the several parts
of a stocking, the following directions should be attended to.
An ornamental top must never be taken into account, in measuring
the length of the leg. When the top part is finished,
you make the seam, at the beginning of the first needle of the
round, of one, or two purled stitches, or sometimes, a narrow
pattern of purled stitches. This marks the middle of the
stocking. For ordinary-sized stockings, knit plain from the top-band,
till the knitted piece, forms a square.

For stockings that are to cover the knee, knit half as much
again, that is one and a half times the width of the stocking.
This brings you to the calf of the leg. Pull the third stitch
after the seam, over the second, and knit together the two last
but one before the seam. There should be 12 rounds between
each of the first 3 or 4 intakes, and after that 8, until this part
is one and a half times the width of the knee in length, and a
quarter narrower.

For the ankle, knit a plain piece, half the width of the knee
in length, without intakes.

For the heel, count the stitches on the four needles, exclusive
of the seam, and put two stitches more than the quarter
of the whole number on to the needles, to the right and left
of the seam.

For a heel to fit well, it should be as long as it is wide. In
order that they should wear better, the heel and the toe are
often knitted with double thread. Coton à feutrer D.M.C[A] is
made expressly for that purpose, and should be wound round
the thread of which the whole stocking is made. For the
instep, the part between the heel and toe, you must go on
decreasing from the heel, until you have 2 stitches less on
each needle, than you had at the ankle. Then knit the plain
part of the foot, which should be as wide as the ankle, after
which proceed to decrease for the toe, which should be a
quarter the length of the whole foot. In spite of this careful
subdivision, it is always well to count the stitches, to ensure
perfect regularity. The number of stitches cast on, at the
outset, for the same-sized stockings, must depend upon the size
of the wool or cotton; we can only give the numbers approximately.
Our calculation is based on the use of 5 needles; the
given number has therefore to be cast on four times.

Scalloped edge (figs. 355 and 356).—This is the simplest
and strongest edge you can have for a stocking, and is called
the cat’s-teeth edge.

Fig. 355.
Scalloped stocking edge.
Edge open.

Fig. 356.
Scalloped stocking edge.
Edge folded together.

Having cast on the stitches, knit 6 to 10 rounds plain,
according to the size of the cotton, then one round of alternate
intakes and overs. Knit as many plain rounds as before, and
with a sixth needle take up as many of the cast on stitches,
as you have stitches on one of the upper needles. Turn this
needle inwards, and
place it against the outside
needle and knit off
both needles together.
See that you knit the
corresponding stitches
off together, otherwise
the scallops that form
the edge will be crooked.

Common heel (fig. 357).—This is the
simplest form of heel,
and can be knitted
either with or without
an outside seam. Divide
the stitches into four,
and put two more on
each of the heel needles than on the others, then make, according
to the size of the cotton, from 15 to 20 seams; knit
off all the stitches on the right needle and a third of those on
the left. Supposing that you have 24 stitches, knit off 8, then
slip 1, knit 1, and pull the slipped stitch over, knit 2 plain,
turn the work, slip the first, and purl the next 8 stitches of the
second needle; purl the 9th and 10th together, purl 2, turn
the work to the right side, and slip the first stitch on to the
right needle. By means of these successive intakes after the 8
stitches, the knitting forms a plait on both sides of the heel.

Fig. 357. Common heel.

In all heels that are made after this pattern, the intakes
must begin on the right side and the last one must be made
on the wrong, so that once the heel is finished and the work
turned, you can go on knitting plain.

When you have finished the stitches of the two heel needles
up to the outside seams, take up the stitches on the sides of
the heel with a spare needle and knit them on to the left heel
needle, then knit the stitches reserved for the instep, take up
the stitches on the right side of the heel again and knit them
on to the fourth needle.

In the next round, knit all the stitches of the first needle plain,
excepting the 4 last;
knit the first and second
of these together and
the two last plain. Knit
the two first stitches of
the fourth needle plain,
slip the third, knit the
fourth and pull the
slipped stitch over.

Heel in steps (fig. 358).—After dividing
the stitches, make from
12 to 14 seams. Then
knit as many stitches
of the first needle as
you have seams at the
side; turn the work,
and begin the needle with the seam you made first. Knit off
as many stitches from the second needle as from the first.
Make the same number of seams, as for the first part of the
heel. When the seams are finished, take up the chain stitches,
on both sides, make a decrease by knitting the last stitch of
the small part and the first of the large, together; knit two;
turn the work; slip the first stitch, knit to the second side,
and decrease as in the
first part.

Fig. 358. Heel in steps.

When you have decreased
all the stitches
up to the last, take up
the slipped stitches of
the first part, and begin
the intakes for the instep
in the ordinary way.

There is not more
work in this pattern of
heel than in any other;
it fits closely and consequently
wears well.

Plain heel (figs. 359
and 360).—Those who
are not fond of purling
will appreciate this and
the following pattern for
a plain heel.

Fig. 359. Plain heel.

Knit off the stitches
of the first needle
after the seam; then
on to two spare needles,
cast on, 8 more stitches
than you had on one
needle after dividing
the stitches; put the
stitches of the third and
fourth needles together
and knit the first round
plain.

2nd round—knit together the 1st and 2nd, and the 9th
and 10th of the first auxiliary needle; and the 10th and 9th
and 2nd and 1st of the second.

3rd round—plain.

4th round—knit together the 1st and 2nd and the 7th
and 8th of the first needle.

5th round—plain.

6th round—knit together the 1st and 2nd and the 5th
and 6th of the first auxiliary needle; and the 6th and 7th
and the last but one and the last, of the second.

7th, 10th, 11th, 13th, 14th, 16th, 17th, 19th, 20th
rounds all plain.

8th round—knit together the 1st and 2nd, and the 3rd
and 4th of the first auxiliary needle, and the 4th and 3rd,
and the last stitch but one and the last, of the second.

9th round—After the two last intakes, purl together the
4th and 3rd stitches before the end of the 1st and 3rd needle,
and the 3rd and 4th at the beginning of the 2nd and 4th
needles.

12th, 15th, and 18th rounds—Decrease, the same as in the
9th round.

21st round—knit 2 plain, at the beginning of the 1st and
3rd needles; knit the next 2 together; knit together the 4th
and 3rd, before the end of the 2nd and 4th needles; knit the
last stitches plain; go on decreasing in this way until the
purled stitches meet. After the plain round over the intakes,
add four plain rounds, divide the stitches that remain for the
sole, on two needles and cast off on the wrong side.

Now take up the auxiliary stitches, and in the first 3 plain
rounds, knit together the last and the first of the 1st and 2nd
needles, and the last and the first of the 3rd and 4th.

With the rest of the extra stitches make purled intakes,
knitting two plain rounds after each round with an intake.

For the other kind of plain heel also (fig. 360), auxiliary
stitches are required. Supposing that you have 20 stitches on
each needle, you must cast on 28 stitches on to each auxiliary
needle; knit together the 4th and 3rd stitches at the end of
the 1st and 3rd needles, and the 3rd and 4th of the 2nd and
3rd needles, so that you may have 4 plain stitches between
both intakes. Go on decreasing, knitting 2 plain rounds after
each round with an intake, until you have 6 stitches left on
each needle. Then knit together the first and last stitches of
each needle, one plain round over it, and finish with a chain
on the wrong side of the heel. Then take up the auxiliary
stitches and knit the instep.

Fig. 360. Heel knitted on the right side.

Italian stocking (fig. 361).—The heel, sole and toe of a
stocking always wear out before the instep. The Italians and
Greeks economise time and material and facilitate the renewal
of those parts that wear out, by knitting the upper part of the
foot in two pieces. After knitting the heel in on or other of
the above ways, work the foot as straight knitting with the
two upper needles only, until you have the necessary length.
Then knit the underneath part separately, in the same way.
You must keep a chain along all edges and a narrow seam
of one or two stitches. In the sole, which you make after finishing
the upper part, your intakes must come directly after and
before the seam. When you have got the same number of
rounds in each piece, join them together and begin the toe.